Julian Meagher's 'The Offering' depicts a festival scene created as a restaging of a Japanese Mikoshi ceremony; Articulating this within an Australian framework and with a dash of humour, Meagher replaced the house of the gods with a house of beer and created first-hand content for a series of paintings. This reworking and reimagining of an existing image also applies to Meagher's clinical observations of tattooed skin, and of Vietnam War era helmets decorated with graffiti from fellow soldiers as well as his Ming vase paintings.

Julian Meagher's fascination with tattoos has multiple points of attraction; the ritual, the aesthetic, the cross-cultural adoption, the permanence and the story behind each piece -- whether that story be factual or imagined. Often text-based, and with a distinctly punk aesthetic, his knuckle tattoos tend to withhold an intriguing or humorous history; for example the story of a man getting the initial of his wife tattooed in the place of a wedding ring, only to later get divorced and subsequently end up with the words "HOT DOG" across his knuckles.

Meagher has been represented across a number of prizes and exhibitions including; The Blake Prize for religious art, The Metro Art Award as a multiple finalist, numerous hangs in The Salon des Refusés, The Black Swan prize for portraiture (Perth), Royal Bank of Scotland Emerging Artist Award Finalist, The Doug Moran Portrait Prize Finalist and was the recipient of The Australia Council Emerging Artist New Work Development Grant.