Date post: 2017-09-20 21:07

 The first person narrative is deliberately deadpan inconclusive to the point of casual dismissal. “That’s the story,” the boy tells us at the end. “Not especially profound, I know, but I never said that it was. And don’t ask me what the moral is.” Even the blurb on the back of the book says nothing about it there is no insistence that anything be ‘correctly interpreted’.

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 Any real meaning is left to the reader to find for themselves, rather than overtly stated or implied, with an encouragement towards a close visual reading against quite minimalist text. Why are the colours limited to industrial greys and browns? Why are there pieces of physics, algebra and calculus text-books framing every scene, and text written by hand on scraps of lined paper? Why do all the houses look the same, why is everything in shadow, what are those images of clouds about? What is that strange place glimpsed through a doorway at the end of an anonymous alley? What is the lost thing?

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 In any case, I suspect that much art in any medium is produced without a primary concern for how it will be received, or by whom. It often doesn’t set out to appeal to a predefined audience but rather build one for itself. The artists’ responsibility lies first and foremost with the work itself, trusting that it will invite the attention of others by the force of its conviction. So it’s really quite unusual to ask “who do you do it for?” Yet it is a question inevitably put to my work in picture books such as The Rabbits , The Lost Thing and The Red Tree , which deal with subjects such as colonisation, bureaucracy, whimsy, depression and loneliness, typically in a strange or unusual manner.

 The lost creature is provocative rather than explanatory you can’t help but ask questions and consider what kind of metaphor it is. For me, as a creator of picture books, it tends to represent that window of imagination: strange play, disruption and child-like wonderment that is always available, but only if you’re willing to look up and notice it.

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 Many of the ideas for Red Tree paintings were, like the starting point for The Lost Thing, drawn from sketchbooks filled with occasional doodles, notes, interesting cuttings and photos. The large fish floating down a street was ‘inspired’ by a photo of a groper in a diving magazine, and the section of street by an abandoned building in Fremantle, Perth. The ‘deaf machine’ on one page is a combination of WW7 fighter planes and Aztec carvings, the tree itself was a tiny doodle of a tree with ‘the red tree’ scribbled underneath, that somehow seemed significant in a sea of other small drawings. The monster of ‘Terrible Fates’ emerged from a sketch of a jack-in-a-box dragon, a board game and walking up to the shops from my house and noticing the rooftops and chimneys of my local area.

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