In this early group of paintings (2001-3) are the seeds of the ideas that have sustained in the practice today. Searching for a means to undermine the artist as a ‘creative hero’, I stumbled across a method by which I could harness ‘chance’ as a primary source to address the abstract concepts that I dwelt on since then: scanned incidental -dried- paint flows, digitally manipulated and painstakingly reproduced in a fragmented style on large canvases, with a degree of flatness that manages to weaken personal traces. The notion of electronic fluidity came from superconductivity. The constant and even energy fluctuation of a superconductor is transposed as a conceptual device for the depiction of fluids that visually extends beyond the parameters of the canvas, and where each mark has to have the same level of technical skill and detail.

SELFSTIMULATION, ACRYLIC ON CANVAS, 180 X 175 CM, 2003

FADINGFEELINGS, ACRYLIC ON CANVAS, 180 X 175 CM, 2003

THEAPOCALYPSEISSTILLALONGWAYOFF , ACRYLIC ON CANVAS, 180 X 175 CM, 2002

YOUDON'TKNOWWHATIDOWHENI'MALONE(ANDYOUDON'TWANTTOKNOW), ACRYLIC ON CANVAS, 200 X 200 CM, 2002

INTERNALRIOTS , ACRYLIC ON CANVAS, 200 X 200 CM, 2002

IDON'TWANTTOCREATEFALSEEXPECTATIONTHATTHISISUNDERCONTROL, ACRYLIC ON CANVAS, 200 X 200 CM, 2003

ATTEMPTOFESCAPE, ACRYLIC ON CANVAS, 180 X 175 CM, 2003

INSTALLATION VIEW, GREENAWAY ART GALLERY, ADELAIDE , 2006

BETWEENNOWHEREANDNOWHERE I, INKJET PRINT ON VINYL, 290 X 590 CM, 2002

BETWEENNOWHEREANDNOWHERE II, INKJET PRINT ON VINYL, 290 X 590 CM, 2002

BETWEENNOWHEREANDNOWHERE I and II, INKJET PRINT ON VINYL