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Portfolio of Artwork
Gallery
A Shattered Visage Lies... (2025)
A Shattered Visage lies, a wrinkled lip and sneer of cold command, tell its sculptor well those passions read; which yet survive (2025)
Mineral pigment, animal glue on board. 204cm x 261cm x 3.5cm
The work employs three different “narrative scenes” (as is common in Asian folding screens) which told the story of three different nocturne plein-airs of three different times of night: twilight, 2am-dead of night and 5am pre-sunrise. Each scene set up to depict different physical and temporal locations yet designed to be read as one distinct landscape. The resulting image aimed to make viewers question their own lucidity, driven by an artist doing the same in the process of making the work.
The title is an edited excerpt of Ozymandias a poem by Percy Bysshe Shelley which is understood to be a story on the fall of societies and leaders. The artist aimed to reinterpret its reading as a fall of the mental faculty, whereby the mind is the “King of Kings” who in its hubris fails to last forever.
Mineral pigment, animal glue on board. 204cm x 261cm x 3.5cm
The work employs three different “narrative scenes” (as is common in Asian folding screens) which told the story of three different nocturne plein-airs of three different times of night: twilight, 2am-dead of night and 5am pre-sunrise. Each scene set up to depict different physical and temporal locations yet designed to be read as one distinct landscape. The resulting image aimed to make viewers question their own lucidity, driven by an artist doing the same in the process of making the work.
The title is an edited excerpt of Ozymandias a poem by Percy Bysshe Shelley which is understood to be a story on the fall of societies and leaders. The artist aimed to reinterpret its reading as a fall of the mental faculty, whereby the mind is the “King of Kings” who in its hubris fails to last forever.
Bedshaped (2024)
Oil and Charcoal on Canvas.
From A Home Among the Gum Trees exhibition.
From A Home Among the Gum Trees exhibition.
Coelacanth and I (2024) (Collaboration)
Etching inks and oils on paper.
Collaborative piece between Sarah Thornton-Smith (@sazts on insta) and I from A Home Among the Gum Trees exhibition.
Collaborative piece between Sarah Thornton-Smith (@sazts on insta) and I from A Home Among the Gum Trees exhibition.
The Land Before Time (2025)
Oil and Charcoal on board.
From A Home Among the Gum Trees Exhibition
From A Home Among the Gum Trees Exhibition
Bushwalk (2024)
37 Hand painted oil colour frames on glass - animation.
The process involved painting 37 still frames on a single pane of glass, then rubbing out the initial frame to replace with a slightly different image effectively animating on a single piece of media. This was added to by the novel use of oil paint as the primary medium creating a dynamistic and powerful appearance.
The artwork was exhibited in A Home Among the Gum Trees duo exhibition held at Midland Junction Arts Centre - presented on a portrait screen.
The process involved painting 37 still frames on a single pane of glass, then rubbing out the initial frame to replace with a slightly different image effectively animating on a single piece of media. This was added to by the novel use of oil paint as the primary medium creating a dynamistic and powerful appearance.
The artwork was exhibited in A Home Among the Gum Trees duo exhibition held at Midland Junction Arts Centre - presented on a portrait screen.
Nautilus (2025)
2025, Mineral pigments, animal glue and oil on board.
Ressentiment (2025)
TouchDesigner, Kinect Sensor, Projector, Audience Interaction.
Ressentiment is a small-scale installation that utilizes 3D Kinect sensors to capture a depth scan in real time of a viewer. This depth scan is then altered using optical flow and instancing tools to create a flowing and everchanging mirror image of the viewer. This image is then projected on the wall in front of them but will interactively disappear according to their proximity to the Kinect sensor. The resulting work places the viewer to consider an everchanging copy of themselves in the digital realm which is then projected into the real.
The title Ressentiment comes from a psychological concept where an individual may onload their inferiority or failures onto a scapegoat in the form of a resentment. The title Ressentiment aims to mirror an ever-fleeting version of self, our consciousness and a reality that is both threatened and destroyed by neurodegenerative disease such as dementia. Drawing from memories of my grandmother who suffered likewise Ressentiment aims to highlight in a novel way the experience of memory loss and the resulting effects that surround the individual. The title is an ironic play, in that the resentment and anger an inflicted individual may feel is not necessarily as a result of their own inferiority or failure, but rather that of a failing brain. The title thus, underscores the absurdity and perhaps the lack of understanding of what family members of an inflicted individual may feel: confusion, betrayal or resentment.
