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This exhibition reimagines pop art as a weapon for social change, tackling a variety of social issues across existing and new works. Expect murals, sculptured works, reimagined protest signs, and witty dissections of advertising and street art aesthetics that challenge conventional narratives reframed through a Political Pop lens. This exhibition challenges viewers to see beyond the surface, sparking critical discourse about the power structures shaping our world. Get ready for a vibrant and confrontational encounter with Political Pop that demands action, reclaims visual language and injects it with a powerful political punch.

“Acknowledging Country is an opportunity to reflect on the continuing and unbroken sovereignty of First Nations. It should not merely be a symbolic act of recognition but rather is an invitation to reflect on colonialism as an ongoing process of violent dispossession that makes and remakes itself in actions large and small.  It is also an invitation to reflect on our own relationship to place: how we ended up where we are today, how we are implicated in histories of dispossession or resistance, what our relationship is to past, present, and future. To do this, as a settler living on stolen land, requires an embrace of knowledge, culture and tradition that remains unknowable” (Brooks, A. 2022).  

I acknowledge the traditional owners and custodians of the land on which I make art, the Darug and Darkinjung people of the Dharug nation and pay respect to the Traditional Custodians and Elders of this nation, past, present and future. I acknowledge the continuation of cultural, spiritual and educational practices of Aboriginal and Torres Strait Islander peoples. 

I do not speak for Aboriginal or Torres Straight Islander people. In my practice as an artist, I use my work to talk about issues relating to Aboriginal and Torres Strait Islander people.

Currently in my third year of a Bachelor of Fine Arts – Studio Practice at UNSW Art and Design.

Friendship #1 is the first of a four 4 painting series featuring Gary Pankhurst as Sonny with “Skippy, the bush Kangaroo” from the television series of the same name.  

The background of the work has been painted and sanded in several layers to replicate the addition and loss of memory as we age. The spray cans represent “Can Culture”, exploring the relationship between colonial Australian culture from the second half of the 20^th century and advertising.  

I finished the painting by incorporating nostalgia from my childhood in the 1970’s. Skippy was part of that childhood, and the title I felt was fitting; after all, what child wouldn’t want a Friendship like the friendship between Sonny and Skippy. 

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