This images uses organic lines and structured lines to draw a contrast between an organic institution, and something vast and untouchable like a company?
There are no doors on the Coke building. It was a reflection I saw these entities as vast and untouchable.
Perhaps a reflection of how strong a delusion can be, Karens car seems sketchlike, whilst the photorealistic portrayal of the landscape outside renders a duality of vision.
I wasnt even sure what the word 'anthropomorphic' meant, yet is was quite fitting...many a time I thought in my psychosis with such symbology metaphor and analogy, objects would seem as people.
A turning point image for me, it describes a race of beings that through understanding fundamental physics, (circle, square, triangle), have liberated themselved from space/time.
In this way they study human technology to take heed of our advancement.
Are these themes 'out of this world'?, 'psychotic'? A predisposition to delusion?
The 'plaque', near the base says in my secret code, 'Have I lost the plot yet? Is it time to go home'?
In a contemporary environment, a reflection on my distaste for anything 'paradise' in nature as presented by the media, to be symbolised with palm trees and tropical beaches etc.
The people in the environment dont know that the palm trees are the centre of 'targets' and they are influenced by their landscape to be drawn to them.
I went down to the local shopping centre to make some art. The only thing I was attracted to was the escalator to the car park, to escape that environment.
I cant remember the last time I was in a shopping centre.
Again, my anguished face is photographically placed on a sketch that celebrates the divine proportions of the golden mean. (A way of dividing up picture space to appeal to a sub conscious yearning for proportion).
Time and technology is considered here-a rendered drawing that took an amount of time, superimposed by something that was caught in an instant.
The Sidney Nolan reference is intended-except that the eye piece shows the eyes, not hide them. A reflection on how exposed I felt through my psychosis.
Again a juxtoposition of graphic colors, describing dischordancy. Familiar themes of flat televisions on flat planes describe a feeling of not knowing what is real from what is not actual.
When I was acutely psychotic overseas I would sit at a distance from people and draw them. This was in the common room at a hostel in Edinburgh in 1994.
The 'POW! BAM!' message becomes more real from the source it came from-a facade.
Dually a reflection on the strength of the media and also a reflection that delusions, can seem incredibly more real than the actual, and have a weight which cannot be disintegrated.
I would always draw mad ditties and timelines such as this to make sense of my chaos in my psychosis. Upon showing these to people, there would be a general concensus of concern, yet they did not intervene.
This is a mandalla, before I even knew what one was.
The familiar circle, square, triangle represents an understanding of physics as relates to the androdgynous being in the centre.
A client in the Psychiatric ward where I met, after talking of my 'propulsion gyroscope' machine, suggested it was my space machine drawn subconsciously. A verdana.
Ive always been interested in nature, and deplored the corporate obcession with palm trees.
Here is a group effort (perhaps also a conspiacy?) to pull apart a facade and reveal the truth of biodiversity.
Much of my work transposes societys issues on personal ones. This, out of hand, can lead people in the grip of psychosis to believe they are Jesus, running Government departments, or some such delusions, which are common in schizophrenia.
An image that is the result of my fascination with technology and 'banal' objects, it tells of the obcessive-compulsive way I can trace shapes in my field of view, as per the rendered sky.
As usual, this piece tells of my future-I ended up working as an illustrator for the Herald Sun newspaper in the building on the right.
This 'tracing' of my visual environment helps me to gather a sense of proportion when I am making marks.
A hamburger rendered in psychadelic colors-highlighting the artificiality of modern food. The background is rendered in '0's' and '1's', the binary code for computer storage.
Again highlighting the cultural delusion of what is natural.
The plant bears new generations in its root system, while at the same time fertilisation of a terrestrial, human element by a mechanical entity is occuring.
I see this image as a predisposition to my 'delusional' thinking.
The first pictogram describes a streetlight with a message, the second describes the anxiety I felt when this was happening. The third shows how spoken words morphed for me into something different but phoenetically similar.
The number plate on the car says 'weknowwhereyouare', a reflection of my paranoia.
This picture also suggests my fading insight that these things were merely facades, as per the scanned sunset in the background.
At this time I was trying to extract the esscence of an idea or theme and graphically represent it as visually succinctly as possible.Here is a resistor being inundated with water.
Other thematic elements, (suggested subliminally), range from lions to dead fish, indicating a 'psychotic' and too lateral link of ideas.
The perspective represents a fantasy I have sometimes of a door opening to a different porthole, probably a metaphor for exploration of new areas.
After exhausting obvious points of interest in the city, I began to be drawn to stimuli and banal objects such as street poles and walk/dont walk signs. In this image, technology is 'hooking certain people out of the bustling crowds.
I felt, and still sometimes feel, I was one whom these magical messages were/are touching.
Drawn in 1993, this image describes a thought as more important than the real world around.
The themes of this thought are a magnet machine I have made, a free energy machine that is inexhaustable.
Its reflected as important because 'real world' references to the CO2 floadting around the landscape, something which this free energy machine, properly applied, might help combat.
This person is constructed in layers and the 'guts' of the person lies underneath, as signifies by the red layer.
At the time, I was behaving in a stoic, and unspontaneous manner, with my real feelings hidden-yet I felt transparent.
Any psychiatrist who writes in their notebook, 'flattened affect' with a client is not looking or listening. Psychotic people have a vast capacity for acute emotional feeling.
Sexuality, barriers, invisible influences and stimuli, are all a part of this sketch. There is a sense of entrapment in the water flow around and around.
By simplifying this image off earlier sketches, I tried to create certainty or closure around areas of concern.
