Growing up on a sheep farm in Western Victoria, as number nine in a family of ten children, its not often Pete has found himself alone, & then again it is just as often.

These dynamics play an important role in his style. 

Having cut his teeth playing music in  Melbourne, across the country & overseas, Pete's experience has more in common with a bygone era than todays .

Cross country road trips on time deadlines, broken down cars, the hustle for accomodation, missing from the rider, last minute band members, to others never seen again.  

It's this rich tapestry of Australian musicians,

(many in his family)  Who are the storytellers, translators, jokers, magicians, thought provokers & providers of rhythm.

His musical family also rhymes with a different time. 

Large families are great places to learn about conflict and resolution, melody and harmony, as well as loud and quiet.

This sense of dynamic  informs so much of what Pete writes.

His mother Marie, an amazing songwriter herself & also from a large musical family , has over the years impressed upon him the importance of the arts, in a society. The value of the artist in a community and the necessity music to the soul.

As much as song  was expected, it was celebrated, as it was part of everyday it has also been just as mystical and elusive.




Oscar Wilde's preface to 'A Picture Of Dorian Grey sits here, as it should do for any aspiring, challenged or doubting artist.

The artist is the creator of beautiful things.

To reveal art and conceal the artist is art’s aim.

The critic is he who can translate into another manner or a new material his impression of beautiful things.

The highest, as the lowest, form of criticism is a mode of autobiography.

Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.

They are the elect to whom beautiful things mean only Beauty.

There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass.

The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass.

The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.

No artist desires to prove anything. Even things that are true can be proved.

No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.

No artist is ever morbid. The artist can express everything.

Thought and language are to the artist instruments of an art.

Vice and virtue are to the artist materials for an art.

From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type.

All art is at once surface and symbol.

Those who go beneath the surface do so at their peril.

Those who read the symbol do so at their peril.

It is the spectator, and not life, that art really mirrors.

Diversity of opinion about a work of art shows that the work is new, complex, and vital.

When critics disagree the artist is in accord with himself.

We can forgive a man for making a useful thing as long as he  does not admire it. The only excuse for making a useless thing is that one admires it intensely.

All art is quite useless.


The Preface to "A Picture Of Dorian Grey"  by  Oscar Wilde.