Eco-prints created by collecting plants within 5km of the artist's Melbourne home during some of the harshest Covid-19 lockdown restrictions in the world. The natural dyes and embossing represent how our bodies absorb and hold evidence of the environment. The dancer dips in and out of the non-linear journey.   

The meaning of a web depends upon perspective. For someone it is home, a place of safety and sustenance. For someone else, it is a trap, a place of entanglement and danger. Thirty seven eco-printed puppets, each representing one week of Melbourne's lockdown, hanging in suspended animation.  

In reference to the lyrics of Leonard Cohen and Rumi's poetry, 'the wound is where the light enters,' this ephemeral installation seeks hope where there has been suffering and destruction. This site specific work responds to the impact of colonisation on the Australian bushland, particularly in Warburton where much of the natural eucalyptus was cleared in the 1930s and replaced with the uniformity of European tree plantations. The stark white of the raw clay sits ghostly amongst the natural browns and greens. The eucalyptus matter repels the clay, cracking and falling away. Where there is a crack, there is opportunity for repentance and resurrection. ​

When we experience something traumatic, it changes us. New growth, however awkward and painful, start to emerge from within. The experience can create uncertainty, anxiety, vulnerability. The seedling unfurls, representative of the lifecycle, the inevitable ebbs and flows. 

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Exhibited (selected work):

Home is Where Your Heart is (2021) Mother Melbourne Northcote VIC

In the age of technological advancements, the media has replaced the theatrics of public trials and executions. When a victim of crime is exposed to their own story in the media, they have higher levels of negative responses, such as sadness, fear, anger and feeling exposed. These portraits were repeatedly glitched and distorted in reference to the media's relentless interference. 

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Exhibited:

Surface Light Duration (2023) Kindred Cameras Docklands VIC

Coercive control is a high risk factor for domestic homicide, yet it continues to be less identified or understood when compared to physical abuse. The artist used torn photographs of her 16-year-old self, layered with drawn portraits of her adult self. This series compels the viewer to look closer, to see layered complexities; to understand what is presented outwardly is not necessarily what lies beneath the surface.

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Exhibited:

Nostalgia (2022) A. BCH Gallery, Melbourne VIC

​Bearing Traces (2019) Murwillumbah Tafe NSW