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Peter Atkins


“Collect, sort, order, position, display, group, configure, preserve. These are just some of the processes involved in Peter Atkins’ assemblages of discarded treasures. Found objects are tenderly gathered, removed from their usual function and reinstated as exquisitely rendered arrangements and patterned configurations. Atkins’ labour intensive activity of accumulation fuses opticality with narrative...“

(excerpt from Duration and Memory: the visual poetry of Peter Atkins by Natalie King, 2006)

Works chronology  
Livefrom Simplepleasures TheconnectedWorld readyMadeAbst Studies Peter Atkins Painting 2011 Peter Atkins Silence 2014  
Peter Atkins: Silence by Jane O'Neill, 2014

It seems contrary to write a catalogue essay about an exhibition titled Silence — for this exhibition is a plea for quiet, for the removal of unnecessary visual noise. Erasure, a visual affiliate of silence, has long been a preoccupation for Peter Atkins. The starting point for his work is an encounter with an object which he then alters by removing extraneous text and visual details. It is a form of deconstruction, where the final object reveals what the artist describes as the “essential abstract elements”. The newly conceived artwork signifies something inherent to the original whilst creating a distance between the viewer and the object’s prior status as a commodity. There is often an experience of the object as something recognisable, but impossible to locate. In practice, Atkins has devised a method where the existing (but largely unconscious) collective appreciation for abstract patterning comes alive. Atkins offers an unexpected avenue for the interpretation of these found compositions.
The exhibition is based on a series of record covers, united by subtle but distinctive graphic devices. The isolated forms are mostly lines; their original purpose was to frame, underline or divide the names of headline acts. Through a merciless process of blocking, Atkins has reworked the original albums, highlighting these idiosyncratic linear forms. The collages are cut and pasted with black cardboard taken from other record covers so that the final image is a luscious patchwork of blacks. These deconstructions reveal startlingly new minimal compositions.

The paintings are smooth and pitch black, verging on monochromatic, with flickers of bright yellow, pink or white. They appear in stark contrast to the original covers; a garish photo of Liberace; a syrupy portrait of Cleo Lane; a bizarre assortment of lips upon microphones. The lines appear like neon lighting on the black backdrops. They are surprisingly resonant. In one instance, white and pink lines on the cover of the Romeo and Juliet album assume a symbolic association with the story. Elsewhere, a curved corner shape on a Bee Gees cover is redolent of the disco era. Susan Sontag reminds us in her essay “The Aesthetics of Silence”

Perhaps the quality of the attention we bring to bear on something will be better (less contaminated, less distracted) the less we are offered…purged by silence, one might then be able to begin to transcend the frustrating selectivity of attention, with its inevitable distortions of experience.1

For people accustomed to noise, this idea of pure silence is practically inconceivable. At one point during the visit to Peter at his studio, there was a monumental shattering of glass bottles, presumably the spoils from the nearby pub. I flinched, but Peter hadn’t even registered the noise. “I didn’t even hear that”, he said, describing the extent of the ambient noise pollution in his neighbourhood. No wonder then, that the records from these sleeves go straight to the bin.
Through this narrative of transformation – from album covers to paintings, the final works convey a comparative idea of silence. More broadly, they speak of a kind of quietude or modesty. These compositions are undoubtedly the artist’s most minimal to date.

Jane O’Neill
March 2014

1.Susan Sontag, ‘The Aesthetics of Silence’, in Styles of Radical Will, (1960; London: Vintage, 1994), 3-34.

Painting and Drawing

A common denominator connecting these paintings is an investigation into readymade abstract forms appropriated from the real world. The collected/found reference material is exhibited alongside the paintings providing tangible evidence of my interaction within the landscape. It also helps mark a clear distinction within my work between what is abstract and what is not, defining an area that exists between the lines of abstraction and figuration. This has been an integral part of my practice over the past 25 years. The eclectic group of forms from this exhibition include incidental or more prosaic examples of ephemera: A discarded postcard, a lolly wrapper, a matchbox, a petrol pump, a cinema listing and a book titled ‘Painting and Drawing’ salvaged from a secondhand store. What I am trying to do is express my experience in the landscape; what I am seeing, what I am attracted to, what I find fascinating or beautiful at a particular time.

