© 2015

Paul Hoban


“...Between ‘mind’ as autonomous, and ‘culture’ as collective. Between process, method, and product as the record of process and the evidence of method. Picture the works as a play between trance dance and open-ended, ‘high-art’ speculation. The whole project a complex of binary oppositions - non-binding - with each term unattached, perhaps even expedient. The whole a web of branching stems: tuberous, pulsing, rhizomatic, symptomatic. A cluster of energy sources brought to earth and grounded, immured now in physical matter; feeding like yeast...“

(excerpt from Index P. by John Barbour, 2001)

Works chronology  
miscellaneous 4 mal 2005 circa after image transformal wraptures  
After Image, by Kirsty Hammet, 2010

The sky was dense with rain clouds. To the left, my view was framed peripherally by black tree branches and to the right a wall, hard-edged in silhouette. I focused on the in-between - a pale grey void... subtle... sometimes a slight pinkish hue at others a cooler, chalky blue. The void buzzed electrically... Tiny particles flickered - off/on, dark/light, black/white. On closer examination these spots seemed to be embedded in a surrounding field of smaller, black and white linear circles. These too flickered, rotated and alternated, but at a faster pace. Occasionally, small droplets of rain fell gently on my skin... A vision of excited phosphenes throbbed and popped with each interruption.1

Phosphenes are spots in front of the eyes. Like after-images, they are also products of our visual neurobiology. Anyone can see them, use them or ignore them. They are involuntary and purely human. Like CDs they have circularity...

The After Image exhibition evolved from experimentation. Paul constructed an elaborate colour palette, derived from a large series of paintings that he loosely called colour by word (ColourXWord) which developed as a system for blending colours from colour words in various languages. The unexpected products of this were the optical sensations and after-image effects of the placement of these colours on a contrasting white ground.

As with all the works in this show, Phosphenia was constructed according to Paul’s painting template. Films of paint overlay the marks, folds and shapes of their predecessors. In a delicate removal of production from thoughtful representation, the paintskin gesture overturns the conceit of surface and consciousness. But if the process is a distancing from western perspective, the knowledges that form it – for example mathematics, philosophy, biology, physics, poetry, history – invest the painting like spells. Text and diagrammatic images are layered into the surface. Like builders’ instructions, in successful execution they fade into the background. It is not necessary for them to be revealed for the object to possess some capacity or effect that is somehow determined by them. Or perhaps instead as soup ingredients, they blend together to ensure both fluidity and consumption.

In the Psycle series, there seems to be an interplay between the very surface of the painting and a sense that something is happening behind its skin. The paintings are telescoped, dream-gazer affairs. Imagine a view of something beyond terrestrial – peering past galaxy dust into space beyond, or instead from high-above clouds into secret cities and landscapes. Orientation is trumped by ambiguity, but in a magical way. The painting works from a distance, but close inspection reveals tiny marks, stitches and scratches, dashes and arrows; beacons drawing my eye into the painting. They promise directions, instructions, reference points but seem to lead nowhere, into a surface that is both overhead and underneath. Desire here has no specific object that cannot be transformed if needed. The paintings turn out like this, an insinuation of the process.

Perphoria is so-named for its play on the idea of perforation – a surface of tears, pinpricks and scratches. A product of folding, unfolding and making holes in the paintskin; its symmetries are created and obliterated by adhesion and dislocation. White drips trace vague shapes of ancient hands. Black holes suggest the void, rivulets deny the surface its gravity and orientation. Underneath... Gargas, Chauvet, Cosquer.2 They might also trace the nervous system...

These paintings are as sleep with intense light trained upon the eye, the spots, lines and blobs dancing in the lid; linking, merging, disappearing cool and bright, a secret world of visions. In the end they are just compositions of paint, abstraction and ambiguity, yet they also mean to juxtapose sought after universalities with troubling difference, to abide the tension of never possessing the ‘truth’ of either. Everyone has the facility to access these images but we can’t know if we see them the same way.

