Growing up in Australia, it is challenging to maintain my heritage’s rich customs, celebrations and traditions. When my grandparents migrated to Australia they attempted to conform to contemporary Australian culture. Today we lament the loss of cultural diversity. Akálipto, translating to ‘uncovered’, represents the collective experience of cultural loss faced by immigrant families across Australia, regardless of ethnicity. In my body of work, a unique magma glaze partially conceals traditional designs, conveying both the destruction and loss of culture over time and the resilience and preservation of cultural identity. I invite the audience to discover hidden beauty beneath the surface.

My body of work, Threaded through history, investigates how the glorified triumphs of historical figures are manifested in the idea that ambition is the essence of our lives. My work challenges the contemporary stigma placed on individual lives of compliance moving towards mediocre social paradigms. Through my mediums of string and thread, my intention is to champion the fundamental notion that knowledge is the thing that intrinsically connects all humanity.

My body of work examines the dynamic interactions between waterscapes and the natural geospheres: hydrosphere (water), atmosphere (air) and lithosphere (rock and soil). Using contemporary mediums to convey the beauty of the natural environment, my work represents the harmonious relationship between modern technology and the spheres of the Earth. Each sculptural piece is in a minimalist style, where the simple design form references the organic elements of the spheres. My intention is to redirect the audience’s attention to the beauty of waterbody landscapes.

In my body of work I examine multiculturalism in the young people of Australia and celebrate the culture that has allowed for the development of our country. I represent this concept through my stylistic choices, where the watercolour elements convey how it is impossible to mimic individuality. The complex aura that surrounds each portrait illustrates the diversity of self-expression, and how that self-expression brings our personal perspective to learning.

My body of work investigates the primal relationship between fire, form, and the essence of life. Inspired by saggar firing, these abstract, amorphous sculptures result from the interplay of intense heat and crafted clay, burnt surfaces conveying both destruction and creation. I incorporated skeletal elements, like ribs and backbones, paying homage to the fundamental structures that support life. These bone-like features are not mere adornments; they represent the intrinsic connection between all living beings and the evolutionary journey that shapes us. My intention was for this work to communicate the continual metamorphosis of life in a world in constant flux.

Lost Fowls responds to the loss of biodiversity due to human hunting and the encroachment of invasive species by examining extinct bird species from different countries around the globe. The main intention of my body of work was to communicate the absence of these animals by representing them in a lifelike manner. My work was inspired by three artists: Albert Bierstadt’s use of landscaping and scenery; George Edward Lodge's detailed bird paintings that convey a high level of realism; Ustad Mansur’s painting of the famous dodo bird from Mauritius, done with precision and authenticity.

Each room in an abandoned house is a fragment of memory, holding the sense of loss and longing that permeates spaces once filled with life. Residual Rooms is a body of work that examines the lingering presence of past lives and experiences within domestic spaces. By painting interior scenes onto found objects, my intention was to convey the emotional residue left behind in spaces that were once inhabited, loved and lived in. The found objects carry their own histories, and by repurposing them as canvases I combine their physical stories with the imagined narratives of the interiors I represent.

My body of work consists of approximately 12,500 miniature squares. Together they form a self-portrait. Each ‘pixel’ conveys a tiny part of what makes a person whole: what has been, what will be and everything that could be. Each small piece represents a piece of me that isn’t always visible to an onlooker’s eye. So, to see the big picture, I invite the audience to take the binoculars and look through them backwards. You might need to squint to see it more clearly.

Using repetitive circular motifs as the basis for my designs, I experimented with multiple plate and shaped-block processes in my body of work to investigate landscape and the mapping of its physical and geographic features. The work can be understood as an aerial view of place, where individual panels are micro or macroscopic representations of features within: undulating lines like fingerprints; concentric circles like the contour lines that show elevation in mapping; intricate designs like microscopic cellular structures. My title, Finding My Place, conveys a connection to my home and also the artistic pursuit of making a body of work.

In my handprinted body of work, Mashed Memories/Family Holidays, I examine the intricate tapestry of childhood travel through a series of lino prints. My work represents the essence of three distinct regions, with the intention that each print will serve as a window into my personal history. Based on photos my parents have taken, the abstract and varied forms communicate the diversity and unity of our travels. These contrasts result in a visual dialogue that transcends geographic boundaries and resonates with universal concepts of exploration and memory.

My body of work is based on a site-specific study of Long Reef. My embroidered works represent both microscopic and aerial aspects of the area, with the intention of encouraging contemplation on the intricate relationship between scale and perception: their interrelation and confluence; the way in which they merge or come together. I used the processes of dyeing, embroidery and fabric manipulation to illustrate the dynamic interactions within this environment. I invite the audience to reflect on the delicate balance and unity of the natural world.

Orbit of One is an investigation of memory and recollection. Centred on the personal experiences of Alexander (inspired by Yuri Gagarin), my intention is to transcend conventional boundaries and examine the emotional state of the protagonist. My body of work challenges storytelling norms, conveying the resilience and unseen behaviours of both body and mind when experiencing uncharted territories. By inviting the audience on a cinematic odyssey, where they can put themselves in Alexander’s shoes and imagine the awe and wonder that often feel just out of reach, my work is a celebration of human experience

Art is a creative expression which can be enjoyed by anyone, but many people search too hard for hidden concepts and meanings. My body of work uses satire to examine how art is viewed, referencing artworks from a range of time periods. My intention in using a cartoon-style animation was for the light-hearted, humorous tone to establish a middle ground where the different styles of artwork could come together without appearing out of place. The two main characters convey typical reactions of the average person and the art fan, with the live artworks representing those who insist everything has meaning.

My body of work, inspired by the remnants of my mother’s childhood home in rural Wuhan, Hubei Province, China, conveys personal history, cultural memory and socioeconomic reflections. Many historically rich houses have been demolished in China, echoing a global trend where progress often comes at the cost of heritage. Like a ‘house of cards’, the sculpture represents the fragile balance between preserving the past and embracing the future. My work examines the impermanence of physical structures and the socioeconomic forces shaping our environments. It invites the audience to peer through metaphorical keyholes, finding reflections in the interplay of light and shadow.