visual
drawing
drawings from The Map of Becoming 2025 the Triptych
A transnational exploration of migration, memory, and belonging. Constructed from a locally repurposed 1940s wardrobe, the work transforms a domestic object into a vessel for emotional, cultural, and ancestral traces. The triptych of cockatoo, faun, and owl evokes migration, hybridity, and ancestral memory. The cockatoo represents mobility and voice, the faun reflects liminality, othering, and mythic belonging, and the owl carries memory, wisdom, and connection to ancestral knowledge.
Orginal drawings on paper, then reworked into wood. Pencil, paper, wood, repurposed local cherry blossom, cutting and carving tools, pens, tape, sandpaper. Each panel 45 x 99.5cm
.
sketches for to have and to hold 2021
sketches for to have and to hold 2021,under textile heading
Pen, ink and pencil on paper. 29.7 x 42 cm
Enough 2020.
Enough (2020) reflects the tension between being observed and asserting agency. By withholding the eyes, the work disrupts recognition and the authority of the gaze, emphasising the fragile balance between private presence and external scrutiny. The inclusion of legible and partially illegible text transforms the piece from quiet reflection into a declaration of resistance, insisting on boundaries, consent, and self-possession.
The work navigates vulnerability and strength, presence and absence, and the interplay between exposure and withdrawal. It becomes an inquiry into becoming, where identity and autonomy are negotiated through observation, absence, and the ongoing assertion of agency.
Enough (2020). ink, watercolour on paper. 19 x 30 cm.
Prey 2019
Prey, a graphic novel, confronts the quiet fractures of city life, where anonymity and diversity collide. It traces a moment of violence and its reverberations, inviting reflection on the choices we make, the fears we carry, the compassion we offer, and the ways we navigate disruption and respond to the other in the world.
Prey 2019 in Art of the Graphic Novel, Volume 7, UWA Publishing, Western Australia (WA). Pen, ink, graphite, pencil and charcoal on paper. 14.8 x 21 cm.
Where Seeing Divides 2019
This self-portrait withholds the eyes, the cultural cornerstone of identity and authority, disrupting the authority of the gaze and challenging the expectation that a face reveals who we are or what we feel. Identity is suggested rather than declared, forming through absence, concealment, and restraint. The viewer is denied an easy point of entry.
The work explores the tension between vulnerability and agency. Charcoal’s tonal flux, smudge, and erasure respond to gesture and touch, letting the face hover between presence and disappearance. Hovering between legibility and opacity, the portrait resists fixed selfhood.
Rather than declaring a stable selfhood, Where Seeing Divides becomes an inquiry into becoming, how identity emerges through tension, entanglements, fragmentation, and ongoing negotiation across internal and external ecologies.
Where Seeing Divides 2019. graphite, and charcoal on paper. 19.8 x 24 cm.
Assimilation / Silence 2019
This self-portrait explores the tension between presence and erasure through layered marks of pen, pencil, and charcoal. Lines accumulate, overlap, and are partially scratched away, leaving scars that trace what has been drawn and removed. Identity emerges as provisional, unstable, and in process, never fully fixed, never entirely legible.
The work navigates vulnerability and social norms: drawing asserts presence, while erasure withdraws it. The marks trace the body, memory, and experience, reflecting a self shaped by relational dynamics and systemic pressures, including the constraints of assimilation and systemic inequities.
Rather than a complete likeness, the portrait is an inquiry into becoming, where identity forms through tension, repetition, and the negotiation between presence and absence.
Assimilation / Silence 2019. ink, pencil graphite, and charcoal on paper. 19.8 x 24 cm
