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7 – 28 July 2012

Opening Event | Saturday 7 July 6pm, Artist talk 5:30 pm
Performance by Eggvein | Saturday 28 July 7pm

My studio is like Rupert Pupkin’s basement; Pupkin is the chief protagonist in Martin Scorsese’s 1982 film, The King of Comedy. The basement of Pupkin’s mother’s house is a site for a pathological projection concerned with subjective and professional transformation. Curiously, Pupkin’s ontological aspirations in his studio are similar to my own experiences of imagining my work in an art gallery. These two kind of spaces, usually understood as separate, are closely linked, both relate to and rely upon complex symbolic orders of subjectivity. To tease the idea of the studio as a place for self-construction, I will expand upon Boxcopy’s extant qualities as a site for confession, reflection and transformation.


I am an artist with philosophical concerns with ontology and the self. I expand on these developing concerns with amalgams of photography, writing, sculpture, installation, sound, painting, video and performance. I have exhibited my work since 1990 and was active in organising several artist projects in Sydney most notably CBD Gallery between 1993-2000. Recently, I have exhibited work at the National Portrait Gallery, Peloton, Monash Gallery, Queensland College of the Arts Museum, The Pestorius Sweeney House and the Museum of Brisbane. I have also curated exhibition such as, Blow Up the Inside World at the University Art Museum at Queensland University, Post Contemporary Painting for the Institute of Modern Art and Personal Other World, for Canberra Contemporary Art Space.

Exhibition Catalogue | Essay by Naomi Evans

Exhibition Documentation

Eggvein Performance Documentation

Exhibition Review by Grant Stevens | Eyeline Contemporary Visual Art (77)

Exhibition Review by Claire Hielscher | UN Magazine (6.2)

Image: David M Thomas (with Stephen Russell and Joseph Breikers) A party disguised as work or work disguised as a party 2012. Installation view at Boxcopy.