Echoing his mother words "somewhere I must gone wrong raising you", Heath has not been one to stay on the straight and narrow path. With an insatiable curiosity for oddities and irregularities in life, Heath’s eyes are always open finding new things.
Born in Australia, Heath quickly took flight to explore the world in his early 20’s. During that time has been working at the forefront of design, working for many of the world’s leading advertising and branding agencies.
Now turning his attention back to art, his debut collection draws inspiration from his commercial art background and origins of urban art – a blend of design and art. His approach follows the practice of design thinking, with a focus on creating simple, iconic and memorable pieces that have the ability to tell stories and are linked to a larger narrative. Within the, often lurid colour, artwork he tries to distill subtle but often subversive themes.
“The important thing for me is not just what it looks like and feels like, it is what it makes you think”.
I grew up on the northern beaches of Sydney. Looking back, I realise what an optimistic time it was. I was steeped in the surf and skate culture of the late 1970s and '80s. It gave me a real sense of hope and belonging - and I realise now defined a lot of my world view.
I decided to make graphic design my career, after a failed attempt to become an animator. It was a decision that took me to Denmark, the USA, and finally the UK. I arrived in London in the late '90s just as the economy and property market was starting to boom. It was an exciting time. I lived there for over ten years. What I loved about London was how cosmopolitan it was – the most diverse place I have ever lived.
In 2014, my family and I moved out of London to live in a small country town. We set up home and I created a studio. This is where my first piece – Rich Enough To Be Batman – was conceived and made. And where all my subsequent pieces have been made.
My approach to art is responsive. I respond to what I see and feel. Rich Enough To Be Batman was a response to the disparities of wealth I was seeing. It also was based on a core belief of mine – that good art should also create a smile in people’s minds. It seemed to strike a chord and was and continues to be very successful.
The success of Rich Enough To Be Batman led me to my Masks of Fears collection – a more serious collection looking at the rise of popularist global leaders. This collection got me onto the cover of Wired magazine.
Since then I have continued to make art in response to what I see happening in the world – often things that scare and trouble me – as well as what inspires me.