New show: Swamp Motel – Opens Thursday Sept. 3rd at Flinders Street Gallery, Sydney

Posted in Uncategorized on September 2nd, 2015 by admin – Be the first to comment

My new show opens on Thursday 3rd September, from 6 – 8pm. Please come along and pass the information on to anyone who you think might be interested.

Flinders Street Gallery
61 Flinders Street
Surry Hills
Sydney NSW 2010

Show runs from the 2nd to the 26th September. All the details on the invite below – click for a larger version. Images of the new work are available on the gallery website at, and will be up in the gallery here after the show.

invite-2015-Here’s the artist’s statement for this exhibition:

Swamp Motel

My latest body of work reflects an interest in how the changes we make to the environment in turn affect the way we relate to the spaces we inhabit and pass through. We divide and design space for human purpose and internalise these constructions in order to psychologically map our sense of place in the world. In this way, the external environment becomes a mirror for the internal, individual space of the subconscious, allowing these images to be read in a metaphorical or narrative sense.

The paintings are based on photographs taken in two different locations near the town of Kiama. The first is a section of old highway that once took traffic through town where, particularly at night, there can be a feeling of desolation and unnatural quiet. I was fascinated by the starkly lit embankment, a weedy wilderness cut out of the rock to accommodate the road; it is ground not meant to be walked over, only seen from the window of a moving vehicle. Here the conventional binary between the natural and man-made environment breaks down. This distinction is uncomfortably merged as plants, some native but mostly weed, have firmly established themselves on the rock-face which crumbles and erodes under the influences of time and the elements. The two paintings based on this location (‘Lone Rider’, ‘On the Ground’) will be shown later this year as part of my contribution to a crime themed group show ‘Exhibit A’, curated by Carrie Miller, at The Lockup in Newcastle.

The second location I photographed is a bike path winding through dairy paddocks which are gradually being eaten up by suburban development. The path passes under two highway bridges which impose monumentally on the rural landscape. It is a strange feeling to be physically present in a space which, to others, is only a backdrop to their travel. The two types of experience are completely cut off from each other; the space above on the bridges and the landscape beneath seem to exist in different pockets of time. As modes of travel become increasingly efficient, there is an ongoing abstraction of the landscape into something that is passed through, not physically experienced. It is hard to fight a feeling of nostalgia, seeing a remnant rural idyll through the frame of a concrete monument to human progress. At the same time, there is a sense of awe when looking up at these incredible constructions, at what we humans can achieve.

I am also interested in how these spaces, constructed for one purpose, might find another under the cover of darkness. As I put these images together there is the imagining of other people experiencing them and how they might feel. Outsiders finding solitude, camaraderie, danger, sadness or perhaps even elation, the darkness outside intensifying a connection to the inner self.

New show opening Tuesday April 29th at Flinders Street Gallery

Posted in Uncategorized on April 22nd, 2014 by admin – Be the first to comment

Halinka-Invite-290414My new show opens on Tuesday 29th April, from 6 – 8pm. Please come along and pass the information on to anyone who you think might be interested.

Flinders Street Gallery
61 Flinders Street
Surry Hills
Sydney NSW 2010

Show runs from the 30th April to the 17th May. All the details on the invite at top left – click for a larger image. Images of the new work are available on the gallery website at and will be up in the gallery here after the show.

Here’s the artist statement in relation to this show:

In the past, my work has expressed a fascination for built environments and how they reflect back to us both our physical and psychological inhabitation of them. I am particularly interested in the transformation of these spaces at night, how their meaning may be altered by the subconscious associations night carries with it – mystery, danger and the possibilities of the unknown.

While out taking photographs for new work, I was lucky enough to stumble upon the aftermath of a joyride, which became the loose narrative focus for this current suite of paintings. The stillness of the spectacularly burnt out wreckage and the abstract patterns left by the ‘circle work’ told a story of intense energy and emotion that had been and passed. The skate park and adjoining car park becoming a stage for this performance.

It seemed somehow appropriate that this marginal activity would occur in a kind of no-man’s land in the shadow of a large supermarket. This deliberately destructive, dangerous act expresses a refusal to conform to society’s expectations and conventions – whether driven by testosterone-fuelled anger, boredom or some other displaced energy, we can’t know for certain. Without condoning the activity, it’s still possible to be impressed by the sense of intense energy and life force concentrated there in the burnt out wreckage and the skilful mastery and simple beauty of the circles drawn by the car’s tyres. I imagine the people in that car carried away by a momentary sense of ownership and power over the landscape through which they passed and on which they left their mark.

