DAVID'S ART PRACTICE

Using visual art David explores Australian culture and society from a perspective that incorporates his Dalungbarra and Anglo-European heritages. His great-great-grandmother was known as Mary Anne Dalungdalee, of the Dalungbarra, who was born at Wanggoolba Creek on K’gari, or Fraser Island in the early 1800s. David’s Dalungbarra heritage informs his art process and work, is the resolve that drives his visual practice.

His art, though at first aesthetically seductive becomes more disturbing as it is read, until the viewer is left with uncomfortable questions regarding the ‘peaceful settlement’ of ‘Australia’. David askes the viewer to reflect upon their own understandings and assumptions regarding the ongoing struggle for survival and autonomy that Indigenous peoples face each, and every day. Often incorporating dark humour, historical figures are re-imagined, re-presented in visual narratives meant to challenge and instigate reflective moments in an Australian viewer, by which a greater empathy for Indigenous ‘Australians’ could be fostered.

Printmaking has been central to David’s career in the arts, it has provided opportunity to print for many artists. This interaction, and sometimes collaboration with so many gifted people has been rewarding and educational for the artist.  

Below is a selection of works from Australian Anosognosia, a solo exhibition at Woolloongabba Art Gallery 2017.  This exhibition was the visual component of a submission for a Doctorate of Visual Arts degree at the Queensland College of Art, Griffith University, Brisbane, Australia.

Jewellery has been a growing interest for David and a few examples of his work are displayed after the prints below.

An artist's statement for Australian Anosognosia 2017.

David's CV.

Old Horse Glory, 2015, an la poupee etching.

Phillip’s Hope, 2017, an la poupee etching.

The Message, 2015, an la poupee etching.

National Bubble, 2016, an la poupee etching.

Flight of the One Eyed Crow, 2016, an la poupee etching.

National Damper, 2016, etching.

Colony Damper, 2016, hand coloured etching.

Tool of the Australian Amateur Scientist, 2015, multiple block, a la poupee etching.

Evolution of Australian Wire, 2015, multiple block etching.

The Deed of Lieutenant O’Connell-Bligh, 2016, an la poupee etching.

The Lieutenants Reward, 2016, an la poupee etching.

'That' Cook!, 2016, etching.

Gumnut Invasion, 2016, an la poupee etching.

Gumnut Nation, 2016, an la poupee etching.

Specimen 16, 2016, an la poupee etching.

Grlgoyle, 2013. Lost wax bronze casting.

Grlgoyle, detail

Grlgoyle and Book of Silver

Cicada, 2013. Hand sawn, engraved and shaped sterling silver plate with river stone.

Cicada with wings extended.

Dewstone, 2013. Hand sawn, and shaped sterling silver plate with green stone.

Spider retracted.

Spider, 2013. Hand sawn with rivets for articulation, in brass. 

Spider extended is 210mm diameter.

Book of Silver, 2012,  sterling silver plate and pins.

Book of Silver detail

Book of Silver detail

Moth and Moon, 2001, shoulder piece. Sawn and dressed brass.

Moth and Moon detail

Vines, 2005, bracelet. Hand sawn brass.