Limited Edition of 100 Only
Created using both brush and palette knife, this textured portrait radiates elegance and character. The soft fur is rendered with expressive strokes and rich, layered tones. This original artwork is perfect for cat lovers, collectors of animal portraits, or anyone seeking a dramatic feline focal point for their space.
Deep within the vibrant coral reefs of Iriomote Island, a remote gem in southwestern Japan’s Yaeyama Islands, a delicate alcyonarian coral sways gently in the ocean’s currents. This unassuming coral, teeming with marine life, harbors a secret: the enigmatic Phyllodesmium iriomotense.
This tiny sea slug, measuring just 20 millimetres in length, is a master of stealth. Its slender body, a mesmerizing blend of blue, brown, and yellow hues, perfectly camouflages it within the coral, protecting it from predators. As it feeds on the soft tissues of its thread-like alcyonarian host, the slug’s radula, a tongue-like structure armed with tiny teeth, delicately scrapes away at the coral’s surface.
Phyllodesmium iriomotense is a member of the Facelinidae family, a group of aeolid nudibranchs renowned for their unique relationships with their food sources. The slug’s symbiosis with the alcyonarian is likely a mutually beneficial one, providing the coral with a vital cleaning service and the slug with a constant supply of nutrients.
In this captivating artwork, the artist masterfully captures the intricate beauty of the Phyllodesmium iriomotense. By emphasizing the vibrant blue hues and delicate shape of the tentacle-like structures called cerata, the artist creates a striking visual contrast with the dark background, drawing the viewer’s eye into the intricate details of the marine animal’s internal structure.
The diffusion of light through the three main layers of a Cyanea capillata jellyfish was the inspiration for this work. These alien-like marine animals thrive in the sub-zero temperatures of the Arctic Ocean in depths of about twenty metres. Continual swimmers, they can cover several kilometres per hour when aided by sea currents. Cyanea capillata are commonly known as Lion’s Mane jellyfish because they often ingest their own tentacles (their ‘mane’) as a protein source prior to breeding. Composed mainly of water (94%), they are largely opaque, with a red frill (oral arms) on the underside of the jellyfish.
The artist’s inspiration stemmed from the Lion’s Mane jellyfish’s floral-like shape and vibrant blue hues, expressing the natural beauty of this marine animal in a captivating way. The incorporation of multiple blue tones around the jellyfish’s perimeter effectively contrasts with the dark background, adding depth and visual interest to the artwork.
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There is something very admirable and attractive about genuine country girls that I find difficult to explain . There is often a quiet confidence and strength about them and a deep and intuitive knowledge that comes from working with animals of all kinds, particularly horses. And often they carry an openness built on honesty as their best policy.
This piece was inspired by the stillness that settles just before the first storm of the season. A lone horse stands grounded in a field of tall, dry grass, its warm tones subtly glowing against the backdrop of dark, shifting clouds. The contrast between the quiet strength of the animal and the heaviness of the sky adds depth to the scene. Created in soft pastel, the artwork brings together movement in the clouds and stillness in the land — a moment suspended between calm and change.
Looked Twice is a graphite study of two young calves. Every line traces the soft folds of skin, the texture of the hair, the curious gaze of animals that belong to the land. The white background leaves nothing to hide behind – just two forms, rendered with care and a sharp eye for detail. You see it, you get it — and if you don’t, you’ll probably look twice.
This painting tells the powerful story of QMAG — a journey rooted in the heart of Central Queensland and shaped by discovery, connection, and transformation.
At its centre are two large circles, representing QMAG’s key operations in Parkhurst and Kunwarara, just outside Rockhampton. It was here, beneath a fallen tree, that biologist Bob Burban made a remarkable discovery in February 1985: clumps of white rock nestled in the tree’s roots. This chance encounter revealed one of the world’s largest known deposits of magnesite, marking the beginning of QMAG’s extraordinary path forward.
Flowing through the painting is a large snake, winding its way across the canvas — a symbol of QMAG’s evolution and growth. Its body is patterned with the chemical structure of magnesite, while its vibrant colours — orange, red, green, and blue — reflect the diversity of QMAG’s specialised product range. Six glowing circles within the artwork represent these six core product lines, each one a result of decades of expertise and innovation.
