My body of work investigates the devastating effects of war and displacement on the human psyche, drawing on my personal experiences of fleeing the Syrian conflict. The sculpted forms represent the depths of the unconscious mind while the title refers to the concealed and chaotic aspects of our inner world. The malleability of clay invites the audience to engage on a sensory level, and expresses the ever-changing nature of thought and emotion. It is a tactile metaphor for the mysteries within us, to encourage contemplation of our own consciousness and meditation on the human experience.

My intention in my body of work was to examine the burden of expectations experienced by teenagers, both those that are self-imposed and those that are enforced. It represents the quiet and reflective moments in which raw emotions surface and contemplation occurs. Through my experimenting with the tedious technique of stippling, I made tangible the profound intensity and pressure which defines the adolescent experience.

My body of work explores the distortion of identity due to our hyper-fixation on personal appearance. Insecurities cause us to lose a sense of ourselves, of those who are close to us and our outlook on life. In my work the contortion and deformation of the face represent this struggling identity, uncomfortable in its own skin. The use of grayscale is intended to create a sense of overwhelming intensity, so the audience focuses on the fluctuating form which expresses my own experience of helplessness.

When you look in the mirror, who do you see? When I was diagnosed with Stage 4 Hodgkin Lymphoma in 2021 I saw a stranger, a companion, an evolution of who I was before. My life was irrevocably changed, and although it felt like the end it was really the beginning of something new. Through the symbolism of my colourful wigs, my body of work represents time passing and my growing acceptance as I progressed through treatment, emerging stronger on the other side. Chiaroscuro lighting and fauvist colours convey my experience of self-expression and resilience in the face of adversity.

In 2023 America introduced over 500 anti-trans Bills, further marginalising those who deserve a secure sense of identity and an accepted place in society. My body of work investigates the disconnect between body and mind, and how our internal perception can be misaligned from our outward appearance, manifesting in strong emotions of dysphoria or gender envy. My personal conflict between femininity and masculinity is represented by contrasting discomfort and euphoria, an experience common among trans individuals. Inspired by Renaissance frescoes, my work combines Pre-Raphaelite romanticism with Baroque lighting to express the heightened emotional states common to the trans experience.

In my body of work, home interiors are subverted from representing privacy, growth, direction, intimacy and happiness into alienation, loss, mystery, intrusion and uncertainty. Inspired by Arnold van Gennep's ethnography, my work follows the subject undergoing a liminal (transition) rite, a general structural experience for all humans. It communicates the awe accompanying rites of adolescence, with their immense possibilities of change, and the world's dreamlike nature. My work leaves the rite's results open to audience interpretation as it has left no visible effects on the figure, just as our own encounters with periods of upheaval engender intangible changes in identity.

The nature of life in the city is entirely paradoxical, bringing isolation and disconnect in spite of densely packed populations. Although isolation is a central subject matter of my body of work, not all the figures are represented alone, as people can be together and still isolated from the world beyond their little bubble. The audience is intended to be an outsider looking in, oblivious to the names and stories of the individual figures. My work explores the disconnect between individuals in cities, oblivious to one another's existence despite inhabiting the same small area.

My beloved grandparents are an integral part of my life. Their stories and traditions shape my identity. Being Greek immigrants to Australia, they endured much sacrifice, upheaval and hardship. My body of work explores the intricacies of identity: the journey of life; the way emotional and cultural connections breach geographical distances; people's small mannerisms. My work uses unconventional surfaces, such as my grandmother's tablecloth. I have represented my grandparents' life in this country, but also my deep reverence and respect for them. Their love for each other and for family has created an enduring legacy for me here in Australia.

Examining the subject of fire in my body of work has allowed me to use my practice to intertwine concept and personal experience. I used the 'classically beautiful' artform of painting to investigate two contradictory outlooks on the effect of bushfires within Australia. During the 2018 bushfires my family's farm tragically burnt down. It was a place that fostered many cherished memories. This devastating disaster inspired my work's representation of bushfires and their danger. Yet, as I witnessed the regeneration of the environment afterwards, I decided to also convey the bushfire's 'beauty' as it is vital for Australian plant propagation.

My body of work is deeply influenced by Salvador Dali's use of dream time and unsettling imagery. I use my work to express my emotions and viewpoints on the world that surrounds me. Each day presents its unique challenges as I navigate life's struggles. My dyslexia adds an extra layer of difficulty, making my mind work three times harder than that of an average person. In my work, my intention is to shed light on the difficulties I face, especially in seemingly simple tasks like writing and reading, which others often take for granted.

John Doe in the Ballad of a Dead Man examines dreaming as a means of escape. Within my body of work this refuge, despite its complexity, collapses as the problems of reality inevitably bleed in. Fascinated with film's ability to depict the surreal state that is dreaming, my intention was to give each scene a unique sense of uncanniness through an absurd and deliberate mise-en-scène. There is also an underlying narrative of grief and despair throughout the work, visually represented by stylistic techniques like the monochromatic colour grading inspired by noir films of the 1950s.