Kirsty Hammet, March 2010

1 Paul Hoban, painting notes. Adelaide January 2008.
2 See Clottes, J. & Caurtan, J (1996): Cosquer, The Cave Beneath the Sea Abrams, NY
Clottes, J. (2003): Chauvet Cave: The Art of the Earliest Times Utah University Press, USA
Aujoulat, N (2005) Lascaux, Movement, Space and Time Abrams, NY

Catalogue essay by Peter McKay, 2010

Hoban’s practice is not so much a reworking of Modernist Abstraction as it is a reprisal. His paintings might best be thought of as Conceptual Abstraction. A unique paintskin method clearly results in striking formal relations, but his artistic ambitions are much greater than the aesthetic reductionism underpinned by notions of purity and historical conclusion that the majority of abstract art from the west is couched in. An understanding of the paintskin method serves to highlight the fundamental difference in his intent clearly.

Painting layer upon layer directly onto large sheets of opaque black plastic, Hoban accumulates large and delicate skins of acrylic - hence the term paintskin. Once the paintskin is thick enough to handle it is carefully peeled away from the plastic backing. It is the freshly revealed underside, unseen throughout the working process that becomes the finished image. For longevity, skins are adhered to traditional canvas; a move which both lightly obscures the working process, and more importantly gently mocks the ego invested in more time-honoured approaches to making art.

Accordingly the paintskin method might best be described as the process of painting backwards; a conceptually driven inversion, or as Hoban himself likes to say an ‘overturning’, of the tradition of painting in which the original marks are preserved and displayed intact, and all subsequent attempts to consciously resolve the image are increasingly obscured in direct proportional relation to the works stage of completion.

Hoban’s sentiment toward his paintings is revealing, describing the creative process as a mutual undertaking with the work itself.
“The paintings seem to make themselves. There is no totally anticipated result. They do what they like... They tell me what to do, where to look and how to proceed. It’s a symbiotic relationship- the work needs to be fed and I need to be surprised.”1
Hoban may make various compensations and adjustments as each work develops, but somehow each painting appears to proceed according to its own plan. Perhaps to counter the innate intentions his works possess, Hoban frequently unleashes various homemade mark-making devices and painting machines on the works. Driven across the surface like a force of nature, these eccentrically fashioned contraptions leave marks that remind the viewer that nothing exists in a vacuum - that everything is the product of an infinite string of influence that includes more than a touch of chaos.

Intellectually, the paintskin method is underpinned by two key concepts: syncretism; and aleatory. Syncretism refers to the way in which two or more cultures weave themselves together, either by choice or force, to create a significantly new and vibrant culture. These cultures are often functional and successful in spite of clear internal contradictions or inconsistencies in their belief systems or cultural practice. Aleatory, first explored by the surrealists in the 1920s and further developed by numerous composers and film-makers from the 1950’s onward, refers to a philosophically motivated kind of art that intentionally exploits chance in its construction. Syncretism and aleatory both question the view that culture is, in any meaningful sense, a conscious product of singular, exceptional individuals. Furthermore, these positions also undermine the west’s belief in cultural hierarchies, suggesting that the west’s self-proclaimed superiority above all other civilisations and cultures is driven by vanity and a desire for power rather than any justified reflection of a natural order.

In view of Hoban’s work the comparison of civilisation to biology seems more apt: grafting; hybridisation; morphological progress. Hoban’s work embraces the notion that culture functions like the evolutionary process itself, harnessing random combination and fusion as the most efficient means to synthesize the process toward intellectual advancement.

It is logical then that Hoban pours immense volumes of research into his paintings. These reference everything from prehistoric cave painting across Europe, South America and Australia, entoptic phenomena, African tribal chants and divination rituals, folk art, graffiti, entheogens and their ‘spiritual’ effect on the mind and body as well as masses of literature and treatises sourced from all parts of the globe. Hoban’s process animates this knowledge, making it dynamic and fluid in a way that reminds the viewer of the infinite breadth of past, present and future events that surrounds all of us. Every writhing line and pulsing colour in Hoban’s work suggests that the world is fixed in flux.

Perhaps most importantly, all of Hoban’s references are grounded in the human experience. Tracings of the human hand, texts concerning diverse social practices, and a playful engagement with the physical mechanics of human sight. Countless similar elements constantly serve to highlight our common origins, as well as the fertility and playful enjoyment of our mutual exchanges. Hoban’s intensely crowded view quietly reveals one of the fundamental truths of existence: that the act of sharing knowledge is just as rewarding and vital as the knowledge that is being shared.

