I often think of my work as Punk or PunkArt. I shock, I shame I point the finger, I give the underdog or victim a voice, I'm flippant, I target religion and court love. I play on words, I'm scared of dying. I uncover abuses of greed, physical, mental, addiction, sexual.

My sculptural practice is a manifestation of documentation, instinct, beauty, voyeuristic fantasy and freeform thought. These abandoned or ejected objects are impregnated with our culture, found by me, on the backstreets, laneways and in certain energy filled inner city and urban environments. These objects link my fantasies with the fantasies of those who view my work exposing the spirit of the underdog. My sculptural practice is a manifestation of documentation, instinct beauty, voyeuristic fantasy and freeform thought. These abandoned or ejected objects are impregnated with our culture, found by me, on the backstreets, laneways and in certain energy filled inner city and urban environments. These objects link my fantasies with the fantasies of those who view my work exposing the spirit of the underdog.

By its very nature my work is shocking, yet darkly alluring. Fully charged with political, sexual, dangerous and jovial content. I challenge the viewerıs senses to own part of their darkness and articulate the underdog. My [visual] communication is direct and forthright, a reality check to those who are hiding or asleep in their conservatism, normalcy and complacency.

Robert Young's work as an artist has been characterised by a fixation of the underdog and their sprit. Growing up in London, Young left school at an early age and gained a place in the competitive London College of Furniture on the basis of a single piece of furniture produced in evidence of skill and aptitude. After a year, he was apprenticed to master craftsman William Tillman. He quickly tired of the claustrophobic factory environment, but discovered a true creative talent and relished in the artistic and productive nature of the work.

At 18 he founded a removal company. In 1989 pursuing creativity Young found himself in Australia where he was to settle permanently. Youngıs introduction to photography came in 1990 when he left Australia on extended travel through Africa. Seduced by the ³the capture², he began to seriously pursue photography and art-making, returning to study and assisting in a studio before launching independently into freelance photojournalism.

With an increasingly strong desire to document and capture the stories of ³the underdog² and a sensitivity to the emotional content of his subjects, Young gathered together an initial body of images around his recurring interest in those grey areas of life ³where we might just drop out², including drug use and Tattooing Piercing and Branding.

The often starling three dimensional documentation Young applies to his work was born some years ago. "Originally, I collected found objects derived from nature with some natural intrinsic beauty , this sculptural documentation of the underdog, underworld and its subcultures is an extension of the my preoccupation".

Youngıs choice and treatment of subject matter, which is symbolized by a reverence and a kind of silent voyeurism and a cultural refection, betrays an empathy for and fascination with Oedgyı experiences of life. Youngıs interest in Osurvivorı subcultures represents also a disdain for the high brow.

Youngıs work is not for the faint of heart; his challenging works are in turn repellent and alluring. Disquieting, yet darkly beautiful, they are frank testaments to reality.