Hati Hati Bule was my most vulnerable solo exhibition to date, presented at Penny Contemporary in Hobart, Tasmania.
The collection (translating to ‘be careful, foreigner’) emerged from my time in Indonesia, where a conman entered our family business, bringing chaos in the form of guns and gangsters. Rather than depicting those events directly, the work explores their aftermath, the strain they placed on my relationship with my father, and the emotional fallout that followed. It’s structured chaotically because that time in my life was incredibly chaotic.
Bapak’s Buffalo marks the closing of a chapter in my relationship with my father. The painting evokes a moment of simplicity and serenity. Dad walking his buffalo encircled by the owl and the snake, which had both appeared in my front yard earlier that year. In Indonesian folklore, the owl is an omen of death, later confirmed by the appearance, and subsequent killing, of a snake (also an omen) in my home the next day. The painting reflects the painful end of simplicity with my dad.
Blu Swimmer Crab was the first painting completed in this collection. I have always liked to paint animals, especially when I feel calm. It’s about the effortlessness of necessities in the Indonesian way of life; and how easily something can be caught and enjoyed that same evening. But also how that abundance informs their culture. For me, the crab symbolises simplicity and sustenance, and serves as a reminder to appreciate the moments of tranquillity that inspire creativity. Or… how easy it is to get caught in a trap.
Celebrity Baby celebrates the beauty of new life and the deeply layered chaos that defines and bonds family. My sister was born during this time of turbulence, a reminder of love, the power of new beginnings and that babies don’t wait for psychopaths. The painting is named after her astrology reading that predicts her fame and impending fabulous hair… still yet to be confirmed.
Dance Naked Under Palm Trees is about idealism. Life in a tropical Indonesian paradise was rather effortless for me to romanticise. This piece is about what could have and should have been - us vibing heavily. Unfortunately, dreams are fragile, life is relentless and idealism doesn't pay the bills. But it is a reminder to appreciate life and not take it for granted.
Island Paradise emerged from my time in Yeppoon and a snorkelling trip to Great Keppel Island, where I envisioned painting the vibrant coral patterns I encountered. Hilariously, the final piece bears almost no resemblance to my original inspiration, and in its deviation, became the catalyst for this collection. The painting reflects how expectations of an idyllic island paradise fall short, revealing a bizarre, unexpected reality that was far from the perfection I imagined.
Fake Jungle is like a fever dream; the surreal disorientation of living in a remote, coastal jungle region where my grip on reality often felt elusive. For context, we had 20+ staff living onsite and I was expected to be their boss. I was well-liked and treated everybody respectfully, but cultural and language barriers allowed me to simultaneously explore authority and escapism. I was lonely often and started taking ketamine daily which further heightened the abstraction, blurring the lines between control and chaos.
Fertile Garden explores the ideology of growth within my father’s world. A family business under the watchful eye symbolises his presence and influence; both good and bad. The huts represent the three significant joglo-style buildings he constructed in the jungle. The foundations for his vision. Scattered sunflowers symbolise us, his children, as we navigate growth under his guidance. The painting is about a sense of his nurturing potential, intertwined with the complexities of familial relationships.
Hati Hati Bule, means “Be Careful Foreigner” in Bahasa Indonesia. The collection tells the story of one of the most distressing periods in my life - my time in West Java, Indonesia in 2023. A story of ambition, extortion, greed, guns, gangsters, guilt, art, music, family & a con man. The entire collection is painted in a childlike style to convey escapism, like how children create imaginary worlds to simplify and shield themselves from life’s harsh realities.
