The concept behind my body of work was to use clay forms to explore the beauty of the Australian landscape, and particularly a journey up the coast. As a young girl growing up I spent my holidays at Seal Rocks with my family and my intent was to further explore those memories. My work includes a range of clay making techniques including wheel throwing, coil building and slip casting. My passion for ceramics flourished when I went on a road trip up the west coast and discovered a deeper appreciation for the Australian bush and wildlife.

My body of work represents the birth of a new era where dynamic and limitless thinking will shape the future of architecture. Made with laser-cut technology, my works are multi-dimensional, referencing their contemporary context as well as fragments of the past. They explore the dramatic interplay between space and light, with the intent that their abstract forms and delicate shadows create a powerful presence from the auras of individuals, structures and the environment. Powerful yet weightless, reflections of both the viewer and the surrounding landscape can be seen in my work, inspiring a sense of harmony and awareness.

My body of work documents my exploration of the loss inflicted by the 2019 – 20 bushfires. My intent was to understand how this devastation of species and communities has become insignificant, layered below conflicting human narratives surrounding climate change, inaction, risk, future human and environmental needs. I pulped materials from the fires – charcoal, ash, earth, pages of research, newspaper articles – into paper, tonally recreating each area I had visited – the white of ash, black of burnt surroundings. The resulting material tangibly represented my concept, where I could see all the conflicting narratives tangled like marks left on a scribbly gum.

My intent in Sunlight Dwells in the Familiar is to celebrate everyday life through a joyous array of vibrant colours. As beings that thrive on variety, it’s natural to become jaded and uninspired in our daily routines. We look forward to events outside the ordinary as an escape from the mundane. My body of work challenges the viewer to admire the beautiful little pockets of sunlight that dwell within their own familiar setting, to be present and recognise the excitement and growth that can be found today, whether you are in a place of familiarity or uncharted territory.

My intent with my body of work was to connect the audience, the work and nature through visual ambiguity. Manipulating the process of cyanotype printing by introducing materials such as cleaning agents, oxides and dirt, I produced gestural prints and photographs that can be seen as abstracted topographical views of Australian landscapes. This gives the audience the power to add their own meaning and imagine their own landscape. Displaying both the cyanotype prints and photographs of the cyanotypes developing in the sun, I express the ever-changing nature of the cyanotype as a parallel with our ever-changing climate.

My body of work, Backyard Ramble, was inspired by the wild bushland that I have grown up with. I always find the bush centres me as I ramble through the disordered beauty of its chaotic colours and unique flora. My intent in using a pointillist, impressionist style in small-scale works was to express the delicate details of colour and light, and the intimacy I feel with nature. The linear curation of my works imposes an element of order within the disorder, as if I’m opening a pathway through the bush, for the audience to ramble visually through my work.

My struggles with anorexia nervosa and body dysmorphia have distorted the way I view my face. My body of work, Dysmorphic Metamorphosis, is a series of grotesque self-portraits that represents the constantly changing perceptions I have of myself; the ‘metamorphosis’ of the disease. The work is intended to be disturbing, but also to express an essence of fantasy and disconcerting beauty, like the exhausting back and forth nature of these disorders. The monstrous nature of my work examines how I visualise myself, but also the deceptions of anorexia.

In my body of work I explore the synergy between humans and technology. Movement is a personal expression central to our individuality. Humans can use technology to enhance movement: athletes use a pole to vault over impractical heights. (Stábhochsprung is the German word for ‘pole vault’.) Bronze, an alloy of copper and tin, will tarnish over time without maintenance. Similarly, without constant practice, all forms will ‘tarnish’. My work balances dualities: digital and analogue, geometric and organic, still and dynamic, raw and refined. My intent is to encourage the audience to consider their bodies, movement and technologies.

In an attempt to ‘stop the spread’, we are ordered to sanitise, isolate, lockdown, check-in, get vaccinated and mask-up. But are these measures working? The virus continues to infect and new strains emerge, with each one more contagious, more deadly. Stop the Spread is a postmodern work inspired by the current global pandemic and the somewhat ineffective measures we are taking to ‘contain’ the virus. A mass of crocheted coronavirus structures spews out of a limp and arguably useless face mask, with an unidentifiable strain creeping out. Maybe we simply cannot stop the spread …

The relationship between ‘functional art’ and the ‘war on waste’ inspired me to reconsider the use of repurposed objects. In Returned Vessels I chose materials, including the reworked surface of a boat panel and nautical-based found objects, to represent how humans exist on, and are connected to, the ocean. I used expressive mark-making and assemblage to unify the three pieces and express a narrative about the ocean. My intent was to create movement in my body of work so the audience would experience the ocean’s fluidity, appreciate its beauty and fragility, and therefore the need for its protection.

It takes a village to raise a child but eventually the child transgresses beyond the village’s bounds. The buildings and streets in my body of work represent the environment, with the scaffolding motifs exploring the integral role of my home town in my construction. I was inspired by Hundertwasser’s subversion of geometric forms, seeing in them the feeling of alienation that my work is intended to express. The work is a combination of slab and coil construction with the scaffolding being a delicate process of bandages and nails. I used many techniques and mediums, primarily acrylic, spray paint and collage.