Abstract Expression

Colour evokes emotion.


Texture reveals the entropy of time.


Gesture embodies motion, cause, and effect.

The Quiet Break, (a triptych) : Threshold figure (2025)

  • The Quiet Break is a meditation on impermanence, memory, and the spaces left behind after transformation. The series uses texture, erosion, and fractured linework to suggest the emotional traces that remain after disruption.

    The central panel—Threshold Figure—holds the symbolic rupture: a form that emerges through stillness, breaking open a space of reflection. Accompanying pieces, the smaller works—Fall Line and Fading Vein—offer quieter echoes. One descending, one dissolving. Together, the triptych acts as a study in the emotional architecture of change—where something once whole is now suspended between memory and forgetting.

    This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The contrast between the two is felt, not just seen. The memory of each becomes transitional. One intense, one expansive. The body absorbs these shifts. Returning home is not a return to the same—it is a re-entry altered by what has been lived. The work holds that space of decompression, of absorbing beauty, of allowing change to settle. It becomes less about the places themselves, and more about what is carried between them.

  • Acrylic on canvas. Built through layered gestures, erasure, and reformation, each work carries the quiet imprint of what came before. The surface holds echoes—forms that have been overwritten, forgotten, or buried—offering a dialogue between permanence and impermanence. This process of renewal is central to the work: a quiet act of return, of reimagining what has been left behind.

    Circularity is central to the artists work on this particular piece.

  • Threshold Figure (Centre panel) – 65 x 95 cm
    Side panels – 35 x 90 cm each
    Triptych (overall width): 135 cm x 95 cm when displayed together with minimal spacing

  • Available soon

  • The Quiet Break
    Triptych (2024)
    Acrylic on canvas
    Centre panel: 65 x 95 cm
    Side panels: 35 x 90 cm each
    Overall dimensions: 135 x 95 cm

    The Quiet Break is a meditation on impermanence, memory, and the spaces left behind after transformation. Using texture, erosion, and fractured linework, the series evokes the emotional residue of disruption. The central panel—Threshold Figure—holds the rupture; the side panels—Fall Line and Fading Vein—offer quieter echoes. One descending, one dissolving.

    Spanning 135 centimetres, the triptych unfolds in three gestures—each leaning into and away from the others, suspended between forgetting and return.
    “This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The memory of each is transitional. Returning home, transformative.”

The Quiet Break, (a triptych) : Fall Line (2025)

  • A quiet descent. Fall Line explores the gravitational pull of memory and the slow unraveling of form. A fragment of red settles into layered textures, traced by fine verticals that drift like shadows. There is a sense of surrender here—of movement softening, of presence dissolving just beneath the surface.

    “This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The memory of each is transitional. Returning home, transformative.”

  • Acrylic on canvas, built through a process of layering, erosion, and revision. The surface carries faint echoes of what came before, reflecting the quiet persistence of change

  • 35 x 90 cm

  • Available Soon

  • Acrylic on canvas
    35 x 90 cm
    (2025)
    Created as part of the triptych The Quiet Break, Fall Line stands as an intimate study in quiet descent and impermanence. Layered gestures and deconstructed forms evoke the emotional residue of movement and memory.

    “This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The memory of each is transitional. Returning home, transformative.”

The Quiet Break, (a triptych) : Fading Vein (2025)

  • A final trace. Fading Vein captures the vanishing point of memory—where form dissolves into light and gesture becomes breath. A muted palette contrasts with a green bloom that emerges like something half-remembered. The surface feels as though it is slipping away, revealing only what was needed to be felt.

    “This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The memory of each is transitional. Returning home, transformative.”

  • Acrylic on canvas, using layered textures and gestural marks to suggest fragility and quiet transformation. The work builds slowly through revision and subtraction—revealing meaning through absence. Circularity is central to the artists work on this piece.

  • 35 x 90 cm

  • Available soon!

  • Acrylic on canvas
    35 x 90 cm
    (2024)
    Created as part of the triptych The Quiet Break, Fading Vein reflects the quiet unravelling of presence. With restrained colour and delicate marks, the piece offers a meditation on what fades, what remains, and how beauty holds in the moment of release.

    Comment:
    “This speaks to me of movement—leaving my home in Venus Bay, travelling to Sydney. The memory of each is transitional. Returning home, transformative.”