Purgatory Artspace, Melbourne

Posted in Uncategorized on March 12th, 2013 by admin – Be the first to comment

I’m very excited to be taking my work down to Melbourne for a show in the Purgatory Artspace, upstairs at Gallerysmith. In getting to know Marita Smith, the director at Gallerysmith, she has proven to be uncompromising in her commitment both to her artsists and to contemprary art in general so it’s a real pleasure to be showing in association with this gallery. The show will be open from Thursday 21st of March till Sunday 7th of April during the galleries usual opening times. There will be celebratory drinks on Sat 23rd of March, so please join us if you can.


‘Wisdom in Hindsight (I Knew This Would Happen)’ – Flinders Street Gallery

Posted in Uncategorized on November 12th, 2012 by admin – Be the first to comment

The time has come again to bring the solitary work of the studio out into the world. It would be great if you can join me for the opening night on the 20th Nov. If you can’t make the opening night, the show runs from the 21st Nov- 8th Dec. I will be present at the gallery 29th and 30th Nov, and giving an artist’s talk on the 1st Dec.

See below for the invitation (click the image for full size) and an artist’s statement.


Artist’s statement

For my third solo exhibition with Flinders Street Gallery, I have continued my practice of taking photos at night and painting them photo-realistically in oil on canvas. The subject matter comes from locations near my home on the south coast and shows scenes around the towns of Kiama and Jamberoo. This has lent the images a slightly different  tone to the more urban settings I often focused on in the past. There are greater areas of darkness and the natural world is a lot more present in these images. I have always been intrigued by the visual, almost surreal effect on natural elements when they are lit by artificial light at night. For me, this represents the fragile yet compelling imaginary line between the sphere of the human and that of the natural world.

 Iluminating public spaces at night is a practicality, but it also deepens the shadows, making the dark all the more impenetrable. In my work this contrast between what is seen and what is thrown into extreme darkness symbolises a failed attempt at control and ownership. It is a reminder that the traditional binary division between nature and culture, the wild and the tamed, the known and the unknown, the rational and the irrational, is a conventional one, though it remains potent in our minds. Artificial light in the night-time landscape is also a reminder that we play a dominant role in the shaping of our environment and that we must live with the changes we render.

 On another level, this contrast of light and darkness can be seen as symbolic of our fraught relationship with the known and the unknown within ourselves. My interest is firmly rooted in the subjective experience – how we psychologically locate ourselves in a world of flux where we are both active participant and subject to the many uncertainties of our existence. At times even our own internal world can seem out of our control, the only way to regain the self being through the darkest places within.

 We map our personal topographies across the landscape in which we move, giving the world form, purpose and meaning via our own memories and experiences. We make sense of the things that happen to us by building them into a unique personal narrative. Some look to religion, superstition or magical thinking to bolster a sense of agency in the face of so much uncertainty. It is also true that intense flashes of insight, a sense of everything being deeply meaningful, can be the result of intoxication or madness.  These images represent moments of reflection and insight within an unknown greater narrative. By painting these otherwise overlooked spaces with such attention to detail my aim is to elicit a feeling of everything, however fleetingly, being meaningful. It is my belief that the physical act of painting and the very stillness of the images in some way manages to achieve this. I wish to explore the potential for the external world to be a mirror to one’s internal world and leave it to the viewer to decide what meaning lies there.


Transmission Opening Night

Posted in Uncategorized on June 11th, 2012 by admin – 1 Comment

For the Transmission show at Campbelltown Arts centre, artists were paired with musicians and asked over a relatively short period of time, with no distinct brief, to make something in collaboration. Co-curator Carrie Miller says that she felt her job was to bring the right people together, let them go for it creatively and be there to solve any problems that arose. This mutual trust and creative freedom reaped its rewards as is evidenced by a very strong show well worth the journey to Campbelltown, and I urge you to treat yourselves to a mind-boggling range of audio-visual delights.

On Friday night I was there for the opening. It was cold in Campbelltown and entering the warm arts centre felt a bit like travelling through a portal into another world. Although the Transmission show is not curated with a distinct theme in mind, this sense of altered reality is something that flows through the show like a substance taken at a concert. After all, that is why many people are drawn to live music and performance, to experience a transcendental moment, to witness someone being conduit to something other as performer – and to themselves be part of something greater as audience. There are no words that can precisely sum up this experience but most people will at some point have experienced it and agree that it is a powerful and seductive one. Even in the works that weren’t live performance I felt that there was an emphasis on this relationship between minds, transmission, reception and altered reality.

