Pick. Prep. Push. Pull. Peel. I use thick, wet, malleable resins and pigments, fibreglass, and substrata as sculpting materials. I generate 2D impressions of 3D spaces that harbour rich industrial histories deep within their core ­– I call these impressions, peelings.


I relish in the process of making and playing with chemicals and their industrial strength aromas. It is a violent and performative process enabling bursts of energy and speed in the layering of materials through cutting, laying, mixing, splashing, pushing, pulling, peeling, and refining. It is a sensorial – manifesting in both material and immaterial encounters.


As a child of the 80s I relished playing in vacant and forbidden industrial sites on weekends. This continued into the 90s as I was drawn to the excessive, pleasurable, and hedonistic subculture of Sydney’s early 90’s warehouse rave scene. It was during this time that I found my people, perhaps myself and the affinity remains – the secrets, memories, and untold stories of place pulsating in an alternative dimension invisible to the naked eye made visible through my peelings.

The stories of place matter to the process of making, layer, upon layer, upon layer, of traces left behind captured in thick, wet, malleable resins and pigments, fibreglass, and substrata, reimagined through the process of peeling back the surface and observing what remains. The peelings play with chance, surprise and the unknown. What will set into the wet materials and become part of the artwork is unknown, but the place to throw down the material layers is selected with conscious choice, guided by curiosity and the desire to capture space, and reveal form.