The Unfolding Field (2024)

  • The Unfolding Field captures a moment of buoyancy within a field of quiet tension. Painted at the start of a long, hot summer in Venus Bay, the work holds both joy and introspection—born from a period of openness, inspiration, and creative rhythm. The vibrant palette reflects the sensory richness of that time: trees in bloom, dry heat rising from the ground, the shifting tones of a beachside town alive with slow transformation.

    The layered surface carries more than paint—it records time, motion, and subtle acts of return. The markings reveal traces of past forms beneath the surface, highlighting the circular nature of the work. As the environment changed outside—flowers opening, paths weathering—the canvas became a parallel field of emergence and decay.

    Here, gesture is movement. Colour is memory. And the line is left open.

    Comment:

    “This speaks to me of movement—spending significant time at my home in Venus Bay. This piece also reflects a joyful, expansive time in the studio—where inspiration was constant, and the surrounding landscape found its way into the work.”

  • Medium:
    Acrylic on canvas. Spray Can. Pen. Layered intuitively using brush, rag, and edge, the surface invites gestures to remain or be erased. The looping white form was applied late in the process, allowing previous textures to quietly inform its presence. As with all my work, the surface carries echoes—both visible and buried—of what came before.

  • 1520 cm x 1220 cm

  • Available soon

  • Painted during a long summer in Venus Bay, The Unfolding Field reflects a period of creative openness and joy. Saturated colour and looping gesture speak to growth, movement, and change—mirroring the flowering trees, rising heat, and shifting rhythms of the coastal environment. The work’s surface carries subtle traces of earlier marks, revealing a quiet circularity: layers emerging, eroding, and returning. It holds the tension between lightness and depth, spontaneity and structure—capturing a moment in time that was both expansive and impermanent.

    Comment:

    “This speaks to me of movement—spending significant time at my home in Venus Bay. This piece also reflects a joyful, expansive time in the studio—where inspiration was constant, and the surrounding landscape found its way into the work.”

Tangle Beneath in Bloom (2024)

  • Tangle Beneath in Bloom is a study in rhythm, saturation, and emergence. Painted over time and across layers, the surface recalls an overgrown field—dense, erratic, but quietly organised. Coral and rose tones create a warm ground from which vertical marks rise and fall like reeds, rainfall, or undergrowth. The deeper teal and olive gestures evoke vegetation, decay, and memory—elements in tension with the composition’s vibrant energy.

    The title speaks to both the visible structure and the hidden systems beneath—a moment in the lifecycle of growth, where chaos becomes form and bloom holds within it the memory of collapse.

    Comment:
    “This work was created during a long, sunlit summer in Venus Bay—a time of focus, joy, and sustained creative output. Each day in the studio felt expansive and immersive. The colours and gestures in this piece speak to the abundance of that period—where nature was blooming, time slowed, and the process felt deeply connected to place and rhythm.”

  • Acrylic on canvas, spray can. Built using layers of saturated colour and directional mark-making. The surface carries the energy of repeated gestures—scratched, drawn, and reworked over time—revealing both what was and what remains.

    Comment:

    “As with much of my work, it rests on a circular process: reclaiming forgotten surfaces and allowing new forms to emerge.”

  • 1010 cm x 1010 cm

  • Available soon!

  • Catalogue Entry:
    Tangle Beneath in Bloom (2024)
    Acrylic, Spray on canvas
    100 x 100 cm

    This painting explores the overlapping forces of wildness and order. Saturated coral grounds the piece, while vertical marks and layered gestures suggest a field in flux—part garden, part memory. The work reflects the circular nature of growth and erosion, and the quiet tension between what appears and what is buried.

    Comment:
    “This work was created during a long, sunlit summer in Venus Bay—a time of focus, joy, and sustained creative output. Each day in the studio felt expansive and immersive. The colours and gestures in this piece speak to the abundance of that period—where nature was blooming, time slowed, and the process felt deeply connected to place and rhythm.”

Held in Weather (2025)

  • Held in Weather is a meditation on fragility and endurance—where memory, form, and mark-making are pulled through the surface like something exposed to time and emotional weather. The painting began in early 2024, during a period of global unrest and uncertainty. While not overtly political, it reflects the ambient tension of that time—how people were responding to upheaval, polarisation, and the unknown weight of change.

    The work sat unfinished for months, until it was revisited and completed during a hot summer in Venus Bay. In that space of reflection and stillness, the emotional residue of the earlier marks remained. Ghost-like forms emerge and recede; layered gestures evoke the sense of something unresolved, still processing.

