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)

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 Women

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

Of the Land and the Sky

A 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 Sky

A 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 Sky

A 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 Sky

A 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 Sky

A 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 Sky

A 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 Sky

A 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 Sky

A 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Water

Stainless 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 Heartbeat

Reclaimed Oregon timber (burnt), Awlwood on steel base, 2018.

Between the Silence & the Heartbeat

In 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 Heartbeat

In 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 Heartbeat

In 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 Heartbeat

In 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 Heartbeat

2018 “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 Heartbeat

2018 “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 Heartbeat

2018 “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 Heartbeat

2018 “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 Heartbeat

2018 “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 Heartbeat

2018 “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 Heartbeat

Insitu 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 Heartbeat

Insitu 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.

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.

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 2018

Insitu 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 2018

Insitu 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 2018

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

.... 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) 2016

Whitewashing 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, 2016

Winner 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, 2016

Winner 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, 2016

Winner 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, 2016

Winner 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, 2016

Winner 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, 2016

Winner 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) 2017

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

Of Milk and Honey (detail) 2017

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

Of Milk and Honey (detail) 2017

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

Of Milk and Honey (detail) 2017

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

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 Series

Re-claimed railway sleepers, bronze and steel, 2016.

We The People: Dear Hart

Reclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016

We The People: Dear Hart

Reclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016

We The People: Dear Hart

Reclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016

We The People: Dear Hart

Reclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016

We The People: Dear Hart

Reclaimed wood, bronze & steel, 221 x 66 x 46 cm, 2016

We The People: Dancer

SOLD Now guardian to an old grave. Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016

WeThePeople-Dancer

SOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016

We the People- Dancer

SOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016

We the People- Dancer

SOLD Reclaimed wood, bronze & steel, 182 x 57 x 35 cm, 2016

We The People: Two Spirit

SOLD 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 Flock

Bird forms made from re-claimed wood and steel.

Akin

SOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014.

Akin (detail)

SOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014.

Akin

SOLD Reclaimed wood and steel, 204 x 70 x 39cm, 2014.

Kith & Vol

SOLD Kith, re-claimed wood and steel, 2014.

Flight: In honour of Big Sky Country

SOLD Re-claimed wood and steel, 420 x 130 x 130cm, 2014.

Flight: In honour of Big Sky Country

SOLD 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

Aviate

SOLD 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.

Scion

Re-claimed wood and steel, 245 x 70 x 60cm, 2014.

Scion II: Breaking Away

Re-claimed wood and steel, 266 x 80 x 70cm, 2014.

Scion II: Breaking Away

Re-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 Country

SOLD Re-claimed wood, re-claimed steel and bronze, 2014.

Flight Series

SOLD 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 Series

SOLD 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 Dingoes

SOLD 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 Dingoes

SOLD 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 Dingoes

SOLD Re-claimed barbed wire and steel, 2014.

Ghost Dingoes

SOLD Re-claimed barbed wire and steel, 2014.

Ghost Dingoes

SOLD Re-claimed barbed wire and steel, 2014.

Ghost Dingoes: Familia

Re-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015.

Ghost Dingoes: Familia

Re-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015.

Ghost Dingoes: Familia

Re-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015.

Ghost Dingoes: Familia

Re-claimed barbed wire and steel. Winner of the Brighton Jetty Classic Sculptures Emerging Artist and Peoples Choice Awards, 2015.

Flight Installation

Public Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015.

Flight Installation

Public Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015.

Flight Installation

Public Art on the Port River, Newport Quays, SA. Reclaimed wood and steel, 2015.

Flight Installation

Public 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 Groove

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).

In The Groove (installed)

Public Artwork on Goodwood Rd., Goodwood. Bronze and wood panels, 2017. (Installed into planter boxes).

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, (detail), 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast

"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, (detail), 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast

"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, (detail), 171 x 453 x 97cm Reclaimed Oregon timber, reclaimed jetty pylon and sandcast

"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 bronze.

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.

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.”