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SCULPTURE
LARGE INSTALLATIONS, SERIES and PUBLIC ART
Most Sculptures are available for sale unless they have been marked as SOLD or were a commissioned piece.
Commissions are also available, please contact me for details.
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and for sculpture information.
 Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |
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 Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |
 Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |  Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |
 Between The Silence and the Heartbeat (ii)Bronze and reclaimed wood, life size, 2021-23. “Between The Silence and the Heartbeat is about indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here for over 60,000 years. The heartbeat of the People is the heartbeat of Country. It is time for the silence about these deaths to end; it is time for us all to take a stand.” |
In-situ on the Sculpture Down the Lachlan Trail, Condobolin NSW.
NOTE: Photos will be updated once the landscaping is installed.
 “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023. Adam and River st Hindmarsh SA“Old Man Rakali”, just a little native water rat, ambling along the river. He embodies the connections between nature and culture, people and place. He is respectful of his environment and the Kaurna Yerta that he’s on. The Rakali is Australia’s native water rat, one of only two amphibious mammals found in our waterways. They were once on the brink of extinction, but due to conservation measures they are now thriving... (continued on next photo) |  “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023.Rakali are top predators and their presence is a good indicator of the health of the water environment in which they live. Species such as the Rakali are an important reminder about the diversity which still exists and the importance of protecting it. |  “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023.“Old Man Rakali”, just a little native water rat, ambling along the river. He embodies the connections between nature and culture, people and place. He is respectful of his environment and the Kaurna Yerta that he’s on. The Rakali is Australia’s native water rat, one of only two amphibious mammals found in our waterways. They were once on the brink of extinction, but due to conservation measures they are now thriving... (continued on next photo) |
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 “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023.Rakali are top predators and their presence is a good indicator of the health of the water environment in which they live. Species such as the Rakali are an important reminder about the diversity which still exists and the importance of protecting it. |  “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023.“Old Man Rakali”, just a little native water rat, ambling along the river. He embodies the connections between nature and culture, people and place. He is respectful of his environment and the Kaurna Yerta that he’s on. The Rakali is Australia’s native water rat, one of only two amphibious mammals found in our waterways. They were once on the brink of extinction, but due to conservation measures they are now thriving... (continued on next photo) |  “Old Man Rakali”, bronze and redgum timber, 100 x 200 x 135cm, 2023.Rakali are top predators and their presence is a good indicator of the health of the water environment in which they live. Species such as the Rakali are an important reminder about the diversity which still exists and the importance of protecting it. |
NOTE: Photos will be updated once the landscaping is installed.
 The Drifters, 171 x 453 x 97cm Reclaimed timber, reclaimed jetty pylon and sandcast bronze, 2021"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |  The Drifters, 171 x 453 x 97cm Reclaimed timber, reclaimed jetty pylon and sandcast bronze, 2021"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze."The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |
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 The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |
 The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” Photo by Rosina Possingham |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” Photo by Rosina Possingham. |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” Photo by Rosina Possingham. |
 The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” Photo by Rosina Possingham. |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronze"The climate changes, sea levels rise, and the People are losing their homelands. They are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home." |  The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronzeThey are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |
 The Drifters, 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast bronzeThey are adrift yet searching, embodying both self and spirit, present and history, ancestor and culture, carrying with them connections that may yet be lost. The Drifters are the People, rising and sinking, looking for a place to land, a new Place to call home.” |
 Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |  Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |  Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |
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 Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |  Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |  Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |
 Not Waving (but) DrowningRe-claimed Oregon timber and bronze, 175 x 100 x 100cm, 2022. “Not Waving (but) Drowning” is a criticism of the political climate and the society that we currently live in. It represents the racism, genocide, refugees, bushfires, floods, global warming, rising sea levels and other catastrophes of today, admonishing those that ignore and/or encourage such actions. |
 Fragile existence, 170 x 180 x 130cm, wax w/cloth and steel internal frame, 2022.Fragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. In-situ at the 2022 Palmer Sculpture Biennial. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
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 Fragile existenceThe wax is starting to melt and deform... |  Fragile existenceThe figures are now collapsing in the heat... |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Fragile existenceImage: @Netski66 Then there was one... |  Fragile existenceAnd then there was none... |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceImage: @Netski66 Fragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Fragile existencexFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |  Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Fragile existenceFragile: Able to be broken easily; in a weakened physical state. Existence: Continuance of being; life; living. These figures examine and reflect the interaction of climate change, global warming, and the fragility of life. Like life itself, these figures, being made from wax, will transform over time in this hot, dry landscape. |
 Mankamankarana- Seven Sisters, with collaboration and support from Carly Dodd, 2022.In-situ at Ovingham, SA. A group of seven girls were digging and collecting grubs, yams, and fruits upon the Womma (Celestial Plains). Many stories upon the Womma talk about how we care for our brothers and sisters, animals and plants, how we are all connected to the spirit world and all things. The sculpture portrays one of the sisters with a coolamon where she will place the gathered food. Her sisters surround her as the stars of the Pleiades Constellation. |  Mankamankarana- Seven Sisters, with collaboration and support from Carly Dodd, 2022.The sculpture portrays one of the sisters with a coolamon where she will place the gathered food. Her sisters surround her as the stars of the Pleiades Constellation. This sculpture has been created as an acknowledgement of the history and stories of Place and to show respect to the significance and enduring qualities of Kaurna Culture. The representation of Mankamankarana depicts caring and community while embracing Kaurna History and spirituality. |  Mankamankarana- Seven Sisters, with collaboration and support from Carly Dodd, 2022.A group of seven girls were digging and collecting grubs, yams, and fruits upon the Womma (Celestial Plains). Many stories upon the Womma talk about how we care for our brothers and sisters, animals and plants, how we are all connected to the spirit world and all things. The sculpture portrays one of the sisters with a coolamon where she will place the gathered food. Her sisters surround her as the stars of the Pleiades Constellation. |
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 Mankamankarana- Seven Sisters, with collaboration and support from Carly Dodd, 2022.The sculpture portrays one of the sisters with a coolamon where she will place the gathered food. Her sisters surround her as the stars of the Pleiades Constellation. This sculpture has been created as an acknowledgement of the history and stories of Place and to show respect to the significance and enduring qualities of Kaurna Culture. The representation of Mankamankarana depicts caring and community while embracing Kaurna History and spirituality. |  Mankamankarana- Seven Sisters, with collaboration and support from Carly Dodd, 2022.A group of seven girls were digging and collecting grubs, yams, and fruits upon the Womma (Celestial Plains). Many stories upon the Womma talk about how we care for our brothers and sisters, animals and plants, how we are all connected to the spirit world and all things. The sculpture portrays one of the sisters with a coolamon where she will place the gathered food. Her sisters surround her as the stars of the Pleiades Constellation. |
 Place of Courage, Beechwood Grove, Seaford SA.Granite boulders, bronze, Limestone pavers, concrete and stainless steel settering, 750 x 750 x 90cm. 2021 Commissioned by Onkaparinga Council & Spirit of Women. Click on the link below for Artist Statement |  Place of Courage, (detail)“place of courage - place of healing - place of safety - place of remembrance -place of respect - place of strength - place of hope” |  Place of Courage, (detail) |
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 Place of Courage, (detail) |  Place of Courage, (detail) |  Place of Courage, (detail) |
 Place of Courage, (detail) |  Place of Courage, (detail) |  Place of Courage, (detail) |