On the night, that suave crooner Renny Kodgers, complete with orange tan and large cowboy hat, interrupted the speeches to spread his unique brand of love. He did this with the help of the ‘Sweet Tonic Choir’, a group of older ladies and gentlemen who I believe are local to the Campbelltown area. I felt a moment of trepidation where I wondered what angle he would take, whether there would be a level of mockery which would have made me feel uncomfortable, but in fact he managed quite the opposite. He pulled it off with good humour, respect and sense of endearment for these people of another generation, whose tastes may seem anachronistic to a younger audience. It was a reminder of cultural and generational change and, if anything, fostered a sense of understanding between otherwise non-compatible worlds. It was quite sweet really.

Kusum Normoyle delivered a visceral performance of primal sound created with her voice; she sounded like an enraged animal, alternately yelling into a microphone, making a purring, panting sound, and deliberately creating feedback with the speaker. The level of energy and the way she gave herself over to the performance was impressive and potentially confronting. It brought to mind the effect on an audience member at a heavy gig where the primal energy is a release from the constraints of everyday convention. Where conventionally more confronting and primal feelings are trapped inside to enable the smooth running of society, who hasn’t at some point wanted to go totally animalistic?

The final performance on the night was from Justene Williams and Tina Havelock Stevens. What a mad cacophony of sights and sounds. So many references I’m sure I didn’t fully decipher but I was genuinely intrigued. What I did understand was the way in which, as performers, they became depersonalised in their karate uniforms, orange wigs and masks. In a sense, their performance was about all performances. They threw themselves into this role of conduit with a totally committed physicality. To me, there was something about the voodoo witch-doctor in the work, as though channelling the ‘other side’ through a sense of hypnotic and compelling ritual. Although I did not always understand in a rational sense, I think that was probably the point. It was more about being transported into a parallel place, I simply couldn’t look away and so became witness to something wild and other-worldly.

One of the questions which came up for me in considering this show was: what are the defining differences between musicians and artists? (Sorry, there is no clever punch line here.) The answer at first glance is that musicians work with sound and performance and artists work with visual media – but as is evidenced by this show, these categories are in fact very interchangeable. After all, even a career musician will almost certainly have some involvement in visual decisions – cover art, video clips and costume and set design. Conversely, as outlined in the description of the performances on the night, artists often inhabit territory one might assume is the realm of the musician. We do sometimes simply call them all artists though it’s true categories can make things easier to talk about.

A good example of this crossing over was seen in Rachel Scott’s video collaboration with Mick Harvey. He provided the atmospheric soundtrack but also some video footage shown alongside Rachel’s. There was an emotional undercurrent pulling one into this work featuring a lone female figure adrift in the night.

Another artist/musician combination took the more familiar form of a music video clip with the song a launching point for the visuals. Daniel Mudie Cunningham’s collaboration with Stephen Allkins, ‘Boytown’, is a beautifully executed ode to gay culture and the 80s. It uses the background of the Bronski Beat song ‘Smalltown Boy’ and pieces together a simultaneously poignant and self-referential narrative. It treads this line so carefully that neither meaning is lost. It brings to mind the way friends might share painful truths about themselves, particularly when young, hiding the rawness behind a little self-deprecation and parody.

So if they’re all simply artists, all I can do is tell you, in my humble opinion, what an artist is; someone who has a life-long commitment to their process and is able to incorporate personal experience and thoughtful interrogation into their work in an ever-evolving way. It is wonderful to see such talented artists feeding the fires of each others’ practice and I, like so many raving about the show on the night, thoroughly enjoyed it.

Guest blog at The Art Life – Redlands Art Prize

Posted in Uncategorized on May 3rd, 2012 by admin – Be the first to comment

Last night I attended the opening of the Redlands Westpac Art Prize held at its new and brilliant venue, the National Art School Galleries. The atmosphere was vibrant and upbeat and the speeches left me feeling a warm glow for the sense of camaraderie that the art prize this year is designed to engender but a few nagging doubts left me with mixed feelings.

See the rest here.


Group Show

Posted in Uncategorized on January 30th, 2012 by admin – Be the first to comment

I have a new work in the first show of 2012 for Flinders Street Gallery. The Show has a ‘tonal’ theme, so black and white or work that is mostly centred around using tone. The opening night will be held on Tuesday the 7th of Feb from 6-8pm. 61 Flinders Street, Surry Hills. There is also a solo show penciled in for October this year…I will be sure to post more about that when the date is set.

Site fixed

Posted in Uncategorized on July 2nd, 2011 by admin – Be the first to comment

Sorry about the problems – the menu tabs are now back at the top of this page.


