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Christian Lock


“...Instead of painted saints against a ground of gold leaf, they place paint (the brushstroke) against reflective, iridescent backdrops. Lock’s jammy impastos are trowelled over grounds that in their metallic lustre recall the gold leaf that symbolises a higher world. Of course, here it is not Paradise that is suggested, but the gleaming, sheer, almost weightless surfaces of modern manufacturing and technology. It is against this ground that Lock’s strokes of paint undergo their transmutation into pure energy and movement, removed, if not irreparably divorced, from their corporeal origins....“

(excerpt from Christian Lock: a new gesture by Maria Bilske & Michael Newall, 2003)

Works chronology  
works2003 works2005 works2006 works2007 works2009  
Christian Lock Artist Statement, 2015

‘Painting, like music, belongs more to time than space. The physical intelligence of our bodies is a recording of past occurrences into our flesh. Even our analytical minds are formless, until given shape by some outside prompt. Our echoes to stimuli are lined with complex patterns, built up through seemingly unrelated events. Tumultuous and sometimes violent imagery is a given.

My work involves the dispersal of paint and pigment by air. If a viewer were to observe the studio process, they may consider that nothing has been added that was not already present. The movements from the floor to the wall could appear as repeated resurrections. But could also be considered an inversion, vertiginously holding up the viewer. Monochromatic images help us to see things in greater definition.’

- Christian Lock, 2015. 

Christian Lock: Mind and Matter by Elle Freak, 2013

Christian Lock’s recent works take us on a speculative journey. We see pearlescent biomorphic forms floating across fields of black abstract patterns on plastic. The materials appear animated, with the plastic draped loosely over exposed timber stretchers. At first the eye travels with some uncertainty and enters a kind of perspectival tug of war between seemingly disparate forms and surfaces. But slowly we notice Lock has poetically tempered chaos with control.

Lock is relentlessly engaged with testing the limits of the painting process. He works like an alchemist open to the transmutation and magic that occurs through the manipulation of matter. At the core of his creative process is an experimental procedure. Lock creates ‘paint skins’: brush strokes of varying sizes and shapes applied to sheets of plastic, which are later removed and reapplied. These skins become interchangeable parts that are systematically arranged on the studio floor like collage. Through this process Lock works counter-intuitively in what he considers to be a higher state of consciousness, guided by the tonalities and rhythm of his materials.

His approach combines formal control and free-flowing randomness to find pictorial balance. The surfaces are reminiscent of the control of hard-edge abstraction and the spontaneity of abstract expressionism. The systematic and precise abstract patterns are balanced with their spontaneous and gestural counterparts to achieve an image of structure and spatial depth. The geometric patterns flatten the pictorial surface while the swirling gestures allude to a deep abyss. Flat solid coloured shapes are sparingly placed over the top of a monochromatic base to further enliven the scene. Their shallow depth of field is confronting – as Andrew Frost has noted, they disturb the illusion of infinite space ‘like a sticker placed over a photo’1.

The rest of the palette appears mystical and meditative, entering the realm of the artificial and psychedelic. The monochromatic layers created through digital scanning processes have a ghostly presence, like X-rays of the human body, film negatives or storm clouds. This dark palette is not new to Lock: in 2003 he completed a series of paintings featuring holographic stickers with black synthetic polymer paint, highlighting the play between the visible and the void. Lock embraces the luminescent qualities of black when placed against vibrant colour, and seems to share a view similar to Kandinsky who regarded black to be leading an existence away from that of simple colour.

Lock’s paintings are no longer content to rest flat on a wall and instead occupy three-dimensional space. He is revisiting the late 1960s modernist exploration of ‘painting in space’. However, rather than reshaping or eliminating the frame, Lock takes on the rectangle by exposing, overflowing or displacing it. In some cases the stretcher even becomes a compositional device. By these means Lock separates the basic elements that typically hold a painting together: the stretcher and the canvas.