Ressentiment is primarily about this, the connection between our corporeal body to that of our soul. Presented by the ghost of a digital reproduction, reacting, copying and ultimately a capture of our current state.
Ressentiment is a small-scale installation that utilizes 3D Kinect sensors to capture a depth scan in real time of a viewer. This depth scan is then altered using optical flow and instancing tools to create a flowing and everchanging mirror image of the viewer. This image is then projected on the wall in front of them but will interactively disappear according to their proximity to the Kinect sensor. The resulting work places the viewer to consider an everchanging copy of themselves in the digital realm which is then projected into the real.
The title Ressentiment comes from a psychological concept where an individual may onload their inferiority or failures onto a scapegoat in the form of a resentment. The title Ressentiment aims to mirror an ever-fleeting version of self, our consciousness and a reality that is both threatened and destroyed by neurodegenerative disease such as dementia. Drawing from memories of my grandmother who suffered likewise Ressentiment aims to highlight in a novel way the experience of memory loss and the resulting effects that surround the individual. The title is an ironic play, in that the resentment and anger an inflicted individual may feel is not necessarily as a result of their own inferiority or failure, but rather that of a failing brain. The title thus, underscores the absurdity and perhaps the lack of understanding of what family members of an inflicted individual may feel: confusion, betrayal or resentment.
Ressentiment is primarily about this, the connection between our corporeal body to that of our soul. Presented by the ghost of a digital reproduction, reacting, copying and ultimately a capture of our current state.
Fallen Branch (2024)
Acrylic and charcoal on board.
Pictured left as a vertical diptych.
Shown at the Curtin First Year exhibition "Here".
Pictured left as a vertical diptych.
Shown at the Curtin First Year exhibition "Here".
Sunflowers (2024)
Oil and Charcoal on wood.
From A Home Among the Gum Trees Exhibition.
From A Home Among the Gum Trees Exhibition.
Oculus (2025)
Digital image on digital screen.
Utilizing blender UV map displacements.
Utilizing blender UV map displacements.
Oyamiyazaki Museum study (2025)
Small study of the Oyamiyazaki Museum of Fine art.
Oil on paper.
Oil on paper.
Treeline | Dissonance (2025)
Oil on board.
Red Heron (2025)
Digital painting.
Red Mane (2025)
Mineral pigments, animal glue on board.
Pluto (2025)
Mineral Pigments, animal glue on board.
View of Darlington (2023)
Oil on board.
Exhibited in A Home Among the Gum Trees
Exhibited in A Home Among the Gum Trees
Self Portrait with hair up (2024)
Oil and charcoal on paper.
Made very late at night, quickly scribbled out and painted when I saw my reflection in the window contrasted with the dark bush outside.
Kucing (2025)
Mineral pigments and animal glue on board.
Is It Selfish to just Want to Stare at the Blue Sky
19 Hand painted oil frames collated into a video animation.
Golden Summer
Oil on Board.
Sonnet 2024
Watercolour on Paper.
Larrikins 2023
Oil on pine board.
Iron Carriage 2023
Oil on board.
Life Drawings 2024
Various Life drawings from Uni.
Mediums include charcoal, ink on paper.
Mediums include charcoal, ink on paper.
Five
Five oil paintings on pine boards.
Untitled 2024
Oil on Board.
Untitled
Pencil and Oil on paper.
Still Life 2024
Charcoal on paper.
Self Portrait 2024
Oil on board.
Guardian 2024
Pencil on cartridge paper
Trunk 2024
Oil and charcoal on paper.
Dusk and Thylacine
Oil on canvas
18'x14'
18'x14'
Valley of Giants (Marquette)
Small Marquette for a larger full painting.
Oil on Board.
Oil on Board.
3 Seconds in 47 Hours
A collective animation of 16 individual hand oil painted artworks that form the moving bird.
7'x7' MDF Boards
June, 2022
7'x7' MDF Boards
June, 2022
Untitled 2023
Oil on Canvas
The Iron Giant 2024
Welded Steel Wire and Steel Plating
Life Drawing Watercolour Studies
Watercolour on paper.
Untitled Charcoal Landscape 2024
Charcoal on Paper.
Windswept 2024
Charcoal on paper
Untitled 2024
Charcoal on paper
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