Art Journal Index
Browse the Art Journal by topic, year, or keyword.
Browse the Art Journal by topic, year, or keyword.
The Future of Brightness connects with everything I perceive uniquely Australian in my cultural subconscious. The artwork suggests the rich ochres on which our ancient land is built and from which the culture of our indigenous peoples created their dreamtime stories. It pushes into the vast unknowable horizons we live with on a daily basis.
My new Gallery Manager, Indra Wills is a graduate of the National Art School, Sydney, majoring in ceramics, and has been accepted into the University of Sydney to do a Masters in Art Curation. I’m delighted to be working with her.
I am delighted to announce I am now an official sponsor partner of the Sydney Eye Hospital Foundation. The Sydney Eye Hospital along with the Melbourne Eye Hospital have been world leading eye and patient care institutions for a long long time.
I photographed this reflection yesterday.
There was no long contemplation, no weeks of uncertainty — just that electric moment when something catches your eye, and you instinctively know: there’s something here.
Every artwork starts with an intention, but it really comes alive when someone else looks at it. For months this new piece has sat in my “possibilities” folder – a dark, mysterious field with a single golden sphere glowing at its centre. I knew there was something powerful there, but it still felt unfinished without a title that came from beyond my own point of view.
That's why I launched "The Untitled Artwork Experiment." The goal was simple yet profound:
In a field of charged red, a single silver line threads its way like a needle through flesh. From the dark hollows within, unseen presences seem to watch, as if the blood itself were quietly observing the world outside. The work hovers between cartoon and anatomy, turning an abstract reflection into a living, pulsing interior.
An artist never really sees his work…Ralph Kerle
I am delighted to introduce a brand-new addition to my most successful series, the Impressions of a Turner Landscape Collection. Unlike earlier works in the series, which I numbered, this new piece carries a more descriptive title: Sunrise.
The Sand Talk Collection has always been about listening to the dialogue between sandstone and water. Sydney sandstone, with its ochres and golds, carries an ancient presence. When reflected on water, it shifts and rewrites itself, becoming a living map of the land.
Beneath a Golden Horizon is my latest addition to the LandEscapes Collection. The work, and the fluid, dream-like animation that accompanies it, delves deeper into the central themes that have driven this series from its inception: the porous boundary between perception and imagination, and the creative power of ambiguity.
With the arrival of Desert Movement 4, the Gold in the Desert Collection takes on a new layer of meaning. Captured in the Dubai Marina, this work transforms architecture into fluid bands of gold, cream, and teal—rippling strata of heritage, commerce, and memory.
Last Thursday May 22nd in the evening, a powerful ripple of abstraction and human connection swept through the Kalve Art and Design Gallery in Vilnius, Lithuania. The opening of The Indeterminate Sublime, my Rothko Museum touring exhibition
Today I experienced something rare. I encountered work that blurred the boundary between object and being.
It is not often that I am left completely in awe of an artist — whether visual, multimedia, sculptural, or immersive. Yet walking through Encounters at the Art Gallery of New South Wales, seeing the work of Australian sculptor Ron Mueck, I found myself profoundly moved