Peter McKay
1 Hoban, Paul. Artist Statement, July 2005. Published by Greenaway Art Gallery.
The Contemporary Art Centre of South Australia originally published a variation of this text on the occasion of Paul Hoban’s major overview exhibition Paintskin Survey in 2009.

Circa, by Paul Hoban 2007

The oldest surviving creative artefacts are engravings of apparently non representational forms. These 'entoptic' phenomena include grids and lattices, circles, spirals, parallel lines, concentric and other geometric shapes. The recurrence of these form constants throughout human history and prehistory, and their coincidence across diverse civilisations, suggests either powerful cultural units - super memes, or a common neurological origin. In the later theory, V1 cells of the visual cortex are the culprits...they do what they like when you doze off.

The mark of the hand is everywhere in the earliest human creations, but that may also be related to our hard wired brains. Many V1 cells are biased to quite specific visual orientations, sequences and angles. In this exhibition, the splayed fingers serve not just as a vehicle for optical attention, but also for something both ancient and infantile - our common origins. The hand is also a device well suited to the recording of parallel lines... and circles.

My strategy has been to reduce the field to non-representational visual forms. The paintings proceed by chance and accretion - in reverse. Means and artefact can become pleasantly confused. Films of paint are transferred from one surface to another, layered, superimposed, or juxtaposed. Symmetry and geometry may be a result of a certain mindless, random procedure. The structures turn in on themselves, like a Poincaré conjecture.

These paintings attempt to by-pass the particular in favour of the universal. Against my will they conspire to represent nothing. I submit, and am rewarded by an unlikely morsel. Self-conscious determinism, expectation and idealisms are sacrificed to the unpredictable. In all of this there are consequences rich in metaphorical potential - transparency, elasticity, overlapping, folding and unfolding, uncovering and overturning. Margins inhabit the centres. And these painting are made of holes.


If the work wants me to be indifferent, it tolerates occasional dissent. Any distant intervention on my part is a guilty pleasure. It’s fun. That’s the recompense. And then there are the titles. A similar methodology of detachment demands to be applied to words. In progress, the paintings don’t have titles, but words and notes occur. Titles are devised on resolution. Sometimes they arrive as acronym and anagram. Some paintings prefer only one or two syllable names. More obviously titled, the 'Rounder' cd objects are multifaceted - at once artefact, by-product and template for the proliferating small 'Rounderbout' canvases. In some pieces, titles are derived from songs - submitted to slight alteration. Mere superficial association to the artwork is needed - a colour perhaps. By removal of a single letter, a song title such as 'Baby Lemonade' (by Syd Barrett) becomes 'Baby LeMonde'; 'Grey Lagoons' (by Roxy Music) changes phonetically, to 'Grail Log-Ons'; 'Skeleton Keyhole' speaks for itself – one hole fits all keys; the painting 'Punspermia' is a pun on Pan. Panspermia being the theory that Life came to this planet Earth from elsewhere, already equipped for diversity.

Paul Hoban. October, 2007

Artist statement, 2005

Fragments of thought hang like mobiles in the air – David Thomas

The paintings seem to make themselves. There is no totally anticipated result. They do what they like. I collaborate, intervene, participate from a distance, but it's not always easy. They tell me what to do, where to look and how to proceed. It's a symbiotic relationship – the work needs to be fed and I need to be surprised.
The processes can be important. The idea of the 'paintskin' process ... presented the possibility of a different kind of social field metaphor - the paradox or contradiction of painting conventions; exploring the 'other' side, transparency, layering, elasticity, margins turn into the center.. The paintings appear to be abstract (whatever that is). Literal representation is rare. I would like to think that this is an ambiguity that creates freedom for interpretation.
In the prehistoric caves of southern France, elegant representations of animals are juxtaposed with what appear to be signs... abstract, geometric, ambiguous. At Lascaux, coloured quadrilaterals of horizontal and vertical lines are juxtaposed like footnotes below the parade of beasts. Curiously, some signs seem to be iconic across completely unrelated cultures. For example, the concentric circles, hands, spirals - in indigenous Australia's oldest art, in prehistoric Ireland or South America. Anthropologists often refer to these kinds of signs as 'entoptic'... an aspect of our neurology of vision rather than something culturally acquired.
At the cave of Gargas in the French Pyrenees, hundreds of handprints ornament the walls. The hands have fingers missing. A code? A four-digit system... they all have thumbs. The purpose is lost...yet it still retains the sense of signifying meaning - Is there an older or more powerful image than the human hand?
These recent works attempt to link to an ancient painting tradition. Organic forms coexisting with abstract geometry. The search is for uniquely human visual qualities... celebrating our commonality, our pleasure and curiosity for puzzles, for pattern, structure, and symmetry. In these paintings the lost fingers of Gargas have pushed through the walls into the future.