Plastic is introduced as the binding material. In his 1957 classic essay ‘Plastic’, Roland Barthes observed that plastic is ‘more than a substance, plastic is the very idea of its infinite transformation… it is less a thing than the trace of a movement’2. In line with Barthes’ view, Lock hasn’t fixed his plastic into a final state but has chosen to leave the material open to change and manipulation. He has previously said that his works ‘allow one to see oneself slowly morphing and changing along with them, making each viewer aware of the self’s potential to change and flow’3. One wonders if Lock aims to manipulate the mind as he does matter, revealing them both as infinitely malleable.

Perhaps the most engaging aspect of these works is how the ethereal properties of the materials shift with the conditions of perception. The holographic paper and glitter,4 for instance, reflect the surrounding hues and appear to change depending on where the viewer is standing. Likewise the plastic layers reflect external light and require the viewer to move to see beyond their own reflection. It is as if the works demonstrate the synthetic character of a hallucinatory state and engage with the late 1960s ideas of psychedelia. In The politics of ecstasy, 1968, psychologist Timothy Leary famously promoted LSD consciousness, describing it as a state of flux and elation that could release the mind from the illusions of conventional consciousness and provide access to the expansive realms of the ‘Mind at Large’5. While hallucinogenic drugs are not the impetus for Lock’s work, he expresses a similar desire to expand consciousness. He urges us to follow an unknown path into transcendence and quite simply ‘go with the flow’.


1- Andrew Frost, untitled essay, Christian Lock website, 29 September 2013, http://www.christianlock.com/about-2/

2- Roland Barthes, 'Plastic', in Mythologies, trans. Annette Lavers (New York: The Noonday Press, 1972), p.97

3- Christian Lock, ‘Ghost in the Machine: Gesture and sublime in a postmodern age’ (masters thesis, University of South Australia, 2007), p.47

4- These materials stem from Lock’s background in surf culture, but he has explained recently that ‘surfing is no longer the major force behind my paintings’. Christian Lock, in conversation with Elle Freak, Adelaide, September 2013

5- Timothy Leary, The politics of ecstasy (New York: G.P. Putnam's Sons, 1968). ‘Mind at large’ is a concept from Aldous Huxley, The Doors of Perception, 1954, and Heaven and Hell, 1956.


Text by Andrew Frost, 2012
There is much at play in Christian Lock’s paintings: space and illusion, surface and depth, texture and smoothness, abstraction and figuration. The eye attempts to unravel the detail while trying to reconcile the entirety of the pictorial space. But it’s no easy task. Lock’s paintings suggest a sky dotted with strange clouds, and the curlicues of something far darker, cloudbursts of the unconscious spreading out in a contemporary sublime. Taste The Space Candy [2011] is such a painting: gestural marks and billowing white formations coalesce against a moody background, the ambiguous, biomorphic forms connected by white and yellow lines. But where one might imagine space – such as in the white forms - black blobs of paint defeat the illusion, rather like a sticker placed over a photo. Lock tells us: all here is illusion.

In 2003 Maria Bilske noted in an essay on Lock’s work that the basic unit of painting is the brushstroke and that this unit has itself taken on a range of meanings and implications, from the disappeared brush stroke of hyperrealism to the mannered self-conscious presence of expressionism. In 2003 Lock had presented a series of works featuring painted holographic stickers with impasto smears of acrylic paint that highlighted the ironic play between the visible and the infinite. Since then Lock has experimented with a variety of techniques and approaches to making pictures, from the layering of effects and form in paintings like Space Candy to works that have only a tenuous presence, being created from pools of pigment blown this way and that by a hairdryer, leaving little more than the trace of colour on the canvas.

The unifying through-line of the work has been Lock’s ongoing interest in the status of the painting and its component parts, both as signifiers of the language of the form, but also as a dialogue with its history. Lock has referred to himself as a ‘sampler’ and ‘remixer’, someone who creates new songs from the fragments of the old, but the most compelling aspect of the work is its rich psychological implications. Lock provides the viewer with a frame and a template to let the imagination loose – and the apophenic delights within are hypnotic.

