Using universal codes such as colour and form, Frank engages with the audience on a subconscious level. He transports this non-verbal communication to another parallel dimension, as if his paintings were a kind of wormhole to another universe.

The pigmented varnishes melt and fold into abstract impressions, and unique unexpected colours from acrid pastel pink to cobalt blue are utilised. Bound to reflective Perspex, the works create immersive and mirrored distortions, and they emit both a pop sheen and jewel-like luminosity.

Frank's work titles inject a social and psychological element, and sardonic bite.

In his current body of work, sculptural additions include human hair wigs in lieu of paint, which create a cascade of monochromatic forms. Buildups of liquid glass, compression foam, and plastic rubber into sculptural assemblages on Perspex suggest celestial typographies while demanding a reexamining of the conceptual nature of Painting itself.

Recent and selected solo exhibitions include Sabco Peroxide (2016) and Toby Jugs (2014), Roslyn Oxley9 Gallery, Sydney, Australia; The Silence Rode a Donkey into Town (2012), Gallery Reis, Singapore; Dale Frank (2012), Art Statements Gallery, Hong Kong, China; and Ecstasy: 20 Years of Painting (2000), the Museum of Contemporary Art of Sydney, Sydney, Australia. Selected group exhibitions include Dancing Umbrellas (2016), Heide Museum of Modern Art, Melbourne, Australia; Lurid Beauty (2015), National Gallery of Victoria, Melbourne, Australia; the Adelaide Art Biennale (2014), Adelaide, Australia; the 55th Venice Biennale (2013), Venice, Italy; Les Arts de L'effervescence. Champagne! (2013), Musée des Beaux Arts de Reims, Reims, France; Inner Worlds: Portraits and Psychology (2011), National Portrait Gallery, Canberra, Australia; and the 17th Biennale of Sydney: The Beauty of Distance, Songs of Survival in a Precarious Age (2010), Sydney, Australia.

Text courtesy Pearl Lam Galleries.