    The result is a piece that holds contrast—urgency and calm, grit and stillness, fear and hope. Like a wall shaped by seasons, it holds the imprint of what passed through it.

    Comment:

    “This painting holds two seasons in it. It began during a time of uncertainty, when the world felt tense and unsettled, and it sat unfinished for a short while. During summer 2024-25, I found space to breathe into the work. It carries both those energies—the heaviness of collective emotion and the lightness of creative solitude. It reminds me that transformation doesn’t happen all at once. It can move through us slowly.”

  • Acrylic and oil stick on canvas. Built in layers over time, the acrylic forms the field of memory, while oil stick introduces immediacy, grit, and friction. The materials interact with tension and grace, creating a surface that feels both settled and in motion. As with all my work, this canvas carries the quiet imprint of reuse and circularity—what lies beneath remains part of what’s seen.

  • TBC

  • Available Soon!

  • Held in Weather (2025)
    Acrylic and oil stick on canvas
    TBC x TBC cm

    A layered and emotionally resonant work, Held in Weather explores the vulnerability of memory through textured erosion and expressive mark-making. Soft, weathered tones suggest the passage of time, while gestural oil stick marks evoke urgency, remnants, and slow transformation. The surface carries both what is present and what was—fading into each other like seasons across a wall.

    Comment:
    “This work was created during a long, sunlit summer in Venus Bay—a time of focus, joy, and sustained creative output. Each day in the studio felt expansive and immersive. The colours and gestures in this piece speak to the abundance of that period—where nature was blooming, time slowed, and the process felt deeply connected to place and rhythm.”

Message in Colour (2025)

  • Message in Colour is a surface of signs—gestures that feel both deliberate and accidental, buried and revealed. The work suggests language without words, a kind of emotional or energetic syntax scratched into the skin of the painting. Layers of burnt orange, weathered green, and ochre move across the canvas like sediment, with marks of white, black, and yellow floating above—each one a fragment, a signal, a leftover trace.

    There is rhythm here: a loose visual chorus, part street paint, part coded language. The surface feels alive, worn, and carefully held, like something unearthed and partially restored. The varnish seals it, but doesn’t quiet it.

    Comment:
    “Created during a focused period of output, this piece carries the energy of rhythm, repetition, and instinct. There’s something about the movement of the marks—like writing without needing to be read—that felt both freeing and essential. The colour holds the memory of the landscape; the gestures are a way to let it speak.”

  • Acrylic and oil stick with varnish on canvas. Built through repeated layering, drying, and gestural application, the painting holds marks of process as well as erasure. The varnish adds a tactile sheen, sealing in both the texture and the energy of the work while giving it an archival finality.

  • In Private Collection

  • Message in Colour (2025)
    Acrylic and oil stick with varnish on canvas
    90 x 150 cm

    This piece explores memory, movement, and informal language through gestural mark-making layered over a deeply textured field. Echoes of graffiti, script, and colour residue create a kind of intuitive visual system—a surface that suggests communication beyond clarity. The painting captures the tension between permanence and change, legibility and mystery.

    Comment:
    “Created during a focused period of work in Venus Bay, this piece carries the energy of rhythm, repetition, and instinct. There’s something about the movement of the marks—like writing without needing to be read—that felt both freeing and essential. The colour holds the memory of the landscape; the gestures are a way to let it speak.”

Tangled Up in Brett (2021-2024) Triptych (3 Panels)

  • Tangled Up in Brett is a painting shaped by time. Begun several years ago and stored away, the work lived through cycles of frustration, revision, and quiet waiting. Over the years, layers accumulated—each one a sediment of feeling, instinct, and form. What began uncertain eventually revealed itself with clarity in mid-2024, with final touches added later that year.

    The result is a piece that feels weathered and timeless. Its colour fields—dusty blue, faded coral, chalked yellow—speak to emotional sediment. Its composition, like softened architecture or abstracted landscapes, suggests memory more than place. There's rhythm here, but no rush. Just the slow emergence of something that waited to be seen.

