There is a well-known piece of mid-twentieth-century music in which no one plays. Don's White Line Therapy (2024) operates in the same gesture: a mark that asks not to be seen. The line was painted at dawn, in the manner of a council maintenance crew, and was within days indistinguishable from the council's own. The work was complete when the artist's hand became invisible.
Don's practice is structured around productive avoidance. The website you are reading was promised in 2024. The works on display are byproducts of its non-completion. Each catalogue iteration — 01 / 03, then 02 / 03, then 03 / 03 — marks not progress toward a finished site but progress toward a more finished form of incompleteness.
The works themselves continue the move. It's The Bondi To Bronte (2024) is a coastal stone with a single inlaid white line; the line was not surveyed, the geological boundary it marks is arbitrary, and the install photography was not commissioned. The World's Greatest Grain Of Sand (forthcoming, October 2026) will be a single grain returned to the beach at the close of exhibition, in a location other than its origin, unmarked, considered complete when it cannot be re-identified.
This is a practice that resists completion. It also resists documentation. The reader will note that this essay does not name the figures it gestures toward; the canon is invoked by omission, in the same way the works are invoked by their partial erasure. To name would be to finish.
The website you are reading is the work. The works you have seen are byproducts of avoiding the website. The catalogue you scrolled through is documentation of an artist procrastinating on building a website. The line on the coastal walk; the stone with the inlaid line at Tamarama; the single grain forthcoming at Bondi — these works exist because their website didn't.
You have observed n grains so far.