The piece focus is a vintage wreck of a 1960's J series Bedford truck i found out in country Victoria left to rust in a paddock. A work horse from a bygone era once depended on for livelihood now cast aside as a slowly rotting carcass of usage. The artwork itself is a 76cm hexagonal canvas stretched over premium pine with acrylic brush/sponge and knife application. The floating frame I manufactured to accompany it is constructed of Victorian mountain Ash "Eucalyptus regnans" I selected the components with their particular spalting and grain then gloss varnished to achieve a deep and rich connection to the piece itself.
My relationship with painting began in 1999 through an introduction to graffiti-a practice grounded in movement, instinct, and an awareness of surface. What started in this raw, unapologetic environment has remained central to my practice, shaping how I approach material, discipline, composition, and time. My work explores the tension between decay and presence, moving between deteriorating structures, vehicles, and human form. I’m drawn to surfaces that carry history-where erosion, damage, and wear become part of the visual language rather than something to be concealed. These elements act as both subject and process. Through a layered approach, I build a tonal matrix that has an almost glass-like transparency in parts, dense in others. Images emerge gradually, suspended between abstraction and semi realism, allowing forms to shift, dissolve, and reappear. This process reflects a way of seeing that is not fixed, but constantly in flux. Graffiti still informs the work-not just aesthetically, but in its immediacy and sensitivity to environment. The surface is never neutral; it holds memory, energy, and time. Painting for me, is an ongoing act of excavation and reconstruction-revealing what lies beneath while accepting what is lost to change.
The piece focus is a vintage wreck of a 1960's J series Bedford truck i found out in country Victoria left to rust in a paddock.
A work horse from a bygone era once depended on for livelihood now cast aside as a slowly rotting carcass of usage.
The artwork itself is a 76cm hexagonal canvas stretched over premium pine with acrylic brush/sponge and knife application.
The floating frame I manufactured to accompany it is constructed of Victorian mountain Ash "Eucalyptus regnans" I selected the components with their particular spalting and grain then gloss varnished to achieve a deep and rich connection to the piece itself.
My relationship with painting began in 1999 through an introduction to graffiti-a practice grounded in movement, instinct, and an awareness of surface.
What started in this raw, unapologetic environment has remained central to my practice, shaping how I approach material, discipline, composition, and time.
My work explores the tension between decay and presence, moving between deteriorating structures, vehicles, and human form. I’m drawn to surfaces that carry history-where erosion, damage, and wear become part of the visual language rather than something to be concealed. These elements act as both subject and process.
Through a layered approach, I build a tonal matrix that has an almost glass-like transparency in parts, dense in others. Images emerge gradually, suspended between abstraction and semi realism, allowing forms to shift, dissolve, and reappear.
This process reflects a way of seeing that is not fixed, but constantly in flux.
Graffiti still informs the work-not just aesthetically, but in its immediacy and sensitivity to environment. The surface is never neutral; it holds memory, energy, and time.
Painting for me, is an ongoing act of excavation and reconstruction-revealing what lies beneath while accepting what is lost to change.