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  • Bleeding Heart, 2024

    Red brick and black tradex paint, pain.

    Installation view at Bureaucracy of Feelings curated by Diego Ramirez, Gertrude Contemporary.

    Image: Christian Capurro

  • None of Us Are Free / When One of Us Is Chained, 2025

    Feature article commissioned for Art & Crime Issue 3 Autumn/Winter 2025 of Memo magazine.

  • Burial Rites, 2024

    Giclée print with red ochre

    Composite image, digital photography from Absolute Pixie Dust:Yam I am at BUS Projects.

  • Move Kitsch, 2022

    Move Kitsch, 2022

    Synthetic polymer paint, leather lace, cowhide, and canvas.

    120 × 95 cm

  • Slammer, 2025

    Slammer, 2025

    Performance residue/Installation with heavy duty steel bars, engraved wall markings.

    Dimensions variable

  • Yard Sticks, 2025

    Eucalyptus pauciflora, black tradex paint and white ochre.

    Dimensions variable

  • Spirit on concrete, Oil on linen 112x92, 2025

    Spirit on concrete (Marngoneet), 2025

    Oil and linen on lifted concrete Dodd St kerb

    112 x 92 cm

  • People who are afforded glass houses shouldn’t fell trees, 2024

    A written response to An Unbroken Surface, Gertrude Glasshouse, Yálla-birr-ang

    Published with un Projects

  • Home sweet home, 2022

    Home sweet home, 2022

    Installation view with plywood, carved eucalyptus snake, synthetic polymer paint on canvas

    Dimensions variable

  • Black Flag, 2022

    Black Flag, 2022

    Synthetic polymer paint on linen

    80 × 55 cm

  • Home sweet home, 2022

    Home sweet home, 2022

    Synthetic polymer paint on tarpaulin

    195 × 130 cm

    Image: courtesy the artist

  • Installation view, 2022

    Home sweet home, 2022

    Installation view: Sprung kangaroo pelt trampoline, synthetic polymer paint on tarpaulin

    Dimensions variable

  • Jump, 2025

    Jump, 2025

    Oil on linen on painters canvas drop sheet

    138 x 92 cm

  • Lights and sirens, 2024

    Video still image
    Single channel HD audio/video on painters drop sheet, with black gesso, and red ochre. Dimensions variable

    Duration 2:28 mins

  • If I could fly, 2019

    Performance with drone and mirror at Bundanon Trust, Yuin Country

    Duration 3:26 mins

  • A piece of advice for my younger self, 2022

    Synthetic polymer paint on canvas
    95 x 125 cm

  • Fair Enough, 2021

    Synthetic polymers, video paint, asphalt on canvas
    125 × 95 cm

  • The cost of hot air, 2020

    Installation with single channel HD audio-video

    Dimensions variable
    Duration 3:30 mins

  • Holy shit! Two cakes!, 2022

    Installation view
    @ Seventh Gallery
    13 Jan - 4 Feb 2022

  • Woof, Woof! Bang! 2021

    Synthetic polymers, video paint, asphalt, dog hair, human tears and blood

    125 X 95 cm

  • This is not a mineral mall, 2019

    Video installation with abandoned trolley. Single channel HD audio-video

    Dimensions variable
    Duration 3:20 mins

  • Langi kal kal (resting place of the singing cicada), 2025

    Synthetic polymer and enamel paint on canvas drop sheet.

    120 × 185 cm

  • Whooper and Guunyu (incommensurable context), 2019

    Video still detail/ performance documentation.

    50 × 50 cm

  • Metamorphosis, 2023

    Metamorphosis, 2024

    Video installation w single channel HD audio-video

    Dimensions variable
    Duration: 5:03 mins

  • Empty your mind, bird poop brings good fortune, 2025

    Video still detail.
    Installation with single channel HD audio-video

    Dimensions variable
    Duration: 2:10 mins

  • Reserve, 2025

    Installation with kangaroo pelt, reserve bank money bag, carved eucalyptus snake.

    Dimensions variable

  • Bang Bang, 2023-25

    Installation with recycled consumer waste plastics, rawhide kangaroo skin, cotton sash cord, solenoid trigger, piezo contact microphone, field kit audio mixer, analog delay effects pedal and speaker.

    Dimensions variable

I live and work upon the unceded lands of the Dja Dja Wurrung People. I offer my deepest respect to Djaara, their Ancestors, Elders, Traditional Owners of Djandak past and present, and to our shared future with all First Nations People, community and kin; living, being, memory and place as time immemorial.

I live and work upon the unceded lands of the Dja Dja Wurrung People. I offer my deepest respect to Djaara, their Ancestors, Elders, Traditional Owners of Djandak past and present, and to our shared future with all First Nations People, community and kin; living, being, memory and place as time immemorial. I live and work upon the unceded lands of the Dja Dja Wurrung People. I offer my deepest respect to Djaara, their Ancestors, Elders, Traditional Owners of Djandak past and present, and to our shared future with all First Nations People, community and kin; living, being, memory and place as time immemorial.