My body of work explores themes relating to my Korean heritage. The series of coil-built ceramic vessels that subtly relate to each other is my representation of a family. To link to my surname, Kim, which translates as 'gold', I recontextualised the Japanese technique of kintsugi and repaired my ceramic forms by putting gold leaf in the cracks. I carved wooden paddles with both traditional and current Korean calligraphic characters (Hanja and Hangul) of my family clan name which I used to paddle onto the ceramic forms. This not only represents my family but commemorates my ancestral values and culture.

'Home' is known as a place of refuge, a person's safe place and often their livelihood. Where is our safe place now? My body of work represents recent abnormal events that destroyed many people's 'safe place'. Inspired by Robyn Sweaney's and Howard Arkley's ability to explore notions of Australian identity and place through simple streetscapes and homes, I drew flood-affected homes in my own small town to express the disaster of the floods.

My mother and I are represented in my body of work, gazing intensely out at the viewer. My mother was disconnected from her Thai culture after immigrating to Australia at the age of nine and was forced to immerse herself in an alien western culture. Due to her deep sorrow and trauma, she could never share her culture with me, even though I wished she could. My work is intended to be viewed from both sides. On the backs of the portraits is a collage from passports and documentation transferred onto tin, laser etched with a culturally inspired pattern.

The uneasiness and dread that arise although there seems to be nothing to fear is a weird feeling inherent in human nature. This is what my body of work is intended to express. We're so used to specific scenes and ways of life that when something disrupts our expectations we feel lost and uncomfortable. Something is wrong and you can tell instinctively without even thinking. What are your instincts telling you? Where does this feeling come from? And where did everybody go?

In Strata I represent the socioeconomic segregation of the modern world through the lens of a vertical city of the future. I constructed my body of work initially with 3D modelling then by digital painting. The work is broken into three separate vertical layers of stratified society and examines many concepts, such as intergenerational freedom, conformity, multiculturalism, ignorance, family. I worked on this large scale to express the size and scope of my ideas. My intent was to craft a level of detail that encouraged the audience to explore and contemplate the many messages within the work.

My body of work examines the overbearing reality of technology taking over the role of parenting. Inspired by the surge of media and technology used for online schooling, the three portraits of my family express my personal experience of this concept. The contrasting lighting on opposite sides of my parents' faces creates shadows representing technology and its ability to envelop an individual's thoughts. The work's shades of blue are a reference to 'blue light', with the intent of focusing further on technology and emphasising my message.

My body of work, Prêt-à-porter, challenges the stereotyping and compartmentalisation of women as calculating and modest dolls. Instead, the bold shapes and colours of each model's garment in my work express how women are flourishing. The work represents the women as self-assured and hardworking, fighting back against the oppression of the male gaze in the sea of black heads judging from behind the catwalk. The garments reference the evolution of design in the female fashion industry as well as the pitfalls women overcame within each period.

The myth of the future...

The repetitive nature of the standard modern lifestyle means the large majority of people adhere to a particular routine that misses out on the transient beauty of natural skies. In projecting morning sunrises onto window curtains and blinds, my body of work represents the beauty and variety of different sunrises in contrast with the constant and unchanging interiors of the modern world. Using this multilayered photography form I was able to display these sunrises in everyday environments and rooms. My intent was to demonstrate to the audience the importance of including an appreciation of natural beauty in one's life.

My family's homes are built upon decades of Lebanese culture, folklore and virtue. They are where memories sleep, and where memories are born. My body of work presses pause on a few memories and fleeting moments. Inspired by photojournalism, and the paradox of a brief moment having everlasting impacts, it explores cultural connections to homes and domestic landscapes, featuring portraiture, interiors and exteriors. The stills are intended to be intimate, nostalgic and emotional, connecting with the audience by representing my grandparents within their homes. It is a true expression of the phrase 'home is where the heart is'.

Companies that create bleaching products feed into the generational trauma which haunts people of colour. Through targeted advertising, social media influencers and platforms, these destructive products are pitched as a solution cream to improve your life by altering the natural characteristics of melanin. This process rests on the idea that fairer skin is superior to dark, reinforcing deeply-seated societal hierarchies. My body of work examines the unjust values urging people to take extreme measures to fit narrow standards of beauty. Printing on a large-scale vinyl banner expresses the commercial properties of traditional public advertising. Fair is not the only lovely.

My body of work explores how the forest is used as a motif in ancient and contemporary literature. The forest often becomes a character in itself, intended to evoke a range of experiences and emotions such as comfort and peace, as well as fear and anxiety. I used lino print and woodblocks, alluding to the small scale and techniques of traditional storybook imagery. I have reworked existing images to represent those evocative experiences for my audience.