Peter Atkins

Botanist of the Sidewalk

When beginning a project I often set myself locality ‘boundaries’ which vary from just a few streets around my studio to entire suburbs, and recently with the L.A. Project, whole cities. The work becomes a documentation of time and place, a unique reference to when and where it was made. This connection to place and the recording of personal experience as I navigate within defined borders has always been at the core of my practice. Although the trajectory of my practice over the past 5 years now sees a focus primarily on painting, the core tenets of my interests are still evident in the collection and documentation of found material used as reference for my paintings.

I recently discovered the French term ‘Flaneur’ described in the early 19th century by the writer Charles Baudelaire as – ‘a person who walks the city in order to experience it’. Over the years the idea of the Flaneur has accumulated significant meaning as a referent for understanding urban phenomena and modernity.

Baudelaire saw the Flaneur as having a key role in understanding, participating and portraying the city. A Flaneur thus displayed a double role in city life and in theory, that is, while remaining a detached observer. This stance, simultaneously part and apart from, combines sociological, anthropological, literary and historical notions of the relationship between the individual and the greater populace. Baudelaire asserted that social changes brought by industrialization demanded that the artist immerse himself in the metropolis and become, “a botanist of the sidewalk”…. a man of the people who enters into the life of his subjects with passion.*

The conceptual premise of my practice is underpinned by the appropriation and reinterpretation of readymade abstract designs that exist in the urban environment. Stripped from their original context these elements are elevated from their often prosaic or mundane states and become a celebration of the overlooked. Elements as diverse as street signage, outdoor advertising, product packaging, book and record covers, store packaging, patterns on trucks and the angular designs from the sides of caravans. I consider anything and everything as possible reference for my work as I navigate the landscape.

I am interested in how people perceive the things around them, how often the simplest and most beautiful things go unnoticed. What attracts me to certain types of forms and designs beyond their abstract potential is their ‘commonness’ and the seemingly invisibility to most people. I am attempting to re-present these things back to the viewer as new way of looking at abstraction which sits somewhere between high and low art. A language of form stripped from popular culture without hierarchy that can be enjoyed and understood by all audiences.

Peter Atkins
September 2009

*Source (Wikipedia)

The unseen by Peter Atkins, 2007

'This new series of work titled ‘readymade abstraction’ sees a return, after a decade, to the use of tarpaulins as the support for my paintings. The shift that has occurred also sees a less painterly approach to the work leaving instead the untouched tarpaulin to act as the ‘ground’ for my painted floating forms. What attracts me most about these used tarpaulins is the encoded history, built up over time, sometimes years, of a narrative that is literally embedded in the surface of the material. The stains, creases, faded canvas and repaired seams and tears, impossible to fabricate, become remnant reminders of lives lived and journeys undertaken.

Existing narratives in found material are an important aspect of my practice and have always been paramount in my smaller journal works which are predominantly constructed using collected material, often picked up straight from the street .The local Brotherhood of Saint Laurence store and Council throw out days also provide some rewarding finds. Children’s drawings, letters, old chairs, stained mattresses, photo’s, and books are some of the unwanted, discarded material chosen because they are laden with multi-layered and complex human histories. Found, saved and revealed. The works become records of personal and shared experiences as I navigate through my environment. My interest lies in the human connectedness of the material and the commonality of shared histories.

This mapping of collected material through a personal interaction within the landscape is also prominent in my painting practice. The collected forms are the inspiration and the reference point to the completed paintings. I am fascinated by the idea of abstract elements and patterns that exist, often in prosaic form, within the landscape, particularly my local landscape, around Brunswick in Melbourne. Street and shop signs, sale signs, window forms, patterns on trucks, buses and caravans, book jackets and record covers, architectural elements, and shadow forms are some of the incidental abstract moments that surround me every time I step out of the door.

Some years ago I took my young son on a visit to Disneyland in Los Angeles. We caught the local bus from downtown out to Anaheim, a journey of over 3 hours. During the bus-trip I became aware of the stunning signage and various roadside forms that marked our journey as we made our way through the L.A. landscape to meet Mickey Mouse, Goofy and Donald Duck. I began sketching a series of abstract elements on the back of my Disneyland tourist map. A concept began to develop relating to the forms that marked this journey, as seen from the bus window. Looking back this became a pivotal moment in my painting practice. The memory of my experience of seeing these forms has since developed into this new body of work. It is a flexible system of abstract painting that allows me the possibility to relate to what I am seeing and experiencing in the landscape.