 Place of Courage, Seaford SA. Commissioned by Onkaparinga Council and Spirit of WomenGranite boulders, bronze, Limestone pavers, concrete and stainless steel settering, 750 x 750 x 90cm. 2021 Commissioned by Onkaparinga Council & Spirit of Women. Click on the link below for Artist Statement |
 Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |  Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |  Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |
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 Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |  Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |  Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |
 Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |  Of the Land and the SkyA collaboration with Elizabeth Close. 580 x 200 x 150cm, Steel and Paint, 2020. This Wedgetail Eagle sculpture brings the viewers sightline from the ground up into the sky connecting the elements of earth and air, paying homage to and building connections to country and spirit, both from a physical component as well as the ethereal. |
 A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |  A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |  A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |
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 A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |  A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |  A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |
 A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |  A Fish Out of WaterStainless Steel, 3 fish each 350 x 150 x 200cm, 2018-19. Public Art, Port Noarlunga South commissioned by Onkaparinga Council. We are all at times a bit out of our depth, but we try to do the best job that we can. We are the fish out of water, winging it to survive and hoping for the best possible outcomes. |
 Between the Silence & the HeartbeatReclaimed Oregon timber (burnt), Awlwood on steel base, 2018. |  Between the Silence & the HeartbeatIn Situ, Montalto Sculpture Prize, 24th Feb-25th Aug. 2019. Mornington Peninsular, Victoria. “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the HeartbeatIn Situ, Montalto Sculpture Prize, 24th Feb-25th Aug. 2019. Mornington Peninsular, Victoria. “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |
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 Between the Silence & the HeartbeatIn Situ, Montalto Sculpture Prize, 24th Feb-25th Aug. 2019. Mornington Peninsular, Victoria. “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the HeartbeatIn Situ, Montalto Sculpture Prize, 24th Feb-25th Aug. 2019. Mornington Peninsular, Victoria. “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, suicide, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |
 Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |
 Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the Heartbeat2018 “Between The Silence and the Heartbeat” is about the indifference to Indigenous deaths within “white” Australia; whether it is in police custody, the gap in health care or being deliberately targeted. The senseless deaths must stop. Indigenous Australians have been here 60,000+ years; giving up and laying down is not an option. The heartbeat keeps beating… it’s time for us all to stand up! |  Between the Silence & the HeartbeatInsitu at Lake Wendouree Village, part of the Biennale of Australian Art Ballarat 2018 (BOAA). Sept 21st- 6th of Nov 2018. Photo by Liam Thomas. |
 Between the Silence & the HeartbeatInsitu at Lake Wendouree Village, part of the Biennale of Australian Art Ballarat 2018 (BOAA). Sept 21st- 6th of Nov 2018. Photo by Liam Thomas. |
 Thunderbird, 620 x 750 x 20cm, Stobie Pole, Steel and Stainless Steel, 2020.This sculpture pays homage to the mythological Thunderbird; a creature representing the powerful natural forces of weather such as wind, thunder and lightening. It also pays tribute to the Indigenous Peoples world-wide; the ones who keep the Thunderbird and other creatures and beliefs alive with their continued faith in the power of Nature and Spirit, and of Country and Place. Commissioned by SA Power and the Helpmann Academy, installed at the Country Arts Facility, Whyalla SA. |  Thunderbird, 620 x 750 x 20cm, Stobie Pole, Steel and Stainless Steel, 2020.This sculpture pays homage to the mythological Thunderbird; a creature representing the powerful natural forces of weather such as wind, thunder and lightening. It also pays tribute to the Indigenous Peoples world-wide; the ones who keep the Thunderbird and other creatures and beliefs alive with their continued faith in the power of Nature and Spirit, and of Country and Place. Commissioned by SA Power and the Helpmann Academy, installed at the Country Arts Facility, Whyalla SA. |
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 The Caretaker, The Watcher and The Nurturer. Three interconnected figures representing love, care, support and connections. Commissioned by Southern Cross Care. Golden Cypress wood and bronze, 240 x 60 x 40cm, 2018. |  The Caretaker, The Watcher and The Nurturer. Three interconnected figures representing love, care, support and connections. Commissioned by Southern Cross Care. Golden Cypress wood and bronze, 240 x 60 x 40cm, 2018. |  The Caretaker, The Watcher and The Nurturer. Three interconnected figures representing love, care, support and connections. Commissioned by Southern Cross Care. Golden Cypress wood and bronze, 240 x 60 x 40cm, 2018. |
