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‘The dead man’s future’, 2025.

Beyond excited to be showing works with @egganddart this week at @sydneycontemporary

Working small is a deviation from my usual form. The medium lends itself to grand gestures and the sort of in your face tactile drama that is necessitated from thinking about it as a ‘tapestry tool’. These works however are voyeristic keyholes, hard/ soft glimpses into masculinity rituals as perceived by an outside observer.

If you are in Sydney this week, come and peep them for yourself at Booth I08, Sydney Contemporary art fair from the 11th to the 14th of September.

For any inquiries, email info@egganddart.com.au or visit www.egganddart.com.au

🖼️ @egganddart_art_services
📷 @silversalt_photography

‘The dead man’s future’, 2025.

Beyond excited to be showing works with @egganddart this week at @sydneycontemporary

Working small is a deviation from my usual form. The medium lends itself to grand gestures and the sort of in your face tactile drama that is necessitated from thinking about it as a ‘tapestry tool’. These works however are voyeristic keyholes, hard/ soft glimpses into masculinity rituals as perceived by an outside observer.

If you are in Sydney this week, come and peep them for yourself at Booth I08, Sydney Contemporary art fair from the 11th to the 14th of September.

For any inquiries, email info@egganddart.com.au or visit www.egganddart.com.au

🖼️ @egganddart_art_services
📷 @silversalt_photography

‘The dead man’s future’, 2025.

Beyond excited to be showing works with @egganddart this week at @sydneycontemporary

Working small is a deviation from my usual form. The medium lends itself to grand gestures and the sort of in your face tactile drama that is necessitated from thinking about it as a ‘tapestry tool’. These works however are voyeristic keyholes, hard/ soft glimpses into masculinity rituals as perceived by an outside observer.

If you are in Sydney this week, come and peep them for yourself at Booth I08, Sydney Contemporary art fair from the 11th to the 14th of September.

For any inquiries, email info@egganddart.com.au or visit www.egganddart.com.au

🖼️ @egganddart_art_services
📷 @silversalt_photography

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘I Have Suffered Many Things This Day In A Dream, Because Of Him’, 2023

Hand tufted wool and acrylic yarn on cotton monks cloth, 330 x 193 cm.

My largest work and achievement to date, this piece was one of the first I sketched for this show and the scale was something I had wanted to challenge myself with since I first started working in this medium. Taking at least 720 hours to place the colour and carve the initial shape alone, this work is a testimony to obsession and bulk ordering obscure wool.

This piece is deeply rooted in history and myth, there are familiar looking faces and scenes that ultimately tell the story of one of the most influential days in human history, and reflects the unexpected power of a single choice. History writes itself when our backs are turned.

This piece is currently showing at @egganddart for my solo exhibition ‘Swimming in strange waters’ until the 9th of September.

📸 @silversalt_photography

For all inquiries please contact info@egganddart.com.au

‘Mother’s day gift’, 2025
18 x 21 x 19 cm
Stoneware and glaze

God-monster, deified beast, future Picasso masturbation muse makes his mother an assemblage of objects to try and communicate to her how much he loves her.

I couldn’t get the idea of the young Minotaur navigating life out of my head, trying to balance his vulnerability and confusion with the expectations that would have been placed on him. It reminded me of how the 1973 film adaptation of ‘Jesus Christ Superstar’ was banned and protested due to a perceived denial of Jesus’ divinity as the film portrays him as doubtful, scared and angry. As though that would be so terrible a thing.

This work is another in this suite of adoration artefacts. So although he does not understand why- he knows that people who worship him bring vessels and offerings to him, he knows that they pray to him, he knows that he is adored by them. To me this work is a physical manifestation of that clash between confusion and calm. The ‘this shouldn’t work’ assemblage of technically functional ceramic vessels and objects, and it’s purpose as a gift to a beloved mother. It looks fragile, it is confused and juvenile, but it is the ultimate gesture of his love.

This work (and the other two ceramics works in this show) would not have been possible without the insane generosity and patient guidance of @kyatisuharto and @claywoll who watched me stroll in with no experience, possible ‘too dry’ green ware, arms full of experimental glazes and a ‘how bad could it be?’ attitude. Thankyou 🧡

📍 @egganddart
📷 @silversalt_photography

‘Mother’s day gift’, 2025
18 x 21 x 19 cm
Stoneware and glaze

God-monster, deified beast, future Picasso masturbation muse makes his mother an assemblage of objects to try and communicate to her how much he loves her.

