When he died suddenly in Melbourne in July 1999, at the age of 48, Australian painter Howard Arkley had just achieved his greatest successes, receiving international critical acclaim for his
work at the Venice Biennale and in Los Angeles. Arkley enjoyed pop themes and imagery, like many of his 'postmodern' generation, but he also developed an idiosyncratic individual style, using
heavy, air-brushed lines and vivid colour to produce stylised representations of everyday subjects. Carnival in Suburbia covers Arkley's work thematically, beginning with his best-known works
of suburban imagery. Subsequent chapters examine his fascination with pattern, colour and line; a full account for the first time of his creative use of source material; and his collaborations
with Juan Davila and other contemporaries. Finally, Arkley is identified as a 'carnivalesque' painter, intrigued by death, grotesque body imagery and masks. John Gregory, an art-historian by
profession, was Arkley's brother-in-law.