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 The Caretaker, The Watcher and The Nurturer. Three interconnected figures representing love, care, support and connections. Commissioned by Southern Cross Care. Golden Cypress wood and bronze, 240 x 60 x 40cm, 2018. |  The Caretaker, The Watcher and The Nurturer. Three interconnected figures representing love, care, support and connections. Commissioned by Southern Cross Care. Golden Cypress wood and bronze, 240 x 60 x 40cm, 2018. |
 The Cleansing 2018Insitu at the 2020 Montalto Sculpture Prize. Fire as a cleanser, fire for renewal, fire for regeneration. Fire has been used by indigenous cultures around the world to cleanse, renew and regenerate both spiritually and physically. Every element of The Cleansing has meaning and relevance. Bronze spiritually, psychologically and emotionally fortifies a sense of justice, friendship and love towards all beings; it helps us put feelings into words and encourages enthusiasm, tolerance and trust... |  The Cleansing 2018Insitu at the 2020 Montalto Sculpture Prize. Fire as a cleanser, fire for renewal, fire for regeneration. Fire has been used by indigenous cultures around the world to cleanse, renew and regenerate both spiritually and physically. Every element of The Cleansing has meaning and relevance. Bronze spiritually, psychologically and emotionally fortifies a sense of justice, friendship and love towards all beings; it helps us put feelings into words and encourages enthusiasm, tolerance and trust... |  The Cleansing 2018Fire as a cleanser, fire for renewal, fire for regeneration. Fire has been used by indigenous cultures around the world to cleanse, renew and regenerate both spiritually and physically. Every element of The Cleansing has meaning and relevance. Bronze spiritually, psychologically and emotionally fortifies a sense of justice, friendship and love towards all beings; it helps us put feelings into words and encourages enthusiasm, tolerance and trust... |
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 The Cleansing.... It dissolves sorrow into relief and promotes the realization of dreams. Slate is seen as a balancing and healing stone, created as it is by heat, pressure and water (Fire, Earth and Water). It is a representation of harmony and grounding. The Cleansing is a representation of the healing power of fire and its place within the larger environment and landscape. |  The Cleansing (detail)2018, carved and burnt logs, bronze, slate and steel. Insitu for the 2018 Palmer Sculpture Biennial. |  The Cleansing (detail)2018, carved and burnt logs, bronze, slate and steel. Insitu for the 2018 Palmer Sculpture Biennial. |
 The Cleansing (detail)2018, carved and burnt logs, bronze, slate and steel. Insitu for the 2018 Palmer Sculpture Biennial. |  The Cleansing (detail)2018, carved and burnt logs, bronze, slate and steel. |
 Whitewashing History (detail) 2016Whitewashing History is a representation of colonization in reflection to the First Peoples and Country. Indigenous people worldwide have been exploited and oppressed by colonising nations and the resulting societies that formed and grew on the lands that once sustained them. Their stories are rarely heard nor their loss acknowledged. The cleansed and sanitised versions taught in schools and presented as history is seldom truth or fact for many. |  Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |  Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |
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 Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |  Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |  Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |
 Whitewashing History, 2016Winner of the Palmer Sculpture Prize, Palmer Sculpture Biennial 2016. dimensions variable; individual figures approx. 180 x 40 x 22cm, reclaimed wood, tar, whitewash (hydrated lime, salt and water) and steel. |
 Of Milk and Honey (detail) 2017#ofmilkandhoney #thepromisedland #theluckycountry #indigenoushistories #colonisation #poverty #slavery #refugees #asylumseekers #whitewashinghistory #onthebacksofthepeople #socialjustice #timetostandup #toferment:tostew:toanger #fermentthefestival |  Of Milk and Honey (detail) 2017Full body of work will be shown at Ferment the Festival, October 19th - 22nd, 2017, Rundle Park, Adelaide, SA. Re-claimed wood, paint and Awlwood clear-coat, 2017 |  Of Milk and Honey (detail) 2017Full body of work will be shown at Ferment the Festival, October 19th - 22nd, 2017, Rundle Park, Adelaide, SA. Re-claimed wood, paint and Awlwood clear-coat, 2017 |
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 Of Milk and Honey (detail) 2017Full body of work will be shown at Ferment the Festival, October 19th - 22nd, 2017, Rundle Park, Adelaide, SA. Re-claimed wood, paint and Awlwood clear-coat, 2017 |  Of Milk and Honey (detail) 2017Full body of work will be shown at Ferment the Festival, October 19th - 22nd, 2017, Rundle Park, Adelaide, SA. Re-claimed wood, paint and Awlwood clear-coat, 2017 |  Of Milk and Honey (detail)Full body of work will be shown at Ferment the Festival, October 19th - 22nd, 2017, Rundle Park, Adelaide, SA. Re-claimed wood, paint and Awlwood clear-coat, 2017 |