The Fitzroy River, painted in deep blue, curves through the landscape — a vital lifeline of Darumbal Country and a reminder of the deep respect owed to the land. Its edges are lined with grey rocks, grounding the piece in the terrain that makes all of this possible. Watching quietly are two green tree frogs, totem animals of the Darumbal people — their presence a symbol of guardianship and connection to Country.
Rising across the painting are textured patches of orange and green, echoing the topography of the land on which QMAG operates. These forms reflect a commitment to responsible mining practices and rehabilitation efforts, ensuring that what is taken from the earth is given back with care.
Kangaroo footprints are scattered throughout — symbols of movement, journey, and the enduring stories of the Darumbal people.
This painting is more than a depiction of a company — it is a tribute to a place, its people, and a shared future. It has been a privilege to create this work in collaboration with QMAG, to explore their legacy, understand their challenges, and honour the journey from ore to your door.
This painting is a tribute to the Spirit that lives within all things—from a single blade of grass to the vastness of rivers and billabongs, from rocks and trees to insects, animals, and human beings. In Aboriginal worldview, everything that is alive holds a Spirit, and with that Spirit comes knowledge gathered through time, across generations, and encoded in the land itself.
Country is a living library, storing the wisdom of the past, the lessons of the present, and the possibilities of the future. Plants, minerals, waterways, and landscapes are not passive elements, but active archives that can be connected with—if we listen through Spirit.
In contrast, Western systems, which often dismiss what cannot be seen or touched, have long overlooked this deep connection. But while the old ways of living with Country, healing through plants, and honouring Spirit may have faded in visibility, they are never lost. They are still present—alive, breathing, and waiting to be remembered.
This artwork serves as a reminder: we can always reconnect. We can turn to the land and walk barefoot through a world rich with memory, knowledge, and healing.
Symbols throughout the painting reflect this deep connection:
Scattered throughout the piece are circles representing communities across Australia engaged with the UQ Poche Centre, reflecting their collaborative work in research and healing. The six outer circles symbolize diverse research methodologies that seek to understand complex issues and explore pathways to community wellbeing.
This painting is not just a visual piece—it is an invitation:
To remember. To reconnect. To walk with Spirit.
To honour the living knowledge that has always been here.
This knowledge has been passed down for thousands of years through stories, songlines, ceremonies, and art. It includes detailed understanding of the environment, such as how to manage fire, track animals, use plants for food and medicine, and read the seasons. These practices have helped care for the land in sustainable ways for generations.
Aboriginal knowledge of Country is a powerful reminder of the deep connections between people and the natural world, and the importance of respecting and protecting it.
The darkness of the Centre of the Milky Way creates the form of the Celestial Emu and how it journeys across our skies periodically from one year to the next. How it sweeps across the sky, legs and neck stretched out as though running in autumn, before diving towards the horizon in winter.
It shows when to collect Emu eggs and when not to, to ensure the next generation’s survival.
The Emu in the sky shows us what the Emus on the land are doing.
Everything is connected in a fundamental universal interconnectedness.
What is found in the Sky is reflected here on Earth.
The Sky knowledge connects to the food knowledge, which connects to the seasonal knowledge. It all relates in a practical and cyclical way.
What inspired me to paint this painting was the opportunity to live in the forest in Northern NSW, in an area free of light pollution, where I could look truly into the sky and the Milky Way above, every night of the year when the skies were clear.
Increasing levels of light pollution from cities and towns are diminishing the visibility of our celestial heritage greatly, and it becomes more and more difficult to see the knowledge and culture embedded in our dark skies.
It made me wonder, what are we deprived of without even realising?
As everything observed in the sky is mirrored on land, and what is observed on land is echoed in the sky.
As certain stars link to the seasonal changes in native plant cycles, migratory patterns of local animals, fruit harvests, local schedules of fire-farming, ceremonial practices and weather patterns.
All this knowledge is embedded in the Emu in the Sky, creating a network of celestial highways, very much like the Songlines do on land, extending through time and space.
Our Ancestors knew when and what to do simply by looking up into the stars, which takes the phrase ‘everything is written in the stars’ to a whole new level of understanding. Because it literally is.
There is so much more to the Sky-Land relationship than words can describe.
We need to sit underneath the night sky, and this painting reminds me of the times I got to spend looking up and observing.
