pixel prisons.

sleeping saints
in faded paint stained shoes
lose yesterday’s blues.

grey and green scenes
sway where demented god’s
children play.

brick laid cages breed
decomposing seeds starved on
distracted needs.

pixel prisons soak
young eyes
dark cloaked.

uniformed drones roam
repeated fashion adorned
whore’s stores.

plastic faces worn
don’t understand
perfection can’t be bought
only born.

coffins racing to stop first
whilst golden heaven’s
thirst burns unnoticed.


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passing by…

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harness the power.

As you smoothly change down into third and power into the apex of a sweeping corner, harness the full power of the new Audi A9 and feel alive the way you always wanted to feel after watching expensive European car commercials featuring picturesque panoramas, dramatic camera movements, classical music and sensual baritone voiceovers.

As you fantasize about parking it outside the gym tomorrow after a chai with your bi-sexual life coach- run your fingers through your receding hairline as it blows in the wind then clasp your prostitute’s hand, look past her fake eye lashes and deep into her blue contact lenses and tell Irena she’s the most beautiful woman you’ve ever paid for in the last fortnight.

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at the ballet.

sour faced cheque book
convertible driving
have you paid the cleaner?
dollar bill fisted sisters
red nailed failures
of beauty.


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ears: soul extraction

Click here to read part two of my interview with Australian artist Daniel O’Toole aka EARS.

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ears: a quiet observer

I recently interviewed Australian painter/musician Daniel O’Toole aka Ears. It was my last article for T-SQUAT magazine and has been published in two parts. Part one outlines his development as an artist and the second explores the psychological and philosophical elements to his practice.

Brett Whiteley defined painting as a game visually describing the “centre of the meaning of existence” and drawing as basically confirming the commonplace as beautiful or probing with authority into the unknown. The visual evidence of this philosophy manifests in the flowering of originality, unpredictability and the absence of doubt in the mark of a unique artist. Nuanced, stylised, difficult to mimic and impossible to replicate, a great artist’s work symbolises their search for an unadulterated interpretation of their reality and an as-true-as-possible representation of the self in their chosen medium. However, it is only after an exhaustive and time-intensive undertaking through experimentation, reflection, failure and doubt that an individual’s truth starts to gradually materialise on their internal horizon.

It is here, as darkness renounces its dominion over light and hesitation dissipates into self-belief, that history has located Ears (Daniel O’Toole) ascending onto the shoulders of past masters to provide his own influential platform. At the age of 28, O’Toole, the Sydney based musician, photographer and painter is the possessor of an almost incomprehensibly fertile imagination, abstract intelligence, voracious ambition and the philosophical artistic wisdom of an artisan twice his age. It is these character traits, as well as a detailed map of the paths treaded by his influences that have guided his unassuming advance to the front-line of a new generation of world-class contemporary artists.

With the simple disclosure of their mind’s inner workings an artist distinguishes themselves from those who choose to repress their expression and create themselves as uncreative creatures. Armed with the unlimited resource of his own humanity and an alchemic visual curiosity, Ears’ paintings blend the whimsical nature of early childhood with a ripened melancholia – propelling his work deeper into his involuntary subconscious with unexpected visual consequences. Drifting through painterly constellations outside our preconceptions of what is and isn’t beautiful, Ears continues to fortify his own enigmatic sanctuary to uncover the mysteries within himself – the mysteries he has taken sole responsibility for revealing.

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