In essence each work is unique, referencing directly to the chosen form. It’s a transportable system which allows me the ability to relate my experiences of things seen within specific locales. A language of form as unique to Brunswick as it would be to L.A. or anywhere else. I remember hearing the American artist Richard Tuttle say of his work that it was “as close to being invisible as possible”. This has always resonated with me because much of what I paint makes up the overlooked, barely noticed moments in our day. The unseen. Those elements which operate on a lower frequency, a band of colour that circles the edge of a shop-front window, the strange (but beautiful) form sliding in through the top of a Barry Crocker cassette cover or the fleeting vision of a stripy pattern on the side of a truck passing down Sydney Road. These are the incidental, quiet moments of readymade abstraction that invigorate and inform my practice.

Peter Atkins
March 2007

Duration and Memory: the visual poetry of Peter Atkins by Natalie King, 2006

Collect, sort, order, position, display, group, configure, preserve. These are just some of the processes involved in Peter Atkins' assemblages of discarded treasures. Found objects are tenderly gathered, removed from their usual function and reinstated as exquisitely rendered arrangements and patterned configurations. Atkins' labour intensive activity of accumulation fuses opticality with narrative. With painstaking detail, Atkins conjugates the mundane with readymade sculpture. In doing so, found objects are rediscovered as wondrous materials revealing Atkins' ongoing interest in the nexus of design, craft, furnishing and the history of painting. Travel and journeys, however, are intricately bound with his constellation of impoverished materials. His journals are chronological and annotated diaries documenting personal experiences of place as told through materials.

The first panel of Atkins' Holy Land Journal (2005-6) comprises overlapping, coloured outlines that delineate the changing borders of the Old City in Jerusalem. As a physical manifestation of topography, these borders allude to reclaimed land, sacred sites and the passage of time. The strata of history is embedded in this poetic entanglement of lines; its contours politicise mappings of place and displacement. Like a pilgrim, Atkins travelled from Jerusalem to Bethlehem, Nazareth, Tiberias, Haifa and Tel Aviv. With methodical precision, Atkins rejoices in meagre materials, small relics from everyday existence. Refuse such as train tickets take up residence as patterns resembling the Israeli flag while glass rosary beads are reinvented as gleaming concentric circles.

Atkins arranges diminutive items that have caught his eye including clumps of coloured lint from his household dryer, deftly altered through placement. While retaining their tactility, Atkins' collected objects are transformed into taxonomical arrangements, like specimens. Precious Things consists of three chronological journeys to Israel, Bangkok-Cairo-Hong Kong-Melbourne and the local suburb of Brunswick. Within this new body of work Atkins incorporates, for the first time, his own passport size photographs of lurid neon lights in Hong Kong and Star of David graffiti in Tel Aviv. His interest in urban signage is captured in minute detail. Titles offer literal clues to place and objects as well as date. For example, in Lovers Lane, Park Street, September 18th, 2005 Atkins scoured for used condom wrappers from visits to the local park with his son, Cato. In The Day My Mother Died and My Mothers Funeral, handkerchiefs are placed nearby discarded, fake flowers covered in dewdrops from Melbourne cemetery as poignant reminders of loss, sorrow and grief.

Atkins' itinerant practice is laden with the residue of stories and destinations. Walking the streets, Atkins apprehends time to a lilting pace. The compelling durational aspect of his work slows time thereby making us aware of cycles and the joy of incidental discoveries. We are reminded of Henri Bergson’s notion of temporality.1 For Bergson, real universal time is indivisible and has its origin in our consciousness of duration. Bergson insisted that public clock-time is a 'counterfeit' representation of lived experience produced by the conversion of temporal experiences into discrete and measurable instantaneous moments. Real time, by contrast, is inextricably linked with our consciousness and involves the continuous progress of the past. Similarly, Atkins' visual poetry inflects duration and memory with a meditative and hypnotic pace.

