steam pumping from nostrils
hooves pounding the crop
it’s past sunrise
‘we should be done by now’
the mystery of crop circles revealed
aliens did them – yeah right!
‘Crop Circles’ is as much about the crop circles as it is about the personality of the land. The ROAD TRIP series explores our relationship with the roads that join us, from the freeways to the dirt tracks of the outback. The exhibition is filled with metaphors and ironies in true laconic Australian style.
Often it is what I leave out of my works that tells the story. There are no cars in ‘Crop Circles’ because the presence of cars would mean that the circle-making cows would be discovered. Bovine intelligence has not reached the level I set for them, but it’s fun to play with the concept.
Painting the crop lines made me very aware of the contours of the land, with the multiple transparent layers I grew more and more conscious of the gender of the land. So many of the contours I painted grew to have shapes just like those of the human female form, no wonder we call her mother nature.
By painting multiple transparent layers I am able to achieve the effects of colour without ever mixing them. I like painting that way because it is more like nature to be random and sporadic.
hooves pounding the crop
it’s past sunrise
‘we should be done by now’
the mystery of crop circles revealed
aliens did them – yeah right!
‘Crop Circles’ is as much about the crop circles as it is about the personality of the land. The ROAD TRIP series explores our relationship with the roads that join us, from the freeways to the dirt tracks of the outback. The exhibition is filled with metaphors and ironies in true laconic Australian style.
Often it is what I leave out of my works that tells the story. There are no cars in ‘Crop Circles’ because the presence of cars would mean that the circle-making cows would be discovered. Bovine intelligence has not reached the level I set for them, but it’s fun to play with the concept.
Painting the crop lines made me very aware of the contours of the land, with the multiple transparent layers I grew more and more conscious of the gender of the land. So many of the contours I painted grew to have shapes just like those of the human female form, no wonder we call her mother nature.
By painting multiple transparent layers I am able to achieve the effects of colour without ever mixing them. I like painting that way because it is more like nature to be random and sporadic.