I couldn’t get the idea of the young Minotaur navigating life out of my head, trying to balance his vulnerability and confusion with the expectations that would have been placed on him. It reminded me of how the 1973 film adaptation of ‘Jesus Christ Superstar’ was banned and protested due to a perceived denial of Jesus’ divinity as the film portrays him as doubtful, scared and angry. As though that would be so terrible a thing.

This work is another in this suite of adoration artefacts. So although he does not understand why- he knows that people who worship him bring vessels and offerings to him, he knows that they pray to him, he knows that he is adored by them. To me this work is a physical manifestation of that clash between confusion and calm. The ‘this shouldn’t work’ assemblage of technically functional ceramic vessels and objects, and it’s purpose as a gift to a beloved mother. It looks fragile, it is confused and juvenile, but it is the ultimate gesture of his love.

This work (and the other two ceramics works in this show) would not have been possible without the insane generosity and patient guidance of @kyatisuharto and @claywoll who watched me stroll in with no experience, possible ‘too dry’ green ware, arms full of experimental glazes and a ‘how bad could it be?’ attitude. Thankyou 🧡

📍 @egganddart
📷 @silversalt_photography

‘Mother’s day gift’, 2025
18 x 21 x 19 cm
Stoneware and glaze

God-monster, deified beast, future Picasso masturbation muse makes his mother an assemblage of objects to try and communicate to her how much he loves her.

I couldn’t get the idea of the young Minotaur navigating life out of my head, trying to balance his vulnerability and confusion with the expectations that would have been placed on him. It reminded me of how the 1973 film adaptation of ‘Jesus Christ Superstar’ was banned and protested due to a perceived denial of Jesus’ divinity as the film portrays him as doubtful, scared and angry. As though that would be so terrible a thing.

This work is another in this suite of adoration artefacts. So although he does not understand why- he knows that people who worship him bring vessels and offerings to him, he knows that they pray to him, he knows that he is adored by them. To me this work is a physical manifestation of that clash between confusion and calm. The ‘this shouldn’t work’ assemblage of technically functional ceramic vessels and objects, and it’s purpose as a gift to a beloved mother. It looks fragile, it is confused and juvenile, but it is the ultimate gesture of his love.

This work (and the other two ceramics works in this show) would not have been possible without the insane generosity and patient guidance of @kyatisuharto and @claywoll who watched me stroll in with no experience, possible ‘too dry’ green ware, arms full of experimental glazes and a ‘how bad could it be?’ attitude. Thankyou 🧡

📍 @egganddart
📷 @silversalt_photography

‘Mother’s day gift’, 2025
18 x 21 x 19 cm
Stoneware and glaze

God-monster, deified beast, future Picasso masturbation muse makes his mother an assemblage of objects to try and communicate to her how much he loves her.

I couldn’t get the idea of the young Minotaur navigating life out of my head, trying to balance his vulnerability and confusion with the expectations that would have been placed on him. It reminded me of how the 1973 film adaptation of ‘Jesus Christ Superstar’ was banned and protested due to a perceived denial of Jesus’ divinity as the film portrays him as doubtful, scared and angry. As though that would be so terrible a thing.

This work is another in this suite of adoration artefacts. So although he does not understand why- he knows that people who worship him bring vessels and offerings to him, he knows that they pray to him, he knows that he is adored by them. To me this work is a physical manifestation of that clash between confusion and calm. The ‘this shouldn’t work’ assemblage of technically functional ceramic vessels and objects, and it’s purpose as a gift to a beloved mother. It looks fragile, it is confused and juvenile, but it is the ultimate gesture of his love.

This work (and the other two ceramics works in this show) would not have been possible without the insane generosity and patient guidance of @kyatisuharto and @claywoll who watched me stroll in with no experience, possible ‘too dry’ green ware, arms full of experimental glazes and a ‘how bad could it be?’ attitude. Thankyou 🧡

📍 @egganddart
📷 @silversalt_photography

‘Mother’s day gift’, 2025
18 x 21 x 19 cm
Stoneware and glaze

God-monster, deified beast, future Picasso masturbation muse makes his mother an assemblage of objects to try and communicate to her how much he loves her.