    Comment:
    “This painting taught me about waiting. It was started years ago and felt unresolved for a long time—I was entangled in it. During 2023, I was living near Wendy Whiteley’s Secret Garden on the lower North Shore, and I often walked past her house. Repeated viewings of Brett Whiteley’s extraordinary work—his fearless use of line, gesture, and his love of aquamarine blue—deeply affected me. That colour stayed with me. Something shifted in 2024, and I returned to the painting with a quieter focus. Over time, it slowly revealed itself. It now feels timeless to me—like something that had always been there, waiting beneath the surface until I was ready to see it.”

  • Acrylic with varnish on canvas. Layered over time, the surface holds the traces of unresolved ideas, quiet breakthroughs, and slow decisions. Varnish seals the work in its final form—preserving the marks of both tension and resolution. A meditation on circularity, return, and what it means to stay with something until it speaks.

  • Triptych

    TBC

  • Available Soon!

  • Catalogue Entry:
    Tangled Up in Brett (2024)
    Acrylic with varnish on canvas
    TBC x TBC cm (triptych)

    Unfolding across years, Tangled Up in Brett is a painting built on quiet persistence. Originally unresolved and stored away, it was revisited multiple times before settling into its final form in 2024. The surface—rich with dusted blue, weathered coral, and soft ochres—feels aged yet present. A study in duration, memory, and return, the work evokes emotional terrain more than literal space, holding tension between structure and erosion, energy and stillness.

Everything Was Electric. (2020)

  • Everything Was Electric is one of the artist’s earliest works—initially started in Sydney in 2015 and completed in Melbourne in 2020. Created over several years and across two cities, the piece reflects a dynamic and transitional period in the artist’s life. It captures the layered density of the urban environment—where structure, light, and movement collide.

    Through a fusion of acrylic and spray paint, the work evokes a kind of sensory overload: vibrant colours, vertical rhythms, and gestural textures reminiscent of city signage, construction, and architectural decay. While the painting evolved slowly over time, it retains the raw immediacy and visual energy of its earliest moments. There is a cinematic quality to the piece—like a memory held just long enough to blur.

    Comment:
    “This piece was born in Sydney in 2015 and finally came together in Melbourne five years later. It’s an early work. That time felt vibrant, fast, alive—like everything was happening at once. I wanted to capture that intensity, that overstimulation, and the quiet wonder inside it. I still see and feel both cities when I look at it.”

  • Acrylic and spray paint on canvas, framed. Created through layering, stencilling, and intuitive mark-making. The surface holds both the speed and structure of an urban rhythm, sealed in time with the softness of spray and the density of built-up acrylic.

  • TBA

  • In Private Collection

  • Everything Was Electric (2015–2020)
    Acrylic and spray paint on canvas, framed
    TBA x TBA cm

    A visual echo of city life, Everything Was Electric holds the rhythm and intensity of an urban environment. Vertical colour fields recall signage, scaffolding, and shifting light, while the layered paint surfaces evoke noise, energy, and constant change. This is one of the artist’s earliest works—developed across cities, across time—and it remains charged with the energy of that period.

A City, Softly. (2020)

  • A City, Softly was completed alongside Everything Was Electric during a formative period in the artist’s early development. While the companion piece carries a sense of saturated energy and visual noise, this work offers a quieter, more composed counterpoint- layered, balanced, and quietly structured.

    Built first with spray cans and then developed with acrylic, Blocks of baby blue and tangerine move vertically across the surface, softened by scraped white space and subtle textural shifts. It evokes the visual cadence of a city seen through reflection—grids, signs, lights—abstracted into something familiar yet distant. There is order in the disruption. A pulse, a memory.

  • Spray paint and acrylic on canvas, framed. The work began with aerosol-based gestures, layered and masked, then refined with acrylic to add depth and structural rhythm. The surface reflects a balance of impulse and intention—urban energy distilled into quiet form.

  • TBA

  • In Private Collection

  • A City, Softly (2020)
    Spray paint and acrylic on canvas, framed
    TBA x TBA cm

    Completed in tandem with Everything Was Electric, this work explores structure, colour rhythm, and compositional restraint. Its softened palette and vertical layering reflect the visual language of urban space—filtered through memory and light. The balance of spray paint and acrylic techniques captures a tension between immediacy and refinement. Together, these works form a visual and emotional diptych—an early turning point in the artist’s exploration of abstraction and place.

    Comment:
    “This work was made in parallel with Everything Was Electric—the same time, the same studio, the same rhythm. If that painting was about the rush of the city, this one is about the pause. The quiet hum underneath it all. There’s something about letting the structure show without turning up the volume.”

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Figurative Abstraction