Sentimental Self Portraits (2024)
Same Sky Postcards (2024)
Untitled (2024)
Part i - In colour:
These images focus on the fragility of suburban life, showcasing how fast the physical landscape and culture we have as a collective, is changing. Many places no longer occupied or in use, once served a clear purpose. The resulting architecture is entirely individual and unlikely to reappear in the resulting petrol station that will replace it. A home once filled with love is now set in limbo while its fate is decided upon.
Part ii - Monochrome:
Since moving into the outer suburbs, these abandoned farmyards have become somewhat of a rarity. What was once a familiar characteristic of the country landscape, has since become entirely unconventional. Moving back and forth between these two vastly different places has allowed me to become more appreciative of what one place may have, but the other does not. This body of images is my attempt at finding a balance between my newfound life in the suburbs while trying to remain connected to the aspects of rural living I have become fond of.
'Queery' (2023)
My self-portrait series ‘Queery’ delves into the intricacies of the queer identity, referencing the emotions
and experiences that often elude verbal expression. Employing deliberate stylized techniques across
distinct images, my objective was to convey the foremost aspects of growing up as a queer individual and
the associated components. The narrative depicted in the images follows an unconventional flow, mirroring the liberation that accompanies coming out and the gradual but steady settle into queer life that ensues.
and experiences that often elude verbal expression. Employing deliberate stylized techniques across
distinct images, my objective was to convey the foremost aspects of growing up as a queer individual and
the associated components. The narrative depicted in the images follows an unconventional flow, mirroring the liberation that accompanies coming out and the gradual but steady settle into queer life that ensues.
'The 51st state' (2023)
In the context of my photographic series entitled "The 51st State," I embarked on an exploration delving into the intersection of American cultural elements within the Australian landscape. Through the deliberate composition of eight distinct images, my overarching objective was to encapsulate the quintessence of Americana in Australia, concurrently probing its profound impact on our national identity.
By focusing on ubiquitous facets of American culture such as diners, indigenous fauna including bears and deer, roadside architecture embellished with UFO imagery reminiscent of conspiracy culture, and remnants of antiquated American-style buildings, I intended to underscore the fusion of these diverging cultures and the enduring influence of American traditions on Australian society. These visual motifs functioned as cultural signifiers, eliciting nostalgia and fostering a sense of familiarity while bridging the geographical and cultural expanse between the two nations.
Valentines (2023)
Self portrait (2022-2023)
Self portrait (2022)
Pansy (2022)
Pansy (2022)
Self-portrait series (2022-2023)
The Black Hole series (ii)
The Black Hole series (i)
The Black Hole series (iii)
Black Hole Series (2022)
Glass figure, self portrait, 2020-22
Glass Figure series (2020-2022)
(Left: 2022 Art Gallery of South Australia, NEO SALA exhibition- Neo Face Time)
‘Glass figures draws on elements of the real world and transcendent beings, encouraging others to look inward at themselves and reflect on their surroundings. Demonstrating the relationship between the individual's emotions and their environment’
Glass figure iii, self portrait, 2022
The Dionysian Affirmation issue 002
Excerpt:
'Glass Figure('s) iii' and 'iv' are part of a body of work that draws on human interactions with nature, to observe the untouched beauty that surrounds us and how [said] beauty conflicts with the human conscience. Growing up queer in the Australian countryside had its obvious issues and conflicts, which frequently made me feel as if I didn't belong. I attempted to convey this sense of isolation and uncertainty in these works by combining the nostalgic connection to film emulation with an invisible figure, furthering its conceptual undertone. Despite the notion that one might despise their surroundings as a result of previous negative experiences, I've discovered that [as a result of this adversity] I'm more connected to the world around me. Frequently using it as the primary inspiration for my artworks, seeing it as a force that propels my desire to create.