Website problems

Posted in Uncategorized on June 30th, 2011 by admin – Be the first to comment

My apologies, we’re having some problems with this site at the moment and the page links at the top have vanished!

To see other pages, please use these links in the meantime:




CV –

We’ll have the full site up and operational again ASAP. Apologies!


Phantoms Of Suburbia – artist’s statement

Posted in Uncategorized on November 11th, 2010 by admin – 1 Comment

My next show, Phantoms Of Suburbia, runs from November 18th to December 11th. The official opening night is on Tuesday November 23rd, 6 – 8pm, at:

Flinders Street Gallery
61 Flinders Street
Surry Hills NSW 2010

Below is an artist’s statement about the show.

Phantoms of Suburbia

Places can embody our feelings and reflect back a sense of ourselves in a most peculiar and powerful way. My work focuses on suburbia and the built environment and explores the contradictory layers of meaning that can be found reflected there – home and dislocation, safety and danger, belonging and being the outsider, culture and wildness; the known, visible, everyday, and the unknown, hidden forces that pulse beneath the surface. I photograph and then paint scenes containing a tension between these contradictory meanings, using the play of light and dark at night to create a sense of mystery and unease.

The Phantoms of the title refers to the traces of many people and their histories that one imagines left behind in any suburban environment. It also references the effects of one’s own memory and experience on this environment, one which by its very nature can be seen as a symbol for all things to do with the home. When taking the photographs which form the basis for my paintings it is always with an eye for a scene that is visually suggestive of many possible stories, and the idea that they may in fact have an almost physical presence.

My interest in the psychological effects of the environment can be aligned with a sensation Freud described as the uncanny. A disturbing subversion of the idea of home in which a brooding sense of unease is experienced. If homeliness can typically be described as a sense of safety, comfort, belonging and the mundane, then the uncanny is its opposite – a sense of danger, dislocation, anxiety and potentially a feeling that some unknown presence has invaded the security of the everyday.

Another phantom presence in any suburban environment is that of a nature long lost to the human landscape – roads, homes, power lines, footpaths, carports, letter boxes, balanced only by the token plantings of the garden. One has a greater sense of the potential for wildness and danger at night, as though somehow ‘nature’ gains some small advantage over ‘culture’ at this time, that it creeps back to stake out a foothold in our conveniently constructed world. We attempt to hold darkness at bay with an abundance of lighting, but sometimes this only succeeds in making shadows deeper and more impenetrable. This play of light and dark can also resonate with our tendency to feel more at home with the visible, the known and the rational, and to fear the depths of the subconscious.

For this show, I have focused on Melrose Park, the suburb I grew up in. It is in fact the second time that I have visited the area to source photographs to work from, simply because I felt I hadn’t exhausted it as a subject. It acts, after all, as a store for my own layers of memory, a personal topography of my childhood. It is directly across the Parramatta River from Homebush, skirted by the river, a golf course, Victoria Rd and the Wharf Rd factories. A tiny suburb of post-war brick bungalows where one can sense a nostalgia for the idea of home that suburbia once ideologically embodied. There is also the presence of other forces – the river with its pungent smell of mangroves, its sense of remnant wildness and another peoples’ history far predating the red brick, and the factories which hum with industry even at night. Considering the concerns within my work it became apparent that my own childhood home would be an interesting place to explore. I am aware of the fact that anyone viewing this work will not have in their mind the particulars of my experience, they will come to it with their own. What I have found, however, is that our experiences, although arising from different circumstance, significantly overlap. Who, for instance, wasn’t scared of the dark at some point in their lives? It is my hope that, as I found this area a rich hunting ground for imagery, it would translate into interesting works.

It is my intention with this work to create a suggestive environment, yet one that allows for a fluidity of meaning. The sensation of the uncanny exists where a familiar environment takes on an unfamiliar life, its usual meaning becoming obscured. Freud points out , however, that it is the individual’s subconscious that creates this meaning. According to him it is the ‘return of the repressed’ that gives rise to a sensation of the uncanny; that it is a resistance to the other, opposite meanings that can invade the idea of home which fuel the uncanny experience. The environment only acts as a mirror to the subconscious with all its unacknowledged fears and desires.

I am interested in the way that this idea of dual meaning is played out at night when the familiar surroundings of home are made mysterious by darkness. Darkness makes the known visible world unknowable and it is human nature to fill in the void of darkness with all sorts of fearful imaginings. On the other hand the sense of mystery this evokes can work to make the banal strangely arresting and beautiful, as though the known limits of our everyday existence become expanded to include things more magical and exotic. The night seems to have a secret life of its own.