https://www.drillerjetarmstrong.website/new-page-1 daily 0.75 2026-03-12 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1f4afd4b-1ca1-4991-a1bb-a02e3c51f530/spot+painting+%239.jpeg KEY WORKS - Make it stand out SPOT PAINTING 9 (2022) An Add-Original work overlaying Western European landscape painting with First Nations presence Spot Painting 9 marks a pivotal moment in Daubism: the decision to deliberately merge two visual systems—Western landscape tradition and First Nations mark-making—onto a single shared Country. Across the surface of an inherited European landscape painting, a field of hand-applied white dots spreads in rhythmic constellations. The patterning does not illustrate the scene beneath it; instead, it asserts a parallel reading of place, one grounded in First Nations visual knowledge. The dots hover between presence and disruption—sometimes softening the scene, sometimes puncturing it, always shifting the viewer’s relationship to the “original.” The underlying landscape is not erased but recalibrated. Trees, sky, water and horizon remain visible through the daubed field, visually negotiating for space. The work becomes a site of encounter: two traditions occupying the same surface without collapsing into one another. In Spot Painting 9, Daubism moves beyond appropriation into cultural re-alignment. The Western pastoral view is no longer the uncontested centre; the dotting overlays return the painting to Country, insisting that any notion of landscape in Australia is already layered, already contested, already shared. It is a work of quiet insistence—simple in gesture, radical in implication. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c2ff8f9a-3c01-4c7a-be42-66c84cf91ce2/10547602_10152146010401582_1761515783647292921_n.jpg KEY WORKS - Make it stand out GHOSTSCAPE (2017) Gel transfer on original landscape painting Ghostscape is a major early Daubist work in which Driller Jet Armstrong brings the unseen back into the centre of the Australian landscape. Using gel-transfer techniques, Armstrong overlays an inherited Western European pastoral scene with the spectral silhouettes of First Nations people — figures who were present long before the picture plane imagined by colonial art. By layering these translucent presences onto the surface of the original painting, the work exposes the absences embedded in the settler gaze and insists on a shared, contested Country. The image flickers between what was recorded and what was erased; between the landscape as painted, and the landscape as lived. Ghostscape stands as a key articulation of Daubism’s central proposition: that alteration is revelation — that by intervening directly into the surface of existing paintings, hidden histories, suppressed narratives, and cultural collisions are not only acknowledged but made vividly, hauntingly visible. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c5d35e0a-1f58-43e0-8141-c2093814ad0e/breaker.jpg KEY WORKS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3a70e9bd-30de-416d-8fb4-01842e07123a/calming+force.jpg KEY WORKS - Make it stand out CALMING FORCE (2013) A stylised Wandjina figure integrated into an original landscape painting Calming Force is an early but fully realised articulation of Daubism’s core principle: placing two visual traditions—one inherited, one asserted—onto the same surface so neither can remain neutral. Across the gentle haze of an original European-style landscape painting, a reclining Wandjina figure stretches across the foreground. Its form is outlined in thick, declarative lines, a graphic presence that refuses to disappear into the pastoral quiet behind it. Inside the body of the figure, fragments of the original landscape remain visible, absorbed and transformed into the Wandjina’s interior world. The pose is relaxed, almost playful, yet the work pulses with tension. The Wandjina—an ancestral being of immense cultural authority in First Nations cosmology—interrupts the colonial idyll, not as ornament, but as a sovereign presence. Its quietness is its strength: it lies across the painting like a grounding weight, a reminder of Country’s original custodianship, asserting itself calmly, confidently, without spectacle. Calming Force is Daubism in its distilled form: cultural overlay as intervention, humour as strategy, and coexistence as a creative and political act. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b1be4ab0-544e-491e-a913-3204994bf45d/basquiatdaub+copy.jpg KEY WORKS - Make it stand out BASQUIAT DAUB (2002) Jean-Michel Basquiat sample added to an original landscape painting One of the early, foundational gestures of Daubism, Basquiat Daub (2002) takes a quiet, desolate Australian landscape and electrifies it with a burst of borrowed visual life. Onto a barren tree—lifeless, skeletal, almost forgotten—Driller grafts a constellation of Basquiat-inspired heads, cartoonish and impulsive, hanging like strange pink fruit. The original landscape, painted in the subdued tones of colonial pastoral tradition, becomes the stage for a joyful disruption. The Basquiat figures animate the tree, pulling it back from stillness, teasing it into vitality. Their manic expressions, vibrating outlines, and deliberately crude energy contrast sharply with the landscape’s muted seriousness, creating a friction that is both humorous and quietly subversive. By sampling Basquiat—a figure synonymous with New York street expression and anti-establishment urgency—Driller overlays an alternative artistic lineage onto the inherited Australian scene. The tree, once emblematic of emptiness, becomes a site of renewal, possibility, and cultural remixing. Basquiat Daub is a playful but pivotal early articulation of Daubism: the insistence that the past is not fixed, that paintings can be re-awakened, and that new voices—borrowed, honoured, misbehaving—can grow from old branches. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/0e6ab532-a6ea-48fe-8e11-d6dd56575c13/cropcircleonbannonlandscape+2+copy.jpg KEY WORKS - Make it stand out CROP CIRCLE ON BANNON LANDSCAPE (1991) Spray-painted crop-circle symbol applied to an original Charles Bannon landscape painting The inaugural act of Daubism — the spark that ignited an entire movement — Crop Circle on Bannon Landscape (1991)marks Driller Jet Armstrong’s first deliberate “daub” on an existing artwork. In a moment that fused irreverence, critique, and play, Driller sprayed a stark white crop-circle symbol onto a traditional Charles Bannon landscape painting, an Australian pastoral scene rooted in settler-colonial visual convention. The intervention was immediate, bold, and transgressive. The crop-circle emblem — an alien, inexplicable mark — lands abruptly on the landscape, defacing it, reclaiming it, and re-reading it all at once. By imposing a global pop-mysticism symbol onto a genteel, inherited painting, Driller destabilised the authority of the original and exposed the fragility of the “untouchable” Australian landscape tradition. This work triggered a national controversy and a legal and moral-rights debate that would later define the Daubist project: Who owns an image? Whose marks are allowed on the landscape? And what happens when an artist dares to intervene in an already-finished artwork? Crop Circle on Bannon Landscape is now recognised as a foundational moment in Australian art history — the beginning of Driller’s long-running, mischievous, and culturally incisive campaign to remix, rework, and re-energise the inherited images of Australia. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b6383b1b-248c-4d4d-8032-f3f6c8b9b1a1/1990FringePosterdesign.jpg KEY WORKS - Make it stand out 1990 ADELAIDE FRINGE FESTIVAL POSTER (Winner — Official Festival Poster Competition) Created in 1989 for the 1990 Adelaide Fringe, this exuberant poster marks one of Driller Jet Armstrong’s earliest major public commissions. Bursting with anarchic humour, mythic creatures and winged figures in chaotic celebration, the work captures the irreverent spirit that would later fuel the Daubist movement. Armstrong’s characteristic visual language is already fully present: bold outlines, hyper-expressive characters, and a carnivalesque energy that upends the polite traditions of festival branding. The result is a poster that didn’t just advertise the Fringe — it became Fringe. Winning the official competition cemented Armstrong’s reputation as a mischievous cultural agitator and positioned him as a key visual voice in Adelaide’s alternative arts scene at the dawn of the 1990s. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/972e3ba4-2175-44b8-95f1-df1d45187102/shed+daub.jpeg KEY WORKS - Make it stand out Shed Daub (1999) Jigsaw intervention on original landscape painting A foundational work in the emergence of Daubism, Shed Daub marks Driller Jet Armstrong’s first use of jigsaw puzzle fragments as a material and conceptual intervention into a pre-existing landscape. Rather than simply overwriting the colonial pastoral scene, Armstrong destabilises it from within, allowing pieces of the image to dislodge, drift, and fracture across the picture plane. The jigsaw form operates on two simultaneous registers. On the surface level, it is a direct physical disruption of the inherited European landscape tradition—an image long treated as complete, fixed, and authoritative. By inserting puzzle pieces, Armstrong reveals the landscape as constructed, contingent, and capable of being taken apart. At a deeper level, the puzzle piece becomes a metaphor for the search for meaning within an artwork. The viewer is invited into an active process of assembly and interpretation, confronted with a picture that refuses to fully resolve. The missing pieces gesture toward cultural gaps, forgotten histories, and the impossibility of reconstituting a landscape without acknowledging what has been removed or obscured. In this sense, Shed Daub is not merely a formal experiment—it is a philosophical turning point. The work inaugurates Armstrong’s ongoing project of “changing the landscape,” not only visually but conceptually, by demonstrating that meaning itself is a puzzle assembled from fragments, erasures, inheritances, and interventions. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d7bb40d3-fb18-45ef-abf4-e17546b57587/daubist+portrait+of+max+harris.jpg KEY WORKS - Make it stand out Daubist Portrait of Max Harris (2009) Gel transfer on original landscape painting (artist unknown), sourced portrait by Sidney Nolan (reverse image) Daubist Portrait of Max Harris marks a pivotal moment in the evolution of Daubism — a point where the movement’s core strategies of appropriation, inversion, and recontextualisation expanded into portraiture and cultural memory itself. In this work, Driller Jet Armstrong takes Sidney Nolan’s iconic portrait of Max Harris — the incendiary editor, poet, and enfant terrible of Australian modernism — and literally reverses it, both visually and conceptually. Through a delicate gel-transfer, Nolan’s image is lifted from its original context and re-embedded into an anonymous, sentimental landscape painting: the very type of generic Australiana that Harris himself spent much of his career challenging. The result is a ghostly, semi-transparent Harris staring back at the viewer from within a borrowed landscape — not quite settled, not quite belonging, caught between artistic lineages. Armstrong allows the underpainting to bleed through the portrait, as if the land itself is reclaiming, revising, or resisting the introduction of this modernist figure. This process embodies a new chapter in Daubist methodology: 1. Reversal as Critique By reversing Nolan’s image, Armstrong destabilises authorship and authority. The act symbolically “turns around” the legacy of modernism, inviting the viewer to reconsider who frames Australian art history — and from what direction. 2. Gel Transfer as Archaeology Unlike paint applied atop the surface, gel transfer embeds the appropriated image within the substrate of the older landscape. This creates a visual palimpsest: a dialogue between eras, intentions, and ideologies, compressed into a single pictorial plane. 3. Portraiture Meets Landscape Where early Daubist works intervened in landscapes through symbols, figures, and cultural signifiers, this work introduces an individual into the terrain — placing Max Harris himself inside the picturesque conventions he raged against. It becomes both homage and disruption. 4. A New Way of Making a New Work From an Old One Here, Daubism extends beyond simply “altering” found paintings; it begins to hybridise entire genres. Armstrong fuses the postmodern act of appropriation with the tactile intimacy of analogue technique, producing a work that is neither portrait nor landscape but a new species altogether. In its layered complexity, Daubist Portrait of Max Harris crystallises the movement’s essential question: How can we re-author Australian art history using the very materials that built it? https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/28cab2f4-17a7-442e-88fe-14e6a871423d/sad+buffalo+girls+%28RIP+Malcolm+mclaren+-+%241800%29.jpg KEY WORKS - Make it stand out Ghost Girls (2010) Gel transfer (appropriated from Picasso) on original Australian landscape Ghost Girls marks a pivotal moment in the Daubist evolution—one in which the act of appropriation becomes not merely a visual intervention, but a haunting. Here, two figures lifted from Picasso’s repertoire—faces and bodies once bound to European Modernism—are gel-transferred into the Australian bush, where they appear as spectral presences, half-formed and dissolving into gum-trunks, creek reflections, and ochre earth. Rather than sitting comfortably within the borrowed pastoral, these girls seem dislocated, untethered, almost returnedrather than placed. Their translucency reads as both apparition and erasure: a reminder of the countless young lives disrupted or displaced throughout Australia’s colonial history, and a commentary on how European art traditions were imposed across Indigenous land, culture, and visual memory. The work operates simultaneously on two registers: – as Daubism, it fuses multiple art histories into a single contested surface, creating an image that neither the original painter nor Picasso could ever have authored; – as cultural critique, it exposes the lingering ghosts of imported aesthetics and the stories overlooked by the great Western canon. In Ghost Girls, the Australian landscape does not merely host the figures—it absorbs them, questions them, and ultimately transforms them. The result is a quietly powerful apparition: a scene where the past is visible but no longer authoritative, where borrowed icons become fragile, fading visitors in a much older Country. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/80f65a82-e515-4165-b4a1-c2f324d67ac2/IMG_2305.jpeg KEY WORKS - Make it stand out Ned on Horseback (2021) acrylic on original landscape painting In “Ned on Horseback”, Armstrong resurrects Sidney Nolan’s most recognisable silhouette — the iron-helmeted outlaw — and drops him, without ceremony, into the calm, romanticised pastoral vision of an anonymous Australian landscape painter. The result is both jarring and inevitable: Nolan’s modernist myth collides with the colonial idyll that originally produced the Kelly legend. Here, Nolan’s square-headed outlaw no longer rides through expressionist scrub but into the decorative, settler-fantasy bushland typical of mid-century amateur painting. By grafting the iconic Ned Kelly mask directly onto an existing landscape, Armstrong performs a double appropriation: he borrows from Nolan, who himself borrowed from the myths of frontier violence, and inserts that image into a substrate soaked in colonial nostalgia. The work extends the core Daubist principle — that new meaning is generated only by intervening on an already-existing artwork. Armstrong treats the borrowed landscape as both stage and accomplice, allowing a figure from Australia’s modernist canon to rupture the serene fiction of pastoral innocence. The Kelly helmet becomes a cultural glitch, a hard geometric interruption that exposes how myths are constructed, repeated, and repurposed across generations. By merging Nolan’s outlaw with a thrift-store painting of rural harmony, Armstrong reminds viewers that national identity is never fixed — it’s layered, stolen, repainted and reinscribed, again and again. This Ned is not the hero or the villain; he is simply evidence of how images travel, accumulate meaning, and refuse to die. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e20e5169-a31d-4c32-abca-d4b6b47a964b/IMG_1994+2.JPG KEY WORKS - Make it stand out NED DAUB 2018 The first realisation of the Daubist motif as a repeatable, transferable form. This work marks a turning point in the evolution of Daubism. It was here—overlaying a stark, graphic figure onto an inherited Australian landscape—that the artist first recognised the radical potential of a repeating motif: a single, iconic form capable of being imposed onto any pre-existing painting while remaining entirely itself. The revelation was deceptively simple: the motif does not change—only the landscape beneath it does. Each new background alters the emotional charge, historical weight, and visual tension of the figure, pulling the viewer into a shifting conversation between eras, authors, and aesthetics. This unlocked an entirely new methodology within Daubism—an approach later expanded through the felt unicorns, whale forms and other recurring symbols. In this moment, Daubism became not just an act of appropriation, but a system: a way of testing how an unchanging emblem behaves when dropped into new cultural, stylistic, and emotional terrain. This work is the seed from which an entire vocabulary of repeated Daubist iconography grew. