Blue-Collared represents a variety of standard working men. Using an average blue biro pen, which is used on a daily basis by many different workers, my intention was for the simplicity of the medium to allow the audience to empathise with the regular working class.

In A Child's Paradigm, the characters and world that I created represent my own opinions and perspectives on the fragility of childlike innocence in a world of adult wars. 'Childlike innocence' is something deeply valuable to me, yet it is a battered concept. Using two parallel storylines in my body of work, I contrast the two characters' worlds to engage the audience in details and emotion, and in this way to build a new story in every individual. This work goes beyond my visual choices, and has become a mirror of the child in me.

In my body of work I examine how the hushed ambience of candlelight can transform a space of mysterious darkness into an intimate gathering of warmth, hope and connection. Against the dramatic darkness of the chiaroscuro lighting, the bright candle flame represents the shared spirit of humanity as each person gazes at its mesmerising glow. In the face of the ongoing socio-political upheavals across the world and the daunting uncertainty of the future, my intention is to convey the sense of a timeless refuge of warm familiarity, unity and self-reflection and inspire hope for a brighter world ahead.

When Majesty Falls to Folly is a series of eight ceramic vessels that places Asian antiquity within my neoliberal context. From the Qing Dynasty to contemporary times, the timeless forms and iconography of Chinese porcelain have governed economic models within the art world. My body of work is intended to be a satirical inversion of this symbol of luxury. I parody the medium to express the modern overindulgence evident in tweets and pop culture. By combining a representation of dynastic pottery with imagery from media, my series explores how our way of life is immersed in decadence.

“The best thing about a picture is that it never changes, even when the people in it do.” Andy Warhol Come with me on a roundabout journey, on a well-worn path I walked to elude a loved one's medical diagnosis. Let me bottle nature, archive catharsis by locking them in a painted stasis. If art is merely an expression of self, then my body of work represents the edge between optimism and escapism.

My body of work, The Art Museum as Ritual, references critic Carol Duncan's article of the same name, and similarly examines the ritual of observing art in a gallery. My intention was to represent the surreal atmosphere people experience within the architecture of these spaces. Duncan labels this liminality of the gallery as a space between the boundaries of day-to-day existence; detached, timeless and exalted. By uprooting the audience from the precise works at which it gazes, my intention is to amplify instead the beauty and art in this pensive, even vulnerable, ritual of seeing and being seen.

Driving the production of my body of work was an interest in the definition of masculinity, asking questions like 'What makes a man a man?' Today's generation is experiencing an unprecedented fluidity in gender identity, which has led to my examination of traditional images of manhood. These have typically revolved around stoicism, endurance and the inability to display 'weak' emotions. In my work I link this idea of stoicism to the Australian landscape that through floods and fires endures.

My body of work represents the cathartic nature of consuming and writing literature. It was inspired by my inability to be vulnerable verbally but, counterintuitively, being able to communicate ideas through short stories and poems, despite my reluctance to share them. I further investigated the tension between vulnerability and finding comfort within art by fragmenting, destroying, layering and cutting apart my own written work. The dynamic contrast between backgrounds and portraits, in both materials and techniques, highlights the dissonance between myself and the stories. We must learn to write and explore the fears that we would love to leave unwritten.

My body of work represents eucalyptus trees that have faced the consequences of the brutality of Australia's deadly fires. I made tall ceramic abstracted tree-like forms to convey the shapes of Australian eucalyptus tree trunks and their distinctive colours. I examined the aftermath of a bush fire and its effects on Australian native trees through intricate detail in the imprinted surface textures, engobe and copper oxide. These hand-built structures illustrate the deadly nature of the bushfires and the ruthless effects that Australian fires can have on nature: taking away wildlife homes, one by one.

Accretion and Abrasion pays homage to the natural beauty found in deteriorating surfaces as they evolve over time. Inspired by my observations of rust and erosion on my family property in rural NSW, 'Glengarry', my body of work layers organic rust prints, etching, lino, carborundum and monoprints. I used these printmaking techniques to represent the cyclical accumulation of layers and wearing away of materials in both the natural and industrial realms. My intention is to raise awareness of the intrinsic artistry and beauty of these natural processes.

The complex layers of tissue, blood, bone and skin are an illuminated surface that obscures and hides the vital foundations of our existence beneath. In the depths of our nature there lies a realm of enigmatic qualities that elude quantification and often go unappreciated. My intention in my body of work, Transposed, is to forge a means of rediscovery, beckoning us to interpret, embrace and unveil the intricacies of our own image. To go beyond the confines of mere appearances towards the acceptance of internal substance, rather than a masked surface.

My body of work examines our world's ephemeral nature, underscoring the delicate balance between creation and removal, abundance and depletion. In response to today's commodification of fishing practices, it juxtaposes the representation of a 'glorycatch' with an abundant species of fish, printed in the traditional Japanese gyotaku method. My manipulation of negative space conveys the profound ecological impact of these practices. Through every stroke, overlaying colour and intentional removal, I invite audiences to reflect on the legacy we are shaping for future generations, as we navigate the fragile intersection of human consumption and the preservation of our natural world.