The last of the deoxygenated blood clotting in Mum’s palms / I have a couple more questions about art I need to ask you

This piece is an abstract depiction of livor mortis; I’ve tried to make a very ugly thing beautiful. I watched my Mum die for two and a half years and then all at once, when she swallowed a Voluntary Assisted Dying prescription. It’s quite hard to explain the nauseating anticipation that hung in the air as I prepared the mixture, but it wasn’t entirely terrible. It was practical and beautiful and a very lucky choice to have had. Mum, in her little destroyed body and wounded mind, had still giggled and cracked jokes. The moment that pierced me, though, was rotating her soft, white hand that I’d been holding, to see blotches of dark purple blood vessels pooling in her palm.

Ten Million Dune Buggies, 2019

Mushroom Pasta, 2019

Mushroom Pasta, 2019

Goin’ Down, 2022

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Untitled (A picture of Elsa the Lioness), 2020

Ten Million Dune Buggies, 2019

Three Ponds With Blue-Green Algae, 2022







Spork,
2022

 
 
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Anchor Down, 2021

This work was made for Folklore Cafe, in The Annex on the Port River. That big yellow shape is an anchor - the painting sits in a spot on the river where boats settle still to gather and reload, and inside, people dock themselves to refuel and rest for a while. Those art-deco, architectural shapes are the industrial topography of the Port, and from above, the whole image reflects an areal view of the business blocks, manufacturing lots and docking points that cradle the river, surrounding the cafe.