Text by Andrew Frost, a Sydney based art critic, writer, academic and broadcaster, who contributes to a variety of national and international publications

Exhibition notes by Andy Best, 2011

I like a lot of things about Christian Lock’s paintings. I usually visualize them lined up in his large studio to the south of the city, where he works across multiple canvases. The museum scaled, pooled, and impasto-ed paintings speak of course of European and North American abstraction. But I like their other, more local references, too. And I like his attitude.

I also like Lock’s titles. They champion narrative and humour above the purity and universality that you might expect from High Modernism. It is easy to see them as an equally important component of the work. They are ironic, always coming from a highly individualized perspective. They make repeated nods towards death and other highly dramatic narratives. Most importantly, the titles point us towards a broader cultural focus.

Lock’s father was the artistic director of the seminal surf clothing brand Golden Breed, whose invention of sci-fi fantasy surf art is a legacy for these works. Sci-Fi and Surrealism are often recognised as related - respective by-products of internal and extraterrestrial scientific exploration. In Australia, we might add another triad - surfing - which exists as a very immediate and accessible entry into transcendence.

Also perhaps important is the rapid transcendence available through drugs and popular culture. In works such as Taste the Space Candy we can see the imprints from graphic design in magazines or video clips. At other times holograms, clothing designs, or car paint effects manifest themselves. Glitter paint was invented in South Australia (the product of a rivalry between Murray River speedboat owners, cooked up in a suburban workspace - much like Lock’s).

Lock’s works are not mere collages or sampling. The idea seems erroneous - as wrong as the phrase 'surfing the internet' has always been. Just as in that analogy, the body is inert when online; in surfing and large-scale painting, one is always fully embodied. In Lock's case, the body is equally important when viewing his works. Also, surfing is a creative act, and reading online could only ever be considered active in relation to, say, television. When I think of the function of Lock’s paintings, they stand in for a more creative, digested and active engagement with culture.

Abstract Expressionism’s ‘truthiness’ was aimed not only at the materiality present in the current act of painting, but in reappraising works that preceded them. It saw itself as a general raising of consciousness. If we think of abstraction and Lock’s works, they perhaps more function like a dream. Easy and difficult things have been brought into a strange continuum. Light appears without a source. When viewed in an exhibition, their homogeneity both hides and reveals the sequential moments of their construction. And just as in a dream we are unsurprised by sudden counter-logical appearances. Rather than a scientific raising of consciousness, I much prefer Lock’s wilful and mystical distortions to it.


Andy Best, 2011

Christian Lock by Wendy Walker, 2007

'... I want to have film of a surfer right at that point moving along constantly right at the edge of the tube. That position is the metaphor of life to me, the highly conscious life. That you think of the tube as being the past, and I'm an evolutionary agent, and what I try to do is to be at that point where you're going into the future, but you have to keep in touch with the past ... there's where you get the power; ... and sure you're most helpless, but you also have most precise control at that moment.'1

Timothy Leary

In November 1886, a regional French newspaper reported the astonishment of several Breton fishermen, who had observed 'a man, dressed like them... stubbornly painting, during the storm, upon canvases fixed to an easel lashed to the rocks with ropes.'2 The artist was Claude Monet, who in 1886 undertook a journey to Belle-Ile-en-Mer – a remote island off the coast of Brittany – where he painted a series of seascapes of its dramatic rock formations and wild churning waters that are emblematic of eighteenth and nineteenth century notions of the sublime. In the historical discourse of the sublime, the sea – with its capacity to inspire awe and terror – figures prominently and for Schopenhauer, for example, other natural phenomena paled beside the sheer intensity of the oceanic sublime.

