My body of work investigates the experience of having a chronically ill family member and the way it affects not only the patient but the people around them. It represents an experience that is rarely shared or talked about. I was inspired by my own personal experiences relating to my dad who suffers from numerous health conditions, including two heart transplants and a kidney transplant. My intention in making my drawings confronting was to examine my family’s hidden struggles and invite the audience to imagine their own loved one in a similar scenario.

My body of work was inspired by my interest in dream psychology. It represents elements from my dreams and desires in a dreamscape where the mind is liberated from the fetters of external pressure, where familiarity blurs the lines between the subconscious and reality. I have used bold juxtaposing colours to convey the ethereal nature of dreaming and the fantasies we strive to achieve, which can sometimes seem unattainable. In the last two panels my intention was to communicate a future subdued by the restrictions of capitalist reality, where aspects of our dreams are sacrificed for social functionality.

There is a certain theatre to be found on public transport that is not appreciated nearly enough. My intention in my body of work was to elevate the ordinary by examining what I see on the Sydney train system. My work conveys how I see train rides: as fantastical, often dramatic, journeys that we partake in almost every day. I looked at the colourful characters catching these trains, representing them in operatic, science fiction, worlds which far better suit the occasion: their daily commute.

Squirrel Effect investigates mass social media, the suggestibility of public opinion and the connection between human and animal societies. I was inspired by posts of squirrels trading a leaf for a treat, which made me think about the human–animal divide. In my body of work I represent a squirrel’s desire to integrate into human society, learning to be almost as smart as humans themselves. Meanwhile, its ‘owner’ becomes famous online, but fame comes with unexpected troubles: deliberate vilification through edits, spreading rumours, unauthorised filming, scientists’ attention. Until the squirrel disappears and is later found acting just like any ordinary squirrel.

My intention in The Pillars of Masculinity is to present a commentary on the flaws of romanticised masculinity, using the lens of the hyper-macho Western genre. The masculine allure of the Western genre with its rugged, adventurous and spirited aesthetics frequently excludes strong women. In my body of work, female figures assume the genre’s common representations of masculinity, male roles and archetypes: independence, authority, charisma, strength and confidence. My work provides an opportunity to subvert these tropes to include a feminine perspective and convey narratives that highlight the tenacity and grit of a world where women hold the reins.

Based on the many photographs of my family’s lengthy camping journeys across Australia, from my early childhood until our most recent trip in 2022, my body of work investigates places visited, with my family members as figures in the landscape. My intention was to represent experiences from our journeys as well as the sense of memory, as these experiences have been instrumental in my growth towards adulthood. I have had to develop real confidence with mark making, using a palette knife or soft brush and lots of water to convey, with a few strokes, textures and forms in the landscape.

Overgrown with infectious moulds, corrupted by toxic spores, growing with living diseases. One might step back in fear, or is it awe? Repulsed by our disgust, the true and complex beauty of infections is hidden right beneath our eyes. Survival is plausible, but only by clinging to each other: in infectious colonies.

My body of work examines the complex tension between yearning for human connection and fear of the vulnerability that connection demands. My instinct is to retreat from intimacy yet, paradoxically, I find myself longing for the warmth and understanding of others. My work represents this push-and-pull dynamic, acknowledging that while human connection is fraught with misunderstandings and limitations, it remains a deeply rooted desire that shapes who I am and how I navigate the world.

Each of the pieces in my body of work, Shutter, is a photograph of light at a decisive moment. I used the technique of bokeh, a Japanese term to describe the effect of soft, out-of-focus dreamlike imagery, in a variety of landscapes so that my work is a collection of atmospheric, rather than realistic, representations.

My body of work examines the experience of discovering, and indulging in, what makes you happy – a happiness that you don’t feel the need to mask. The journey of K (the cat character) represents my own experience of struggling to fit into societal standards during childhood as my interests were very different to many others my age. My intention in using differing art styles in my work was to inspire other artists to experiment with their own style.

There is something special about a mob of Brahmans. Their synchronised movement across the rugged landscape speaks of strength and serenity, while their gentle gaze reveals a deep connection to the environment. My body of work investigates Brahman cattle in the Australian outback, blending dry point etching and oil painting to illustrate the Brahmans’ distinctive features; prominent humps, wrinkles and long ears, tranquil nature and resilience. The subtle, dusty sky communicates the dreamlike atmosphere, while the etched textures of the terrain represent the vast, peaceful outback. My intention was to convey a harmonious balance of strength, grace and quiet wisdom.