Permanence in Transience investigates the fleeting beauty of flowers, and therefore the transient beauty of existence, through macro photography and flora-inspired jewellery. Delving into hidden microcosms, I found vibrant colours, intricate compositions and delicate textures. Each jewellery piece, based on the ephemeral nature of flora, represents life's impermanence. My body of work offers a tangible connection to audiences to appreciate the preciousness of each moment and to pause, reflect, and find solace in the perpetual cycle of birth and decay by embracing the profound allure of the natural world.

I care deeply about Australia's ecosystems, and believe that we need to take action to protect them. In my body of work I have investigated the devastating impacts invasive species have on Australian native species. The Common Myna and the European rabbit both harm kookaburra and wombat populations by taking up vital resources like land and food. I made this work by using an array of hand-building ceramic techniques such as coiling, carving and impression, which I then painted and sealed. The non-clay aspects of my work are intended to add to its sense of realism and the audience's immersion.

Levelling up: within the context of a game; to improve or advance oneself. Throughout life, we are constantly 'levelling up' as we conquer our fears. My body of work is an interpretation of my own journey battling fears at different stages of my life, proposed through the narrative within a video game with supporting merchandise. The game's main interactive character represents my present self. Her objective is to protect her younger self from the monsters encountered on each level, where each monster is symbolic of one of my past fears. As the game advances, the younger self matures by unlocking elements of strength and experience, making discoveries and overcoming adversity.

Each year the Australian bush catches fire, consuming the landscape in a fiery scene, clearing the land of the thirsty flora. My body of work is a chronological series that represents the progression of the bush after burning. Inspired by the Greek myth of the goddesses Persephone and Demeter, it explores the impact of weather cycles on the Australian bush. Based on my photos from the 2019 bushfires, my intention was to showcase the resilience of the Australian landscape and how the cycle of life and death is seen in nature.

Painting these 13 canvases revealed something to me. The initial concept for my body of work was to represent the vibrant essence of our precious Australian flora and fauna, and the environment which I love and in which I thrive. However, as I did more research, my passion and concern for our natural ecosystems grew. It became clear that once animals become extinct, they leave only two things behind: the fading memory of their existence and a poignant reminder of the fragility of life. It is our responsibility to protect these defenceless creatures and not take them for granted.

Mundane Reverence examines our existence within a world that can feel overwhelming, disconnected and chaotic, constantly demanding our attention and time. In my body of work the landscapes of a nonsensical, fantastical world are overbearing while simultaneously crumbling and decaying. Inspired by traditional architecture and depictions of the sublime as well as modern infrastructure, my work communicates the persistence of an overpowering presence in our lives that transcends the boundaries of time. Fragments of everyday mundanity represented within these landscapes are elevated by the intaglio prints, conveying the solace found in the simple and mundane within the chaos around us.

My body of work, Endless, represents the paradox of modern existence, where people often find themselves going through the motions, merely treading water and not truly living. It explores the universal struggle that many individuals face - the endeavour to break free from the cycle of life, and the relentless pursuit of meaning amidst the daily routine. In my work I share my own process of self-discovery and how I found meaning in the small, unexpected moments of life. I learnt to appreciate living in the present and broke free from the cycle, finding joy in the simplicity of life.

These days the role of men and their purpose in society is confusing and, at times, overwhelming to process. My body of work examines an idea that has perplexed an entire generation: what does masculinity look like now? The broader issue of our existence and purpose can leave young men confused and searching. Past ideas and present expectations collide in the crumbling of notions of masculinity. My work references Graeco-Roman sculpture, with its classical idea of masculinity and the promise of perfection, breaking it down to represent a physical and psychological deconstruction of these expectations.

I have investigated concepts of personal identity, the deterioration of memories over time and domestic spaces. I have an ongoing interest in the ways in which identity is constructed. I represent these concepts as both literal and metaphorical enclosures. I made this body of work by casting elements of my childhood home in latex, which resembles human skin in texture and colour. Latex naturally deteriorates over time but, as it is a plastic, it never entirely decomposes, just like memories.

I am interested in the remarks typically made about plants that bloom. Stereotypes about beauty perpetuated through art have inhibited the appreciation of the 'ordinary' and 'imperfect', making the invisibility of common objects a recurrent theme throughout the past few centuries. My body of work is based on what I see where I bushwalk, with the intent of drawing attention to the overlooked beauty of non-flowering Australian flora. I examine the compositional idea of 'two' in my work through a symmetrical linear arrangement of dried leaves, tree-bark and banksias. I invite the audience to look again at the beauty of plants.