Lady Finger Bait reflects the story of a smooth-talking Indonesian posing as a wine merchant. We had been building a multi-functional creative centre and needed someone who could bridge the gap between locals and internationals. Enter Bani. Initially, he seemed to be the perfect guy for this project. He was unimposing, but had a military precision; promising connections with local wine enthusiasts and influencers. His charisma and charm concealed a web of lies that ultimately unravelled, exposing us all to life-threatening dangers; in Bani’s world; he saw us as dumb foreigners; and like suckers, we took the bait
West Waves was the name of the chaotic and absurd festival that we hosted. Bani had painted a pretty picture of what to expect, and things were getting pretty bizarre. We always said that ‘if the surf is good, you can drop everything and go surfing.’ So we abandoned the festival mid-event, disrupting Bani’s carefully laid plans - and boy did we need a break from his unhinged behaviour. My friend, silhouetted by the sun setting over the reef, encapsulates a moment of beauty that will stay with me. The painting reflects this moment of defiance, the tension of betrayal, the serenity of surfing. Most of all, it’s about finding the beauty in the bullshit.
Lost at Sea reflects the disorientation and detachment experienced after the festival. The painting captures the moment I realised my Indonesian existence, over half a decade of my life, could no longer continue. I remember counting down the days until I’d be flying back to Australia. Depicting a boat captain adrift, this piece symbolises the need to pivot and chart a new direction in life.
Egyptian Wedding is a tribute to my girlfriend, whose moral compass always points true. When everybody had chosen to ignore their troubling suspicions for fear of upsetting my father, she made a stand and put the wheels of ‘normality’ back into motion. This piece celebrates her grounding influence and her ability to see things for what they truly are, even in chaotic circumstances.
Plastic Pistol captures the unsettling tension and absurdity of manipulation through fear. Bani always wielded a gun, claiming to protect us, but it only served as a tool of intimidation. On the night of the festival, we managed to confiscate it from him. Only to discover it was a plastic gun all along. Weird Alert. The painting explores the fragile façade of control and power, juxtaposing fear with the comical ridiculousness of his contrivance.
Rhi Know I’m a Toucan explores the duality of self. How can one be both the jester and the rock? The rhino being strong, and protective. The toucan, vibrant and silly. They represent two sides of my personality. Coexisting in harmony and conflict, both are equally valid, equally “me.” The title plays on the Indonesian word tukkan, meaning worker, which is how I felt throughout the experience - just a guy trying to do his job.
Right Eye Blind explores the loss of clarity, both literal and metaphorical, and the cost of losing sight of what’s important. Throughout 2023 my father lost sight in his right eye due to toxoplasmosis. The work confronts blind spots in our relationships and how red flags are missed, and how perceived truths can be so wrong. The sun, once a symbol of admiration, now reflects disenchantment. This work reflects the aftermath of my decision to leave Indonesia.
Spirit Crocodile is about my encounters with spirits in Indonesia, which is a pretty normal part of life over there. I’ve never really believed in that mystic shit, but that changed. I had a spirit try to enter my body. I could feel it trying to get down my oesophagus, an intense and visceral sensation that made me sick for weeks. This painting captures the disorientation, vibrant and haunting. The painting invites us to reflect on how cultural contexts shape our perceptions of the unknown.
The Ambon explores a surreal encounter with the Ambonese, a group of wikipediable gangsters who unexpectedly became allies during our festival. Organised by Bani as festival security, the Ambon, donning big guns and Hawaiian shirts (like gangsters in paradise) were particularly honourable. The painting reflects a pivotal time when the puzzle pieces became clear. Their leader revealed Bani’s betrayals… blackmail, stolen land certificates, threats of extortion, and a hit on my dad.
Truffle Pig & Rat is a metaphorical exploration of manipulation and misguided trust. The truffle pig symbolises my father’s uncanny ability to sniff out opportunities. Here, its instincts are corrupted by the influence of the rat. The rat manipulates reality, planting false information and steering the pig toward a distorted truth. I wanted to capture the dynamic of one monster feeding another, illustrating the long-term ramifications and destructive cycle of exploitation and deception
TUNA CAN You know when someone opens a can of tuna and you know that it’s tuna? Well, this experiencewas nothing like tuna, but it was fishy as fuck.