ON THE FENCE

On the Fence explores the quiet tension between comfort and curiosity, belonging and departure. In this painting, three white cockatoos perch along a wire farm gate, their bodies angled toward one another as if deep in conversation. Their animated postures suggest a lively exchange—perhaps gossip, perhaps debate—mirroring the way human communities gather at boundaries to talk about what lies beyond them.
The gate itself is central to the narrative. Attached to a weathered grey fence post twisted with old fencing wire, and crowned by a rusted letterbox, it bears the marks of time, labour, and rural resilience. This structure marks a threshold: the meeting point between the intimate space of home and the vast, unpredictable world beyond. Behind it, a farmhouse and solitary windmill sit within a dry, barren landscape, reinforcing a sense of isolation, endurance, and deep-rooted attachment to place.
While three cockatoos remain engaged with one another, a fourth bird is distracted by a delicate monarch butterfly that has settled on the gate. This small moment of diversion introduces a note of wonder and possibility. The butterfly—fragile, migratory, and transient—contrasts with the grounded permanence of the farm and fence, hinting at the pull of movement, change, and exploration.
The cockatoos themselves embody this duality. Known for their strong flock bonds and territorial loyalty, they are also creatures of flight and constant motion. Perched together on the gate, they symbolise a shared love of home and community, yet their elevated position on the boundary suggests a readiness—perhaps even a longing—to leave it, if only briefly, to discover what lies beyond.
Through this scene, On the Fence reflects on the universal human experience of standing at life’s thresholds: the hesitation before stepping away from the familiar, the comfort of companionship in moments of uncertainty, and the quiet pull of curiosity that urges us to look past the gate and into the wider world.