Paul Lacey-Pantapin Studios-Recent Work 2012

Winter Beach (Susan) 2012, oil/canvas 45x45cm ©Paul Lacey/Licensed by Viscopy.


Early Morning Estuary(Denmark WA) 2012. oil/canvas 84x120cm ©Paul Lacey/Licensed by Viscopy


Pink Moon(Reverie)2012. oil/canvas 60.5x76cm ©Paul Lacey/Licensed by Viscopy.



Susan Crookes-New work 2012-Heavens to Murgatroid!

Murgatroid(Jetpack model with Handcrank) 2012, paper-mache/found objects/mixed media sculpture dimensions variable max. H84xW92xD50cm ©Susan Crookes/Licensed by Viscopy.
Murgatroid(Jetpack model with Handcrank) 2012, paper-mache/found objects/mixed media sculpture dimensions variable max. H84xW92xD50cm ©Susan Crookes/Licensed by Viscopy. Rear view.
Heavens to Murgatroid(Attack of the Giant Squid) 2012, acrylic/canvas 61x45cm ©Susan Crookes/Licensed by Viscopy.

The title ‘Heavens to Murgatroid’ came from the 60’s cartoon Snagglepuss, and was his catchphrase, that, and ‘Exit, stage left’.

It’s a favourite name I’d hung onto to give to a rooster, peacock, parrot-but we couldn’t reach agreement to call any of our pets Murgatroid, and that is how Murgatroid became the fitting the name for my robot.

Lost in Space…

Danger, Danger, Will Robinson approaching!

This clip below from the Ricky Gervais Show where Karl encounters a Giant Squid…

And a long time favourite, Red Dwarf”s Kryten…

Kryten, the android from Red Dwarf, vacuuming with his groinal attachment.

Robby Robot, another inspirational image knocking around in my head.

He was a reference point because of the shape of his head, closely resembling the domed chicken feeder I used for Murgatroid.

This clip from Ed Wood’s classic B movie, Bride of the Monster shows Bela Lugosi struggling with a soggy but otherwise harmless Giant Squid.

I missed out Squiddly Diddly, and Marvin the Depressed Robot from The Hitch Hikers Guide to the Galaxy, but I think that’s enough reverie on Robot’s and Giant Squids for the time being.

Now to Ventriloquists and Dummies…

A moustachioed ventriloquist from olden times, with his leering dummy.

I’ve always been rather partial to characters with expressive teeth…

Here’s my Howdy Doody-

Howdy Doody(Ventriloquists Dummy) 2012, acrylic/canvas 40.5 x 30cm © Susan Crookes/Licensed by Viscopy.
© Susan Crookes/Licensed by Viscopy

Smoking really is bad for your health…

And here below is the real Howdy Doody, in the days when innocent chimps decorated television shows of all descriptions.

The real Howdy Doody, with Buffalo Bob and a baby chimpanzee.

Now to Rabbits, Hare-Brains and Bad Bunnies…Slightly bashful, cuddly and at times brutish, but otherwise at ease with their overwhelming instincts.

Hare Brain(Bad Bunny)2012, acrylic/canvas 40.5 x 30cm ©Susan Crookes/Licensed by Viscopy.

Just imagine this one if he was in a mood!

This photo appeared about the same time as Wallace and Gromit’s Curse of the Were-Rabbit.
A gigantic prize-winning Flemish Giant rabbit.

One Cat, Two Cat.

One Cat, Two Cat.

One Cat, Two Cat. 2008, oil/hemp 110x120cm © Paul Lacey/Licensed by Viscopy.

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Paul Lacey at Greenhill Galleries Adelaide Sept. 2011 Exhibition Statement.




Born 1962 England
1966 Arrived in Adelaide, SA
1990 Associate Diploma in Fine Art (Painting), NASA Adelaide, SA
1999  Relocated to WA. 2011: currently residing in the Central Wheatbelt, WA.

Paul Lacey creates beautiful canvases that figure haunting landscapes, curious creatures and intriguing characters. Each painting invites the viewer into the imaginative and enchanting world created by this exceptional West Australian artist.
Revealing his fascination for the workings of the mind’s subconscious and emanating tragi-comic sensibility, Lacey’s works convey stories about the self-deprecating and melancholic nature of the psyche. He effortlessly portrays the depths of the subconscious through the employment of surrealist techniques and expressionistic elements, rejecting the need for any form of realism, which he believes can be a burden to the free-flowing expression of ideas.

Where direct representation of Lacey’s trademark characters are deliberately sidelined, this is hardly so in the case of his superb rendering of light and colour.
Critically acclaimed for his highly theatrical settings, Lacey’s works are awash with intuitive colours and outstanding tonal composition. He creates an intensity of mood for his characters, conveying stories imbued with tension and feelings, heightened by his instinctive use of lighting that streams down upon his characters, from a well-positioned spotlight to dramatic full moon.

Lacey draws parallels within his works to the melancholic theatre of such literary greats as Kafka, Dostoyevsky, Beckett and White. His use of cartoon-like aesthetics provides a self-parody element to this homage, where the combination of classical representation of light and colour is juxtaposed with the plastic and artificial realism of cartoons.
Born in London in 1962, Paul emigrated to Australia four years later to reside in South Australia. In 1990 Paul completed an Associate Diploma of Fine Art at the NASA, Adelaide. Paul is represented in Artbank, the Taxation Department Adelaide, the FH Faulding Foundation and numerous private collections.

Emily Lynch 2010.


Perron Group, WA.
Blake Dawson, WA.
Australian Taxation Office, Adelaide.
F.H. Faulding Foundation, Sydney.
Artbank, Sydney.
Jackson McDonald, WA.
PSZ Partners, WA.
Southcorp Ltd Art Collection, SA.
Private Collections throughout Australia and SE Asia.

Touching a Deeper Nerve‚ Sarah Palmer, the West Australian 9/9/02.
Flights of Fancy‚ Neville Weston, the West Australian 5/10/02.
New Works, Paul Lacey‚ Judith McGrath, ArtScene in WA, Sept 2002.
Hooked on Art‚ Beverly Eikli, Homes & Living Spring 2002.
Painting Space‚ Anna-Nicole Del-Re, Sunday Times magazine,20/3/05

Fugliness ~Paul Lacey, ArtLease/BuyArt  June 10 – E-zine