Paul Hoban, July 2005

Paul Hoban, by Wendy Walker, 2003

An inveterate traveller and reader, Paul Hoban's paintings are encoded with a plethora, a complexity of cross-cultural references and multi-layered allusions. A less than exhaustive inventory might include African tribal chants, cave paintings, mathematical formulae, sacred diagrams specific to certain societies within indigenous Australian, African and Carribean cultures, urban graffiti and knot theory. Research into theoretical areas of philosophy, psychology and cultural anthropology is ongoing and in particular Hoban is drawn to African and Christian iconology and the Nigerian 'Ife' cult, which has influenced the religious and cultural life of Brazil and the Caribbean. More recently the focus has fallen on Neolithic sites in England and Ireland and cave paintings in the Dordogne and northern Spain.

Hoban's process is an intriguing one of reversal; painting onto plastic 'skins' on the studio floor - which may bear residual traces of previous paintings - the back-to-front work is then transferred onto canvas. Thus, as he claims, "the self-conscious subject, the refined, the reduced, the 'finished,' the 'autonomous' surface is overthrown." By such means, Hoban is able to frustrate anticipation, deftly obviating the possibility of an aesthetically determined outcome. Through the exposure of all that is habitually concealed, he interpolates a seductive element of the unpredictable into what is otherwise an essentially controlled and therefore self-conscious process.

The gold, violet, green and black vertical panels of CD (2003) signal a shift from the earlier symbiotic diptyches like Letter-Virus (Levi-Elvis) (1999) or Even (2000). Through a straightforward, vertical partitioning of surface, the formerly discrete panels have become incorporated into a single, autonomous work. Text in the form of fragments of poetry, incantations, litanies et al is strewn across many of the works with an obsessive intensity, that alternates with a more awkward and skewed restraint (CD (2003))

The act of material transfer/displacement from paintskin to canvas exists as a metaphor for Hoban's most consuming preoccupation - the blend and blur, the syncretism of cultures. Tread (1999) provides a representative example; a profusion of white bracket-like markings on a dark purple, almost black ground was inspired by an African divination ritual, but as the title of the painting indicates these patternings also evoke the eccentric use of brackets by French avant-garde writer Raymond Roussel. In such works Hoban begins to move towards a visual resolution of his primary objective, which he refers to as "the reconciliation of the 'archaic' and ‘modern. "

Wendy Walker, January 2003

Index P., by John Barbour, 2001

Among the few possessions of mine about which I care is a small picture which has been on my wall since Paul gave it to me some years back. The materials used in its construction are: silver paper, black felt tip pen, masking tape, the wood of the small stretcher itself, and two curious earring-like things - perhaps part of an old electrical conduction system, made of wire, ceramic and copper - which hang from the supporting wire so they dangle above it like votive charms. The picture is reversible - the silver paper on one side being secured over the wooden support with black and brown masking tape forming roughly alternating blocks of black, brown and silver - while on the other side the wood forms a crude frame around the silver paper itself (which in its reflectiveness approximates a mirror). The silver paper on this, the side I have visible, is written over in black pen. The writing is dense, wiry, electric - perhaps even 'sinister' (done with the 'unnatural' hand?) - and yet also delicate and spidery. The text itself is cryptic, skewed - perhaps part of a letter, or a page torn from a book. - and among the few words legible are 'wife', 'wipe', 'safe', 'death' and 'covenant'. A rather beautiful object - some days - on others, rather alarming.

'Ugly' even - or rather, unconcerned about its own appearance. This is a great gift is it not? To be unconcerned with how one appears to others - with whether one appears to be succeeding or not. And indeed this apparent lack of concern for its own appearance, together with its emphasis upon text and its quasi-ritual character, suggests a curious kind of functionality - as if the purpose of the work is not to make us admire, or be pleased - but to do something quite specific and concrete.