Natalie King, 2006

Natalie King is a writer, curator and broadcaster based in Melbourne.

1. For a discussion of Henri Bergson’s Duration and Simultaneity see Gilles Deleuze, Bergsonism, translated by H. Tomlinson and B. Habberjam, Zone Books, New York, 1988.

Perceptual Identity by William Wright, 2005

Peter Atkins is a prodigiously accomplished Painter, a constantly absorbing consumer of the visual, an obsessing observer and, not coincidentally, a collector, of things: items, both splendid and mundane: textiles, fabrics, pieces of furniture, ceramics, plates, cups, handles, beaded handbags, colourful plastic buckles, beer mats, endless buttons, enticing fragments of Edo period and other patterned fabrics; all manner of ingeniously crafted human accoutrements even everyday things like sponges (should one mention the famous foam toe separators?), and countless other things more random from the streets that most would either overlook or dismiss as detritus; things thrown away: pages, postcards, bottle tops, tags, condom packets, occasionally the contents of same: scraps of paper variously embellished: etcetera. Most of which at some point re-emerge collaged or transformed as painterly objects in a world of heightened sensory concentration.

There is an attraction in found things - the unexpected - the different. They are surprise encounters; diversions into unprepared terrains that elicit correspondences in the self of an unprepared kind: an unravelling ensues and new insights emerge. During the many years I have observed artists I have known many who rigorously maintain side aspects to their practice: using the found, the unintended element, resulting in some or other form of visual sounding via the varied processes of collage, in works which often seem to bear little to no evident similarity to the artist’s more intentional areas of practice.

This function is an essential one, of purposive disengagement; dislocation of the conceptual and sensory centres of focus; a modus engendering a re-location of vantage. In Peter Atkin's work however there is a deeper interconnectedness between the encountered, the chance discovered, and their later translocation into works of art: the fragments then collaged and sequenced and their painted counterparts are not merely rendered decorous: more importantly, in their second life, as collage and painting, they undergo a process of intensification, a distillation into essence according to the necessity of Peter Atkins' expansive artistic vision.

Peter Atkins' Journals are comprised of these poignantly essential found images collected as a matter of compelling observation. Found on both distant travels and local meandering, sometimes unobtrusive, sometimes startlingly visual these vibrant collaged fragments are a way of encapsulating experience of the many and diverse places he has been to or lived; of retaining essential memories of times, places and people. They function as distillations, poignant illuminations of the society at the transient point in time: raw, untransformed cultural signs of quotidian life in the perceptual present. These 'journals' are a diary of the eyes and senses, acquiring by the same processes a further, more singular essence; that emerges as a unique a kind of perceptual identity.
While Peter Atkins is fundamentally an artist of our time - his work utilises the materiality and excess of contemporary life with a closeness of visual attention unparalleled - his work also engage painterly attitudes and skills which span the decades and the centuries, qualities of colour, space and displacement common to very good painting in other times, all times.

More specifically Peter Atkins is of an artistic lineage that emerged definitive in the work of developed artists of the great European tradition such as Claude Monet and Henri Matisse, among later others traversing the influence of the British artist William Scott and the Australians Ian Fairweather and Tony Tuckson. It is a lineage of artistic character, of an informing spirit that is emphatically visual.

Peter Atkins' painting is declarative. It has the power of clear, often strident image, a power supported by a gradual and layering process in its formation: in its unequivocal finality it is visually and sensually attuned. Peter Atkins is widely respected as one of a very small number of truly gifted and developed contemporary painters in Australia.

William Wright
14th August 2003. Revised, 4th June 2005

The World Around Me by Wendy Walker, 2004

'It's possible, in a poem or short story,' states author Raymond Carver, 'to write about commonplace things and objects using commonplace but precise language, and to endow those things - a chair. a window curtain, a fork, a stone - with immense, even startling power.'1 Similarly, artist Peter Atkins, with his transformative process of retrieval, reclamation and ultimately elevation, is able to inculcate in the viewer an appreciation for the not merely mundane but the unremarked, the incidental, the unseen, which may include a humble plant identifier, a carpet tag or a stylised footprint shape which tumbles unexpectedly from the lid of a shoe box.