 We The People SeriesRe-claimed railway sleepers, bronze and steel, 2016. |  We The People: Dear HartReclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016 |  We The People: Dear HartReclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016 |
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 We The People: Dear HartReclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016 |  We The People: Dear HartReclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016 |  We The People: Dear HartReclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016 |
 We The People: DancerSOLD Now guardian to an old grave. Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016 |  WeThePeople-DancerSOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016 |  We the People- DancerSOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016 |
 We the People- DancerSOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016 |  We The People: Two SpiritSOLD Reclaimed wood, bronze & steel, 157 x 44 x 35 cm, 2016 |  We The People: Two Spirit (detail)SOLD Reclaimed wood, bronze & steel, 157 x 44 x 35 cm, 2016 |
 The FlockBird forms made from re-claimed wood and steel. |  AkinSOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014. |  Akin (detail)SOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014. |
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 AkinSOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014. |  Kith & VolSOLD Kith, re-claimed wood and steel, 2014. |  Flight: In honour of Big Sky CountrySOLD Re-claimed wood and steel, 420 x 130 x 130cm, 2014. |
 Flight: In honour of Big Sky CountrySOLD Re-claimed wood and steel, 420 x 130 x 130cm, 2014. |  Aviate (detail)SOLD Re-claimed wood (railway sleepers, Jarrah posts) and steel, 260 x 160 x 160cm (variable), 2014 |  AviateSOLD Re-claimed wood (railway sleepers, Jarrah posts) and steel, 260 x 160 x 160cm (variable), 2014 |
 Scion (detail)Re-claimed wood and steel, 245 x 70 x 60cm, 2014. |  ScionRe-claimed wood and steel, 245 x 70 x 60cm, 2014. |  Scion II: Breaking AwayRe-claimed wood and steel, 266 x 80 x 70cm, 2014. |
 Scion II: Breaking AwayRe-claimed wood and steel, 266 x 80 x 70cm, 2014. |  Scion II: Breaking Away (detail)Re-claimed wood and steel, 266 x 80 x 70cm, 2014. |  The Flock |
 My Grandfather's CountrySOLD Re-claimed wood, re-claimed steel and bronze, 2014. |  Flight SeriesSOLD Reclaimed wood & steel, 262 x 180 x 180 cm, 2013. Flight: a journey made. A flight of fancy: a soaring mental journey above or beyond the normal everyday world. Winner of the Raffen and Backer Awards, Helpmann Academy Graduation Exhibition 2014. |  Flight SeriesSOLD Reclaimed wood & steel, 262 x 180 x 180 cm, 2013. Flight: a journey made. A flight of fancy: a soaring mental journey above or beyond the normal everyday world. Winner of the Raffen and Backer Awards, Helpmann Academy Graduation Exhibition 2014. |
 Arise (detail)SOLD Re-claimed wood and steel, 255 x 70 x 39cm, 2014. |
 Ghost DingoesSOLD Barbed wire and steel, 75 x 450 x 150 cm (dimensions variable) 2014. Ghost Dingoes portray a species on the brink of extinction. Dingoes, Australia’s native dogs, are top order predators; they are needed to balance this fragile eco-system. Within the next 50 years the pure blooded dingo will vanish unless things change. |  Ghost DingoesSOLD Barbed wire and steel, 75 x 450 x 150 cm (dimensions variable) 2014. Ghost Dingoes portray a species on the brink of extinction. Dingoes, Australia’s native dogs, are top order predators; they are needed to balance this fragile eco-system. Within the next 50 years the pure blooded dingo will vanish unless things change. |  Ghost DingoesSOLD Re-claimed barbed wire and steel, 2014. |
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 Ghost DingoesSOLD Re-claimed barbed wire and steel, 2014. |  Ghost DingoesSOLD Re-claimed barbed wire and steel, 2014. |  Ghost Dingoes: FamiliaRe-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015. |
 Ghost Dingoes: FamiliaRe-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015. |  Ghost Dingoes: FamiliaRe-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015. |  Ghost Dingoes: FamiliaRe-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015. |
 Flight InstallationPublic Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015. |  Flight InstallationPublic Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015. |  Flight InstallationPublic Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015. |
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 Flight InstallationPublic Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015. |
 In The Groove (detail)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. |  In The Groove (detail)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. In collaboration with Sarah-Jane Cook (ceramic elements). |  In The GroovePublic Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |
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 In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |  In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |  In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |
 In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |  In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |  In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |
 In The Groove (installed)Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes). |
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