The Monet episode echoes the legendary (separate) exploits of Joseph Vernet and J.M.W. Turner, who were driven to experience a storm at sea, whilst lashed to the mast of a ship. Exposure to the power of nature is even more direct and intense intense – perilous, yet also potentially exhilarating – for the surfer. 'One of the great lessons that you learn in the ocean is that while you are totally insignificant to the total mass, you can survive in it by being part of it.'3

The subjective paintings of Christian Lock are predicated on a lifelong engagement with surfing and the associated paraphernalia of surf culture – surfboard production and surf art as well as comic books, films and surfing mythology. Two distinct strands – large acrylic works on canvas and the smaller surfboard paintings, in which expressive brushwork is contained within a sheath of clear, polished resin or (more lyrically) Lock's 'rolling waves of liquid glass'4 – have continued to evolve within his art practice. In utilising a variety of inventive techniques to 'push liquid around to create forms', Lock equates his visceral gestural markings with the swooping manoeuvres of the experienced surfer – referring to the surfboard as a 'brush.'

Like Lock's ongoing leitmotif of a seductive biomorphic (flower-like) form in One Sheet of Strawberry Fields, One Black Caravan, One Last Coffin Ride (2007), the black chrysalis-like, Surrealist-inspired motif of the large brooding, aubergine painting Out of Your Depth suggests the possibility of metamorphosis. These ambiguous hovering and mutable forms – also viewed by the artist as transitional spaces, as portals or thresholds (to transcendent experience) – reappear in more tranquil and cool (aqueous?) mode in George Greenough Versus Timothy Leary, wherein the introduction of fine brushwork accentuates a contrasting sense of the ethereal.

The impetus for the surfboard paintings came not only from Lock's observation of techniques associated with the production of resin surfboards – notably the globules of oleaginous, amber-like resin streaked with traces of paint to be found in drips and clumps on the floor of the glasser's bay – but also from a childhood preoccupation with marbles (habitually viewed in perpetual rolling motion). 'I could stare for hours at the twisting strokes of pigment caught in their interiors. It was like looking at a moment caught in time. A frozen gesture that might just reactivate and start back in motion if you kept staring for long enough.'

Adopting a strategy of sampling and remixing as a fluid means 'of developing aesthetic and conceptual frameworks' (a methodology familiar from the work of contemporary electronic musicians), Lock's luscious impasto brushstrokes on stark (unaltered), retina-dazzling holographic grounds – exhibited in 2003 at Greenaway Art Gallery – quoted from Lichtenstein's brushstroke works, such as Yellow Brushstoke I (1965). Devoid however of Lichtenstein's satirical intent and with characteristically charismatic titles such as Poison Apples for Longing Lovers or Too Good to Tango With the Poor Boys, they effectively represented a joyous valorisation of the gestural brushstroke.

For Lock these optically assertive paintings also indicated a satisfying synthesis or hybrid of the organic gesture, a digitalised electronic version of the modernist grid and a smooth flawlessness of surface – a straddling therefore (rather than a collision) of organicist and mechanicist modes of abstraction. Although it must be noted that the holographic grids – electrifying in their brilliant, ever-fluctuating hues – did appear to hover on the precipice of chaos. The holographic material is also of course, a readymade and in his 2003 Mellon series of lectures, Kirk Varnedoe noted the significance of such unexpected hybrids – of the blending of 'strains from seemingly opposite camps' – in the forging of 'important new artistic languages.'5

Frequently deployed as a polemical device, the colour black (in particular the black monochrome6) possesses a subversive art historical resonance. Ad Reinhardt's signature black paintings (1953-1967) can be viewed for example, as the valediction or endpoint of a certain kind of reductive abstraction. Interestingly a monochromal black page (signifying the death of a character) was inserted by Laurence Sterne into his picaresque eighteenth-century novel The Life and Opinions of Tristram Shandy, Gentleman. But an even earlier precedent of a black square (depicting the prima materia, the beginning of all creation) exists in the first volume of Robert Fludd's early seventeenth-century treatise The metaphysical, physical, and technical history of the two worlds, namely the greater and the lesser.7

With dramatic, theatrical effect, Lock painstakingly shrouds his dazzling, light-reactive holographic grounds with multiple tinted layers of resin in black paintings that – in a distinctively Australian twist – resemble the chameleon brilliance of black opals. Lock's unique black paintings may therefore be fugitive, but they are also unforgettable.

