I was very moved by this open letter. It’s not often you feel that a talk you gave or paper you wrote really connected with anyone. I feel very welcomed by The Blake Society, and I really think many people of different cultural and faith background throughout the Asia-Pacific would enjoy Blake’s ideas and find gems of thoughts very aligned with Eastern spiritual mythologies and cultures.

My visual essay in VALA, the journal of The Blake Society in London, is called "A Field Manual for A Lost Soldier: William Blake's The Marriage of Heaven and Hell as a Course in Complexity". Their theme is War & Peace. Marriage can help us unravel the complexity of our times. Military leaders also need reminding that limiting their creativity to technologies to kill blinds them to the shape-shifting qualities of Blake’s God and Satan.

This canvas is one of 4 images I painted for my visual essay in VALA 5. Written for an international audience, it is a comparative reflection on William Blake's rather complex 1790s poem ‘The Marriage of Heaven and Hell’ and the ‘UK Defence Doctrine 2022’ (UKDD), together with some philosophical classics which together create an alternate lens on new capabilities amidst current global, geopolitical tensions in both Europe and the Indo-Pacific of 2023…I hope it makes a positive contribution at a very challenging time for us all.

I was so pleased when Dr Kyle Grayson asked if Routledge London could use my painting There is Nothing Like a Drone (2011) for his new book on targeted killing

This article was first published in the London Progressive Journal, 5 July 2015. It was my response to the rise of right-wing elements in the Australian political scene and targeting of my Muslim friends in Melbourne.

“When I first heard the suggestion that the judiciary and greater Parliamentary oversight could 'save the day' and redress the reckless use of new capabilities by Britain's security service GCHQ, an image flashed into my mind of a 1903 painting by Australian impressionist Tom Roberts - known locally as The Big Picture. It records, historically and artistically, the first Parliament in Australia. Or in American filmic terms, the Birth of A Nation.