Picture then the works in this exhibition as machines, each with its own internally-operated perpetual motion device controlling the oscillation of hands between poles - right and left, black and white, front and back, conscious and unconscious. Between 'text' as the privileged voice of reason, and the act of writing as a kind of rhythmic automatism (the irrational voice of internalised culture?). Between 'mind' as autonomous, and 'culture' as collective. Between process, method, and product as the record of process and the evidence of method. Picture the works as a play between trance dance and open-ended, 'high-art' speculation. The whole project a complex of binary oppositions - non-binding - with each term unattached, perhaps even expedient. The whole a web of branching stems: tuberous, pulsing, rhizomatic, symptomatic. A cluster of energy sources brought to earth and grounded, immured now in physical matter; feeding like yeast.

It's a question of venting these energies. Of their conspicuous wastage. Of burning off the excess. An operation not without risk, requiring rigorous application of method and a wide variety of serviceable tools. It’s an exotic project. The works draw upon and make obvious, complex allusion to other cultures, traditions and practices. Indeed even a brief and partial index of of the sorts of devices, strategies, methods, figures, cross-references and allusions found in Paul's work might read, in no particular order, as follows:

Scientific diagrams, mechanical schemas: demonstrations of procedures, empirical models, idealisations of rational structures - counter-pointed by references to vevers and other sacred diagrams and schematic representations of spiritual deities and rituals, as used by particular societies within African, Carribean and indigenous Australian cultures.

Mathematical and algebraic formulae, appearing in the works as textual and calligraphic figures embodying a certain level of accorded but unspecified 'significance'. Templates and patterns ('for information about how to construct this implement follow figures A to G') - again used as figures, motifs and images within the paintings, and as a means (merely some among many) of achieving their construction.

Graffiti tagging - the urban ghetto practice of spraypainting the artists's personal design, name, logo, group affiliation directly on to walls and other surfaces. A kind of archeological accretion of the signs of feral political activism, economic dispossession and social marginalisation.

Landscape painting - particularly in relation to Aboriginal artists' methods of working on the ground: Paul's method of working from the back of the image on the ground mimics or replicates in reverse some aspects of these artists' methods, as well as their disregard for the horizon. Similarly there is with Paul's work a sense of the physical expanse of the surface of the image as a terrain to be traversed, mapped - 'covered'.

An interest in the art of children and the intellectually disabled as being both extremely direct, yet not unmediated, forms of expression.

Related to this, a concern, drawing upon 'psychotic' art, for over-elaboration - for obsessively detailed systems. For system both as a means in itself and as a means for the repression of something else. A concern perhaps mimicking the order of reason as embodied in science, mathematics and mechanics, and also perhaps suggesting the artist's traditional role within culture as one who contributes to the lboration of a collectively-shaped cosmogony. Except that in the ase of the psychotic artist, this elaboration is extreme and out of control.

An interest in the mechanical basis of mass production. The artist constructs a variety of low tech machines for making marks and patterns, with the aim of obviating conscious intention and overly aesthetic determinations. This is extended to a commitment to aleatory and automatic compositional methods - using, for example, lines drawn between holes punched randomly in paper to construct an image. The references here of course are to the methods of Surrealism (Jacques Vache, Andre Prevert, etc.) and its precursors (notably Raymond Roussel), as well as to more recent (no less iconic) figures such as John Cage, William Burroughs and Brion Gysin.

One can see in this brief list the artist's interest generally in 'trans' or 'non-rational' states, as in for example, glossolalia (the gift of speaking in tongues) - a category of textual, verbal and physical methods for the frustration of reason, intention, position, conclusion, closure, ego. But there is no Other subscribed to here - no 'pure', unadulterated presences - no promise of transcendence, of direct access (though there may still be regret perhaps for this not being the case...and references to still living systems suggesting otherwise). Conversely, the viewer will sense the artist's respect for the European cultural heritage within which the works themselves have no choice but to be positioned.

And, as is ever the case with Paul, the works in this exhibition are commended to us, their viewers, as fully autonomous - each with its own fate to discover in the act of our interpretation, appraisal and contemplation. There is a refreshing sense of distance in this. As idiosyncratic, intriguing, discursive and encoded as they appear, they are yet totally unprecious.