Wendy Walker, June 2007


1. Timothy Leary, 'The Evolutionary Surfer', interview with Steve Pezman, SURFER, Jan. 1978
2. Steven Levine, 'Seascapes of the Sublime: Vernet, Monet and the Oceanic Feeling', New Literary History, 1985, p. 380
3. Steve Pezman, 'The Evolutionary Surfer', SURFER, Jan. 1978
4. All Christian Lock quotes (henceforth unnumbered) are from 2007 interviews with Wendy Walker
5. Kirk Varnedoe, Pictures of Nothing, Princeton and Oxford: Princeton Uni Press, 2003, p. 7. Varnedoe is referring to the (historical) overlapping and blending of strains from the seemingly opposite camps of Johns and Pollock, or Picasso and Duchamp.
6. For Anthony Haden-Guest the monochrome painting was 'the great Modernist icon of the sublime, involving Burke's privations in the fact that all detail and differentiation has disappeared from the world of vision.' Lock proposes a contemporary 'fictitious model of the techno-sublime that incorporates the gesture.'
Anthony Haden-Guest in Sticky Sublime, Bill Beckley (ed), NY, Allworth Press, 2001, p. 72
7. Cited in Gabriel Ramin Schor, 'Black Moods', the Latin title is Utriusque cosmi, maioris scilicet et minoris, metaphysica, physica, atque technica historia http://www.tate.org.uk/tateetc/issue7/blackmoods.htm

Christian Lock: a new gesture, by Maria Bilske & Michael Newall, 2003

'The basic unit of painting, the brushstroke, has in itself accrued many meanings through the history of art. It has variously operated as evidence of the hand of the master, ("the masterstroke"), and an anti-classical gesture in its rough realness. It has mimicked atomic units of visual sensation (in Pointillism and Impressionism), or stood in for matter (in the way that the thick paint stands in for flesh in the work of Francis Bacon or Frank Auerbach for instance). It has been representative of expressionist meaning, embodying a mood or something of the painter's self, and operated as the abject, leaking smear that so readily elicits psychoanalytic readings of much contemporary art.

But while the brushstroke has borne all these meanings, decoration has not traditionally been a primary one. The brushstroke in oil painting particularly is too physical, too corporeal, too 'fat' and oily to have become a unit in a decorative scheme. The exceptions to this rule derive mostly from Roy Lichtenstein's famous painting of a brushstroke. That work, of course, was a play on the Abstract Expressionist brushstroke that denoted authorial presence. In Lichtenstein's painting the brushstroke became a graphic mark, effectively flattened out by his Pop depiction of it. In losing its corporeality, it acquired a decorative potential it did not have before.

Christian Lock pulls a similar trick, rehabilitating the brushstroke to play a part in a decorative economy. He too effectively flattens the brushstroke, but he does so in quite a different way. He fixes a real stroke of paint, as thick and demonstrative as any, between layers of resin, flattening it, and placing it against glistening, holographic surfaces, so that it speaks of movement and energy, unhindered by the matter and mass we traditionally associate with the paint of gestural abstraction.

The smoothing of the surface is in a way a homogenising gesture, a literal glossing over if not removal of the work's manual origins, creating flawlessly slick confections that, combined with the techno-quality of the holographic materials Lock uses, are suggestive of a kind of contemporary Warholian desire "to be a machine". This is furthered by the processes Lock uses. His systematic selection and conscious arrangement and layering of his painted gestures over his readymade backgrounds suggest the primacy of aesthetic considerations, a move towards the decorative, a contemporary beauty.