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/928bc438-38a0-4cac-bab2-12e191e4de95/Whale+watching+%281%29.jpg KEY WORKS - Make it stand out Whale Watching I (2017) Mixed media on found maritime painting In Whale Watching I, Armstrong extends the Daubist principle of the repeatable motif—first crystallised in the Ned Kelly series—into a new marine vernacular. The giant black whale, a simplified and almost monolithic form, is dropped unapologetically onto an existing seascape, overwhelming the genteel maritime drama with a single, assertive gesture. Like the Ned helmet, the whale motif becomes a portable device: an image that can be applied to any pre-existing painting, its meaning shaped entirely by the landscape it interrupts. Here, the original scene of boats battling a restless sea is abruptly recontextualised. The whale’s vast silhouette, matte and impenetrable, functions as both subject and void—part creature, part censor bar, part horizon. Its single inset “eye” reads like a portal, a witness, or a point of entry into the painting’s submerged narrative. The result is disarmingly literal: whale watching becomes the viewer watching the whale, and the whale—by sheer scale—watching everything. By reusing a fixed motif across multiple appropriated paintings, Armstrong tests how repetition destabilises authorship. The whale hovers between menace and play, between symbol and stamp, between ecological reminder and mischievous artistic intervention. It is a continuation of Daubism’s central proposition: alter the foreground and the entire meaning of the inherited image shifts—sometimes subtly, sometimes violently, but always irreversibly. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/2a9f0121-b81c-4d99-ab41-f458edf8360d/felt+up+landscape.jpg KEY WORKS - Make it stand out Felt Me Up Daub (2009) Felt additions on original landscape painting In Felt Me Up Daub, Driller Jet Armstrong turns the polite Australian pastoral into a playground of cheerful vandalism. The genteel gum trees and distant hills—painted with all the earnest tranquillity of a second-hand-shop landscape—are abruptly invaded by felt. Not just felt, but children’s craft felt: a cowboy with a toy gun, a lopsided pony, and the unmistakable aesthetic of a kindergarten collage. Armstrong deliberately weaponises innocence. The felt figures—soft, bright, and absurd—smother the colonial imaginary with the language of play. The work announces a key shift in Daubism: the introduction of non-paint materials as a way to overwrite inherited images without competing with them. Felt becomes a disarming force, a comic intervention, and a conceptual sledgehammer. The result is a landscape that no longer behaves. It becomes a stage set, a puppet theatre, a place where adult mythologies collapse under the weight of childish cut-outs. This work marks one of the earliest examples of Armstrong’s “superimpositional” method: the repeated insertion of a foreign motif—here, felt characters—onto any traditional painting, transforming the original without erasing it. In true Daubist fashion, the felt refuses to apologise. It simply sits there—smiling, goofy, defiant—rewriting Australian art history one fuzzy cowboy at a time. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1dc7a524-6721-4196-b643-d39f6f69bb44/NED+24.jpeg KEY WORKS - Make it stand out Ned 24 (2024) — Text Gel transfer on found landscape painting with dotted perimeter. Ned 24 marks a late, sharpened turn in Armstrong’s ongoing dialogue with the Australian myth-machine of Sidney Nolan’s Ned Kelly. Rather than painting the iconic helmet anew, Armstrong lifts Nolan’s imagery through gel-transfer — a ghostly importation that behaves less like quotation and more like cultural haunting. Set against the soft pastoral calm of the original 20th-century landscape, the Ned figure materialises as a spectral intrusion: half-opaque, half-eroded, a presence that refuses to fully settle into the borrowed environment. The dotted border — a recurring Daubist device — acts like a ceremonial threshold, framing the friction between two pictorial worlds while refusing to let the viewer forget the painting’s hybrid construction. In this work, Armstrong positions Ned not as hero, villain, or nationalist mascot, but as artifact — an image endlessly recycled in service of identity, rebellion, and mythology. Here, Ned becomes a fragile transfer, barely adhered, a reminder that the stories Australians cling to are themselves unstable layers pressed onto older, dissonant histories. Ned 24 is less about Kelly the man and more about Kelly the motif: endlessly repeated, transplanted, eroded, and recharged. It is Daubism as cultural archaeology — excavating the images Australians inherit, the landscapes they obscure, and the myths that refuse to die. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/92f92acb-fd85-4299-8af7-86e367e0ac3f/unicorn+by+the+sea.jpg KEY WORKS - Make it stand out Unicorn by the Sea (2015) Felt figure on original landscape painting A sombre, windswept seascape—grey sky, drifting reeds, gulls suspended in unsettled air—serves as the stage for an intervention straight from the height of 2015 pop-culture: the glitter-era unicorn. In the mid-2010s the unicorn was everywhere—Instagram filters, novelty stationery, ironic T-shirts, rainbow lattes—an emblem of mass-produced whimsy and digitally amplified optimism. By affixing a small felt unicorn from a children’s game onto a moody, traditional coastal painting, Driller Jet Armstrong enacts a sharp Daubist collision. The unicorn becomes a recurring Armstrong motif precisely because of its power to instantly hijack visual hierarchy. With one playful insertion, the original painting is pushed into the background—still present, still respected, but radically recontextualised. The result is both absurd and poignant: a symbol of pop-zeitgeist fantasy wandering into a landscape too serious for it, creating an emotional and conceptual dissonance. As always in Armstrong’s practice, the “daub” does not erase—it reveals. The original coastal scene becomes a foil, a quiet counterpoint to the loud cultural noise of the moment. A 2015 unicorn at full cultural saturation, dropped into a lonely shore to remind us how easily fantasy rewrites the world around it. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/8aa253f5-37da-493e-a6c0-25738206b32c/sinthesis+-+harvest+spirits.jpg KEY WORKS - Make it stand out Spirits in the Landscape (2005) Acrylic on found landscape painting with appropriated rock-art figures In Spirits in the Landscape, Driller Jet Armstrong overlays a rural settler painting with bold, graphic figures adapted from Aboriginal rock art, creating a deliberate collision between two incompatible visual regimes. The soft pastoral lull of the inherited landscape—an idealised cottage, a tidy horizon, an untroubled sky—is abruptly interrupted by ancient presences whose visual language far predates the colonial gaze. The work stages a temporal rupture: the “original” painting becomes the most recent layer in a much older cultural continuum. Armstrong’s figures operate not as decoration but as assertions of sovereignty, embodiments of custodial knowledge re-entering a landscape from which they were once pictorially erased. Their placement over the domestic, settler-era cottage reconfigures the power dynamic—the background becomes the intrusion, while the rock-art forms reclaim the foreground. As with much early Daubist work, appropriation here is both critique and homage. Armstrong’s intervention exposes how landscape painting in Australia has historically omitted Indigenous presence, and uses the act of “daubing” to reinsert what was always already there. The result is a work that vibrates between beauty and disruption, humour and seriousness—an image where spirits, once silenced, stand unapologetically in the centre of the frame. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/5241bdf2-ef1a-40cf-8839-e28a82bc51b0/goodbye.jpg KEY WORKS - Make it stand out SUICIDE NOTE ON CHARLES FRYDRYCH LANDSCAPE (1992) oil on original landscape painting One of the earliest and most confrontational works in the Daubist canon, Suicide Note on Charles Fridrych Landscapemarks a pivotal moment in the movement’s formation: the collision of pastoral sentimentality with raw emotional truth. Across a serene, quintessentially Australian landscape by Charles Fridrych, Armstrong scrawls “goodbye cruel world” in urgent crimson—an inscription that feels at once juvenile, theatrical, and devastatingly sincere. The gesture is deliberately excessive: a defacement that refuses politeness, a refusal to “respect” the original in any conventional sense. Instead, Armstrong exposes the emotional vacuum at the heart of inherited Australian art traditions, laying bare the psychological rupture beneath their sunlit veneers. Here, the landscape becomes not a place of comfort but a stage for existential crisis. The text destabilises the image, rupturing its pictorial calm with a declaration that is part graffiti, part cry for help, part performance. It prefigures Armstrong’s lifelong interrogation of authorship, ownership, and the fragile boundaries between reverence and violation. More than an act of vandalism, the work is an early Daubist manifesto: the belief that new meaning must be carved—violently if necessary—from the old. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/96844675-43f7-4dfb-99f6-cc41caf61ec7/corgi.jpg KEY WORKS - Make it stand out Daubist Corgi with Queen (1992) Cut-up and reassembled Charles Bannon landscape painting; acrylic on found canvas In Daubism Corgi with Queen, Armstrong pushes early Daubist strategies to an almost Cubist extreme. A once-placid Charles Bannon landscape is meticulously cut apart, reordered, rotated, and reassembled into a hybrid figure: part monarch, part corgi, part rupture in the colonial imaginary. The original painting—once a stable depiction of an Australian idyll—becomes raw material to be sliced open and rebuilt into a new political body. The work marks a decisive moment in the evolution of Daubism: the shift from simple over-painting into full deconstruction and reconstruction. Instead of merely “intervening” on the original, Armstrong dismantles its pictorial authority altogether, reorganising the very structure of the landscape into a figure whose fractured anatomy exposes the instability of inherited cultural narratives. Simultaneously playful and unsettling, Daubism Corgi with Queen treats the landscape as both puzzle and protest—an act of regicide by collage, where the sovereign image is dethroned and recomposed under the artist’s rule. It stands as an early and radical articulation of Daubism’s foundational provocation: that every image is provisional, and every picture can be re-written. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/99337849-7861-46ee-80de-322ab82a2df2/The+New+Shore.jpg KEY WORKS - Make it stand out The New Shore (2018) Painted additions to an original landscape painting “The New Shore” marks one of the most visually dramatic and politically charged moments in the evolution of Daubism. Driller Jet Armstrong overlays a genteel, anonymous landscape with an expanse of dense, engulfing blackness and a violently saturated field of red — a chromatic rupture that overwhelms the inherited calm of the original painting. Against this destabilised ground, the small boats and their figures persist, suspended between two worlds: the inherited and the imposed, the picturesque and the obliterated. The dotted boundary — a recurring Daubist device — suggests both incision and repair, a suture line between histories that cannot fully meet. The blood-red shoreline reads simultaneously as warning, memory, and future terrain. It evokes massacres, displacement, ecological collapse, and the ongoing violence of settler narratives embedded in banal landscape painting. Yet the boats drift toward this red zone as if toward a destination they cannot help repeating — a metaphor for Australia’s ongoing attempts to navigate its colonial legacy without truly confronting it. In The New Shore, Armstrong forces the viewer into the disquieting space between image and intervention. The work insists that landscapes are never neutral: they are battlegrounds, burial grounds, and political fictions — and Daubism’s role is to make those fictions visible. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/2bae05ac-f008-4a4a-a2fe-108c5cdf2466/BLAK+SNAKES+LOVE+FLOWERS.jpg KEY WORKS - Make it stand out Blak Snakes Love Flowers (2011) Painted text and character overlays on an anonymous still-life In Blak Snakes Love Flowers, Armstrong detonates the genteel stability of the traditional still-life—a genre historically obsessed with purity, beauty, and order—by allowing his cartoon-like “blak snakes” to literally speak back. Their warning (“best not paint them, hey…”) functions as both a mischievous punchline and a cutting meta-critique of artistic entitlement. The work folds together multiple registers of “appropriation”: the still-life tradition, long associated with colonial importation of European aesthetics, the hand-written interruption that refuses to behave like a caption, and the Daubist creatures who emerge as protectors, critics, and cheeky agents of disruption. These figures—simultaneously cute, irritated, and sentient—stage an argument about custodianship. Who has the right to depict? Who defends the subject? And what happens when the depicted world talks back? Here the flowers are no longer passive objects. They become the centre of a territorial dispute, a site where Armstrong’s invented creatures petition for care, autonomy, and respect. The humour operates as camouflage for a deeper ethical gesture: an insistence that painting—and the histories it carries—is never neutral. Like much of Armstrong’s early 2010s practice, the work is a declaration that Daubism is not vandalism but a counter-narrative: a world where voices previously flattened into background finally get to answer back. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1f4afd4b-1ca1-4991-a1bb-a02e3c51f530/spot+painting+%239.jpeg KEY WORKS - Make it stand out SPOT PAINTING 9 (2022) An Add-Original work overlaying Western European landscape painting with First Nations presence Spot Painting 9 marks a pivotal moment in Daubism: the decision to deliberately merge two visual systems—Western landscape tradition and First Nations mark-making—onto a single shared Country. Across the surface of an inherited European landscape painting, a field of hand-applied white dots spreads in rhythmic constellations. The patterning does not illustrate the scene beneath it; instead, it asserts a parallel reading of place, one grounded in First Nations visual knowledge. The dots hover between presence and disruption—sometimes softening the scene, sometimes puncturing it, always shifting the viewer’s relationship to the “original.” The underlying landscape is not erased but recalibrated. Trees, sky, water and horizon remain visible through the daubed field, visually negotiating for space. The work becomes a site of encounter: two traditions occupying the same surface without collapsing into one another. In Spot Painting 9, Daubism moves beyond appropriation into cultural re-alignment. The Western pastoral view is no longer the uncontested centre; the dotting overlays return the painting to Country, insisting that any notion of landscape in Australia is already layered, already contested, already shared. It is a work of quiet insistence—simple in gesture, radical in implication. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c2ff8f9a-3c01-4c7a-be42-66c84cf91ce2/10547602_10152146010401582_1761515783647292921_n.jpg KEY WORKS - Make it stand out GHOSTSCAPE (2017) Gel transfer on original landscape painting Ghostscape is a major early Daubist work in which Driller Jet Armstrong brings the unseen back into the centre of the Australian landscape. Using gel-transfer techniques, Armstrong overlays an inherited Western European pastoral scene with the spectral silhouettes of First Nations people — figures who were present long before the picture plane imagined by colonial art. By layering these translucent presences onto the surface of the original painting, the work exposes the absences embedded in the settler gaze and insists on a shared, contested Country. The image flickers between what was recorded and what was erased; between the landscape as painted, and the landscape as lived. Ghostscape stands as a key articulation of Daubism’s central proposition: that alteration is revelation — that by intervening directly into the surface of existing paintings, hidden histories, suppressed narratives, and cultural collisions are not only acknowledged but made vividly, hauntingly visible. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c5d35e0a-1f58-43e0-8141-c2093814ad0e/breaker.jpg KEY WORKS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3a70e9bd-30de-416d-8fb4-01842e07123a/calming+force.jpg KEY WORKS - Make it stand out CALMING FORCE (2013) A stylised Wandjina figure integrated into an original landscape painting Calming Force is an early but fully realised articulation of Daubism’s core principle: placing two visual traditions—one inherited, one asserted—onto the same surface so neither can remain neutral. Across the gentle haze of an original European-style landscape painting, a reclining Wandjina figure stretches across the foreground. Its form is outlined in thick, declarative lines, a graphic presence that refuses to disappear into the pastoral quiet behind it. Inside the body of the figure, fragments of the original landscape remain visible, absorbed and transformed into the Wandjina’s interior world. The pose is relaxed, almost playful, yet the work pulses with tension. The Wandjina—an ancestral being of immense cultural authority in First Nations cosmology—interrupts the colonial idyll, not as ornament, but as a sovereign presence. Its quietness is its strength: it lies across the painting like a grounding weight, a reminder of Country’s original custodianship, asserting itself calmly, confidently, without spectacle. Calming Force is Daubism in its distilled form: cultural overlay as intervention, humour as strategy, and coexistence as a creative and political act. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b1be4ab0-544e-491e-a913-3204994bf45d/basquiatdaub+copy.jpg KEY WORKS - Make it stand out BASQUIAT DAUB (2002) Jean-Michel Basquiat sample added to an original landscape painting One of the early, foundational gestures of Daubism, Basquiat Daub (2002) takes a quiet, desolate Australian landscape and electrifies it with a burst of borrowed visual life. Onto a barren tree—lifeless, skeletal, almost forgotten—Driller grafts a constellation of Basquiat-inspired heads, cartoonish and impulsive, hanging like strange pink fruit. The original landscape, painted in the subdued tones of colonial pastoral tradition, becomes the stage for a joyful disruption. The Basquiat figures animate the tree, pulling it back from stillness, teasing it into vitality. Their manic expressions, vibrating outlines, and deliberately crude energy contrast sharply with the landscape’s muted seriousness, creating a friction that is both humorous and quietly subversive. By sampling Basquiat—a figure synonymous with New York street expression and anti-establishment urgency—Driller overlays an alternative artistic lineage onto the inherited Australian scene. The tree, once emblematic of emptiness, becomes a site of renewal, possibility, and cultural remixing. Basquiat Daub is a playful but pivotal early articulation of Daubism: the insistence that the past is not fixed, that paintings can be re-awakened, and that new voices—borrowed, honoured, misbehaving—can grow from old branches. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/0e6ab532-a6ea-48fe-8e11-d6dd56575c13/cropcircleonbannonlandscape+2+copy.jpg KEY WORKS - Make it stand out CROP CIRCLE ON BANNON LANDSCAPE (1991) Spray-painted crop-circle symbol applied to an original Charles Bannon landscape painting The inaugural act of Daubism — the spark that ignited an entire movement — Crop Circle on Bannon Landscape (1991)marks Driller Jet Armstrong’s first deliberate “daub” on an existing artwork. In a moment that fused irreverence, critique, and play, Driller sprayed a stark white crop-circle symbol onto a traditional Charles Bannon landscape painting, an Australian pastoral scene rooted in settler-colonial visual convention. The intervention was immediate, bold, and transgressive. The crop-circle emblem — an alien, inexplicable mark — lands abruptly on the landscape, defacing it, reclaiming it, and re-reading it all at once. By imposing a global pop-mysticism symbol onto a genteel, inherited painting, Driller destabilised the authority of the original and exposed the fragility of the “untouchable” Australian landscape tradition. This work triggered a national controversy and a legal and moral-rights debate that would later define the Daubist project: Who owns an image? Whose marks are allowed on the landscape? And what happens when an artist dares to intervene in an already-finished artwork? Crop Circle on Bannon Landscape is now recognised as a foundational moment in Australian art history — the beginning of Driller’s long-running, mischievous, and culturally incisive campaign to remix, rework, and re-energise the inherited images of Australia. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b6383b1b-248c-4d4d-8032-f3f6c8b9b1a1/1990FringePosterdesign.jpg KEY WORKS - Make it stand out 1990 ADELAIDE FRINGE FESTIVAL POSTER (Winner — Official Festival Poster Competition) Created in 1989 for the 1990 Adelaide Fringe, this exuberant poster marks one of Driller Jet Armstrong’s earliest major public commissions. Bursting with anarchic humour, mythic creatures and winged figures in chaotic celebration, the work captures the irreverent spirit that would later fuel the Daubist movement. Armstrong’s characteristic visual language is already fully present: bold outlines, hyper-expressive characters, and a carnivalesque energy that upends the polite traditions of festival branding. The result is a poster that didn’t just advertise the Fringe — it became Fringe. Winning the official competition cemented Armstrong’s reputation as a mischievous cultural agitator and positioned him as a key visual voice in Adelaide’s alternative arts scene at the dawn of the 1990s. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/972e3ba4-2175-44b8-95f1-df1d45187102/shed+daub.jpeg KEY WORKS - Make it stand out Shed Daub (1999) Jigsaw intervention on original landscape painting A foundational work in the emergence of Daubism, Shed Daub marks Driller Jet Armstrong’s first use of jigsaw puzzle fragments as a material and conceptual intervention into a pre-existing landscape. Rather than simply overwriting the colonial pastoral scene, Armstrong destabilises it from within, allowing pieces of the image to dislodge, drift, and fracture across the picture plane. The jigsaw form operates on two simultaneous registers. On the surface level, it is a direct physical disruption of the inherited European landscape tradition—an image long treated as complete, fixed, and authoritative. By inserting puzzle pieces, Armstrong reveals the landscape as constructed, contingent, and capable of being taken apart. At a deeper level, the puzzle piece becomes a metaphor for the search for meaning within an artwork. The viewer is invited into an active process of assembly and interpretation, confronted with a picture that refuses to fully resolve. The missing pieces gesture toward cultural gaps, forgotten histories, and the impossibility of reconstituting a landscape without acknowledging what has been removed or obscured. In this sense, Shed Daub is not merely a formal experiment—it is a philosophical turning point. The work inaugurates Armstrong’s ongoing project of “changing the landscape,” not only visually but conceptually, by demonstrating that meaning itself is a puzzle assembled from fragments, erasures, inheritances, and interventions. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d7bb40d3-fb18-45ef-abf4-e17546b57587/daubist+portrait+of+max+harris.jpg KEY WORKS - Make it stand out Daubist Portrait of Max Harris (2009) Gel transfer on original landscape painting (artist unknown), sourced portrait by Sidney Nolan (reverse image) Daubist Portrait of Max Harris marks a pivotal moment in the evolution of Daubism — a point where the movement’s core strategies of appropriation, inversion, and recontextualisation expanded into portraiture and cultural memory itself. In this work, Driller Jet Armstrong takes Sidney Nolan’s iconic portrait of Max Harris — the incendiary editor, poet, and enfant terrible of Australian modernism — and literally reverses it, both visually and conceptually. Through a delicate gel-transfer, Nolan’s image is lifted from its original context and re-embedded into an anonymous, sentimental landscape painting: the very type of generic Australiana that Harris himself spent much of his career challenging. The result is a ghostly, semi-transparent Harris staring back at the viewer from within a borrowed landscape — not quite settled, not quite belonging, caught between artistic lineages. Armstrong allows the underpainting to bleed through the portrait, as if the land itself is reclaiming, revising, or resisting the introduction of this modernist figure. This process embodies a new chapter in Daubist methodology: 1. Reversal as Critique By reversing Nolan’s image, Armstrong destabilises authorship and authority. The act symbolically “turns around” the legacy of modernism, inviting the viewer to reconsider who frames Australian art history — and from what direction. 2. Gel Transfer as Archaeology Unlike paint applied atop the surface, gel transfer embeds the appropriated image within the substrate of the older landscape. This creates a visual palimpsest: a dialogue between eras, intentions, and ideologies, compressed into a single pictorial plane. 3. Portraiture Meets Landscape Where early Daubist works intervened in landscapes through symbols, figures, and cultural signifiers, this work introduces an individual into the terrain — placing Max Harris himself inside the picturesque conventions he raged against. It becomes both homage and disruption. 4. A New Way of Making a New Work From an Old One Here, Daubism extends beyond simply “altering” found paintings; it begins to hybridise entire genres. Armstrong fuses the postmodern act of appropriation with the tactile intimacy of analogue technique, producing a work that is neither portrait nor landscape but a new species altogether. In its layered complexity, Daubist Portrait of Max Harris crystallises the movement’s essential question: How can we re-author Australian art history using the very materials that built it? https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/28cab2f4-17a7-442e-88fe-14e6a871423d/sad+buffalo+girls+%28RIP+Malcolm+mclaren+-+%241800%29.jpg KEY WORKS - Make it stand out When Doves Cry (2010) Gel transfer (appropriated from Picasso) on original Australian landscape When Doves Cry marks a pivotal moment in the Daubist evolution—one in which the act of appropriation becomes not merely a visual intervention, but a haunting. Here, two figures lifted from Picasso’s repertoire—faces and bodies once bound to European Modernism—are gel-transferred into the Australian bush, where they appear as spectral presences, half-formed and dissolving into gum-trunks, creek reflections, and ochre earth. Rather than sitting comfortably within the borrowed pastoral, these girls seem dislocated, untethered, almost returnedrather than placed. Their translucency reads as both apparition and erasure: a reminder of the countless young lives disrupted or displaced throughout Australia’s colonial history, and a commentary on how European art traditions were imposed across Indigenous land, culture, and visual memory. The work operates simultaneously on two registers: – as Daubism, it fuses multiple art histories into a single contested surface, creating an image that neither the original painter nor Picasso could ever have authored; – as cultural critique, it exposes the lingering ghosts of imported aesthetics and the stories overlooked by the great Western canon. In When Doves Cry, the Australian landscape does not merely host the figures—it absorbs them, questions them, and ultimately transforms them. The result is a quietly powerful apparition: a scene where the past is visible but no longer authoritative, where borrowed icons become fragile, fading visitors in a much older Country. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/80f65a82-e515-4165-b4a1-c2f324d67ac2/IMG_2305.jpeg KEY WORKS - Make it stand out Ned on Horseback (2021) acrylic on original landscape painting In “Ned on Horseback”, Armstrong resurrects Sidney Nolan’s most recognisable silhouette — the iron-helmeted outlaw — and drops him, without ceremony, into the calm, romanticised pastoral vision of an anonymous Australian landscape painter. The result is both jarring and inevitable: Nolan’s modernist myth collides with the colonial idyll that originally produced the Kelly legend. Here, Nolan’s square-headed outlaw no longer rides through expressionist scrub but into the decorative, settler-fantasy bushland typical of mid-century amateur painting. By grafting the iconic Ned Kelly mask directly onto an existing landscape, Armstrong performs a double appropriation: he borrows from Nolan, who himself borrowed from the myths of frontier violence, and inserts that image into a substrate soaked in colonial nostalgia. The work extends the core Daubist principle — that new meaning is generated only by intervening on an already-existing artwork. Armstrong treats the borrowed landscape as both stage and accomplice, allowing a figure from Australia’s modernist canon to rupture the serene fiction of pastoral innocence. The Kelly helmet becomes a cultural glitch, a hard geometric interruption that exposes how myths are constructed, repeated, and repurposed across generations. By merging Nolan’s outlaw with a thrift-store painting of rural harmony, Armstrong reminds viewers that national identity is never fixed — it’s layered, stolen, repainted and reinscribed, again and again. This Ned is not the hero or the villain; he is simply evidence of how images travel, accumulate meaning, and refuse to die. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e20e5169-a31d-4c32-abca-d4b6b47a964b/IMG_1994+2.JPG KEY WORKS - Make it stand out NED DAUB 2018 The first realisation of the Daubist motif as a repeatable, transferable form. This work marks a turning point in the evolution of Daubism. It was here—overlaying a stark, graphic figure onto an inherited Australian landscape—that the artist first recognised the radical potential of a repeating motif: a single, iconic form capable of being imposed onto any pre-existing painting while remaining entirely itself. The revelation was deceptively simple: the motif does not change—only the landscape beneath it does. Each new background alters the emotional charge, historical weight, and visual tension of the figure, pulling the viewer into a shifting conversation between eras, authors, and aesthetics. This unlocked an entirely new methodology within Daubism—an approach later expanded through the felt unicorns, whale forms and other recurring symbols. In this moment, Daubism became not just an act of appropriation, but a system: a way of testing how an unchanging emblem behaves when dropped into new cultural, stylistic, and emotional terrain. This work is the seed from which an entire vocabulary of repeated Daubist iconography grew. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/928bc438-38a0-4cac-bab2-12e191e4de95/Whale+watching+%281%29.jpg KEY WORKS - Make it stand out Whale Watching I (2017) Mixed media on found maritime painting In Whale Watching I, Armstrong extends the Daubist principle of the repeatable motif—first crystallised in the Ned Kelly series—into a new marine vernacular. The giant black whale, a simplified and almost monolithic form, is dropped unapologetically onto an existing seascape, overwhelming the genteel maritime drama with a single, assertive gesture. Like the Ned helmet, the whale motif becomes a portable device: an image that can be applied to any pre-existing painting, its meaning shaped entirely by the landscape it interrupts. Here, the original scene of boats battling a restless sea is abruptly recontextualised. The whale’s vast silhouette, matte and impenetrable, functions as both subject and void—part creature, part censor bar, part horizon. Its single inset “eye” reads like a portal, a witness, or a point of entry into the painting’s submerged narrative. The result is disarmingly literal: whale watching becomes the viewer watching the whale, and the whale—by sheer scale—watching everything. By reusing a fixed motif across multiple appropriated paintings, Armstrong tests how repetition destabilises authorship. The whale hovers between menace and play, between symbol and stamp, between ecological reminder and mischievous artistic intervention. It is a continuation of Daubism’s central proposition: alter the foreground and the entire meaning of the inherited image shifts—sometimes subtly, sometimes violently, but always irreversibly. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/2a9f0121-b81c-4d99-ab41-f458edf8360d/felt+up+landscape.jpg KEY WORKS - Make it stand out Felt Me Up Daub (2009) Felt additions on original landscape painting In Felt Me Up Daub, Driller Jet Armstrong turns the polite Australian pastoral into a playground of cheerful vandalism. The genteel gum trees and distant hills—painted with all the earnest tranquillity of a second-hand-shop landscape—are abruptly invaded by felt. Not just felt, but children’s craft felt: a cowboy with a toy gun, a lopsided pony, and the unmistakable aesthetic of a kindergarten collage. Armstrong deliberately weaponises innocence. The felt figures—soft, bright, and absurd—smother the colonial imaginary with the language of play. The work announces a key shift in Daubism: the introduction of non-paint materials as a way to overwrite inherited images without competing with them. Felt becomes a disarming force, a comic intervention, and a conceptual sledgehammer. The result is a landscape that no longer behaves. It becomes a stage set, a puppet theatre, a place where adult mythologies collapse under the weight of childish cut-outs. This work marks one of the earliest examples of Armstrong’s “superimpositional” method: the repeated insertion of a foreign motif—here, felt characters—onto any traditional painting, transforming the original without erasing it. In true Daubist fashion, the felt refuses to apologise. It simply sits there—smiling, goofy, defiant—rewriting Australian art history one fuzzy cowboy at a time. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1dc7a524-6721-4196-b643-d39f6f69bb44/NED+24.jpeg KEY WORKS - Make it stand out Ned 24 (2024) — Text Gel transfer on found landscape painting with dotted perimeter. Ned 24 marks a late, sharpened turn in Armstrong’s ongoing dialogue with the Australian myth-machine of Sidney Nolan’s Ned Kelly. Rather than painting the iconic helmet anew, Armstrong lifts Nolan’s imagery through gel-transfer — a ghostly importation that behaves less like quotation and more like cultural haunting. Set against the soft pastoral calm of the original 20th-century landscape, the Ned figure materialises as a spectral intrusion: half-opaque, half-eroded, a presence that refuses to fully settle into the borrowed environment. The dotted border — a recurring Daubist device — acts like a ceremonial threshold, framing the friction between two pictorial worlds while refusing to let the viewer forget the painting’s hybrid construction. In this work, Armstrong positions Ned not as hero, villain, or nationalist mascot, but as artifact — an image endlessly recycled in service of identity, rebellion, and mythology. Here, Ned becomes a fragile transfer, barely adhered, a reminder that the stories Australians cling to are themselves unstable layers pressed onto older, dissonant histories. Ned 24 is less about Kelly the man and more about Kelly the motif: endlessly repeated, transplanted, eroded, and recharged. It is Daubism as cultural archaeology — excavating the images Australians inherit, the landscapes they obscure, and the myths that refuse to die. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/92f92acb-fd85-4299-8af7-86e367e0ac3f/unicorn+by+the+sea.jpg KEY WORKS - Make it stand out Unicorn by the Sea (2015) Felt figure on original landscape painting A sombre, windswept seascape—grey sky, drifting reeds, gulls suspended in unsettled air—serves as the stage for an intervention straight from the height of 2015 pop-culture: the glitter-era unicorn. In the mid-2010s the unicorn was everywhere—Instagram filters, novelty stationery, ironic T-shirts, rainbow lattes—an emblem of mass-produced whimsy and digitally amplified optimism. By affixing a small felt unicorn from a children’s game onto a moody, traditional coastal painting, Driller Jet Armstrong enacts a sharp Daubist collision. The unicorn becomes a recurring Armstrong motif precisely because of its power to instantly hijack visual hierarchy. With one playful insertion, the original painting is pushed into the background—still present, still respected, but radically recontextualised. The result is both absurd and poignant: a symbol of pop-zeitgeist fantasy wandering into a landscape too serious for it, creating an emotional and conceptual dissonance. As always in Armstrong’s practice, the “daub” does not erase—it reveals. The original coastal scene becomes a foil, a quiet counterpoint to the loud cultural noise of the moment. A 2015 unicorn at full cultural saturation, dropped into a lonely shore to remind us how easily fantasy rewrites the world around it. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/8aa253f5-37da-493e-a6c0-25738206b32c/sinthesis+-+harvest+spirits.jpg KEY WORKS - Make it stand out Spirits in the Landscape (2005) Acrylic on found landscape painting with appropriated rock-art figures In Spirits in the Landscape, Driller Jet Armstrong overlays a rural settler painting with bold, graphic figures adapted from Aboriginal rock art, creating a deliberate collision between two incompatible visual regimes. The soft pastoral lull of the inherited landscape—an idealised cottage, a tidy horizon, an untroubled sky—is abruptly interrupted by ancient presences whose visual language far predates the colonial gaze. The work stages a temporal rupture: the “original” painting becomes the most recent layer in a much older cultural continuum. Armstrong’s figures operate not as decoration but as assertions of sovereignty, embodiments of custodial knowledge re-entering a landscape from which they were once pictorially erased. Their placement over the domestic, settler-era cottage reconfigures the power dynamic—the background becomes the intrusion, while the rock-art forms reclaim the foreground. As with much early Daubist work, appropriation here is both critique and homage. Armstrong’s intervention exposes how landscape painting in Australia has historically omitted Indigenous presence, and uses the act of “daubing” to reinsert what was always already there. The result is a work that vibrates between beauty and disruption, humour and seriousness—an image where spirits, once silenced, stand unapologetically in the centre of the frame. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/5241bdf2-ef1a-40cf-8839-e28a82bc51b0/goodbye.jpg KEY WORKS - Make it stand out SUICIDE NOTE ON CHARLES FRYDRYCH LANDSCAPE (1992) oil on original landscape painting One of the earliest and most confrontational works in the Daubist canon, Suicide Note on Charles Fridrych Landscapemarks a pivotal moment in the movement’s formation: the collision of pastoral sentimentality with raw emotional truth. Across a serene, quintessentially Australian landscape by Charles Fridrych, Armstrong scrawls “goodbye cruel world” in urgent crimson—an inscription that feels at once juvenile, theatrical, and devastatingly sincere. The gesture is deliberately excessive: a defacement that refuses politeness, a refusal to “respect” the original in any conventional sense. Instead, Armstrong exposes the emotional vacuum at the heart of inherited Australian art traditions, laying bare the psychological rupture beneath their sunlit veneers. Here, the landscape becomes not a place of comfort but a stage for existential crisis. The text destabilises the image, rupturing its pictorial calm with a declaration that is part graffiti, part cry for help, part performance. It prefigures Armstrong’s lifelong interrogation of authorship, ownership, and the fragile boundaries between reverence and violation. More than an act of vandalism, the work is an early Daubist manifesto: the belief that new meaning must be carved—violently if necessary—from the old. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/96844675-43f7-4dfb-99f6-cc41caf61ec7/corgi.jpg KEY WORKS - Make it stand out Daubist Corgi with Queen (1992) Cut-up and reassembled Charles Bannon landscape painting; acrylic on found canvas In Daubism Corgi with Queen, Armstrong pushes early Daubist strategies to an almost Cubist extreme. A once-placid Charles Bannon landscape is meticulously cut apart, reordered, rotated, and reassembled into a hybrid figure: part monarch, part corgi, part rupture in the colonial imaginary. The original painting—once a stable depiction of an Australian idyll—becomes raw material to be sliced open and rebuilt into a new political body. The work marks a decisive moment in the evolution of Daubism: the shift from simple over-painting into full deconstruction and reconstruction. Instead of merely “intervening” on the original, Armstrong dismantles its pictorial authority altogether, reorganising the very structure of the landscape into a figure whose fractured anatomy exposes the instability of inherited cultural narratives. Simultaneously playful and unsettling, Daubism Corgi with Queen treats the landscape as both puzzle and protest—an act of regicide by collage, where the sovereign image is dethroned and recomposed under the artist’s rule. It stands as an early and radical articulation of Daubism’s foundational provocation: that every image is provisional, and every picture can be re-written. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/99337849-7861-46ee-80de-322ab82a2df2/The+New+Shore.jpg KEY WORKS - Make it stand out The New Shore (2018) Painted additions to an original landscape painting “The New Shore” marks one of the most visually dramatic and politically charged moments in the evolution of Daubism. Driller Jet Armstrong overlays a genteel, anonymous landscape with an expanse of dense, engulfing blackness and a violently saturated field of red — a chromatic rupture that overwhelms the inherited calm of the original painting. Against this destabilised ground, the small boats and their figures persist, suspended between two worlds: the inherited and the imposed, the picturesque and the obliterated. The dotted boundary — a recurring Daubist device — suggests both incision and repair, a suture line between histories that cannot fully meet. The blood-red shoreline reads simultaneously as warning, memory, and future terrain. It evokes massacres, displacement, ecological collapse, and the ongoing violence of settler narratives embedded in banal landscape painting. Yet the boats drift toward this red zone as if toward a destination they cannot help repeating — a metaphor for Australia’s ongoing attempts to navigate its colonial legacy without truly confronting it. In The New Shore, Armstrong forces the viewer into the disquieting space between image and intervention. The work insists that landscapes are never neutral: they are battlegrounds, burial grounds, and political fictions — and Daubism’s role is to make those fictions visible. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/2bae05ac-f008-4a4a-a2fe-108c5cdf2466/BLAK+SNAKES+LOVE+FLOWERS.jpg KEY WORKS - Make it stand out Blak Snakes Love Flowers (2011) Painted text and character overlays on an anonymous still-life In Blak Snakes Love Flowers, Armstrong detonates the genteel stability of the traditional still-life—a genre historically obsessed with purity, beauty, and order—by allowing his cartoon-like “blak snakes” to literally speak back. Their warning (“best not paint them, hey…”) functions as both a mischievous punchline and a cutting meta-critique of artistic entitlement. The work folds together multiple registers of “appropriation”: the still-life tradition, long associated with colonial importation of European aesthetics, the hand-written interruption that refuses to behave like a caption, and the Daubist creatures who emerge as protectors, critics, and cheeky agents of disruption. These figures—simultaneously cute, irritated, and sentient—stage an argument about custodianship. Who has the right to depict? Who defends the subject? And what happens when the depicted world talks back? Here the flowers are no longer passive objects. They become the centre of a territorial dispute, a site where Armstrong’s invented creatures petition for care, autonomy, and respect. The humour operates as camouflage for a deeper ethical gesture: an insistence that painting—and the histories it carries—is never neutral. Like much of Armstrong’s early 2010s practice, the work is a declaration that Daubism is not vandalism but a counter-narrative: a world where voices previously flattened into background finally get to answer back. https://www.drillerjetarmstrong.website/biography daily 0.75 2025-11-19 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/7a220360-7e44-4b95-b36d-6167bb0425b5/IMG_6498.jpeg biography - Make it stand out Biography — Driller Jet Armstrong Driller Jet Armstrong (born in London, UK; lives and works in Australia) is a multidisciplinary artist, DJ, cultural agitator, and the founding force behind Daubism — the radical Australian art movement that began in 1991 with his now-historic intervention Crop Circle on Bannon Landscape. Since that catalytic moment, Armstrong has spent more than three decades reshaping the visual and political conversations surrounding landscape, authorship, and the contested histories embedded in Australian art. Working primarily with found or second-hand landscape paintings — often sentimental relics of white-settler pastoral nostalgia — Armstrong “daubs” over them with new imagery: First Nations–inspired motifs, rock art silhouettes, Wandjina forms, pop-cultural symbols, and contemporary iconography. Each transformed work becomes a layered cultural palimpsest, exposing the ongoing tension between settler representations of Country and the enduring presence of First Nations peoples whose images and stories were long erased from colonial art. His ongoing Add-Original series intensifies this critique by directly inserting Indigenous presence into landscapes historically painted to exclude it. Through dots, silhouettes, gel transfers, and re-inscribed iconographies, Armstrong returns the human and the cultural to vistas once sanitised of their rightful custodians. Across his career, Armstrong has embraced a deliberately provocative and mischievous spirit — one noted early by critic Samela Harris, who called him “the most mischievous artist of our time.” From the early Basquiat Daub (2002) to Ghostscape (2017), Breaker (2015), Calming Force (2013), and the recent Spot Painting series, his works weave together art history, humour, cultural critique and political urgency. In parallel with his visual practice, Armstrong performs internationally as DJ Driller, drawing a conceptual line between musical sampling and painterly sampling: both acts of appropriation, remix and re-authorship. This cross-disciplinary approach underscores a core Daubist philosophy — that every artwork is part of an ongoing cultural conversation, never a closed or sacred object. Armstrong is currently represented by Segwood Gallery, Freemasons Lane, Adelaide. As debates around appropriation, cultural memory, artificial intelligence and artistic ownership intensify, Armstrong’s practice remains fiercely relevant. Through Daubism, he asserts the enduring power of the hand-made mark — the daub — to challenge, reclaim and rewrite the Australian image. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/7a220360-7e44-4b95-b36d-6167bb0425b5/IMG_6498.jpeg biography - Make it stand out Biography — Driller Jet Armstrong Driller Jet Armstrong (born in London, UK; lives and works in Australia) is a multidisciplinary artist, DJ, cultural agitator, and the founding force behind Daubism — the radical Australian art movement that began in 1991 with his now-historic intervention Crop Circle on Bannon Landscape. Since that catalytic moment, Armstrong has spent more than three decades reshaping the visual and political conversations surrounding landscape, authorship, and the contested histories embedded in Australian art. Working primarily with found or second-hand landscape paintings — often sentimental relics of white-settler pastoral nostalgia — Armstrong “daubs” over them with new imagery: First Nations–inspired motifs, rock art silhouettes, Wandjina forms, pop-cultural symbols, and contemporary iconography. Each transformed work becomes a layered cultural palimpsest, exposing the ongoing tension between settler representations of Country and the enduring presence of First Nations peoples whose images and stories were long erased from colonial art. His ongoing Add-Original series intensifies this critique by directly inserting Indigenous presence into landscapes historically painted to exclude it. Through dots, silhouettes, gel transfers, and re-inscribed iconographies, Armstrong returns the human and the cultural to vistas once sanitised of their rightful custodians. Across his career, Armstrong has embraced a deliberately provocative and mischievous spirit — one noted early by critic Samela Harris, who called him “the most mischievous artist of our time.” From the early Basquiat Daub (2002) to Ghostscape (2017), Breaker (2015), Calming Force (2013), and the recent Spot Painting series, his works weave together art history, humour, cultural critique and political urgency. In parallel with his visual practice, Armstrong performs internationally as DJ Driller, drawing a conceptual line between musical sampling and painterly sampling: both acts of appropriation, remix and re-authorship. This cross-disciplinary approach underscores a core Daubist philosophy — that every artwork is part of an ongoing cultural conversation, never a closed or sacred object. Armstrong is currently represented by Segwood Gallery, Freemasons Lane, Adelaide. As debates around appropriation, cultural memory, artificial intelligence and artistic ownership intensify, Armstrong’s practice remains fiercely relevant. Through Daubism, he asserts the enduring power of the hand-made mark — the daub — to challenge, reclaim and rewrite the Australian image. https://www.drillerjetarmstrong.website/curriculum-vitae daily 0.75 2025-11-22 https://www.drillerjetarmstrong.website/contact daily 0.75 2025-11-25 https://www.drillerjetarmstrong.website/media daily 0.75 2025-11-25 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/54ccd869-43cf-4752-8065-e15335b74a7a/peter+goers+crazy.jpg media - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/137aa7f0-bd95-44d8-b74c-a6cc37e94ade/daubism+the+australian.jpg media - Make it stand out The Australian — 27 September 1991 “Jet Armstrong with one of the Charles Bannon paintings he has ‘transformed’ for his controversial exhibition.” Photograph by Tony Lewis. Article by Richard Sproull. This early newspaper profile marks one of the first major public flashpoints in what would later be recognised as the birth of Daubism. In 1991, Driller Jet Armstrong was already challenging the sanctity of the Australian landscape tradition, presenting a series of “transformed” Charles Bannon paintings that ignited a national debate about ownership, intervention, and the moral rights of artists. The article captures the moment Armstrong’s practice collided with long-held cultural assumptions. Using spray paint, symbols, and conceptual overlays, he forced a confrontation between the inherited calm of colonial landscape painting and the disruptive energy of contemporary critique. Bannon’s work—representative of a lineage of pastoral and nationalist imagery—became the site on which questions of authorship, permission, and artistic sovereignty were contested. Arts lawyers, collectors, and cultural commentators weighed in. The piece describes Armstrong as unapologetic and fiercely articulate, insisting that art must interrogate the structures it inherits: “It’s all part of a statement about landscape paintings in general.” His interventions were framed not as vandalism, but as a deliberate rewriting of the Australian visual archive. Three decades later, this article stands as a key historical document—evidence of the moment Armstrong first disrupted the polite mythologies of the landscape and, in doing so, laid the earliest foundations of Daubism: the transformation of the already-made; the refusal to accept images as fixed; and the belief that painting is a living argument. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3e1fa8b6-add8-4344-8a79-7471f58caa70/21319280_10155622969486322_709628521018277101_o-1.jpg media - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/54ccd869-43cf-4752-8065-e15335b74a7a/peter+goers+crazy.jpg media - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/137aa7f0-bd95-44d8-b74c-a6cc37e94ade/daubism+the+australian.jpg media - Make it stand out The Australian — 27 September 1991 “Jet Armstrong with one of the Charles Bannon paintings he has ‘transformed’ for his controversial exhibition.” Photograph by Tony Lewis. Article by Richard Sproull. This early newspaper profile marks one of the first major public flashpoints in what would later be recognised as the birth of Daubism. In 1991, Driller Jet Armstrong was already challenging the sanctity of the Australian landscape tradition, presenting a series of “transformed” Charles Bannon paintings that ignited a national debate about ownership, intervention, and the moral rights of artists. The article captures the moment Armstrong’s practice collided with long-held cultural assumptions. Using spray paint, symbols, and conceptual overlays, he forced a confrontation between the inherited calm of colonial landscape painting and the disruptive energy of contemporary critique. Bannon’s work—representative of a lineage of pastoral and nationalist imagery—became the site on which questions of authorship, permission, and artistic sovereignty were contested. Arts lawyers, collectors, and cultural commentators weighed in. The piece describes Armstrong as unapologetic and fiercely articulate, insisting that art must interrogate the structures it inherits: “It’s all part of a statement about landscape paintings in general.” His interventions were framed not as vandalism, but as a deliberate rewriting of the Australian visual archive. Three decades later, this article stands as a key historical document—evidence of the moment Armstrong first disrupted the polite mythologies of the landscape and, in doing so, laid the earliest foundations of Daubism: the transformation of the already-made; the refusal to accept images as fixed; and the belief that painting is a living argument. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3e1fa8b6-add8-4344-8a79-7471f58caa70/21319280_10155622969486322_709628521018277101_o-1.jpg media - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.drillerjetarmstrong.website/new-page-2 daily 0.75 2025-11-25 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/5f57839d-5e67-40af-973f-74473a5a6323/bannon+copy.jpg DAUBISM - Make it stand out Crop Circle on Bannon Landscape 2 (2001) Spray-painted stencil on original landscape painting by Charles Bannon Created on the 10-year anniversary of the original 1991 provocation, this work revisits—and doubles down on—the gesture that ignited Daubism. The crisp crop-circle stencil slices through Bannon’s lyrical landscape like a coded transmission, refusing nostalgia and demanding a reckoning. Part homage, part disruption, part time-loop, it marks the moment Daubism became not just an act of vandalism or humour, but a philosophy: the right to intervene, overwrite and re-speak the Australian landscape. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d099fb45-51a1-43ed-afe3-5c043d0199a5/1sorry.jpg DAUBISM - Make it stand out SORRY (2002) two found paintings combined “SORRY” is an Add-Original work in which two entirely separate paintings by unknown, non-First Nations artists are brought together to form a single, unsettling image. By sheer coincidence — or perhaps fate — the horizon lines and central tree align almost perfectly, allowing Driller to fuse the canvases into one continuous landscape. The seam is invisible, yet the disruption is profound. Within this newly-constructed space, a stylised Black child appears to be gathering bark from the tree — a gesture borrowed from one painting and inserted into the other without alteration. Driller adds nothing; he simply combines what was already present. This act of joining exposes the ways in which Australian landscape painting has historically erased, sentimentalised, or misrepresented First Nations people. The title, SORRY, reframes the now-one image as a quiet but pointed commentary AND predates Australia’s landmark 2008 National Apology. With no added marks of his own, Driller lets the collision of two colonial-era visions speak for itself: a single, flawless horizon binding together a fractured national narrative. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/288a07ad-407a-4ede-9a24-99d529977649/disillusioned+disspirited+and+dangerous.jpg DAUBISM - Make it stand out Disillusioned, Dis-Spirited and Dangerous (2017) Paint on original landscape painting Disillusioned, Dis-Spirited and Dangerous is one of the clearest examples of Daubism’s capacity to transform a found landscape into a charged psychological tableau. Three stylised spirit figures — each rendered in Driller’s signature Wandjina-influenced outline — stand against a stark black field that has swallowed almost all of the original painting. Only their bodies remain open, revealing glimpses of the inherited landscape beneath: fragments of buildings, bushland, and muted earth tones that survive inside their silhouettes like memories trapped within a shell. The trio appear connected yet emotionally estranged — one watchful, one withdrawn, one blank-eyed and unblinking. Together they embody the work’s title: figures stripped of certainty, estranged from their environment, and rendered dangerous by the volatile mix of erasure, survival, and unresolved history. By leaving the original painting visible only within the interior of the bodies, Armstrong reverses the conventional order of landscape painting: Country becomes something carried, not something standing behind. The black field becomes a void — colonial amnesia, cultural dislocation, or the internal collapse of meaning — against which these hybrid presences must negotiate their existence. The result is a haunting, confrontational image in which old and new worlds collide within the human form itself. Here, Daubism becomes a diagnostic tool: revealing what has been lost, what remains, and what refuses to stay silent. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/4b701d46-9234-4923-b40d-3a31732a35ab/lost+title.jpeg DAUBISM - Make it stand out Lost Title (2015) “Lost Title” stages three towering Wandjina-like spirits—figures unmistakably indebted to First Nations iconography—inside a distinctly Western landscape painting that was never meant to hold them. Each form is rendered with bold, simplified colour blocks, their white chests and radiating head-spikes holding the visual authority of ancient presences. Behind them, the inherited pastoral landscape rolls on quietly, oblivious to the interruption. The title—or lack of one—functions as a provocation. By refusing a definitive label, the work mirrors the deeper cultural erasures that haunt Australian art history: missing attributions, suppressed narratives, overwritten sovereignties. The Wandjina figures appear not as decorative additions but as returns—assertions of a presence that long predates the colonial gaze of the original painting. In this Add-Original intervention, Armstrong doesn’t blend traditions; he collides them. The result is an unsettling hybrid image that exposes the fractures in Australia’s visual inheritance and suggests that what is “lost” in title may be far more present in spirit. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3f72c7ed-b310-4987-b805-1abcb0428fdd/black+snake.jpg DAUBISM - Make it stand out Black Snake (2018) Acrylic on original landscape painting Black Snake takes an intact, anonymous colonial landscape—complete with tidy cottage, gum trees, and the familiar rhetoric of pastoral serenity—and slices a vast, sinuous void through its centre. The matte black form is unmistakably serpent-like, edged with a constellation of white dots that both decorate and delineate the creature’s path. In Daubist terms, the work performs two simultaneous acts: Erasure — The snake devours most of the picture plane, eclipsing the settler-pastoral idyll and refusing its dominance. Revelation — What remains visible through the serpent’s “openings” reads like windows, reminding us that these landscapes were never empty; what is absent speaks louder than what is left behind. The snake—a potent figure across many First Nations cosmologies—becomes a counter-author, asserting a presence that colonial imagery traditionally overwrote. Here, it is not merely inserted but empowered: larger than the frame, larger than the narrative, larger than the polite fiction of the landscape genre itself. Black Snake is both interruption and restoration. A reminder that beneath every “untouched” landscape lies a story, and that the act of daubing can return agency to the ground on which the image stands. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/95ac69d7-e7b4-46a6-a11d-41eb1bedb497/australtv9zAR.jpg DAUBISM - Make it stand out CONVERGENCE (2022) Acrylic and dot-work intervention on original landscape painting Convergence distills a core Daubist principle: two visual languages meeting on the same horizon. A vintage pastoral landscape—soft, tonal, and rooted in the conventions of Western painting—is partly eclipsed by a sweeping arc of deep black, its edge marked with meticulous white dotting. The work becomes a threshold. Above: the inherited image of settler Australia. Below: an assertive field of black that refuses to behave as negative space. The dotted boundary becomes both membrane and meeting point, echoing First Nations mark-making while never claiming or reproducing it. The result is a powerful moment of tension and balance—where one world recedes, another emerges, and the viewer is held on the line between them. In Convergence, Driller Jet Armstrong articulates the essence of Daubism: disruption as respect, interruption as dialogue, and the belief that a painting can become more honest once its layers are allowed to collide. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e4c9531f-3eea-4f4a-8b17-57da0951c1df/IMG_1193.jpeg DAUBISM - Make it stand out Breaker (2017) Spray paint, acrylic and daub on original landscape painting Breaker (2017) slams together two visual languages that, at first glance, should never meet: Keith Haring’s iconic breakdancer and a stylised Wandjina figure — all laid boldly over the top of a saccharine colonial landscape painting. The figure’s pose, borrowed from Haring, becomes something entirely different once mapped onto Country. The body is filled not with flat colour but with the inherited brushwork of the original landscape, as if the land itself is erupting into movement. The black outline reads as both graffiti tag and ancestral marking; the daub is both playful and confrontational. This is Daubism at full voltage — remixing, reclaiming, unsettling and re-authoring at the same time. Breaker turns the landscape into a dance floor, allowing First Nations presence, pop iconography, and postmodern appropriation to collide in one kinetic, irreverent image. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/ded36aa0-4ab3-495e-ae67-a242543bbbdb/IMG_2764.jpg DAUBISM - Make it stand out AN AUSTRALIAN ON THE GRAND TOUR (2021) Painted Wandjina figure on an original European landscape painting by A. Segall. A lone Wandjina strides through a sun-washed European port, its bold, black form disrupting the genteel calm of the Grand Tour tradition. By inserting a distinctly Australian ancestral presence into a classic continental scene, Armstrong flips the script: instead of Australians travelling to Europe to legitimise their culture, the culture travels back—assertive, uninvited, and unmistakably itself. This work collapses geography and history into a single frame. The inherited European painting becomes a stage on which an Indigenous-coded figure refuses to play a passive role, confronting old-world romanticism with a distinctly postcolonial jolt. It is both humorous and quietly radical: the tourist becomes the intruder, and the “civilising gaze” is returned with interest. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/28b459ac-7a46-49a0-b1f6-fcbb9f0fcb75/IMG_5310.jpeg DAUBISM - Make it stand out Space Invader (2019) Add-Original painting on found landscape Space Invader is one of the clearest articulations of Daubism’s central tension: the collision of imported visual languages with the deep time of Country. Painted over a sentimental European-style landscape, the white figure appears simultaneously ancient and extraterrestrial — part Wandjina, part arcade-era alien, part warning flare in the wilderness. The radiating spiral on the left acts as both target and portal, a mark that destabilises the colonial illusion of untouched terrain. The figure’s raised hand — equal parts greeting and halt-signal — confronts the viewer with the same question that underpins the entire Add-Original philosophy: Who truly belongs in this picture? And who is the intruder? Rather than erase the original painting, Armstrong allows it to remain visible beneath the intervention, integrating the old and the new into a single unresolved field. The result is a playful but pointed work in which innocence, occupation, mythology, sci-fi and sovereignty all converge — a “first contact” scenario staged directly on the surface of the Australian landscape. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/49e92a8f-60e2-475b-b8b4-f5b9e0675e93/IMG_8735.JPG DAUBISM - Make it stand out HELLO FROM THE STOLEN GENERATION (2017) additions to original landscape painting In this work, Armstrong cuts three child-like silhouettes from a colonial landscape, allowing the scenery behind them to fill their bodies like ghosts of Country. Each figure is edged with delicate white dotting — a visual echo of First Nations mark-making — and together they form a small procession waving toward the viewer beneath the hand-painted message, “Hello from the stolen generation.” The piece refuses to narrate trauma directly; instead, it creates a quiet, devastating absence. The original painting’s pastoral calm is punctured by the missing children it never depicted — the landscapes they were taken from, the families they were taken to, and the history Australia is still trying to reconcile. Armstrong’s daub transforms a polite, inherited image into a confrontational acknowledgement: the land remembers its children, even when the nation tried to erase them. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1d2f3a1b-8f26-4955-b5aa-4944eafffaa9/spirits+at+the+waterhole.jpg DAUBISM - Make it stand out Spirits at the Waterhole (2023) Hand-painted figures over an anonymous colonial landscape painting In Spirits at the Waterhole, Armstrong overlays a quiet colonial bush scene with a gathering of translucent, ochre-yellow spirit figures, each rendered with the loose immediacy of children’s drawings but weighted with deep cultural resonance. Their placement is deliberate: drifting along the bank, climbing trees, pausing at the water’s edge, the spirits reclaim the site as a place of gathering, ceremony and memory. What was once painted as an empty, uninhabited pastoral idyll is re-populated with presences—gentle, playful, and unmistakably First Nations. By interrupting the inherited landscape image, Armstrong reveals the fiction at the heart of settler painting: the myth of emptiness. The spirits return what the original artwork tried to erase, suggesting a layered, living history beneath the colonial brushwork. The work sits firmly within Daubism’s Add-Original mode—where the artist does not destroy the inherited painting, but activates it, opens it, and allows the past that was painted over to speak again. The result is tender and unsettling: a landscape no longer still, but watched, shared and remembered. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/5f57839d-5e67-40af-973f-74473a5a6323/bannon+copy.jpg DAUBISM - Make it stand out Crop Circle on Bannon Landscape 2 (2001) Spray-painted stencil on original landscape painting by Charles Bannon Created on the 10-year anniversary of the original 1991 provocation, this work revisits—and doubles down on—the gesture that ignited Daubism. The crisp crop-circle stencil slices through Bannon’s lyrical landscape like a coded transmission, refusing nostalgia and demanding a reckoning. Part homage, part disruption, part time-loop, it marks the moment Daubism became not just an act of vandalism or humour, but a philosophy: the right to intervene, overwrite and re-speak the Australian landscape. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d099fb45-51a1-43ed-afe3-5c043d0199a5/1sorry.jpg DAUBISM - Make it stand out SORRY (2002) two found paintings combined “SORRY” is an Add-Original work in which two entirely separate paintings by unknown, non-First Nations artists are brought together to form a single, unsettling image. By sheer coincidence — or perhaps fate — the horizon lines and central tree align almost perfectly, allowing Driller to fuse the canvases into one continuous landscape. The seam is invisible, yet the disruption is profound. Within this newly-constructed space, a stylised Black child appears to be gathering bark from the tree — a gesture borrowed from one painting and inserted into the other without alteration. Driller adds nothing; he simply combines what was already present. This act of joining exposes the ways in which Australian landscape painting has historically erased, sentimentalised, or misrepresented First Nations people. The title, SORRY, reframes the now-one image as a quiet but pointed commentary AND predates Australia’s landmark 2008 National Apology. With no added marks of his own, Driller lets the collision of two colonial-era visions speak for itself: a single, flawless horizon binding together a fractured national narrative. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/288a07ad-407a-4ede-9a24-99d529977649/disillusioned+disspirited+and+dangerous.jpg DAUBISM - Make it stand out Disillusioned, Dis-Spirited and Dangerous (2017) Paint on original landscape painting Disillusioned, Dis-Spirited and Dangerous is one of the clearest examples of Daubism’s capacity to transform a found landscape into a charged psychological tableau. Three stylised spirit figures — each rendered in Driller’s signature Wandjina-influenced outline — stand against a stark black field that has swallowed almost all of the original painting. Only their bodies remain open, revealing glimpses of the inherited landscape beneath: fragments of buildings, bushland, and muted earth tones that survive inside their silhouettes like memories trapped within a shell. The trio appear connected yet emotionally estranged — one watchful, one withdrawn, one blank-eyed and unblinking. Together they embody the work’s title: figures stripped of certainty, estranged from their environment, and rendered dangerous by the volatile mix of erasure, survival, and unresolved history. By leaving the original painting visible only within the interior of the bodies, Armstrong reverses the conventional order of landscape painting: Country becomes something carried, not something standing behind. The black field becomes a void — colonial amnesia, cultural dislocation, or the internal collapse of meaning — against which these hybrid presences must negotiate their existence. The result is a haunting, confrontational image in which old and new worlds collide within the human form itself. Here, Daubism becomes a diagnostic tool: revealing what has been lost, what remains, and what refuses to stay silent. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/4b701d46-9234-4923-b40d-3a31732a35ab/lost+title.jpeg DAUBISM - Make it stand out Lost Title (2015) “Lost Title” stages three towering Wandjina-like spirits—figures unmistakably indebted to First Nations iconography—inside a distinctly Western landscape painting that was never meant to hold them. Each form is rendered with bold, simplified colour blocks, their white chests and radiating head-spikes holding the visual authority of ancient presences. Behind them, the inherited pastoral landscape rolls on quietly, oblivious to the interruption. The title—or lack of one—functions as a provocation. By refusing a definitive label, the work mirrors the deeper cultural erasures that haunt Australian art history: missing attributions, suppressed narratives, overwritten sovereignties. The Wandjina figures appear not as decorative additions but as returns—assertions of a presence that long predates the colonial gaze of the original painting. In this Add-Original intervention, Armstrong doesn’t blend traditions; he collides them. The result is an unsettling hybrid image that exposes the fractures in Australia’s visual inheritance and suggests that what is “lost” in title may be far more present in spirit. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/3f72c7ed-b310-4987-b805-1abcb0428fdd/black+snake.jpg DAUBISM - Make it stand out Black Snake (2018) Acrylic on original landscape painting Black Snake takes an intact, anonymous colonial landscape—complete with tidy cottage, gum trees, and the familiar rhetoric of pastoral serenity—and slices a vast, sinuous void through its centre. The matte black form is unmistakably serpent-like, edged with a constellation of white dots that both decorate and delineate the creature’s path. In Daubist terms, the work performs two simultaneous acts: Erasure — The snake devours most of the picture plane, eclipsing the settler-pastoral idyll and refusing its dominance. Revelation — What remains visible through the serpent’s “openings” reads like windows, reminding us that these landscapes were never empty; what is absent speaks louder than what is left behind. The snake—a potent figure across many First Nations cosmologies—becomes a counter-author, asserting a presence that colonial imagery traditionally overwrote. Here, it is not merely inserted but empowered: larger than the frame, larger than the narrative, larger than the polite fiction of the landscape genre itself. Black Snake is both interruption and restoration. A reminder that beneath every “untouched” landscape lies a story, and that the act of daubing can return agency to the ground on which the image stands. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/95ac69d7-e7b4-46a6-a11d-41eb1bedb497/australtv9zAR.jpg DAUBISM - Make it stand out CONVERGENCE (2022) Acrylic and dot-work intervention on original landscape painting Convergence distills a core Daubist principle: two visual languages meeting on the same horizon. A vintage pastoral landscape—soft, tonal, and rooted in the conventions of Western painting—is partly eclipsed by a sweeping arc of deep black, its edge marked with meticulous white dotting. The work becomes a threshold. Above: the inherited image of settler Australia. Below: an assertive field of black that refuses to behave as negative space. The dotted boundary becomes both membrane and meeting point, echoing First Nations mark-making while never claiming or reproducing it. The result is a powerful moment of tension and balance—where one world recedes, another emerges, and the viewer is held on the line between them. In Convergence, Driller Jet Armstrong articulates the essence of Daubism: disruption as respect, interruption as dialogue, and the belief that a painting can become more honest once its layers are allowed to collide. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e4c9531f-3eea-4f4a-8b17-57da0951c1df/IMG_1193.jpeg DAUBISM - Make it stand out Breaker (2017) Spray paint, acrylic and daub on original landscape painting Breaker (2017) slams together two visual languages that, at first glance, should never meet: Keith Haring’s iconic breakdancer and a stylised Wandjina figure — all laid boldly over the top of a saccharine colonial landscape painting. The figure’s pose, borrowed from Haring, becomes something entirely different once mapped onto Country. The body is filled not with flat colour but with the inherited brushwork of the original landscape, as if the land itself is erupting into movement. The black outline reads as both graffiti tag and ancestral marking; the daub is both playful and confrontational. This is Daubism at full voltage — remixing, reclaiming, unsettling and re-authoring at the same time. Breaker turns the landscape into a dance floor, allowing First Nations presence, pop iconography, and postmodern appropriation to collide in one kinetic, irreverent image. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/ded36aa0-4ab3-495e-ae67-a242543bbbdb/IMG_2764.jpg DAUBISM - Make it stand out AN AUSTRALIAN ON THE GRAND TOUR (2021) Painted Wandjina figure on an original European landscape painting by A. Segall. A lone Wandjina strides through a sun-washed European port, its bold, black form disrupting the genteel calm of the Grand Tour tradition. By inserting a distinctly Australian ancestral presence into a classic continental scene, Armstrong flips the script: instead of Australians travelling to Europe to legitimise their culture, the culture travels back—assertive, uninvited, and unmistakably itself. This work collapses geography and history into a single frame. The inherited European painting becomes a stage on which an Indigenous-coded figure refuses to play a passive role, confronting old-world romanticism with a distinctly postcolonial jolt. It is both humorous and quietly radical: the tourist becomes the intruder, and the “civilising gaze” is returned with interest. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/28b459ac-7a46-49a0-b1f6-fcbb9f0fcb75/IMG_5310.jpeg DAUBISM - Make it stand out Space Invader (2019) Add-Original painting on found landscape Space Invader is one of the clearest articulations of Daubism’s central tension: the collision of imported visual languages with the deep time of Country. Painted over a sentimental European-style landscape, the white figure appears simultaneously ancient and extraterrestrial — part Wandjina, part arcade-era alien, part warning flare in the wilderness. The radiating spiral on the left acts as both target and portal, a mark that destabilises the colonial illusion of untouched terrain. The figure’s raised hand — equal parts greeting and halt-signal — confronts the viewer with the same question that underpins the entire Add-Original philosophy: Who truly belongs in this picture? And who is the intruder? Rather than erase the original painting, Armstrong allows it to remain visible beneath the intervention, integrating the old and the new into a single unresolved field. The result is a playful but pointed work in which innocence, occupation, mythology, sci-fi and sovereignty all converge — a “first contact” scenario staged directly on the surface of the Australian landscape. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/49e92a8f-60e2-475b-b8b4-f5b9e0675e93/IMG_8735.JPG DAUBISM - Make it stand out HELLO FROM THE STOLEN GENERATION (2017) additions to original landscape painting In this work, Armstrong cuts three child-like silhouettes from a colonial landscape, allowing the scenery behind them to fill their bodies like ghosts of Country. Each figure is edged with delicate white dotting — a visual echo of First Nations mark-making — and together they form a small procession waving toward the viewer beneath the hand-painted message, “Hello from the stolen generation.” The piece refuses to narrate trauma directly; instead, it creates a quiet, devastating absence. The original painting’s pastoral calm is punctured by the missing children it never depicted — the landscapes they were taken from, the families they were taken to, and the history Australia is still trying to reconcile. Armstrong’s daub transforms a polite, inherited image into a confrontational acknowledgement: the land remembers its children, even when the nation tried to erase them. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1d2f3a1b-8f26-4955-b5aa-4944eafffaa9/spirits+at+the+waterhole.jpg DAUBISM - Make it stand out Spirits at the Waterhole (2023) Hand-painted figures over an anonymous colonial landscape painting In Spirits at the Waterhole, Armstrong overlays a quiet colonial bush scene with a gathering of translucent, ochre-yellow spirit figures, each rendered with the loose immediacy of children’s drawings but weighted with deep cultural resonance. Their placement is deliberate: drifting along the bank, climbing trees, pausing at the water’s edge, the spirits reclaim the site as a place of gathering, ceremony and memory. What was once painted as an empty, uninhabited pastoral idyll is re-populated with presences—gentle, playful, and unmistakably First Nations. By interrupting the inherited landscape image, Armstrong reveals the fiction at the heart of settler painting: the myth of emptiness. The spirits return what the original artwork tried to erase, suggesting a layered, living history beneath the colonial brushwork. The work sits firmly within Daubism’s Add-Original mode—where the artist does not destroy the inherited painting, but activates it, opens it, and allows the past that was painted over to speak again. The result is tender and unsettling: a landscape no longer still, but watched, shared and remembered. https://www.drillerjetarmstrong.website/home-alone daily 1.0 2026-02-19 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/989bda64-663a-4e8c-be50-35a93d2b25c8/daub+logo.jpg https://www.drillerjetarmstrong.website/new-page daily 0.75 2025-11-25 https://www.drillerjetarmstrong.website/lineage-of-daubism daily 0.75 2025-11-25 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/eee2dacf-113c-4a96-840a-c5120b7d2c15/fountain.jpg%21Large.jpeg Lineage of Daubism - Make it stand out Marcel Duchamp, Fountain, 1917. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/7e7834ac-1aec-4064-9fbd-aec60c91c4bf/After_Walker_Evans_4%2C_1981%2C_Sherrie_Levine.jpg Lineage of Daubism - Make it stand out Sherrie Levine, After Walker Evans, 1981. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/f0214a24-57c7-44e6-99b5-a04522c84802/le-canard-inqui-tant-1959.jpeg Lineage of Daubism - Make it stand out Asger Jorn le-canard-inqui-tant-1959 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/90c92bc5-1c59-40e6-ac60-31a4f02dc6e8/sophie+calle.jpeg Lineage of Daubism - Make it stand out Sophie Calle, Suite Vénitienne (detail). 1979/1980 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/743b9055-3234-44d0-ac31-abcd5a6143b8/Enrico+Baj+Des+e%CC%82tres+d%27autres+plane%CC%80tes+violaient+nos+femmes%2C+1959.webp Lineage of Daubism - Make it stand out Enrico Baj Des êtres d'autres planètes violaient nos femmes, 1959 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/09235693-74ca-457c-ad2a-9751cdcb9f33/Eraseddekooning.jpeg Lineage of Daubism - Make it stand out Robert Rauschenberg, Erased de Kooning Drawing, 1953. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/a17d98e9-175d-4321-b627-0c8aeb1a79dd/goodbye.jpg Lineage of Daubism - Make it stand out Driller Jet Armstrong - Suicide note on Charles Frydrych landscape 1992 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/eee2dacf-113c-4a96-840a-c5120b7d2c15/fountain.jpg%21Large.jpeg Lineage of Daubism - Make it stand out Marcel Duchamp, Fountain, 1917. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/7e7834ac-1aec-4064-9fbd-aec60c91c4bf/After_Walker_Evans_4%2C_1981%2C_Sherrie_Levine.jpg Lineage of Daubism - Make it stand out Sherrie Levine, After Walker Evans, 1981. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/f0214a24-57c7-44e6-99b5-a04522c84802/le-canard-inqui-tant-1959.jpeg Lineage of Daubism - Make it stand out Asger Jorn le-canard-inqui-tant-1959 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/90c92bc5-1c59-40e6-ac60-31a4f02dc6e8/sophie+calle.jpeg Lineage of Daubism - Make it stand out Sophie Calle, Suite Vénitienne (detail). 1979/1980 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/743b9055-3234-44d0-ac31-abcd5a6143b8/Enrico+Baj+Des+e%CC%82tres+d%27autres+plane%CC%80tes+violaient+nos+femmes%2C+1959.webp Lineage of Daubism - Make it stand out Enrico Baj Des êtres d'autres planètes violaient nos femmes, 1959 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/09235693-74ca-457c-ad2a-9751cdcb9f33/Eraseddekooning.jpeg Lineage of Daubism - Make it stand out Robert Rauschenberg, Erased de Kooning Drawing, 1953. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/a17d98e9-175d-4321-b627-0c8aeb1a79dd/goodbye.jpg Lineage of Daubism - Make it stand out Driller Jet Armstrong - Suicide note on Charles Frydrych landscape 1992 https://www.drillerjetarmstrong.website/public-artworks daily 0.75 2025-12-09 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/6ece7904-ea9a-47c9-bb1b-4a1344a5a2a5/hotrock6.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/f7055bd0-2e8f-4e2f-839f-23fb117e27be/hotrock4.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c6eed9b5-3ecb-4395-958b-fe7d382e8167/9kw6.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/967b2bf1-217b-4968-8e32-046af5cc4738/88mural5.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1bd603cf-fb4e-455b-ac58-ba9d863f6b9b/billbord.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d3cba64e-95d3-4409-88bb-93050e3a7b4d/DSCN1322.JPG Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c19eaa18-f6dd-4c62-b42e-8d6524e54473/98mtl.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b1329313-d796-4c6c-a2d5-42903b9edf54/imax1.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e77d0929-f950-404f-baa7-68611f4ef4c9/imaxc.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/a5bf0204-75a9-449f-b7a3-8552a6ebfd41/murinal+2.jpeg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/6ece7904-ea9a-47c9-bb1b-4a1344a5a2a5/hotrock6.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/f7055bd0-2e8f-4e2f-839f-23fb117e27be/hotrock4.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c6eed9b5-3ecb-4395-958b-fe7d382e8167/9kw6.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/967b2bf1-217b-4968-8e32-046af5cc4738/88mural5.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1bd603cf-fb4e-455b-ac58-ba9d863f6b9b/billbord.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d3cba64e-95d3-4409-88bb-93050e3a7b4d/DSCN1322.JPG Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c19eaa18-f6dd-4c62-b42e-8d6524e54473/98mtl.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b1329313-d796-4c6c-a2d5-42903b9edf54/imax1.