Daniel Thomas offers the insight that Atkins' 'invariable square format is uncommon and itself a statement of objecthood' signifying 'artificially constructed worlds: farmlands, cities, houses, rooms
and boxes.'2 Certainly, it appears that the locus of Atkins' concerns has increasingly gravitated from the exotic - the spiralling swirls of an iron foundry in Delhi, a landscape in Switzerland - to the sphere of the personal, in an exploration of the paraphernalia of the domestic space. It is a shift that is implicit in the title of his latest exhibition the world around me.

These most recent paintings mark a further development in a cohesive body of work (2002-2004) with its genesis in the lo tech series (2002) - a series which signalled a return to a ‘more painterly surface, a looser more gestural way of painting.' With a deft and inverted deployment of white undercoat as the dominant surface hue, the paintings of 2002-2003 are distinguished by stronger spatial relations and a visual depth within the picture plane, in dramatic contrast with the more rigid geometry of the canvases of the late 1990s-2000.

Through the appropriation and reworking of his own painting archive, Atkins has facilitated the generation of not only a dynamic new direction in his practice, but one, which felicitously confers a sense of continuity. A witty abstraction of a utilitarian pedicure device, Toe Separator initially materialised in 1997, alongside paintings like Buckle and Drawer Handle as part of the soft edge exhibition. An overscaled, white organic form on an intensely orange ground, it is emblematic of the work from Atkins' earlier period - simple, bold, uncompromisingly stark. Conversely, Toe Separator (commissioned for the foyer of the Crown Promenade Hotel, 2003) is simultaneously an altogether more complex and subtle composition with its bleeding-edge, overlapping shapes that seem to float and hover. Repeated applications of enamel paint appear as small oases of luminous colour through the shifting, white veils of opacity and semi-transparency.

Softly, fluidly superimposed, with a dichotomous suggestion of movement within static representation, these partial slivers of shapes succeed in maintaining an immensity of form within a reduced format.In a further unravelling of possibilities, the paintings for the world around me (2004) reveal the onset of experimentation with the fragmentation of form. No longer floating, the shapes of the past two years are beginning to 'slip off the edges' of these somewhat smaller works, that nonetheless possess ‘a real weight to them - a sculptural sense.’ A lightening of the palette, notable throughout the work of this period (2002-2004), is augmented by the celestial blues and velvety indigo of the powerful Footprint (2004) suite of paintings - anticipated in the paper forms series (2003) - wherein red enamel underpainting may be glimpsed through membranous, ghostly-white layers.
Interestingly the meditative quality of these canvases masks the sheer physicality, the almost brutal industry - the layering of paint, the constant sanding and rubbing back - integral to Atkins' process. It is just one of many anomalies which enhance and invigorate Atkins' increasingly complex oeuvre - the purity of form loosely rendered, the collision between representation and abstraction, the passion which lurks beneath the calm surface of his paintings.

Wendy Walker, March 2004

Carver’s observation can be viewed as a variation on Gaston Bachelard’s contention that “Poets will help us
discover within ourselves such joy in looking that sometimes, in the presence of a perfectly familiar object, we
experience an extension of our intimate space.’
1. 'Fires' Essays, Poems, Stories by Raymond Carver

· Peter Atkins Silence by Jane O'Neill, 2014
[essays should not be reproduced without permission from the authors]
1963 Born, Murrurundi, NSW PeterAtkinsHeadshot
1983-84 Art Certificate, Newcastle, NSW
1985 Higher Art Certificate, National Art School, Sydney
  Currently lives and works in Melbourne
2014 Silence,GAGPROJECTS/Greenaway Art Gallery, Adelaide
2013 Jazz Martin Browne Contemporary, Sydney
Related Forms Bett Gallery, Hobart
2012 Monopoly Project Tolarno Galleries, Melbourne
2011 painting and drawing, Greenaway Art Gallery, Adelaide
Physical Settings, Martin Browne Contemporary, NSW
2010 Hume Highway Project (Tolarno Galleries), Melbourne Art Fair, VIC
2009 Welcome to LA, Readymade Abstraction, Tolarno Galleries, VIC
Studies, Greenaway Art Gallery, SA
2008 Pre-formed, Martin Browne Fine Art, NSW
2007 Readymade Abstraction, Greenaway Art Gallery, Adelaide
2006 Special Project #2: Remnant Threads, Victorian Tapestry Workshop
Precious Things, Sherman Galleries, Sydney

the connected world, Greenaway Art Gallery, Adelaide
Down My Street, Tolarno Galleries, Melbourne
Peter Atkins: Paintings 2000-2005, Bett Gallery, Hobart
2004 The World Around Me, Sherman Galleries, Sydney

