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.

Imagine an extraordinary fortress, built in Tzarist Russia, an impressive structure in the harsh winter landscape.

This exhibition is the result of journeys I made to the UAE between 2015 and 2019 to explore the fluid edges of Dubai, a city built from oil and awash with gold, perched ostentatiously on the edge of a sun scorched desert and the Arabian gulf.

My new exhibition, the Art of Navy, running at the Australian National Maritime Museum from Oct 3 – 30 has allowed me to explore totally new concepts and outputs in my art practice. The full story behind the genesis of the exhibition is told in a new film, the Making of the Art of Navy that is showing as part of the exhibition and can be viewed here.