My body of work explores the seven deadly sins of Roman Catholic theology: envy, greed, lust, gluttony, pride, wrath and sloth. Individuals within the Catholic faith are considered sinful if they commit these immoral acts. There is one panel for each sin, represented through key behaviours, inspired by history and animals' characteristics. Envy: jealousy and malicious behaviour. Lust: uncontrolled cravings. Gluttony: the desire to over-consume. Pride: untethered arrogance. Wrath: unbridled anger, rage and hatred. Greed: irrational desire.

My body of work is intended to be a stylised glimpse into the human subconscious. Each drawing is a representation of thought.

My body of work represents pieces of my lived experience throughout the time I was at school. It's largely inspired by my thoughts, feelings and frustrations pertaining to my art and my schooling. These feelings have often been both a source of inspiration and a hurdle in my growth as an artist. Doodling on an exam paper is something I have always wanted to do, and was in trouble for in primary school. Doing this felt like the clearest and most satisfying way of expressing myself and closing the chapter on my school career, making this work cathartic and invigorating.

My concept for my body of work was the fracture between persona and private self, examined in relation to my ADHD. Through my attempts to be seen as a competent, stable and accomplished person, I have realised that changing how we are perceived takes immense effort. A persona is an artform, rigorously cultivated with energy and dedication, like the process of photorealism. In representing my desire to be seen as successful, against the unstable self I feel I am, I ask: How often is one's most insecure, vulnerable self ever really shown? And in what circumstances can we show it?

My body of work, Someone, Something, Somewhere, examines the intersections between everyday life and the chaotic, fantastical dreamscape of the city. It explores the three fundamental subjects that define our experience of the city: people, objects and places. Referencing surrealism, I have drawn the subjects out of focus, streaky and warped, to represent the infinite number of images a person perceives in a day, focusing on some, barely seeing others out of the corner of one's eye. My work is inspired by an essential inquiry on the nature of city life: Where do we end; where does the city begin?

My body of work recontextualises the Greek mythological story of Icarus, using it to create a science fiction art installation inspired by video games. The story of Icarus examines the idea of overreach in terms of Man playing God and the price he paid as a result. My graphic-based work engages with moral concerns about the human relationship with technology. It is also intended to explore the impending threat of our potentially dangerous dependence on artificial intelligence given our increasing reliance on it, and our blind optimism.

My body of work explores how the constant flux of life affects us all. Fascinated by existential philosophy, I examined humanity's search for the meaning of life and how that meaning changes across our lives. A series of shoes expresses the life stages, focusing on the attributes people have gained from their past. The shoes are worn down by walking through each moment of life, creating the wrinkles, the softness of the materials or the brightness in colour. Each stroke, line and colour is intended to represent the piece of ourselves that originated from that moment.

In my body of work I pay homage to the Surrealists and explore the perplexing beauty between reality and the uncanny. My intent was to emphasise the interrelationship between identity and culture. Each vessel that holds flowers represents an epoch - traditional, modern and postmodern - and cultural variations of flower arrangement express a universal harmony of nature and humankind. In our culturally saturated world, overwhelmed by the accessibility of information, we have become desensitised to reality and are trapped within our inability to find a 'stable' identity.

My body of work was inspired by the vividness of stories and the way characters come alive and jump off the page into the real world. The characters in my work are first seen within the pages of a comic, then become three-dimensional in the form of hand-sculpted polymer clay figures. Using a range of materials such as fabric and feathers helped to capture small details and to represent each character's personality and life. I explored this concept due to my love of storytelling in movies, comics and books, and my intent was to bring my own characters to life.

My body of work explores the concept of identity and how it affects our everyday environment. I was inspired by the diversity of my own cultural background as well as the interconnectedness of cultures within suburban Australian architecture. I have repurposed found objects to create three terrace-inspired buildings, each inhabited by a person or people who have adapted their homes to reflect their cultural identity. I anthropomorphise these structures by combining iconic Australian architecture and cultural signs and symbols that represent their inhabitants.