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I liken my method of arts development to a CD of music. One musician writing numerous songs each different and unique reflective of moods and experiences. I don't want my exhibitions to be 10 or 15 pieces that look the same. This does not explore creative possibilities or offer buyers and admirers a truly visual experience. Nor does it show a true representation of an artist's body of work. I apologise to no one for this view as contradictory to industry beliefs as it may be.

Buying artwork is an affordable luxury. Especially whilst an artist like myself is establishing a reputation. Art investment is a uniquely visual way of enjoying growth potential. The trick though, is to buy what you like not what you feel will deliver greater financial returns. You could be staring at it for a while.

I practise the idealism of Droit De Suite. This is a value-adding technique established in France in 1920 and exercised throughout Europe to this day ¦. I personally authenticate each piece of Art at successive sales. Meaning unless each piece is personally sighted, it won't return its full and potential value. All sightings are carefully documented and authenticated with a reissued new Certificate, an example of which appears above right. Five percent of the sale price± at successive sales may apply in line with the principles of Droit De Suite. This royalty assists with my continued development, and allows shared-benefit from my success. In justification of this Royalty process, the Australian Labor Party did announce that had they won the 2004 federal election, they would have written the appropriate legislation to infact recognise this practise. This is heartening, as it highlights the ideal is in the political mind-set.

I'm continously inventing, reinventing and breaking new ground with regard to marketing ideas and exhibiting themes. I utilise my skills as a graphic designer / marketer whilst also being somewhat eccentric in my ways. Excellent ingredients... wouldn't you agree?

Recent commission invitations by the Australian Federal Greens, Senator Bob Brown; the Australian Cartoonist Association; the Brazilian International Festival for AIDS & Humour, and the Florence International Biennale of Contemporary Art has placed my work on a truly international standing. Remember 'Buying artwork is an affordable luxury. Especially whilst an artist like myself is establishing a reputation... Art investment is a uniquely visual way of enjoying growth potential'. It's a great boost to one's legitimacy when entry to an international event like the Florence Biennale is by committee invitation only.

In addition to my exhibits, I encourage viewers to touch some of my highly textured pieces. Facilitating a sense of excitement, a sense of breaking rules. I claim to be the first Artist to have encouraged and invited the blind to take advantage of this concept. One of two charitable deeds I currently implement during exhibitions is; ten percent of my art sales*, or auction proceeds from a Special Artwork¤ gets split between a Charity and an Indigenous Organisation of my choice ¤¤. A list of those organisations clearly posted on this web site's fine art home page once initiated. Furthermore, I sometimes show pieces from my Private Collection. These are personal aquisitions from around the world. They've given me years of pleasure, now some may be on offer.

The following listing, once finalised, will show my exhibition resume. Being a self funded artist, frequent exhibitions are difficult. At times I interpret an exhibition as exactly that. Nothing for sale, purely an exhibition of my works.


Please ... venture in now and enjoy.


*Art sale proceeds generated from art works created by Marco, not from the Private Collection.
¤ Less cost of materials.
¤¤ Post paid exhibition expenses.
±Occassionally Artworks are given as gifts, or given away as goodwill. These may be exempt of such fee.
¦ It must be noted that Droit De Suite is not Law in Australia. However as I choose to practise under this principle, it is by default that only authorised pieces created by the Marco brand name, will retain and gain value under this ideal.



A Self Funded Artist/ Designer. Never one to enter every and any art competition. The subjective nature of art I feel, doesn't lend itself to this practice. It's not a natural activity to judge which painting is better. I sense that there's a belief out there, that as an artist unless you are entered into countless competitions, you run the risk of remaining in obscurity. Indeed, if this is the widely accepted view, then those who don't subscribe to it, infact may miss out to some degree. An unfortunate reality, but also a mere obstical, or character building challenge.

Having said that, I see no problem in being prudent with the calibre and quality of a competition. The drive of gaining good marketing and self promotion in association with a quality competition, should be ones first motivation. The oh-so-sort-after first prize wedged-felt-banner should be of secondary consideration. OK, I exaggerate.

My thoughts on pursuing Government funding and grants is not that it's bad. I've tried it. Only that it seems this industry's instinctive reaction in order to participate in any competition or general arts activity is to apply for Government funding. Treating ones art as the product it should be promotes the concept of self funding, or indeed corporate sponsorship has cause. Earning dosh from making art more palettable to the market isn't selling out. It's surviving on ones own merits, not hand outs. Spread the ideal 90% true self expressive art, 10% assemble-it-yourself style pays the bills and the necessary cover charge to enter arts events.

I sincerely feel Australia has an abysmal history in nurturing its creative arts. Europe exists alongside its Arts, from the successful to the getting started. The wider population there view Artists and their Art it with respect and value. They purchase upcoming art, not a print of a centuries old Master or something cliché from a garage sale, they'd never seriously consider a colour photocopy of an image that's been brushed with clear varnish to badly, ... badly replicate a painted piece. The crucial failure in Australia is, that people buy the latter not realising what they are purchasing! My media release ruffles feathers yes, but how many, well publicised, accessible art exhibitions are really out there, widely known about!? I have seen small steps toward a change in this country, but grossly inadequate at that. Why should I have to leave this country in order to return a success? It's difficult having a view, but it's unashamedly courageous!