2003 Big Paintings1990–2003, survey exhibition, Lake Macquarie City Art Gallery, New South Wales; Latrobe Regional Gallery, Morwell, Victoria
Paperform, Tolarno Galleries, Melbourne
2002 lo-tech, Sherman Galleries Goodhope, Sydney
Simple Pleasures, Greenaway Art Gallery, Adelaide
2001 Handmade, Tolarno Galleries, Melbourne
Materiality, Sherman Galleries Hargrave, Sydney
2000 Accumulation, Sherman Galleries Goodhope, Sydney
Paintings and Works on Paper, Sherman Galleries Hargrave, Sydney
Live From Brunswick, Greenaway Art Gallery, Adelaide
1999 Polyrhythm, Tolarno Galleries, Melbourne
1998 Greenaway Art Gallery, Adelaide
Soft Edge, Sherman Galleries Goodhope, Sydney
1997 Urban Artefacts, Ipswich Regional Gallery, Queensland
1996 Greenaway Art Gallery, Adelaide
Sherman Galleries Goodhope, Sydney
1995 Sherman Galleries Goodhope, Sydney
APA Gallery, Nagoya, Japan
Tolarno Galleries, Melbourne
1994-95 World Journal, VIII Triennale–India 1994, curator Annette Larkin, Lalit Kala Akademi New Delhi, awarded Gold Medal; Australian Embassy, Jakarta, Indonesia; Lawrence Wilson Gallery, Perth; Drill Hall Gallery, Canberra; Waverley City Gallery, Melbourne; Manly Art Gallery and Museum, Sydney; New England Regional Art Museum, NSW; Ipswich Regional Gallery, Queensland; Benalla Art Gallery, Victoria; University Gallery, Launceston
1993 Tolarno Galleries, Melbourne
1991 Tolarno Galleries, Melbourne
Garry Anderson Gallery, Sydney
1990 Galerie Cannible Pierce, Paris
1989 Garry Anderson Gallery, Sydney
1988 Garry Anderson Gallery, Sydney
1987 Garry Anderson Gallery, Sydney
Galerie Cannible Pierce, Paris
New South Wales House Gallery, London
2013 Melbourne Now National Gallery of Victoria
Collective Identity(ies) - This Is That Time Lake Macquarie City Gallery, N.S.W.
Play Money Counihan Gallery, Brunswick, Victoria
Arthur Guy Memorial Painting Prize Bendigo Art Gallery, Bendigo, Victoria
2012 Philanthropy - the Art of Giving Bendigo Art Gallery, Bendigo, Victoria
Wish You Were Here Adelaide Central Gallery, Adelaide, South Australia
Spring Group Exhibition Martin Browne Contemporary, Sydney, N.S.W.
2011 Artist/Artists, Benalla Regional Art Gallery, Victoria
2010 Quirky: From the Collection, Newcastle Regional Gallery, NSW

Clemenger Contemporary Art Award, The Ian Potter Centre, National Gallery of Victoria, Melbourne
The Museum Effect, Lake Macquarie Regional Gallery, NSW
Art For Science / Art Auction, Nellie Castan Gallery, Melbourne
The Shilo Project, The Ian Potter Museum of Art, Melbourne


Contemporaneous : Australian Contemporary Painting, Wangaratta Exhibitions Gallery, VIC
Bias Bound, Victorian Tapestry Workshop, Melbourne
Summer Exhibition, Martin Browne Fine Art, Sydney
Fletcher Jones Art Prize, Geelong Gallery, Victoria


Auckland Art Fair, Auckland, New Zealand
Winter Catalogue, Martin Browne Fine Art, Sydney
Poets Paint Words, Newcastle Regional Art Gallery, NSW
Arthur Guy Memorial Painting Prize, Bendigo Art Gallery, Victoria