I couldn’t get the idea of the young Minotaur navigating life out of my head, trying to balance his vulnerability and confusion with the expectations that would have been placed on him. It reminded me of how the 1973 film adaptation of ‘Jesus Christ Superstar’ was banned and protested due to a perceived denial of Jesus’ divinity as the film portrays him as doubtful, scared and angry. As though that would be so terrible a thing.

This work is another in this suite of adoration artefacts. So although he does not understand why- he knows that people who worship him bring vessels and offerings to him, he knows that they pray to him, he knows that he is adored by them. To me this work is a physical manifestation of that clash between confusion and calm. The ‘this shouldn’t work’ assemblage of technically functional ceramic vessels and objects, and it’s purpose as a gift to a beloved mother. It looks fragile, it is confused and juvenile, but it is the ultimate gesture of his love.

This work (and the other two ceramics works in this show) would not have been possible without the insane generosity and patient guidance of @kyatisuharto and @claywoll who watched me stroll in with no experience, possible ‘too dry’ green ware, arms full of experimental glazes and a ‘how bad could it be?’ attitude. Thankyou 🧡

📍 @egganddart
📷 @silversalt_photography

The right to bathe triptych, 2026

1. No footpath was to find
2. Accosted to the care of arms
3. Wanton on the breeze

Hand tufted wool yarn on cotton monks cloth,
each at 38.5 x 120.7 cm.

Framed by @egganddart_art_services
For @melbourneartfair with @egganddart
📸 @silversalt_photography

The right to bathe triptych, 2026

1. No footpath was to find
2. Accosted to the care of arms
3. Wanton on the breeze

Hand tufted wool yarn on cotton monks cloth,
each at 38.5 x 120.7 cm.

Framed by @egganddart_art_services
For @melbourneartfair with @egganddart
📸 @silversalt_photography

The right to bathe triptych, 2026

1. No footpath was to find
2. Accosted to the care of arms
3. Wanton on the breeze

Hand tufted wool yarn on cotton monks cloth,
each at 38.5 x 120.7 cm.

Framed by @egganddart_art_services
For @melbourneartfair with @egganddart
📸 @silversalt_photography

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Details from a triptych I made recently for MAF titled ‘The right to bathe’.

The works are inspired by the myth of Diana and Actaeon, a story where Diana and her nymphs are minding their own business bathing in the stream, when Actaeon who was out hunting happened upon the scene and couldn’t help himself from fucking it up.

Throughout the museum and private collections in Rome and Florence there are quite literally hundreds of works inspired by this story. In each and every one, Diana is either embarrassed or scared, Actaeon is always excited.

The more pieces I saw depicting this myth, the more it occurred to me that the story could and should have ended with a group of women bathing together. Bathing is such a basic and unremarkable utility, and yet the simplicity of the bath is rarely permitted to remain simple once it is observed by another. I was reminded of a time recently when a friend bathed while I sat with another friend and we talked for hours like that, her in the bath and us just sitting there. I wondered about how these kinds of vulnerable and deeply connective moments have been rendered impossible for men. I mean, Actaeon ended up transformed into a dear and devoured by his dogs- interestingly a more ‘realistic’ end to the myth than if he were to ride home and ask his mates if they felt like taking a bath and talking about their day.

Egg & Dart booth for Melbourne Art Fair 2026.

Thankyou so much to everyone who visited the booth, and to the collectors who saw something soft in amongst the bustle of the fair. It is bitter sweet to be parting with the pediment I lived with for well over a year, but I couldn’t have dreamt of it going to a better home.

A monumental thankyou to Elisa and Aaron, for including me in this presentation and for the sheer weight of time and hard work it takes to see the works on the wall. It would all just be wool and manic writings if not for your time, patience and support.

📸 @simonjstrong

Egg & Dart booth for Melbourne Art Fair 2026.

Thankyou so much to everyone who visited the booth, and to the collectors who saw something soft in amongst the bustle of the fair. It is bitter sweet to be parting with the pediment I lived with for well over a year, but I couldn’t have dreamt of it going to a better home.

A monumental thankyou to Elisa and Aaron, for including me in this presentation and for the sheer weight of time and hard work it takes to see the works on the wall. It would all just be wool and manic writings if not for your time, patience and support.

