As has become more and more apparent with time, the cultural and societal implications and residues of the 1950s – the racial, gender and cultural imbalances and downright injustices – can't simply be swept under the carpet. These paintings are a reflection, but they also read as the mask of denial. Dan Rule, 'In the galleries' 15/8/15
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Legacy does not see Coad leave her methodology but rather extend her Clusters series into a historical framework. This then moves her work into mythology and mystery and changes the way we read these works. I felt a definitive engagement with the subject's lives and the mystery of their reappearance
â€- Ric Spencer review of Legacy, "Legacy burnt into artist's tighter approach", The West Australian 2010
The Australian Times, London, 2009 ....It’s pretty hard, you know, to break up with your girlfriend and go travelling for who knows how long. My parents were pretty supportive. My Dad was a little more hesitant. He said I should think about what I want to do for the rest of my life.
The Australian Times, London, 2009 .....I remember the day of the liquid bomb scare at Heathrow. They were at on like High Terror alert. I wasn’t allowed my i-pod or my cigarettes, I was only allowed my passport, my ticket and my money. You had to take your shoes off and there were dudes with massive machine guns. It was crazy.
