ARTEXPRESS 2025 – Body of work analysis

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 artmaking practice has been influenced by the study and interpretation of the artist Frida Kahlo.

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 artmaking practice has been influenced by the study and interpretation of the following artists: Jonathan Alibone, Duke Riley, Gina Soden, Geoffrey Ansel Agrons, Vhils (Alexandre Manuel Dias Farto).

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.

My artmaking practice has been influenced by the study and interpretation of the following artists: George Edward Lodge, Albert Bierstadt, Ustad Mansur.

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.

My artmaking practice has been influenced by the study and interpretation of the following artists: Francisco de Goya, Francis Bacon, Marcel Duchamp, John Constable, Pablo Picasso, Brett Whiteley, Colin McCahon, Rupert Bunny, Amanda Penrose Hart.

Chernobyl was made uninhabitable by a human-caused nuclear disaster but has become a sanctuary for diverse species of flora and fauna. In speaking of ‘destroying the planet’ we are actually referring to the destruction of its habitability for humans. In my body of work a tree is represented slowly subsuming a person, bark replacing skin and limbs stretching out with the roots. A thriving forest, vivid green tones throughout and an abandoned nuclear generator convey the concept of an indifferent natural world. Despite destructive human forces, nature continues to reclaim and renew, erasing marks of human folly with relentless resilience.

My artmaking practice has been influenced by the study and interpretation of the following artists: Greg Nicotero, Garret Kane.

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 artmaking practice has been influenced by the study and interpretation of the following artists: Margaret Preston, Christine Druitt-Preston.

Historically, greyhounds have been exploited for gambling which has ended tragically for many of these dogs. In my body of work my intention is to intrigue and shock the audience, thus reshaping its perception of inhumane sports. The satirical, grotesque representations of greyhounds in my work question the ethics of using animals for entertainment and the bizarre lengths humans have gone to make profits. Using distortion, it communicates the injuries they have sustained from racing and being in cramped kennels. The bank notes reference the profits made from greyhound racing and abuse.

My artmaking practice has been influenced by the study and interpretation of the following artists: Cindy Wright; Mitchell Villa; Ryan Presley, Blood Money.