Climarte series CO2 the invisible vapour, entering and exiting the atmosphere.

From July through to September I am continuing this self imposed assignment of creating imaginary esoteric sculptures and drawings that look at climate change through the lens of the occult. Visualisation of a spiritual power embody my thinking and what I have made (lots of small fabric vessels with arbitrary holes) that transport feelings and emotions the spiritual soul of a school of fish as the exit these vessels, they squirm and squeeze their way from one underwater world to a spiritual world beyond the earth. Fish are dying, their eggs are being stressed, hot waters bloat their bodies. Humans adapt instantaneously if they wish, animals can not, spirit releases senses of another world, an unthreatened universe, a universe like the occult has secret special to some meaning.

CLIMARTE EMERGENCY ACTION, A decade + of draught, severe water restrictions and extreme heat, are combing to put our urban Trees at risk

In my effort to make an impact to the growing devastation climate change has on ours and the world at large, I have made some small works that are the starting point to provoke and highlight a significant tree # 163 on the register in the city of Melbournes Exceptional Tree Register Report. The tree is a 100 year old Eucalyptus cladoccalyx commonly known as the Sugar Gum. My project focuses on how much this tree collects co2 thus helping save the enviroment. Using the symbols co2 I provoke and highlight as a community we need to save the trees we have and plant more trees to help protect the enviroment.

Walking into a mysterious world of ecology, the real and the ephemeral.

On 25 May 2022, I installed a new work in building 50 Orr st Carlton, in my home town of Melbourne. Titled ‘Prawns on the Menu’ I have chosen the gallery space as a site to emphasise the juxtaposition of these paintings printed on sheer cotton voile they emphasise the fragility of interacting through the landscape (mangroves, salt farms and prawns/shrimps) valuable and often abused resources, for the production of the almighty dollar. As humans, it is our responsibility to save the planet not deplete it.

Ecology, Climate change and the ecosystem in the life cycle of the living world (my little sphere) is becoming a new project

I am looking at how tiny ecosystems that may seem insignificant play such a large part of the life cycle, for both the animal and human worlds. What may be a low priority to some politicians , governments around the world is troubling to think one day if action is not taken now the world as we live init today will disappear. I know many people make excellent arguments and things are happening there is not enough money or the desire from some countries to take the action NOW. My project seeks to play an activists role through the making of paintings and installations and through exhibiting i hope to bring awareness. The themes carry my intersection of the conscious and the mystical universe of a safe haven far beyond earth.

The world upside down or right side up ?

A sculpture I made that resonates with sound, vibrations and the earth as we know it. On reflection I see this work as a place far away, like Leonora Carrington’s earthly humanoid creatures that live/occupy a far away planet, this sculpture touches a memory bank that recedes into the astronomer of life beyond the planet.

A sensation of stepping beyond through the door into a hidden mysterious world

Walking into a world beyond the door, shut the door and experience the sensations of being protected by these creatures. A world of make believe where a universe of mystical happenings fly in the night, look down on earth and chatter to each other, my fantastical world beyond reality.

Under the cover of the dawn today, being anonymous, gives me the power of free speech. Welcome to Country, Situated under the Mac Robertson bridge. Temporal fragile like the path we tread

Psychogeography is the intersection of psychology and geography. This work Welcome to Country focuses on a psychological experience for those that pass under the bridge. It illuminates forgotten and often discarded and perhaps marginalized aspects of the urban environment. Like the work of Brook Andrew this work highlights a political agency in its symbolism.

Who's trail do we share ? An ancestral gently trodden, Derive, the chance attraction to the terrain, what is important , beauty, the Yarra river, the destination ?

The derive is part of the letting go, chance becomes paramount, i am addressing the gaze of the walker, race colour creed, it should make a difference as you wonder through land inhabited. Take a moment privilege our cultural past and pay respect to the Traditional Owners as the original custodians of Victoria’s land and waters.

My studio, initial stages of making a stencil of an Aboriginal spear.

My research tells me spears were approximately 2300 - 3000 cm in length.

My spear is 2500 cm long with a tear drop stone head, this type of spear had many uses, however along the Yarra i would imagine the spear was used for fishing and at ceremonies.

Borders/ Crossing under the Mac Robertson bridge, between Toorak and Burnley

Covid has made me question what does lock down mean to which side of the Yarra you live on, will the State Government of Victoria impose another lock down stop us from travelling such a short distance, is this segregation ?

The building of Mac Robertson bridge, Circa 1933-34

This afternoon I conducted a site visit of the Mac Robertson bridge walking under it first then walking over it from south to north and back again. What I noticed between 5-5.45 pm was the vast amount of vehicles using the bridge, including cyclists (most disobeyed the walk your bike across the bridge sign) and people doing their afternoon exercise. At the Richmond end, the bridge shakes with the number of cars driving over it, and congestion getting onto the bridge is a test of driver behavior.

NGV Australia Federation Square, a gloomy morning, so so good to be out again experiencing life in Melbourne

Mark Virgil Puautjimi Tiwi born 1964 and Maria Josette Orsto Tiwi born 1962: Beautiful sculptures that articulate the Tiwi ancestral life. The NGV has several other works on display as you walk through the upstairs foyer area, they hold their own presence, and on close inspection, the artist dramatically illustrates a fragment in time. These sculptures pose the question of life today has not moved forward and colonisation is only possibly evident through the NGV’S purchase and their display in covered perspex plinths. They should be on the ground level not tucked away on the second floor. 1999 Earthenware, Stringybark (Eucalyptus sp.) and palm fiber.