No Logo
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
Take the cash and run. No Logo. (Advertisement for Shell Oil company comparing their state of art house building materials to the “primitive” building materials used by indigenous Australians. Architecture and Arts magazine, 1957). Perspex on printed board. 32 x 86 cms. 2020.
No Logo (I will wear…..). Pencil on paper. 2020
My Country. Perspex on wood. 2020
My Country, (Based on Rudolph deHarak). Perspex on wood. 2020
Super Crushed /
Super crushed. (Based on 60s Italian architecture group Superstudio, A Continuous Monument 1969).
Mirror Perspex, Silicone and clothing. Dimension variable. 2020
Super Glory Hole
Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Glory hole. Superstudio. Perspex and wood. Dimensions variable, 2020. Based on 1960s Italian architectural group The Continuous Monument, 1969
Why Bother
Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017
How to Avoid Modernism – Ulises Carrión
How to Avoid Modernism – Ulises Carrión
Pencil on Graph paper. 2012
Ulises Carrión is credited with being one of the first artists to write a general theory about artists’ books. His influential essay, ‘The New Art of Making Books,’ written in 1975, analyzes the traditional form of books in the context its tactile, visual, and intellectual merits. Carrión’s work with visual and concrete poetry expanded the use of the book as a medium for artistic expression that uses the page as an alternative gallery space.
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