Milky Way, 2018   Papaver Somniferum seeds in organza, 250 x 425cm, installation view in  We did the soft wind , Adelaide City Library
  Installation view in 'Steady Illiterate Movement', Seventh Gallery, Melbourne   (left to right) 'white white (summer and winter solstice)', 2017, neon light, electrical components, 70 x 100cm; 'Hora Somni: for Vera Rubin', 2017, cast black concrete with Papaver Somniferum seeds, 10 x 35 x 70cm
  One: all that we can see, 2017   neon light with 95% painted black, electrical components, 40 x 40cm  The neon light borrows its ratio from the hypothesis that dark matter and dark energy make up 95% of the universe, leaving only 5% of ‘normal matter’ visible
  white white (summer and winter solstice), 2017   neon light, electrical components, 70 x 100cm  This light borrows its shape from two curved lines found on a graph in a study on circadian rhythms. The graph indicates the difference in intensity and duration of daylight on the winter and summer solstices. There are two different shades of white neon, cool and warm, to correspond to the winter and summer lines on the graph
  Hora Somni: for Vera Rubin, 2017   Cast black concrete with Papaver Somniferum seeds, 10 x 35 x 70cm  Off to one corner of the work is a small pile of sleep-bringing poppy seeds. The piece is very heavy, bound by the laws of gravity. On its surface, it bears a shallow circular crater, the imprint of a disc-shaped galaxy or a head on a pillow. While others are sleeping, astronomers override their circadian rhythms to look for points of light in a sea of blackness.
  The Black Swan: Suite, 2014   Installation view, FELTspace, 2014
  Longboard Sequence (video still), 2015  documentation of an action, single channel HD video, 16:9, colour, 2 minutes 3 seconds  In the space between wake and sleep, the figure in  Longboard Sequence  arrived fully formed, emerging out of the dark, clothed in silk, black like the night gliding along on an equally black longboard. There is a formal similarity between the Longboard character and the black swan.
  The Southern Skies, 2014-Ongoing   ink and embroidery on felt, 250 x 250 x 60cm, installation view in ‘Primal Site’, BUS Projects, Melbourne. An embroidery performance work, tracing the Southern Skies with white embroidery stitches. The dark is often thought of as a cloak that hinders visibility, yet it also can be revealing. We cannot see the stars during when there is too much light.
   Aurora,  2017   six bottles of Bioglan Melatonin Sleep Spray placed throughout a domestic space, installation view in  The Suburban Version 2017 , Jane Skeer’s residence, Adelaide
  Fountain , 2019, PVC pipe, electrical components, water, melatonin, botanical oils, mist, dimensions variable
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