This piece references a concept called non duality.  The glow is created using fluro perspex and frame. It was created especially for Sugar Mountain Festival.

This laser-etched print is another collab with Tailfeather. Entitled Zifeta Abius, it uses laser etching on black rawhide leather and represents the culmination of recent experiments in glyphic forms and their relation to written text.

Click here for a panorama of the gallery

Wooden Foundations is a collective made up of Bonsai, Oh54!, Twoone, and yours truly. For this show we created an installation that aimed to explore our artistic collaboration as an extension of our street-based collabs, and the convergence of personal mythology into the group scenario. As collectors of miscellany, and users of recycled material in our work, we committed to creating the installation almost entirely out of recycled, reclaimed, or re-used material.

This piece is a further exploration of the visual possibilities I explored in Biolume. Again I wanted to explore natural form and glyphic imagery, in this case creating a dispersion of images reminiscent of diagrams of ecosystems.

For Biolume I devised a visual vocabulary based on diverse influences including graphic design, mechanical form, and deep-sea life. Conceptually this show explored visual language as sourced from the written form, modularity, and sympathy between the natural world and manufactured goods. The title is a reference to deep sea life, a subject that has intrigued me since childhood.

More here.

Tailfeather invited me to create some motifs to apply to their new range of leather iPhone cases and card wallets. The principle design I created for them features a stylized fish that I first developed as a glyph in a wall piece. I had previously painted the fish on the water tank at Tailfeather HQ in the Tallarook Ranges outside Melbourne.

I painted this piece at Lamington Drive.

Some walls from late 2008 & early 2009.

Grow Wild was an exhibition curated by Sleep Club for Utopian Slumps.

It’s easy to forget the pleasure of the wild and the primal, especially given the place in the distant future we sometimes seem to have arrived at. The truly metamorphosing moments in life where we’re confronted with wonder and sadness and need and desire are the times when the wild reappears in all its elemental glory. In GROW WILD, Sleep Club will celebrate this transformative wildness, this irrepressible tenaciousness of growth, the insistence of life and all its apparently unstoppable self-replicating systems. — Taken from Utopian Slumps

For this show I channeled some Neolithic Hieroglyphic.

This was produced as part of a series by the once influential and now terminally on-hold magazine Refill.

This was created for the Grotesque issue of Beautiful Decay.

Three skate decks with burnt drawings entitled Origins .

While on an Eastern European adventure in 2005 I noticed street hawkers selling their wares from suitcases. I immediately saw the potential in this format as an effective way of showing artwork. It is portable, cheap, and accessible. Its public location allows the artist a more direct contact with his audience than conventional art spaces. The show traveled to three locations around Melbourne on consecutive Sundays. I’m looking to tour this show internationally so please contact me if you’re interested in helping out.

Wikipedia: In computer jargon a sprite is a two-dimensional image or animation that is integrated into a larger scene. In mythological terms a sprite is a broad term referring to a number of preternatural legendary creatures.

Twoone and Bonsai helped me paint this wall.

I curated and organised this show celebrating the bandanna.

Bootlegger was a fine art exhibition exploring the bandanna’s potential as an art object. Seeing the bandanna as an element of outlaw style, we wanted to celebrate its aesthetic, its cultural roots, and its history. The selected artists were invited to express their ideas in the form of an original drawing, painting, or print. These images were then printed onto fabric and made into bandannas, which were shown and sold at the exhibition. The editions were strictly limited to 20.

Artists: Josh Petherick AUS, Andy Sargent AUS, Dylan Martorell AUS, Vitché BRA, Anthony Lister AUS, Nuroc AUS, Matthew Chapman AUS, Nathan Gray AUS, Lach Conn AUS, Kill Pixie AUS, Phibs AUS, D|CIDE GER, Bonsai AUS, Nails AUS, Christopher LG Hill AUS, Sean Bailey AUS, Braddock AUS, Two AUS, Krsn FRA.

Bootlegger was a self-funded independent production. Ten months from conception to fruition, this project was the result of thousands of emails, hundreds of phone calls, a lot of hair-pulling, and of course many long nights. Local small‑scale producers with artistic sympathies in line with our own were used. In aesthetic terms the bandannas themselves are modeled after the type you might find in importer shops, however attention has been paid to sourcing quality materials and skilled makers.

Citylights is a curated artspace in the inner city of Melbourne. I was invited by Andy Mac to produce some images for the permanent lightbox installation. Citylights is open 24/7. The show was up for almost a year in which time hundreds of thousands of people viewed these pieces.

See the project in Lose Yourself in Melbourne, an ad campaign promoting Melbourne to the rest of the world.