Taking its title from J. G. Ballard’s nostalgic short story of impending doom, The Garden of Time presents the work of six diverse artists ranging from Northern Europe across to Western Australia. With playful and very different approaches to painting, photography or object-making, the thoughtfully curated works in the exhibition coalesce and radiate in surprising ways, like a garden gone wild. Despite an imploding world outside, they invite quiet contemplation as they tease-out fresh perspectives, showcase cultural diversity, and cultivate connections between Australia and the Netherlands.
George Miller’s genre-defining Mad Max film series has grown from a tense, low budget Ozsploitation cult hit into a sprawling post apocalypse action opera, redefining science fiction along the way. A complex and compelling mashup of biker, S/M, gearhead, Queer and beefcake cultures and their associated aesthetics, Mad Max has become a cosplay favourite, and has become massively influential in cultural terms, being ripped off, satirised and idolised by sources as varied as The Simpsons, Phil Collins, video games and pro wrestling.
A group exhibition of Dutch and Australian artists: Sanne Bax (NL), Daan den Houter (NL), Evelyn Malgil (AU), Adam Norton (AU), Vivian Cooper Smith (AU), Anique Weve (NL)
In 2006 in a show called UFOlogy, I exhibited a series of paintings of ufo sightings sourced from diverse images pulled from the web. Considering the reclassification of evidence coming from US government sources in recent years, I decided it was timely to revisit the subject in a series of ‘New’ UFO paintings, or what I’m calling NUFO’s.
For Canberra Art Biennial I have installed works from Giant Badges, an ongoing series of large round text works taking the
exact form of old school lapel badges but enlarged to over a metre in
size. The colourful designs of the badges draw from my nostalgia for the
pop music, science fiction and political activism of my youth.