ARTEXPRESS 2023 – Body of work analysis

My body of work is a series of four paintings that addresses concerns about population density across the world and in Asian countries such as Hong Kong in particular. I used murky colours to express the negative consequences of population growth, such as increased pollution and waste. The figures are colourful to create an ironic contrast, representing humanity's negligence in adapting to population growth through high-rise, congested living spaces. This juxtaposition aligns with my title, questioning if 'the more' really is 'the merrier'. My intent was to engage viewers and prompt them to consider the consequences of overpopulation.

My body of work focuses on the underwater world as it occupies most of the earth's surface, yet is largely inaccessible to us. The creatures represented in my work thrive underwater, sometimes in complete darkness, in an environment that is alien to us. Beyond Humanity is intended to provide a glimpse into the range of weird and wonderful water-dwelling lifeforms. More broadly, the concept underlying my work is to encourage viewers to see beyond their own people-dominated lives for a moment, to disrupt their anthropocentric perspective and consider the plethora of other lifeforms on our planet.

My artmaking practice has been influenced by the study and interpretation of the artist Linda Lunnon.

Responding to my first-hand experience of the devastation caused by the Black Summer bushfires, and the subsequent regeneration of Australia's south-east coast, my body of work represents the often overlooked, but magical, qualities of our endangered native flora and fauna. Using clay, a material inherently bound to the environment, I hand-built five forms that express aspects of various endangered species. My intent is for audiences to view these animals and plants in a new light, to inspire a sense of awe that results in action to protect our treasured Australian native flora and fauna from extinction.

My artmaking practice has been influenced by the study and interpretation of the following artists: Jenny Orchard, Ramesh Mario Nithiyendran.

My body of work explores the concept of identity and how it affects our everyday environment. I was inspired by the diversity of my own cultural background as well as the interconnectedness of cultures within suburban Australian architecture. I have repurposed found objects to create three terrace-inspired buildings, each inhabited by a person or people who have adapted their homes to reflect their cultural identity. I anthropomorphise these structures by combining iconic Australian architecture and cultural signs and symbols that represent their inhabitants.

My artmaking practice has been influenced by the study and interpretation of the following artists: Michael C McMillen, Joshua Smith, Mylyn Nguyen.

My body of work represents my contortions of identity in questioning my faith, and how I found peace, not through or with others, but within myself. It expresses the past – where I've come from and what I've learned – as well as previewing the future – where I'm going. Elements of the work that seem to simultaneously appear and disappear question ideas of perception. I struggled to find a form of acceptance to keep my faith. I invite my audience to revisit their experiences to find that serene feeling of acceptance. If listened to carefully, these silent pictures will yell a story.

My artmaking practice has been influenced by the study and interpretation of the following artists: Anya Anti, Bruno Catalano, Renaissance artists.

My body of work examines the overbearing reality of technology taking over the role of parenting. Inspired by the surge of media and technology used for online schooling, the three portraits of my family express my personal experience of this concept. The contrasting lighting on opposite sides of my parents' faces creates shadows representing technology and its ability to envelop an individual's thoughts. The work's shades of blue are a reference to 'blue light', with the intent of focusing further on technology and emphasising my message.

My artmaking practice has been influenced by studying and interpreting the following artists: Nam June Paik, Heinkuhn Oh.

My body of work represents pieces of my lived experience throughout the time I was at school. It's largely inspired by my thoughts, feelings and frustrations pertaining to my art and my schooling. These feelings have often been both a source of inspiration and a hurdle in my growth as an artist. Doodling on an exam paper is something I have always wanted to do, and was in trouble for in primary school. Doing this felt like the clearest and most satisfying way of expressing myself and closing the chapter on my school career, making this work cathartic and invigorating.

My body of work, Acorn to Oak, explores the enlightenment matriarchal connections offer. It subverts traditional expectations of still lifes that refer to the futile allure of earthly pleasures. Through cultural symbols embedded in the subject matter, it expresses passing in a positive light, rather than a negative. The hyperrealist self-portrait is represented in conversation with my late Baba, with the lines in our faces full of stories and experiences. My work as a whole is intended to be a comment on the ones we love, based on personal reflection and the reverence that comes from nourishment. Connection is love.

My artmaking practice has been influenced by the study and interpretation of the following artists: Maria van Oosterwijck, Pieter Claesz, Dylan Eakin.