John Barbour, 2001

[essays should not be reproduced without permission from the authors]
Born Cowra, New South Wales
Paul Hoban
1976 BA Fine Arts, South Australian School of Art, University of South Australia
1993 Master of Arts (Visual Arts), South Australian School of Art, University of South Australia
1999 Awarded Anne & Gordon Samstag International Visual Arts Scholarship
2000 Post Experience Program, Royal College of Art, London, UK
2006 PhD Visual Arts candidate, SA School of Art, University of SA
Currently Studio Head of Painting and Drawing, SA School of Art, University of South Australia
2015 Wraptures, GAGPROJECTS | Greenaway Art Gallery, Adelaide
2012 Transformal, Greenaway Art Gallery, Adelaide
2010 After Image, Greenaway Art Gallery, Adelaide
2009 Paintskin Survey 1993-2008; curated by Peter McKay, Contemporary Art Centre of South Australia
Paintings 2003-2009, curated by Trevor Fuller, Place Gallery, Melbourne
2008 Flatland, Place Gallery, Melbourne
2007 Circa, Greenaway Art Gallery, Adelaide
2006 ObVerses, Watson Place Gallery, Melbourne
Rounder, Downtown Art Space, Adelaide

Greenaway Art Gallery, Adelaide (SALA Festival ’05 exhibition)

2004 Watson's Place Gallery, Melbourne
2003 Antipodean Antlers, Samstag Disclosures Project, Adelaide
Ray Hughes Gallery, Sydney
Ground Zero/Windows, Art Museum University of SA
DGZ, installation for University of South Australia Art Museum 'windows' series
4Mal, Greenaway Art Gallery, Adelaide
2001 Greenaway Art Gallery, Adelaide
2000 Hockney Gallery, Royal College of Art, London
1999 Greenaway Art Gallery, Adelaide
1998 Pinacotheca Gallery, Melbourne
1997 Voice Box, Greenaway Art Gallery, Adelaide
1995 PS, Greenaway Art Gallery, Adelaide
1993 Greenaway Art Gallery, Adelaide
2010 Orange Wrappers, FELTspace, Adelaide
2010 Green Candle 2 (collaborations with John Barbour), The New New, Contemporary Art Centre of SA
Quiet Reader, Adelaide Central School of Art Gallery, Adelaide
2009 Recycled Library: Altered Books, touring national regional galleries, museums, and cultural centres in Gladstone, Grafton, Mornington Peninsula, Dubbo, Wagge Wagga, Bathurst, Noosa, Hervey Bay, Port Lincoln, Port Pirie, and Murray Bridge, touring 2009-2012
Left Field, Felt Space, Adelaide
2008 The Green Candle, collaborative exhibition with John Barbour, SA School of Art Gallery, Adelaide
2007 Audio-Visual, Downtown Art Space, Adelaide
2006 Mentor-Mentored, Contemporary Art Centre of SA
Things Will Be Great, MOP Gallery, Sydney
Snapshot, Experimental Art Foundation, Adelaide and Country Arts SA touring exhibition
2005 Dialectaline, Drawing Conference Exhibition, Prospect Gallery, Adelaide
Translations, Glass Work exhibition, Hill-Smith Fine Art Gallery
Livres, Librarie Millescamps Perigueux, France
2004 Isle of Refuge and 3 Years to Life, Flinders University Gallery, Adelaide
Works on Paper, Watson Place Gallery, Melbourne
2003 ARCO 2003, International Art Fair, Madrid, Spain, Greenaway Art Gallery stand
A small private eye, Horsham Regional Art Gallery and touring
Surfaces, Forum Exhibition, South Australian School of Art, Liverpool St Gallery, Adelaide
1999-2001 What John Berger Saw, touring exhibition, IMA, Brisbane; Curtin University, Perth; Monash University Gallery, VIC; ANU Gallery; Orange Regional Gallery; University of South Australia Art Museum, Adelaide
2001 Blanc, Artspace, Adelaide Festival Centre
2000 Chemistry: Art in South Australia Art 1990-2000, Art Gallery of South Australia
1999 The August Show, Port Community Arts Centre Gallery
1996 Messy and Restless, Contemporary Art Centre of South Australia
ACAF5, Australian Contemporary Art Fair, Royal Exhibition Hall, Melbourne
White Hysteria, Contemporary Art Centre of South Australia & Stripp Gallery, Melbourne
1994-95 Collaborative Mural Project, Northfield Women’s Prison, Adelaide
1994 ACAF4, Australian Contemporary Art Fair, Royal Exhibition Hall, Melbourne
1993 Group Exhibition, Greenaway Art Gallery, Adelaide
1992-93 Masters & Graduate Exhibition, University of South Australia Art Museum
1983 Music for Eyes, Car Crash Gallery, London, UK
1982 Working Photography, Contemporary Art Society, Adelaide
1976 Graduate Student Exhibition, Art Gallery of South Australia, Adelaide
University of South Australia
Art Gallery of South Australia
Mitchell Collection, Australia
Jose Luis Cuerda Collection, Spain
Karina Kawai Collection, Japan
Marcello Collection, Argentina

