Remember who you’re talking to, December 2025
Projection onto oil painting, 9m40s duration uncut
Looking directly into the eye of the viewer, this oil painting of my childhood self dressed as a young ballerina represents the innocence of a young child. Though posed, it is candid and plain, with no background to create a narrative, or other subject to interpret. My aim for this piece was to refer to the vulnerability and purity of young children, when compared to my practice’s emphasis on hurtful comments during times of grief. I projected a document over my painting, writing various phrases and statements over the painting, without entirely disguising it. Some of these comments included:
“REMEMBER WHO YOU’RE TALKING TO”
“MY PETALS ARE WILTING AND IT IS AT YOUR HANDS.”
“THERE WILL ALWAYS BE A BEGINNING AND END.”
“IT’S ALL IN YOUR HEAD!!!!!”
Walk all over me, November 2025
While exhibiting this work during the Conversation Starters exhibition, viewers followed a fixed path of exhibited works, including that of a corridor leading to the AV room. As the viewer turned to enter the corridor, they were interrupted by bold, capitalised text placed at the entrance, reading “YOU’RE STILL GOING ON ABOUT IT? I’D HAVE MOVED ON BY NOW, YOU SHOULD BE GRATEFUL FOR WHAT YOU GOT.”
Interrupting the ordinary experience of viewing artworks on a wall, or at least within a set boundary, the viewer is forced to contemplate walking over, or moving in and around the letters. Interestingly, they may decide not to walk past it at all. The act of standing stationary, taking a moment to read what is written, and coincidentally how to respond is exactly the aim of this piece. To read these words, is to understand that they are harsh, rude, unexpected, and ultimately relatable.
TOUGH LUCK, Since October 2025
With the attempt to further my exploration with texture, this work involved meticulously glueing fine string to a canvas. I wanted to replicate the repetitive nature of hearing hurtful comments during moments of grief by emphasising the monotony of building this piece. You can see every individual layer of string, and can imagine the process of placing it across the canvas. The standout phrase “tough luck” stands clear amongst the illusionary collage of string, which wraps continously around the letters and will eventually cover the entire canvas.
I BLEED FROM YOUR HANDS, October 2025
Using my lino prints, I aimed to transform my white-on-white messaging from Studio 3 into a colourful, stand out work. Whilst I feel it was successful in broadening my exploration of mixed-media, I found this piece to be too direct, with gruesome intent. From this point forward I urged to work again with text and viewer-perception, but in a manner that allows for an understanding to be built by the viewer, not the artist.
Lino print studies, October 2025
Expanding from my previous work in Studio 3, I wanted to experiment with materials, more specifically looking into how I can manipulate words and texture with different mediums. Lino prints of various statements using black and white ink on different coloured paper. This included same-colour experiments to explore the blank-on-blank effect I had previously explored in Studio 2. While it was not successful, it has provided an interest in trying out different mediums and materials.
“tell me again to GET OVER IT”
“is it really just BAD LUCK”
“sorry you’re an ARSEHOLE”
“according to you ITS NOT THAT DEEP”