I am a descendant of the Waradjuri and l was born in Narrandera NSW. As a young boy l learnt the skills of making boomerangs from my father and grandfather. My interest in painting started when l was young when l would sit and watch my mother paint. It wasn’t until later in life when travelling and playing football that l started painting. Initially the painting started out as a bit of a hobby at first just painting now and then. I enjoyed painting portraits on velvet and hesson. I then moved on to canvas were now l paint on stretcher framed canvases and have the painted canvas framed.
What has developed through my work over the years is an ability to be able to capture the natural characteristics of the land, native Australian animals our environment and then combine them together with the markings and symbols of the Waradjuri. I don’t consider myself to be a traditional artist; my art is contemporary and is a combination of symbols and markings from my traditional background.
These markings and symbols relate specifically to the Waradjuri and were l was born and raised as a child at Narrandera and Warangesda Mission at Darlington Point. Here my mother my father and l lived in a tent on the Murrumbidgee River. In this area there was the largest Bora Ground that has ever been recorded. A Bora Ground is traditional meeting place. At Darlington Point the Bora Ground consisted of two large circles one 50 meters in diameter the other 30 meters and they were connected by a 500 meter pathway. Along this pathway there were ground carvings and 100 ornately carved trees with symbols, markings and the animals that are Totems of the Waradjuri.
It is these Bora Ground carvings and tree carvings that are now a strong part of my artwork today. These images are my connection to my Nguurrangbang (Waradjuri for My Land My Country My Place of Birth) and are part of what inspires me to paint. My inspiration comes from many things. Sometimes it will be the colours in a sunset or the unusual shape you will see in trees. I will sometimes paint a background and just allow the painting to develop on its own at its own pace. Or l will already see the painting in my head and put paint to canvas and paint.
| Year | Location |
|---|---|
| 1987 | Koorie Heritage Trust Art Exhibition, Melbourne Museum |
| 1988 | Doncaster Art Gallery |
| 1988 | St Pauls Cathedral |
| 1990 | Tribal Art Gallery, Melbourne |
| 1990 | Njernda Museum, Echuca |
| 1990 | Shepparton Civic Centre |
| 1993 | Warnambool TAFE |
| 1993 | International Rotary Convention World Trade Centre |
| 1993 | Warnambool Art Gallery |
| 1996 | National Gallery Victoria, Joint Koorie Art Exhibition |
| 1997 | ANZ Bank Cathedral Room Melbourne |
| 1997 | Koorie Heritage Trust |
| 1998 | Murray Hotel Exhibition Rooms Echuca |
| 1999-2000 | New Directions Traveling Exhibition, Rio Tinto & The Department of Foreign Affairs, Paris, Geneva, Tokyo, Brussells, |
| 2000 | Bungendore Woodwork Gallery Canberra |
| 2001 | Telstra House Adelaide |
| 2002 | City of Port Phillip, Bless Your Black Art Festival |
| 2003 | Rug Exhibition Bunjilaka Centre Melbourne Museum |
| 2004 | Brisbane International Rotary Exhibition |
| 2004 | Arts Victoria, Tribal Exhibitions 1 2 3 |
| 2005 | Queens Hall Parliament House Melbourne, Parliament of Victoria acquired 2 paintings which are on permanent display in Queens Hall |
| 2005 | Sofitel Hotel Collins Street Melbourne |
| 2005 | Australian Print Workshop Etchings Exhibited @ Federation Square & International World Expo Ichia Japan |
| 2006 | Commonwealth Games Melbourne |
| 2006 | Manningham Gallery Doncaster City Council |
| 2006 | Parliament House Victoria, 150 years Anniversary of State Parliament |
| 2007 | Echuca Port Gallery, Echuca Victoria |
| 2009 | Art Melbourne 09 - Royal Exhibition Buildings Melbourne |