📸 @simonjstrong

Egg & Dart booth for Melbourne Art Fair 2026.

Thankyou so much to everyone who visited the booth, and to the collectors who saw something soft in amongst the bustle of the fair. It is bitter sweet to be parting with the pediment I lived with for well over a year, but I couldn’t have dreamt of it going to a better home.

A monumental thankyou to Elisa and Aaron, for including me in this presentation and for the sheer weight of time and hard work it takes to see the works on the wall. It would all just be wool and manic writings if not for your time, patience and support.

📸 @simonjstrong

‘Because you can, because they taught you (War is good for business, invest your son!)‘

There is a particularly awful kind of violence in being remembered only by your enemies. For the Minoans, history has been less a record and more a series of superimposed shadows, a vibrant, bull-worshipping, matriarchal culture is flattened into a collection of cautionary tales and monstrous births. We are taught to view antiquity through a borrowed lens, one that prioritises the heroic machine of the victor over the quiet rhythms of a sanctuary we no longer have the knowledge or language to describe.

This pediment, which is traditionally a symbol of architectural permanence and marble certainty is here dismantled into five individual textile figures. It is a refusal of fiction masked as fact and an insistence on the softness of the skin for those relegated to the margins of the page as adulterers, assistants and cucks.

To swallow the narrative that the bull-worshiping culture was ashamed of their own bull-prince is to choke down a narrative designed by their conquerors and centuries of lazy writers. I just don’t buy it. This work is a final, quiet insistence on the reality of a people who were never meant to be the footnote.

Showing this week at Melbourne Art Fair
With Egg and Dart, Booth G3.

Photographed by @silversalt_photography

‘Because you can, because they taught you (War is good for business, invest your son!)‘

There is a particularly awful kind of violence in being remembered only by your enemies. For the Minoans, history has been less a record and more a series of superimposed shadows, a vibrant, bull-worshipping, matriarchal culture is flattened into a collection of cautionary tales and monstrous births. We are taught to view antiquity through a borrowed lens, one that prioritises the heroic machine of the victor over the quiet rhythms of a sanctuary we no longer have the knowledge or language to describe.

This pediment, which is traditionally a symbol of architectural permanence and marble certainty is here dismantled into five individual textile figures. It is a refusal of fiction masked as fact and an insistence on the softness of the skin for those relegated to the margins of the page as adulterers, assistants and cucks.

To swallow the narrative that the bull-worshiping culture was ashamed of their own bull-prince is to choke down a narrative designed by their conquerors and centuries of lazy writers. I just don’t buy it. This work is a final, quiet insistence on the reality of a people who were never meant to be the footnote.

Showing this week at Melbourne Art Fair
With Egg and Dart, Booth G3.

Photographed by @silversalt_photography

In the studio with @erinmison

#egganddart #erinmison #tufting #textileart #melbourneartfair

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Details from ‘Because you can, because they taught you (War is good for business, invest your son!)’, exhibiting soon in its ultimate form at @melbourneartfair

Egg and Dart
Booth G3
February 19-22

Photographed by the incredible @silversalt_photography

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

Visual notes from Italy.

Notes to self: marble, tempra, colour glazing, martyrdom, guanciale.

“The greatest poet who ever lived”, 2025

This piece is one of three I made for Egg and Dart’s Booth I08, at this year’s Sydney Contemporary art fair.

You can still catch fair until the 14th of September.

🖼️ @egganddart_art_services
📷 @silversalt_photography

“The greatest poet who ever lived”, 2025

This piece is one of three I made for Egg and Dart’s Booth I08, at this year’s Sydney Contemporary art fair.

You can still catch fair until the 14th of September.

🖼️ @egganddart_art_services
📷 @silversalt_photography

“The greatest poet who ever lived”, 2025

This piece is one of three I made for Egg and Dart’s Booth I08, at this year’s Sydney Contemporary art fair.

You can still catch fair until the 14th of September.

🖼️ @egganddart_art_services
📷 @silversalt_photography

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.

Formally announcing my ‘obsessed with marble’ phase.

In no particular order, these photos were taken in: Palazzo Borghese, Palazzo Barberini Galleria, the Pantheon and Chiesa di Sant’Ignazio di Loyola.