With the rapid rise of globalisation and interdependence between religions, cultures and countries, it is crucial to recognise the significance of one's origins and heritage. Using digital and physical 3D models, my body of work examines culturally significant / prominent architectural styles across a wide range of cultural backgrounds. The work is intended to be a disorienting integration of the various architectural styles, simultaneously representing the gradual unity of cultures and the sustained division between them. My work expresses the segregation which persists within our modern society as well as the importance of humanity's diversity and cultural independence.

My body of work, Beyond the Lines, examines the intrinsic relationship between identity and experience in its most evident form, within older generations. I drew a pair of portraits representing each of my grandparents, contrasting their serious exteriority with their expressive inner selves to deliberately transcend the singularity of portraiture. The background consists of text taken from anecdotes, phrases and wisdom my grandparents have shared, conveying the transformative effect of these words upon us. My intention in exhibiting the stories we tell and everyday diction is to open the window to our truest selves.

My body of work is a series of portraits that emphasises negative space, alluding to the notion of unknown identity. It examines the concept that not knowing someone can modify our perception of their appearance. I expressed this concept by asking strangers to allow me to draw them. I was also inspired by Picasso's view on incompletion in art: “To finish it means to be through with it … to rid it of its soul.” Using charcoal and pencil on paper panels, my intention is for L'Etranger to be like an 'identity puzzle' which the audience is left to resolve.

Sydney's housing crisis has confined many to smaller spaces. My body of work investigates this shrinking domain, stepping into and out of these tiny spaces to represent the unseen lives of individuals in a collective confinement. I chose my palette to convey the mundanity of limited choice. Examining our perceptions of the spaces we inhabit, my intention is to convey a view of individuals in their environment, using different perspectives to invite the audience in, to inhabit these confined spaces themselves. My work is a visual and visceral representation of the mundane: people finding room to breathe.

My body of work represents my personal investigation of reality. I used the theme of liminality in each work to analyse distinct elements of the human experience. I am particularly interested in how realities are constructed, nurtured and limited by the physical capacities of our human bodies, as our body is the sum total of our self.

Representing pets at their most vulnerable moments, Sentient is an intimate body of work that investigates the intricate interplay between vulnerability and resilience. It illustrates the unique bond that we have with our pets, incorporating a tender softness to examine our closest companions in circumstances that are rarely seen. With its subjects photographed in a fragile state, the work conveys the vet' sense of care and meticulous attention to detail. The work is an intersection between the world of photomedia, the collective experience of love for your companion and a subtle enquiry into the world of science.

My body of work, Nanama, represents the devastating consequences of my grandmother's experiences with Alzheimer's on her as an individual and on our family. Through various forms of analogue and digital manipulation, I worked with old family photographs, letters, expired Polaroid film, acetate transparencies, Adobe Photoshop and a photocopier machine to manipulate, distort, fragment and blur my imagery. Historically, photography holds a powerful role in capturing memories and preserving moments in time. The role of photography goes far beyond mere documentation; it becomes a means of storytelling and an instrument for reliving emotions and experiences.

My body of work analyses society's evolving connection with the table in both religious and secular contexts. As ties to religion diminish, we risk losing touch with profound concepts such as communal gathering and fellowship around the table. Contemporary lives are characterised by constant motion, a hurried rush to depart. My work invites reflection on the profound importance of the table, resolute, unmoving, poised to welcome us all. It represents a scenario where we linger a little longer at the table: the moments might not be as blurred and perhaps the world would be revealed with a bit more clarity.

Our world of rapid change and constant motion has fundamentally altered our experience of time. We often perceive this dynamism as a blur of motion. My intention in my body of work is to represent these moments of flux, offering the audience a contemplative space in which to reflect on the transient nature of existence. I used long exposure techniques so the movement of feet manifests as streaks of light and shadow. Each image represents a unique moment in time, a step in someone's journey, and a different aspect of our interconnectedness with the world.

My artmaking intentions are to create a surreal odyssey through the boundless depths of human imagination. In this fantastical mindscape I immerse the audience in ethereal scenes with strange creatures - the muses of my reveries. Textural bas-reliefs bubble from the canvases, expressing immersive visions that spill from the subconscious, the psyche. In pencil drawings on silk, veil-cloaked self-portraits represent my reality, absorbed in thought.

Korean Culture: Reflections on Identity is a body of work inspired by my life as an Australian youth immersed in Australian traditions while simultaneously exploring memories, issues and traditions of my Korean culture. By including intimate details and atmospheres that convey cherished memories of my life in Korea, it represents my cultural connection to Korea and the Korean landscape and culture, highlighting its importance in my life. By experimenting with different media and painting techniques the work gradually became more layered. In making this work I discovered my cultural roots and deepened my love for my Korean heritage and landscape.