"Drawing on B-movie tropes of 'primitive' cultures, esoteric spiritual practice and sexploitation, Cuts Both Ways features a ritualistic summoning of a monstrous and destructive 'other'.
Although primarily known as a painter, Cuts Both Ways continues Wealleans’ interest in creating fictional customs and deities. In the catalogue for the 2009 Asia Pacific Triennial, one of Wealleans recent works was described thus.
A self-portrait of the artist as a monster who is the slave of the cannibal God both parodies concepts of identity and reveals his roguish approach to considerations of his own cultural history."