My first actual "inseparable" artwork - 1979 but it was never titled as one . . .

Paul Andrew was here looking at my artist_archive earlier this year. It seems that I have done all the work of documenting the artists that I have followed for over 40 years but I've never done my own chronology of works. I have to admit that the curators at Griffith University, Scott Redford & Barbara Heath have also been on my case. The visiting Polish artist and art historian, Marysia Lewandowska also pushed me when she visited the studio recently. Paul has requested I prepare an A4 page on the "inseparables" for his ARI publication. Download here.

In 2009 I did a blog post on Vile7 but never pushed my own piece, below. Here is an extract from that post: "Robert Jacks really tipped me into this exercise, other than numerous 'designed graphics' using rubber stamps, either illustrated of found - I had never made an artist book until this opportunity. This opened my eyes to the collaborative nature of the beast. I first seized upon all my early photographs and postcards of aboriginals, I've collected these from my first year at high school. I picked the strongest looking local fellow, I then xeroxed his body and rubber stamped his head - in red coloured ink.
As a metaphor for (spilled blood) . . . It was my first white boy statement about my view of colonial history and an early high-jacking (appropriation) of a 'black fella' card. Aboriginal history had been buried in white men's re-constructions. I knew of no local aboriginal art other than Kath Walker's writing and her family's activism. I had lived in a shared house with Marcia Langton and met her sisters and aunties. I wanted to make my own early art statement in their defence."

Tim Gruchy owns one other number of this impression-3 work, not consigned to the Vile 7 edition.

The indigenous artist Brook Andrew maybe used this postcard image in the work

entitled: sexy and dangerous from 1996

I've seen another more recent appropriation by someone but can't find it now . . .