Unlike Lichtenstein though, Lock's movement into the decorative seems provisional; it is not a complete renunciation of older traditions. All the old meanings and uses of the brushstroke are still perceptible, lying as if cryogenically shelved in his layers of resin. More than self-justifying mark-making, Lock's sampling of the gesture preserves it as symbolic of all these histories, and these traces of meaning give the work an underlying strength and richness that seems antithetical to Lichtenstein's Pop. The ordered matrices of his work in particular are evocative of shimmering macrocosms, allusive of something beyond what we can see, like a window onto an otherwise invisible world of ideal form that underlies our own.

Finally, it should not be overlooked that formally Lock's works recall religious icons. Instead of painted saints against a ground of gold leaf, they place paint (the brushstroke) against reflective, iridescent backdrops. Lock's jammy impastos are trowelled over grounds that in their metallic lustre recall the gold leaf that symbolises a higher world. Of course, here it is not Paradise that is suggested, but the gleaming, sheer, almost weightless surfaces of modern manufacturing and technology. It is against this ground that Lock's strokes of paint undergo their transmutation into pure energy and movement, removed, if not irreparably divorced, from their corporeal origins.

Maria Bilske & Michael Newall, 2003

·Artist Statement, Christian Lock, 2015
[essays should not be reproduced without permission from the authors]
1969 Born
1996 Certificate in Art Applied and Visual, Onkaparinga Institute of TAFE, Adelaide
Advanced Diploma of Art Applied and Visual, North Adelaide School of Art
1999-00 Bachelor Visual Arts, SA School of Art, University of South Australia
2001 Honours Bachelor Visual Arts, SA School of Art, University of South Australia
Masters Visual Arts, SA School of Art, University of South Australia
2002-present Lecturer Drawing & Painting, SA School of Art, Architecture & Design, University of South Australia, Adelaide
2015 GAGPROJECTS, Adelaide
2014 Ryan Renshaw Gallery, QLD
2013 GAGPROJECTS/Greenaway Art Gallery, Adelaide SA
2011 Greenaway Art Gallery, Adelaide SA
2010 John Buckley Gallery, Richmond VIC
2009 Greenaway Art Gallery, Adelaide SA
2008 John Buckley Gallery, Richmond VIC
2007 Greenaway Art Gallery, Adelaide SA

Greenaway Art Gallery, Adelaide SA

2003 Greenaway Art Gallery, Adelaide SA
2002 Light Square Gallery, Adelaide Centre for the Arts, Adelaide SA
2016 Quicksilver: 25 Years of Samstag Scholarship, Samstag Museum, Adelaide
2015 DO IT, Samstag Museum, Adelaide
2014 Cloudburst: Christian Lock and Claire Pendrigh, Chasm Gallery, New York
Art Dubai, Dubai (GAGPROJECTS)
SALA: EIGHT, Adelaide Town Hall

New Work, Greenaway Gallery, South Australia
Revealed, Samstag Gallery, South Australia
Deep Space, Art Gallery of South Australia
Endless Summer, Nexus Centre


The Substation Contemporary Art Prize, The Substation Centre for Art & Culture, Victoria


CACSA Contemporary 2010: THE NEW NEW, Contemporary Art Centre of SA, Adelaide
The Stan & Maureen Duke Gold Coast Art Prize, Gold Coast City Gallery, Gold Coast

2009 Hits From The Wand, FELTspace, Adelaide

Road Movies, Contemporary Art Centre of SA, Adelaide
Wynne Prize for landscape painting, Art Gallery of New South Wales, Sydney

