The Happy Kleptomaniac Collection

Like most artists I am a happy kleptomaniac, collecting toys, figurines, and bits and pieces for many years. The Kleptomaniac series of works has continued for five years.

Each year changing with each new find, love, friend or even my children.

The same rules apply to all. Knowledge, learning, personal pleasure (including appreciation of beauty, and pride of ownership), social interaction with fellow collectors, and altruism. 

Collectors are hoarders, they assign too much value to their possessions, making it difficult or impossible to decide to get rid of them. The question may be asked will I be attached any more or any less to this collection as it grows and morphs over time.


Florilegium is a record of the monumental botanical collections made by Sir Joseph Banks and his team of naturalists aboard James Cook's Endeavour , 1768-1771. In mid 1770 Sir Joseph Banks added to this collection with the flora- plants collected from the now known sunshine coast.

Culture is moving fast and people seem to be disconnected from nature so by hanging the work upside down and by placing the flora in plastic it is about seeing this flora as a new species again as Banks did in 1770. It maybe wrong and mixed up but it still has that bright and beautiful presence that discovery has.


Robert Fenton

​ Studied at the National Art School, East Sydney, NSW Australia.. Moved to Melbourne and opened an artist run gallery (Makingsense art space in North Melbourne) with two other artists.Traveled overseas for a year then settled in Victoria, Australia. Since my studies I have had solo exhibitions and numerous group exhibitions, awards, and commissions around Austrialia, with works in private and corporate collections here & overseas.

About the work

My works tend to focus on strange and elusive narratives which offer the viewer no easy answers at first. My works investigate the overlap of the vivid imagery.The real and the imagined dissolve into one another, creating narratives that unfold primarily through the humour and sometimes black humour of the title.  I have the figures centre stage and propeled forward, toward the viewer sometimes floating, not here nor there.This leaves the viewer two ways of seeing the work.1 as a still life or 2 as a staged scene. Not till the viewer reads the title do the two merge. In short this causes humour, smile a laugh at times and the viewer to be throwen off kilter slightly adding to my own sense of grandeur.