[citation needed] Frank's artistic explorations in the mid-1970s consisted of abstracted landscapes and assemblages that contained materials such as hardwoods and furniture.
Later his performance-based sculptures included: staging an elaborate lighting and sound disco together with a DJ at Roslyn Oxley9 Gallery, Sydney, and the Canberra Contemporary Art Centre; and installing eight large professional pool tables and associated paraphernalia of a Pool Hall, at the Institute of Modern Art in Brisbane.
[3] Australian curator and writer Stuart Koop wrote: "Since 2001 I'd suggest, Frank's paintings don't depict or represent anything.
[4] The titles of his paintings are phrases invented or overheard that "read like short stories",[3] Sam Jinks and Elizabeth Newman wrote in 2015: "The works' titles remind us of Frank's creative intercession in these chemical exchanges: snippets from life conversations, things read, influences at large, big and little ideas that might suggest a subject, but perhaps better reflect the life of the artist in parallel - forming a montage whose doubtful inherent logic might still truly reflect the chaotic complexity of influence".
[5] The reflective nature of Perspex alters the paint quality, and in addition the work becomes a "performance", activated and completed when the viewer stands before it.
[1] He has held numerous exhibitions at commercial galleries including Roslyn Oxley9, Anna Schwartz, Gow Langsford, and Neon Parc.