I have been working predominately in public art since 2004, with over 15 large-scale commissions that stretch from Perth to Melbourne to Townsville, and recently into China. I have had the good fortune of working with some of Australia’s leading design teams, construction companies, fabricators, curators and consultants, including: Hassell Architecture, Cox Architecture, Creative Move, Brecknock Consulting, Creative Road, Urban Art Projects, Cultural Capital and most recently on the world’s first buoyant artificial reef destined for the Gold Coast.
I completed a Doctorate in Visual Arts with the Queensland College of Art in 2013 and was a recipient of an Australian Post–Graduate Scholarship. I have exhibited, and have works in collections, both Nationally and Internationally.
My artistic practice explores notions of perception and connection. Perception – by engaging the viewer in conceptual conflict through form, for example, what appears solid is hollow, what appears fluid is fixed. Connection – by creating objects that incite a greater awareness of phenomenon such as light, movement, gravity, space, time and the body.
My public artworks are largely concerned with place-making, in that, the result of work is contingent on the coming together of the possibilities of the place one finds the work in and the way in which this informs one’s experience, awareness and perceptions of the work in that place.
Movement – through low relief and sculptural forms, I employ parallax, and the movement of light and the viewer, to give my work an elusive quality, which in turn promotes movement and exploration – ultimately inciting a heightened awareness of place and space.
Repetition – the use of repetition and geometry allows the elements within my works to be understood through a series-of-relationships. Similarities and differences ‘map’ light and movement, and most importantly, they make this ‘mapping’ apparent through one’s experience of the work.
Time – as the user establishes their own set of possible relationships between the work and its context, the work is activated – ultimately creating meaning through what the work does, rather than what it is. This elicits a sense of time, as one’s perception of the place alters through experience, and in some instances through repeat visitation.
