paintings, places, process


Drawing is a way to slow down time


Top to bottom: from late 2017, two self-portraits in journal, 30-45 min each; preparatory sketch for upcoming painting, Jan 2018; 2015 self-portrait sketch in front of studio window


Writing, not painting, in Gothic Tasmania

In May this year, I travelled once again to chilly Hobart to cover the 2017 Stranger With My Face International Film Festival for Australian contemporary arts magazine RealTime. Stranger With My Face, now in its fifth year, is a highly respected event focusing on horror and other dark genre cinema directed by women. I stayed in Hobart’s historic quarter, the appropriately gothic Battery Point, just up the cliff from Salamanca Arts Centre, where the festival is hosted.

My festival overview can be read here.







Photographs of Battery Point, Hobart; festival guest, Gaylene Preston, New Zealand director of marvellous thrillers Mr Wrong (1984) and Perfect Strangers (2003); festival display window at Salamanca Arts Centre; festival director Briony Kidd (second from left) with festival award winners (L-R) Kaitlin Tinker, Elizabeth E. Schuch and Gaylene Preston

Christmas 2016 and ghosts of Christmas cards past


Black Christmas 2016


Angelic 2015


White Christmas 2014


Havisham Christmas 2013


Wedding Cake at night 2012

Winter 2016: Bodies, Dance, Self-Portraits

This winter past: a lot of life drawing accompanied by slow but regular progress on a self-portrait series that looks at the moving, choreographed body in relation to specific places.

Deep Red: Hobart’s Stranger With My Face Exhibition, April 2016

Some moody phone camera documentation (my DSLR camera had just died) of the Stranger With My Face exhibition, which ran from 14-17 April 2016 as an adjunct to Tasmania’s Stranger With My Face International Film Festival. I was in Hobart covering the festival for RealTime Arts and had also been invited by festival director Briony Kidd to participate in this group show. Curator Robyn Oh did a terrific job of assembling the various works in the Festival Club (aka the Founders Room at Salamanca Arts Centre).

The exhibition took its cue from the festival, which showcases and promotes the work of women who make horror and dark genre films.



Kim Foale‘s ceramic work See No Evil glowing redly on festival opening night.



My work, A Small Dark Painting, alongside Sally Rees’ flickering video work on opening night



Gore, Allana Blizzard Jones, acrylic and mixed media on canvas



A Small Dark Painting, oil on linen





Kim Foale’s horror ceramics: See No Evil and Hearts



Below: Stranger With My Face International Film Festival opening night party


Also participating in the exhibition, but not pictured here: Lucy Parakhina, Mish Meijers and Sonia Heap.

Click here for my overview of the festival for RealTime.

Farewell to the old studio

In August this year I moved out of my studio of nine years, after the landlords had their development application approved. This three-storey warehouse opposite the Annandale Hotel in Stanmore, Sydney, was at different times home and work space to a number of artists including Elizabeth Day, Justin Trendall, Maria Cruz, Stephen Birch, Jacky Redgate, Brandt Lewis and India Zegan. Sculptor and painter Peter Hardy had been there for about 30 years. So we had a pretty good run, but it’s sad when these increasingly rare inner-city artists’ spaces go.