2007 Mentor Mentored, Contemporary Art Centre of SA, Adelaide
2006 Snapshot: Contemporary South Australian Art, Experimental Art Foundation, Adelaide
John Buckley Gallery, Richmond Vic
Selected Works, Greenaway Art Gallery, Adelaide SA
The Colour of Music, Adelaide Central Gallery, Adelaide SA
2005 Art Year Zero SA School of Art, Adelaide SA
shimmer Artspace Adelaide Festival Centre, Adelaide SA
2004 Melbourne Affordable Art Fair Greenaway Art Gallery, Melbourne VIC
2002 Hatched National Graduate Exhibition Perth Institute of Contemporary Art, Perth WA
Money Shot Adelaide Fringe Festival, Miller Anderson Building, Adelaide SA
Helpmann Academy Graduate Exhibition Miller Anderson Building, Adelaide SA
Reverb Uni SA Graduate Exhibition, Adelaide SA
2001 Helpmann Academy Graduate Exhibition Miller Anderson Building, Adelaide SA
2000 Uni SA graduate Exhibition, Adelaide SA
Coursework selected students work SA Public Library, Adelaide SA
1999 Helpmann Academy Graduate Exhibition Gerard & Goodman Building Adelaide, SA
Robert Steel Gallery Malcolm Reid Building, Adelaide SA
EVA Exhibition Pultney Grammar School, Adelaide SA
1998 Pulchella Port Dock Gallery, Port Adelaide SA
EVA Exhibition Pultney Grammar School, Adelaide SA
2012 Anne and Gordon Samstag International Visual Art Scholarship
2006 Oscart Awards, Painting
2005 Australian Council for the Arts, New Work Grant
2002 Oscart Awards Rising Star Award, Painting
Adelaide Visual Arts Critics Circle, Emerging Artists Award Runner up
Helpmann Academy Grant PICA Hatched Graduate Exhibition
2001 Uni SA Library Acquisition Prize
Masters Scholarship Uni SA
Inducted into Golden Key International Honor Society
Chancellors Award List for Academic Achievement Uni SA
Deans Merit Award for Academic Achievement Uni SA
2000 John Christie Memorial Painting Prize Uni SA
1999 EVA Emerging Visual Artists Award Major Painting Prize
1998 Helpmann Academy Graduate Exhibition Major Prize Hill Smith / Malaysia Airlines Travel Award
1997 Prize for “Excellence in Visual Art” Onkaparinga Institute
Best, A. 'Christian Lock New Work', Greenaway Art Gallery Catalogue Essay, 2011
Bilske, M & Newall, M. 'A New Gesture', Christain Lock Greenaway Art Gallery Catalogue Essay, 2002
Bolton, K. 'Weird or What - to go Bodiddley', 2011, http://aeaf.org.au/events/critical-writing.html
Bolton, K. 'Mentor Mentored 3', Exhibition Catalogue CACSA, 2007
Frost, A. 'Christian Lock 2013 Samstag Scholars, 2012
Harms, L. 'Christain Lock, Greenaway Art Gallery', Artlink Vol 27 No 4, 2007
Hosseini, V. 'Christian Lock, Greenaway Art Gallery', Australian Art Collector, July-Sept, Issue 33, 2005
Hosseini, V. 'Schizophrenic Venture', Exhibition Catalogue Greenaway Art Gallery, 2005
Lock - Weir, T. & Freak, E. 'Deep Space' - New Acquisitions from the Australian Art Collection, Articulate Magazine, Autumn, 2012
Lock, C. Exhibition Catalogue Essay, Greenaway Art Gallery, 2008
McKay, P. Exhibition Catalogue Essay, THE NEW NEW, CACSA, 2010
Neylon, J. 'Standing on the Outside Looking In', Adelaide Review, January, 2005
Raddock, S. 'Push Me Pull You', Christian Lock, Light Square Gallery, Adelaide Review, June, 2002
Raddock, S. 'Spacey', Adelaide Review, October, 2011
Sanders, C. 'Locked in', Adelaide Review, November, 2012
Smee, S. 'Disoriented in the Great Outdoors', The Wynne Prize, Art Gallery of New South Wales, The Australian, March, 2008
Walker, W. 'Christian Lock', Exhibition Catalogue, John Buckley Gallery, June, 2008
Walker, W. 'Some Digressions on Ornament, Abstraction and the Stowaway, Artlink, Vol 20, No. 2, 2008
Woodburn, J. 'All that Shimmers', Real Time, April - May, No. 66, 2005
Art Gallery of South Australia
Private collections in Australia