2006 Strange Cargo: Contemporary Art As A State Of Encounter, Newcastle Regional Art Gallery, Touring to Broken Hill City Gallery, Bendigo Art Gallery, Orange Regional Art Gallery, Wagga Wagga Art Gallery, Tweed River Regional Art Gallery and Ipswich Art Gallery
Found Out-Art From The Found Object, Lake Macquarie City Art Gallery
Multiplicity - Small Tapestries, Victorian Tapestry Workshop, Melbourne
Salon, Bett Gallery, Hobart
Selected Works From The Corbet and Yueji Lyon Collection Of Australian Art, Sofitel Hotel, Melbourne
Recent Acquisitions At The N.G.V., National Gallery of Victoria
2005 Glad-Wrap-Up, Sherman Galleries, Sydney
2004 One Of: Festivus 04, Sherman Galleries, Sydney
Rubbish: Recycling as Art, Global Arts Link, Ipswich, QLD
2003 New Acquisitions, Newcastle Region Art Gallery, NSW
The Barcelona Studio: Fragments of a Brief History, Plimsoll Gallery,University of Tasmania, Hobart
ARCO International Contemporary Art Fair, Madrid, Spain
MCA Unpacked II, Museum of Contemporary Art, Sydney
Home Sweet Home: Works from the Peter Fay collection, National Gallery of Australia, Canberra
A Small Private Eye, Horsham Regional Art Gallery, Victoria
2002 Group Exhibition, Sherman Galleries Goodhope, Sydney
Dressing and Dreaming, Sherman Galleries Hargrave, Sydney
The Art of Collecting, Newcastle Region Art Gallery, NSW
The Shape of Air (Flat), curator Heather B. Swann, Bett Gallery, Hobart
2000 Uncommon World: Aspects of Contemporary Australian Art, National Gallery of Australia, Canberra
1999 fashion & art, Gallery 4A, Sydney
Five Continents and One City, curator Gao Minglu, Mexico City Gallery, Mexico
ARCO International Contemporary Art Fair, Madrid, Spain
Global Arts Link, Ipswich Regional Gallery, Queensland
National Works on Paper, Mornington Peninsula Regional Gallery, Victoria
Sixth Australian Contemporary Art Fair, Melbourne
1998 Redlands Westpac Art Prize, Sydney
The Mecenat Collection, Sherman Galleries Goodhope and Hargrave, Sydney
Sets and Series, Tolarno Galleries, Melbourne
‘Something…’ , Sherman Galleries Goodhope, Sydney
1996-98 Flagging the Republic, Sherman Galleries, Sydney, and regional galleries tour
1997 Anon, Sherman Galleries Goodhope, Sydney
The Crate Show, Sherman Galleries Goodhope, Sydney
Tokyo International Art Festival, Tokyo
Za Moca Foundation Works on Paper, Tokyo
Sydney Fundraiser Exhibition, Gallery 4A, Sydney
Contemporary Benefactors Auction, Art Gallery of New South Wales, Sydney
1986-87 Systems End: Contemporary Art in Australia, curators William Wright and Takeshi Kanazawa, OXY Gallery, Osaka; Hakone Open-Air Museum, Tokyo; Dong-Ah Gallery, Seoul; Kaohsiung Fine Arts Museum, Taiwan
1996 Moët et Chandon Touring Exhibition, touring Australian state galleries
Contemporary Benefactors Collection, Art Gallery of New South Wales, Sydney

National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; Museum of Contemporary Art, Sydney; National Gallery of Victoria, Melbourne; Queensland Art Gallery, Brisbane; Benalla Art Gallery, Victoria; Bendigo Art Gallery, Victoria; Muswellbrook Regional Gallery, NSW; Newcastle Region Art Gallery, NSW; New England Regional Art Museum, NSW; Chartwell Collection, New Zealand; Waikato Museum of Art & History, New Zealand; Monash University Gallery, Melbourne; Shell Company of Australia; Allen, Allen & Hemsley, Sydney; Corbett and Yueji Lyon Collection, Melbourne; Pat Corrigan Collection, NSW; Peter Fay Collection, NSW; Derwent Collection, Tasmania; Esk Collection, Tasmania; Artbank