• Mark Siebert: catalogue essay for the group exhibition ‘Audio Visual’ 2007
• Anne Weckert: catalogue essay for the group exhibition ‘Things Will Be Great’ MOP Sydney
• Jim Moss: Catalogue essay for group the exhibition ‘Mentor Mentored’, Contemporary Art Centre 2006
• Jennifer Phipps: Catalogue essay for ‘ObVerses’ Watson Place Gallery Melbourne 2006
• Sephanie Radok  Raw and Cooked Margins – Artlink Vol 24 No 3  2005 pp40-45
• Andy Fuller: What is Research -catalogue essay for Watson Place exhibition 2005
• Wendy Walker:  Artlink, December 2003
• Paul Hoban: Mary T. Smith and Jungle Phillips (curatorial): Raw Vision #44, Fall 2003
• Terry Ingram: Australian Financial Review, 27 March 2003
• Wendy Walker – ‘A Lighter Touch’/review of ‘4mal’ /Greenaway Gallery, Advertiser July 19, 2003
• Alain Reneau – ‘Archeo Echos’ Sud Quest, March 2003, Perigeux, France
• ARCO 03 catalogue, ( Essay by Wendy Walker) February 2003,Madrid, Spain
• Ken Orchard Review of 2001 solo show at Greenaway Art Gallery, Artlink Volume 21 Number 4, December 2001
• John Barbour “Wired and Rooted” Broadsheet Summer Volume 28 No 4 1999/2000
• What John Berger Saw (1999 Catalogue Essay by Merryn Gates, (Nikos Papastergiadis ed) ANU Canberra School of Art Gallery
• Wendy Walker "Bohemian Sympathies" Advertiser Review July 20th 1999
• Samstag Scholarship Catalogue (Catalogue Essay by M.A. Greenstein) University of South Australia 1998
• Exhibition Catalogue Pinacotheca Gallery The Document Company (essay by John Barbour) 1998
Drury, N: Images 3 Contemporary Australian Art Craftsman House 1997
• Helen Fuller Broadsheet August/September 1997
Adam Dutkiewitz  Advertiser Review June 17th, 1997
• Gavin Malone "Loungeroom of Ideas: Messy and Restless' In Artlink Volume 17 No 1 1997
• Stephanie Radok "Doin' the Limbo” Artlink Volume 15 No 4 1996/97
• O'Connell, S: Messy and Restless, Exhibition Catalogue Contemporary Art Centre of SA 1996
• John Neylon  "White Hysteria" Adelaide Review July 1996
• Brett Buttfield "Messy and Restless" dB Magazine Number 131, 6/19 November 1996
• John Neylon Adelaide Review October 1996
• Brett Buttfield  "White Hysteria" dB Magazine No 121,27 Aug-4 Sept. 1996
• Stephanie Radok Adelaide Review 1996
• John Neylon 'Mixed Metaphor" Adelaide Review February 1996
• Ken Bolton – Otis Rush No 11 1995
• Drury, N: Images 2 Contemporary Australian Art Craftsman House 1994
• University of SA Museum: Masters and Graduate Catalogue, South Australian School of Art University of SA 1993
• David O'Halloran "Signs of Freedom" Advertiser Review October 6th 199