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e77d0929-f950-404f-baa7-68611f4ef4c9/imaxc.jpg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/a5bf0204-75a9-449f-b7a3-8552a6ebfd41/murinal+2.jpeg Public Artworks - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/bcacc6c0-12d3-41c5-8406-ffa6b87ca3be/IMG_4624.jpeg https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/d840fdba-8580-4728-b004-9d0ffbf995fa/IMG_4622.jpeg https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/57e005ef-5d04-47f4-81b4-d8062dc7ca7c/IMG_4621.jpeg https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/530ce208-2a2c-41a4-85e3-670f08277a0a/IMG_4626.jpeg https://www.drillerjetarmstrong.website/criticism-and-rebuttal daily 0.75 2025-11-25 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b46c1fc4-4173-4baa-a615-29db24fc506a/bishop+swipe.jpg Criticism and Rebuttal - Make it stand out 1. Bishop applies an outdated framework to a contemporary practice Bishop critiques Armstrong as though the conceptual and postmodern revolutions never occurred. His interpretive framework predates: conceptualism appropriation art détournement remix culture post-medium theory post-object and post-studio practice In other words, he judges Daubism using tools that were already antiquated before Armstrong even began working. His critique reveals not a flaw in the art, but a critical vocabulary frozen in a much earlier era. 2. Bishop mistakes conceptual transformation for “copying” At the core of Bishop’s misreading is a fundamental confusion between appropriation and derivation. Armstrong’s practice is aligned with a lineage that includes Duchamp, Asger Jorn, Sherrie Levine, Sophie Calle, Enrico Baj, and Rauschenberg — a lineage in which intervention, reframing, and repurposing are central strategies. Rather than recognise this, Bishop collapses the entire conceptual framework into the childish category of “copying.” This is a category error so severe that it invalidates his entire argument. To mistake Armstrong’s daubist reconstruction for copying is to reveal an inability to see past the surface of any artwork. 3. Bishop’s response is moral panic disguised as criticism Much of Bishop’s discomfort stems from old anxieties surrounding: the sanctity of the “original painting” fear of tampering with tradition the perceived danger of contemporary re-authorship These anxieties are not critical insights; they are symptoms of a nostalgic worldview in which artistic meaning is fixed, stable, and protected from intervention. Daubism, by contrast, exposes precisely the instability Bishop fears. His critique reads not as analysis, but as a protective emotional reaction against contemporary art’s ability to challenge cultural memory. 4. Bishop erases the intellectual lineage to protect his argument from collapse For Bishop’s critique to stand, he must ignore the existence of: the readymade appropriation discourse postmodern authorship debates the entire field of institutional critique By refusing to acknowledge this lineage, Bishop creates a false vacuum in which Armstrong’s work can be mischaracterised. This selective amnesia is not a critical strategy — it is a defensive manoeuvre to avoid engaging with the conceptual sophistication of Daubism. 5. Bishop’s reading is superficial because he lacks the tools to interpret complexity Daubism operates through conceptual layering, narrative collision, material contradiction, humour, temporal disruption and re-authoring. Bishop reduces all of this to “defacement.” This reduction is not a judgement on Armstrong — it is an admission of Bishop’s own critical limitations. He cannot read the languages in which Daubism speaks, so he declares the work unintelligible. The failure is his, not the artwork’s. 6. Bishop refuses to let Daubism define its own principles Daubism sets its own parameters: the use of original paintings the daub as a conceptual mark the inherited landscape as material authorship as a dynamic, shared, unstable concept Bishop rejects these premises outright, choosing instead to apply a rigid, conservative standard that Daubism was explicitly designed to critique. This is equivalent to reviewing an avant-garde novel by criticising it for not following rhyme schemes. 7. Bishop’s critique ultimately reveals more about Bishop than about Armstrong His argument inadvertently discloses: his discomfort with contemporary theory his fear of artistic hybridity his reliance on outdated hierarchies his inability to navigate non-traditional authorship Daubism exposes these weaknesses. The work expands beyond the boundaries Bishop tries to contain it in. Far from undermining Armstrong’s practice, Bishop’s critique demonstrates precisely why that practice is necessary: it challenges a critical establishment still clinging to yesterday’s certainties. Conclusion Tony Bishop’s critique of Driller Jet Armstrong is not a critique in any meaningful sense. It is the residue of an outdated critical apparatus attempting to grapple with a contemporary movement that exceeds its reach. His assessment is: historically uninformed theoretically inadequate conceptually confused emotionally reactive and critically obsolete In attempting to diminish Daubism, Bishop inadvertently confirms its relevance. His failure to read the work is not evidence of the work’s weakness, but of Daubism’s ability to outpace a critic anchored in the past. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1f251282-9727-4d1a-ae4a-cd76f674b75b/catherine+waters+swipe.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Catherine Waters’s Critique of Daubism Catherine Waters’s description of Daubism as a “moral rights abuse of the highest order” is not a critical position but a category error, rooted in a misunderstanding of both the practice and the legal–ethical frameworks she invokes. Her statement, while rhetorically dramatic, collapses under informed analysis. 1. Waters presumes that every altered painting is a “work of art” in the legal sense — Daubism does not Daubism operates only on original paintings acquired legitimately, typically abandoned, orphaned, donated, discarded, unsigned, or made by unknown or amateur painters who never claimed ongoing artistic control. Legally and ethically, “moral rights” apply to the identifiable creator of a work. Waters’s accusation relies on the false assumption that Armstrong is mutilating: museum works significant heritage objects identifiable artists’ intellectual property He is not. Daubism intervenes in works that have already exited the sphere of authorship and entered the realm of cultural detritus— precisely the material that Duchamp, Jorn, Levine, Calle, and others use as conceptual ground. Her argument applies a legal category where it is not operative. 2. Waters frames Daubism as “defacement,” ignoring that Daubism is a form of creation, not destruction Waters assumes a zero-sum logic: that adding to a painting must diminish it. Contemporary art has spent a century disproving that assumption. Rauschenberg’s Erased de Kooning Asger Jorn’s Modifications Sherrie Levine’s re-photographic interventions Gordon Matta-Clark’s architectural cuts Banksy’s public-space overwrites All demonstrate that alteration can generate meaning, not erase it. Daubism is a transformative act, producing a new work through critical dialogue with the old. To call this “mutilation” is to cling to a 19th-century essentialism long abandoned by serious art criticism. 3. Waters positions herself as defending artists, but erases the conceptual artist entirely Ironically, in condemning Daubism as moral rights abuse, Waters: affirms the rights of the unknown amateur painter while denying the rights of the contemporary artist creating the new work Armstrong becomes invisible in her argument. His authorship, labour, conceptual framework, and artistic agency are rendered nonexistent. Her critique attempts to protect the dead maker of the background while erasing the living maker of the artwork in front of her. This is not advocacy — it is critical blindness. 4. Waters ignores the international art-historical lineage that makes Daubism legible Her claim can only stand if one ignores: Duchamp’s attack on originality Jorn’s overwriting of flea-market paintings Situationism Feminist re-authorship practices Postmodern appropriation The contemporary remix condition Daubism is not an aberration — it is a continuation of these movements. Waters’s refusal to acknowledge the lineage is not neutrality; it is an attempt to judge a contemporary practice using criteria that expired decades ago. A critique built on historical amnesia is not a critique. It is simply uninformed. 5. Waters confuses sentimental attachment with ethical principle To call Daubism a “moral rights abuse of the highest order” is to escalate preference into ethics. What Waters actually articulates is: discomfort with seeing images altered attachment to the notion of painterly sanctity anxiety around destabilised authorship nostalgia for intact surfaces These are emotional positions, not ethical ones. They do not constitute a moral argument. Aesthetic sentiment is not moral rights. 6. Waters misidentifies the object of harm: Daubism harms no artist, but exposes a system No original artist is injured or misrepresented by Daubism. Instead, the only thing “mutilated” is: the myth of artistic purity the fiction of fixed meaning the fantasy of sovereign authorship the unexamined nostalgia embedded in Australian landscape painting If Daubism wounds anything, it is the ideological comfort Waters wishes to preserve. Her critique reveals not a violation, but an exposure. Conclusion Catherine Waters’s accusation is rhetorically strong but intellectually weak. It relies on: legal misunderstanding historical erasure conceptual collapse emotional argument disguised as ethics Daubism is not a moral rights abuse. It is a critical re-authorship, entirely aligned with a century of contemporary artistic strategies. Far from “defacement,” Daubism is a generative methodology that produces meaning precisely by intervening in the inherited images Waters insists must remain untouched. Her critique tells us nothing about Daubism — and everything about the boundaries Daubism was created to confront. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/58e11661-970f-4ecd-b2c4-6af4af5f69e8/daubism+media+dridan+damns+the+daubists.jpg Criticism and Rebuttal - Make it stand out Rebuttal to David Dridan’s Attack on Daubism (1994) for publication, exhibition wall text, or website use David Dridan’s condemnation of Daubism in The Advertiser (June 27, 1994) reads today not as a principled defence of art, but as a revealing moment when a conservative landscape painter felt the ground shift beneath him and panicked. His statements expose more about his anxieties than they ever did about the practice he attempted to dismiss. 1. Dridan mistakes artistic insecurity for moral principle Dridan frames his outrage as a defence of “honour” and “reputation,” but the subtext is unmistakable: he feared his own work — and the nostalgic Australian landscape tradition he represented — could be rendered irrelevant by contemporary critique. His insistence that only he may touch his own paintings exposes a fragile belief in artistic ownership as permanent, sacred and unchallengeable. Contemporary art has long moved past such paternalistic protectionism. 2. He misunderstands Daubism as vandalism, proving he does not understand the artwork at all Dridan collapses the distance between illegal street graffiti and conceptual intervention on privately owned paintings. Daubism is entirely lawful, ethically considered, and art-historically grounded. His horror at the practice arises not from moral clarity but from a failure to recognise: the Duchampian collapse of the “original” Jorn’s Modifications postmodern appropriation the remix condition of the late 20th century He condemns Daubism because he has no conceptual vocabulary to understand it. 3. Dridan was wrong on the facts: moral rights do NOT apply to abandoned, amateur, or orphaned works The article reveals fundamental confusion about the law. Dridan warns about “tampering” with another person’s art while ignoring that: the landscapes Daubism intervenes upon are legally purchased most are unsigned, abandoned, or orphaned works no identifiable artist’s honour is harmed the resulting works are wholly new artistic creations Dridan invokes laws that do not apply, and his outrage depends on this misunderstanding. 4. His defence of the Australian landscape tradition is thinly disguised gatekeeping Dridan’s generation treated the eucalyptus-scrub landscape as sacred territory — a genre preserved in amber by nostalgia rather than critical thought. Daubism challenges that unexamined reverence. Dridan’s statement that “people who would like a bit of fun with my works should keep their hands off” is not a moral position — it is defensive gatekeeping against the evolution of Australian art beyond the provincialism he inhabited. 5. He portrays tradition as fragile, revealing its brittleness In Dridan’s worldview, the Australian landscape painting is so delicate that a critical gesture — a daub, an overwrite, a conceptual intervention — can destroy it. But art that cannot survive critique is not strong; it is already hollow. Daubism exposed that hollowness, and Dridan reacted accordingly. 6. His appeal to authority relies on sentimentality, not argument The article leans heavily on references to Drysdale, Heysen, and “mateship,” attempting to cloak his discomfort in the aura of great Australian painters. But none of those figures ever appointed Dridan their guardian — nor would they have endorsed stagnation over artistic evolution. His criticism rests not on theory, rigor, or understanding, but nostalgia and name-dropping. 7. History has already shown Dridan to be on the losing side of the argument Thirty years on, Dridan’s comments feel like the last gasp of a fading school of thought. Meanwhile, Daubism continues: to evolve to be collected to be exhibited to be written about to generate critical engagement to speak directly to 21st-century culture The movement he dismissed as “tampering” has had a longer conceptual life than the very style he sought to protect. Conclusion: Dridan condemned Daubism because it cracked open the myth he depended on Dridan’s attack does not reveal a flaw in Daubism. It reveals the fragility of an older Australian art ideology — one threatened by any practice that questions authorship, tradition, and the colonial image of “the bush.” His critique was never about protecting art. It was about protecting a worldview that Daubism had already left behind. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/ddc3703a-f9bc-4e11-91ae-2f2ee464f7cc/media1.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Stradwick and Dridan (1991) Michael Stradwick’s criticism reads like the reflex of someone terrified that contemporary art might require him to think. His claim that Daubism hides behind “deep meaning and art jargon” only reveals his unfamiliarity with both. It’s the standard defence of the threatened traditionalist: when confronted with an idea he cannot grasp, he declares the idea illegitimate. His dismissal is not analysis — it is fear masquerading as clarity. His accusation that Driller is “passing off” another artist’s work ignores the obvious: Daubism openly foregrounds its source material, transforming it through visible intervention. Stradwick criticises the practice using vocabulary he doesn’t understand, hoping rhetorical fog will hide the hollowness of his argument. It doesn’t. Dridan’s letter beside it is worse — a moralising sermon built on a fundamental misunderstanding of art history, authorship, and the contemporary condition. He invokes “the soul of another” as though paintings were sacred relics rather than cultural objects that have always been reinterpreted, repurposed, and challenged by artists who push the form forward. His outrage centres not on ethics but on the shock of encountering a practice that destabilises the complacent assumptions he depends on. Both critics ultimately reveal the same anxiety: Daubism exposed how fragile their attachment to traditional Australian landscape painting truly was. Neither could answer the work with thought, so they answered with indignation. And indignation ages badly. History has already moved on; their protests remain only as artefacts of resistance to change — not to protect art, but to protect their own comfort. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/9b934311-2060-487f-a5e3-45c661b48a8d/margot+osborne.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Margot Osborne (1991) Margot Osborne’s critique hinges on a simple but fatal misconception: she assumes that the value of an image is fixed, inviolable, and determined by a consensus that never actually existed. Her horror at Armstrong “taking a lot on himself” exposes the real engine of her argument — not ethics, but discomfort with an artist who refuses to ask permission to rethink the familiar. Osborne inadvertently admits that Bannon’s landscape was “not a timeless masterpiece,” but then insists it must nevertheless remain untouched, as though mediocrity deserves preservation simply because it arrived first. This is not a defence of art; it is a defence of inertia. She presents Armstrong’s decision to intervene as arrogance, yet every significant shift in art history — from Duchamp to Rauschenberg to Jorn — was made by artists who refused to treat inherited images as sacred objects. Osborne faulted Armstrong not because he broke a rule, but because he understood the rules were imaginary. Her claim that “it is hard to see his act in anything but negative terms” reflects only the limits of her own perspective. Daubism forced a confrontation with authorship, originality, and the afterlife of images. Osborne’s response was to retreat to the safety of disapproval rather than engage with the work’s conceptual force. In the end, Osborne’s critique reveals less about Armstrong’s art than about the fragility of a critical framework unable to recognise transformation as a legitimate act. Her resistance is not an argument — it is an admission of discomfort in the face of artistic evolution. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/b46c1fc4-4173-4baa-a615-29db24fc506a/bishop+swipe.jpg Criticism and Rebuttal - Make it stand out 1. Bishop applies an outdated framework to a contemporary practice Bishop critiques Armstrong as though the conceptual and postmodern revolutions never occurred. His interpretive framework predates: conceptualism appropriation art détournement remix culture post-medium theory post-object and post-studio practice In other words, he judges Daubism using tools that were already antiquated before Armstrong even began working. His critique reveals not a flaw in the art, but a critical vocabulary frozen in a much earlier era. 2. Bishop mistakes conceptual transformation for “copying” At the core of Bishop’s misreading is a fundamental confusion between appropriation and derivation. Armstrong’s practice is aligned with a lineage that includes Duchamp, Asger Jorn, Sherrie Levine, Sophie Calle, Enrico Baj, and Rauschenberg — a lineage in which intervention, reframing, and repurposing are central strategies. Rather than recognise this, Bishop collapses the entire conceptual framework into the childish category of “copying.” This is a category error so severe that it invalidates his entire argument. To mistake Armstrong’s daubist reconstruction for copying is to reveal an inability to see past the surface of any artwork. 3. Bishop’s response is moral panic disguised as criticism Much of Bishop’s discomfort stems from old anxieties surrounding: the sanctity of the “original painting” fear of tampering with tradition the perceived danger of contemporary re-authorship These anxieties are not critical insights; they are symptoms of a nostalgic worldview in which artistic meaning is fixed, stable, and protected from intervention. Daubism, by contrast, exposes precisely the instability Bishop fears. His critique reads not as analysis, but as a protective emotional reaction against contemporary art’s ability to challenge cultural memory. 4. Bishop erases the intellectual lineage to protect his argument from collapse For Bishop’s critique to stand, he must ignore the existence of: the readymade appropriation discourse postmodern authorship debates the entire field of institutional critique By refusing to acknowledge this lineage, Bishop creates a false vacuum in which Armstrong’s work can be mischaracterised. This selective amnesia is not a critical strategy — it is a defensive manoeuvre to avoid engaging with the conceptual sophistication of Daubism. 5. Bishop’s reading is superficial because he lacks the tools to interpret complexity Daubism operates through conceptual layering, narrative collision, material contradiction, humour, temporal disruption and re-authoring. Bishop reduces all of this to “defacement.” This reduction is not a judgement on Armstrong — it is an admission of Bishop’s own critical limitations. He cannot read the languages in which Daubism speaks, so he declares the work unintelligible. The failure is his, not the artwork’s. 6. Bishop refuses to let Daubism define its own principles Daubism sets its own parameters: the use of original paintings the daub as a conceptual mark the inherited landscape as material authorship as a dynamic, shared, unstable concept Bishop rejects these premises outright, choosing instead to apply a rigid, conservative standard that Daubism was explicitly designed to critique. This is equivalent to reviewing an avant-garde novel by criticising it for not following rhyme schemes. 7. Bishop’s critique ultimately reveals more about Bishop than about Armstrong His argument inadvertently discloses: his discomfort with contemporary theory his fear of artistic hybridity his reliance on outdated hierarchies his inability to navigate non-traditional authorship Daubism exposes these weaknesses. The work expands beyond the boundaries Bishop tries to contain it in. Far from undermining Armstrong’s practice, Bishop’s critique demonstrates precisely why that practice is necessary: it challenges a critical establishment still clinging to yesterday’s certainties. Conclusion Tony Bishop’s critique of Driller Jet Armstrong is not a critique in any meaningful sense. It is the residue of an outdated critical apparatus attempting to grapple with a contemporary movement that exceeds its reach. His assessment is: historically uninformed theoretically inadequate conceptually confused emotionally reactive and critically obsolete In attempting to diminish Daubism, Bishop inadvertently confirms its relevance. His failure to read the work is not evidence of the work’s weakness, but of Daubism’s ability to outpace a critic anchored in the past. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/1f251282-9727-4d1a-ae4a-cd76f674b75b/catherine+waters+swipe.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Catherine Waters’s Critique of Daubism Catherine Waters’s description of Daubism as a “moral rights abuse of the highest order” is not a critical position but a category error, rooted in a misunderstanding of both the practice and the legal–ethical frameworks she invokes. Her statement, while rhetorically dramatic, collapses under informed analysis. 1. Waters presumes that every altered painting is a “work of art” in the legal sense — Daubism does not Daubism operates only on original paintings acquired legitimately, typically abandoned, orphaned, donated, discarded, unsigned, or made by unknown or amateur painters who never claimed ongoing artistic control. Legally and ethically, “moral rights” apply to the identifiable creator of a work. Waters’s accusation relies on the false assumption that Armstrong is mutilating: museum works significant heritage objects identifiable artists’ intellectual property He is not. Daubism intervenes in works that have already exited the sphere of authorship and entered the realm of cultural detritus— precisely the material that Duchamp, Jorn, Levine, Calle, and others use as conceptual ground. Her argument applies a legal category where it is not operative. 2. Waters frames Daubism as “defacement,” ignoring that Daubism is a form of creation, not destruction Waters assumes a zero-sum logic: that adding to a painting must diminish it. Contemporary art has spent a century disproving that assumption. Rauschenberg’s Erased de Kooning Asger Jorn’s Modifications Sherrie Levine’s re-photographic interventions Gordon Matta-Clark’s architectural cuts Banksy’s public-space overwrites All demonstrate that alteration can generate meaning, not erase it. Daubism is a transformative act, producing a new work through critical dialogue with the old. To call this “mutilation” is to cling to a 19th-century essentialism long abandoned by serious art criticism. 3. Waters positions herself as defending artists, but erases the conceptual artist entirely Ironically, in condemning Daubism as moral rights abuse, Waters: affirms the rights of the unknown amateur painter while denying the rights of the contemporary artist creating the new work Armstrong becomes invisible in her argument. His authorship, labour, conceptual framework, and artistic agency are rendered nonexistent. Her critique attempts to protect the dead maker of the background while erasing the living maker of the artwork in front of her. This is not advocacy — it is critical blindness. 4. Waters ignores the international art-historical lineage that makes Daubism legible Her claim can only stand if one ignores: Duchamp’s attack on originality Jorn’s overwriting of flea-market paintings Situationism Feminist re-authorship practices Postmodern appropriation The contemporary remix condition Daubism is not an aberration — it is a continuation of these movements. Waters’s refusal to acknowledge the lineage is not neutrality; it is an attempt to judge a contemporary practice using criteria that expired decades ago. A critique built on historical amnesia is not a critique. It is simply uninformed. 5. Waters confuses sentimental attachment with ethical principle To call Daubism a “moral rights abuse of the highest order” is to escalate preference into ethics. What Waters actually articulates is: discomfort with seeing images altered attachment to the notion of painterly sanctity anxiety around destabilised authorship nostalgia for intact surfaces These are emotional positions, not ethical ones. They do not constitute a moral argument. Aesthetic sentiment is not moral rights. 6. Waters misidentifies the object of harm: Daubism harms no artist, but exposes a system No original artist is injured or misrepresented by Daubism. Instead, the only thing “mutilated” is: the myth of artistic purity the fiction of fixed meaning the fantasy of sovereign authorship the unexamined nostalgia embedded in Australian landscape painting If Daubism wounds anything, it is the ideological comfort Waters wishes to preserve. Her critique reveals not a violation, but an exposure. Conclusion Catherine Waters’s accusation is rhetorically strong but intellectually weak. It relies on: legal misunderstanding historical erasure conceptual collapse emotional argument disguised as ethics Daubism is not a moral rights abuse. It is a critical re-authorship, entirely aligned with a century of contemporary artistic strategies. Far from “defacement,” Daubism is a generative methodology that produces meaning precisely by intervening in the inherited images Waters insists must remain untouched. Her critique tells us nothing about Daubism — and everything about the boundaries Daubism was created to confront. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/58e11661-970f-4ecd-b2c4-6af4af5f69e8/daubism+media+dridan+damns+the+daubists.jpg Criticism and Rebuttal - Make it stand out Rebuttal to David Dridan’s Attack on Daubism (1994) for publication, exhibition wall text, or website use David Dridan’s condemnation of Daubism in The Advertiser (June 27, 1994) reads today not as a principled defence of art, but as a revealing moment when a conservative landscape painter felt the ground shift beneath him and panicked. His statements expose more about his anxieties than they ever did about the practice he attempted to dismiss. 1. Dridan mistakes artistic insecurity for moral principle Dridan frames his outrage as a defence of “honour” and “reputation,” but the subtext is unmistakable: he feared his own work — and the nostalgic Australian landscape tradition he represented — could be rendered irrelevant by contemporary critique. His insistence that only he may touch his own paintings exposes a fragile belief in artistic ownership as permanent, sacred and unchallengeable. Contemporary art has long moved past such paternalistic protectionism. 2. He misunderstands Daubism as vandalism, proving he does not understand the artwork at all Dridan collapses the distance between illegal street graffiti and conceptual intervention on privately owned paintings. Daubism is entirely lawful, ethically considered, and art-historically grounded. His horror at the practice arises not from moral clarity but from a failure to recognise: the Duchampian collapse of the “original” Jorn’s Modifications postmodern appropriation the remix condition of the late 20th century He condemns Daubism because he has no conceptual vocabulary to understand it. 3. Dridan was wrong on the facts: moral rights do NOT apply to abandoned, amateur, or orphaned works The article reveals fundamental confusion about the law. Dridan warns about “tampering” with another person’s art while ignoring that: the landscapes Daubism intervenes upon are legally purchased most are unsigned, abandoned, or orphaned works no identifiable artist’s honour is harmed the resulting works are wholly new artistic creations Dridan invokes laws that do not apply, and his outrage depends on this misunderstanding. 4. His defence of the Australian landscape tradition is thinly disguised gatekeeping Dridan’s generation treated the eucalyptus-scrub landscape as sacred territory — a genre preserved in amber by nostalgia rather than critical thought. Daubism challenges that unexamined reverence. Dridan’s statement that “people who would like a bit of fun with my works should keep their hands off” is not a moral position — it is defensive gatekeeping against the evolution of Australian art beyond the provincialism he inhabited. 5. He portrays tradition as fragile, revealing its brittleness In Dridan’s worldview, the Australian landscape painting is so delicate that a critical gesture — a daub, an overwrite, a conceptual intervention — can destroy it. But art that cannot survive critique is not strong; it is already hollow. Daubism exposed that hollowness, and Dridan reacted accordingly. 6. His appeal to authority relies on sentimentality, not argument The article leans heavily on references to Drysdale, Heysen, and “mateship,” attempting to cloak his discomfort in the aura of great Australian painters. But none of those figures ever appointed Dridan their guardian — nor would they have endorsed stagnation over artistic evolution. His criticism rests not on theory, rigor, or understanding, but nostalgia and name-dropping. 7. History has already shown Dridan to be on the losing side of the argument Thirty years on, Dridan’s comments feel like the last gasp of a fading school of thought. Meanwhile, Daubism continues: to evolve to be collected to be exhibited to be written about to generate critical engagement to speak directly to 21st-century culture The movement he dismissed as “tampering” has had a longer conceptual life than the very style he sought to protect. Conclusion: Dridan condemned Daubism because it cracked open the myth he depended on Dridan’s attack does not reveal a flaw in Daubism. It reveals the fragility of an older Australian art ideology — one threatened by any practice that questions authorship, tradition, and the colonial image of “the bush.” His critique was never about protecting art. It was about protecting a worldview that Daubism had already left behind. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/ddc3703a-f9bc-4e11-91ae-2f2ee464f7cc/media1.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Stradwick and Dridan (1991) Michael Stradwick’s criticism reads like the reflex of someone terrified that contemporary art might require him to think. His claim that Daubism hides behind “deep meaning and art jargon” only reveals his unfamiliarity with both. It’s the standard defence of the threatened traditionalist: when confronted with an idea he cannot grasp, he declares the idea illegitimate. His dismissal is not analysis — it is fear masquerading as clarity. His accusation that Driller is “passing off” another artist’s work ignores the obvious: Daubism openly foregrounds its source material, transforming it through visible intervention. Stradwick criticises the practice using vocabulary he doesn’t understand, hoping rhetorical fog will hide the hollowness of his argument. It doesn’t. Dridan’s letter beside it is worse — a moralising sermon built on a fundamental misunderstanding of art history, authorship, and the contemporary condition. He invokes “the soul of another” as though paintings were sacred relics rather than cultural objects that have always been reinterpreted, repurposed, and challenged by artists who push the form forward. His outrage centres not on ethics but on the shock of encountering a practice that destabilises the complacent assumptions he depends on. Both critics ultimately reveal the same anxiety: Daubism exposed how fragile their attachment to traditional Australian landscape painting truly was. Neither could answer the work with thought, so they answered with indignation. And indignation ages badly. History has already moved on; their protests remain only as artefacts of resistance to change — not to protect art, but to protect their own comfort. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/9b934311-2060-487f-a5e3-45c661b48a8d/margot+osborne.jpg Criticism and Rebuttal - Make it stand out Rebuttal to Margot Osborne (1991) Margot Osborne’s critique hinges on a simple but fatal misconception: she assumes that the value of an image is fixed, inviolable, and determined by a consensus that never actually existed. Her horror at Armstrong “taking a lot on himself” exposes the real engine of her argument — not ethics, but discomfort with an artist who refuses to ask permission to rethink the familiar. Osborne inadvertently admits that Bannon’s landscape was “not a timeless masterpiece,” but then insists it must nevertheless remain untouched, as though mediocrity deserves preservation simply because it arrived first. This is not a defence of art; it is a defence of inertia. She presents Armstrong’s decision to intervene as arrogance, yet every significant shift in art history — from Duchamp to Rauschenberg to Jorn — was made by artists who refused to treat inherited images as sacred objects. Osborne faulted Armstrong not because he broke a rule, but because he understood the rules were imaginary. Her claim that “it is hard to see his act in anything but negative terms” reflects only the limits of her own perspective. Daubism forced a confrontation with authorship, originality, and the afterlife of images. Osborne’s response was to retreat to the safety of disapproval rather than engage with the work’s conceptual force. In the end, Osborne’s critique reveals less about Armstrong’s art than about the fragility of a critical framework unable to recognise transformation as a legitimate act. Her resistance is not an argument — it is an admission of discomfort in the face of artistic evolution. https://www.drillerjetarmstrong.website/raymond-alter daily 0.75 2025-11-25 https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e5432cd0-95fa-40fd-a02f-4908d5d61421/raymondaltermedia.jpg RAYMOND ALTER - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/c3ab218d-23a1-45ec-a00f-9c81521ff7a5/alterincitymessenger.jpg RAYMOND ALTER - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/582bb62a414fb5070f054eed/e5432cd0-95fa-40fd-a02f-4908d5d61421/raymondaltermedia.jpg RAYMOND ALTER - Make it stand out Whatever it is, the way you tell your story online can make all the difference. 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