Little is known of the artist's origins or their practice. Scratches on paper, a handful of dusty notebooks, foggy memories and conflicting accounts of where it all came from, or why any of it exists.
The work has always existed in some form, sometimes more than others, sometimes with greater seriousness than it perhaps deserved. What is known is that the practice involves ceramics, occasional painting and an increasing number of objects whose intentions are difficult to establish.
The work, more often than not, draws on familiar forms, ordinary observations and the peculiar ways in which inanimate things can appear to possess personalities of their own.
Some pieces resemble functional objects, although their usefulness is frequently open to interpretation. Others suggest characters, specimens or artefacts from a place that has yet to be properly identified.
Repetition, experimentation and an uncertain relationship with conventional proportions have resulted in a growing collection of work that seems loosely connected by its own internal logic.
The objects are currently produced by human hands, shaky and worn. Reports of their behaviour remain largely anecdotal.
Love sent from Geelong, Australia.
