Terra Incognita is a series of abstract paintings developed in response to terrazzo—a material I began noticing in my everyday built environment, and in the design world more broadly where it was re-emerging as a trend. Originally developed in Venice in the 15th century and later used extensively in post-war architecture, terrazzo became a recurring visual motif in my surroundings, prompting a process of looking, tracing, and abstraction.
Working with stencils and layered fields of colour, I translate this ubiquitous surface into a rhythmic visual language—part mapping, part memory, part formal exploration.
Terra Incognita continues my ongoing interest in psychogeography, domestic thresholds, and the emotional charge of architectural detail.
2022, oil on linen, 100cm x 80cm
2021, oil on linen, 60cm x 40cm
2022, oil oil linen, 100cm x 80cm
2022, oil on linen, 80cm x 70cm
2022, oil on linen 100cm x 80cm
Viral Movie is a meditative found footage film composed of scenes from dystopian and outbreak cinema — including Contagion, The Quiet Earth, Stalker, The Road, Outbreak, 28 Days Later, and The Omega Man, among others. Rather than a rapid-fire remix, the film unfolds slowly and deliberately, allowing familiar images to take on new weight in the shadow of COVID-19.
Drawing from a wide range of cinematic responses to crisis, Viral Movie traces the emotional contours of the pandemic and lockdown: fear, dread, numbness, disorientation, distrust, and the desperate desire to escape — from others, from information, even from time itself. Public spaces become haunted, silence becomes oppressive, and authority figures flicker between saviours and threats.
This is not a narrative reconstruction, but a mood piece — a collage that reflects the internal terrain of a collective experience. As environmental collapse, viral threat, and human failure blur together, Viral Movie becomes a portrait of a suspended world, and the quiet panic of being left behind.
Viral Movie was created as part of a collaborative installation made with multi- disciplinary artist, Karleng Lim. Conceived through dialogue during the pandemic, Influence reflects on the fractured emotional landscape of lockdown — from vaccine distrust and fear-fuelled misinformation to deep anxieties around health, control, and connection. Structured across three zones — Body, Mind, and Soul — the installation weaves together domestic rituals, media fragments, and a sensory retreat space to explore how we metabolised crisis, both individually and collectively.
No Limit introduces the Hedgewitch — a trickster, wanderer, and urban spell-caster. Drawing on folk traditions of herbalism and solitary magic, the Hedgewitch is reimagined as a 21st-century mystic navigating the psychic and physical boundaries of contemporary cities. Part jester, part witch, she enters spaces shaped by wealth, order, and control, disrupting them through gestures of curiosity, humour, and embodied play.
In folklore, hedge witches lived on the edge of villages, working with plants and unseen forces, moving between the cultivated and the wild. This Hedgewitch exists in a similar threshold space, traversing sites marked by formal landscaping and architectural dominance. Across the video, a recurring visual motif appears: clipped trees, box hedges, and ornamental topiary — nature shaped into spheres, cubes, and strict geometries. These images of control and aesthetic discipline echo throughout the work, surfacing in hedge mazes at Villa Pisani (Italy), private gardens in Toorak (Melbourne), and gated resorts in Cairo and Alexandria.
The Hedgewitch moves through these spaces with playful irreverence — waving, spinning, and lingering with exaggerated gestures that interrupt their rigidity. She wanders through Venice’s labyrinthine alleys, stands beneath the pyramids in Egypt, drifts past decaying buildings in Cairo, and appears again in affluent suburbia. Her costume, inspired by the court jester and printed with photographic fragments, blurs the boundary between performer and environment, ritual and costume, subversion and camouflage.
The installation combines video, suspended acrylic discs, and a large wall collage made from the same imagery as the costume. The discs act as floating portals, capturing fragments gathered during dérives — wandering walks that tune into the unnoticed intersections of nature, architecture, and control. The video plays across sculptural screens built from shipping container panels, anchored by a maze of tiled blocks and hazard tape.
No Limit invites viewers to reconsider their relationship to built space and cultivated nature — asking what forms of enchantment, resistance, and transformation are still possible within systems designed to contain them.
No Limit
2019
Three-channel video installation
Digital video (8:50 min, looped), acrylic discs, photographic collage, mannequin with custom costume, tiled blocks, shipping container panels and steel, hazard tape
Soundscape by Lola Paulova
First exhibited at VCA Masters Exhibition, Martin Myer Arena, Southbank, Melbourne.
Drift Mobile ( Berlin)
This suspended installation features a series of acrylic discs printed with digital collages composed from photo fragments gathered during urban walks in Berlin. Hung as a mobile, the discs gently rotate and shift in space, creating a slow choreography of reflection, refraction, and partial images.
Acrylic disc mobile from photo fragments collected in Berlin, 2019
The work draws on a psychogeographic impulse — mapping impressions of the city through fractured, intuitive assemblage. As viewers move around the piece, new relationships between form, texture, and light emerge. Echoing the act of walking and noticing, the installation becomes a kind of atmospheric archive — a record of perception as much as place.
Installation view From Where I Stand exhibition, curated by Dr Kim Donaldon, VCA Artspace, Melbourne 2019
Exhibition curated by Dr. Kate Just, titled “The Prosumers” at Creative Spaces Vitrines, Melbourne 2019
Part of an exhibition curated by Dr. Kate Just, titled “The Prosumers” at Creative Spaces Vitrines, Melbourne 2019
Materials: Plastic topiary balls, walker, hand held leaf scoops, plastic trellis, broom, mannequin, cast plaster cricket stumps, oak dowels, collage printed fabric, wood, steel, oil burner, Dimensions Variable.
Genius Loci refers to a place’s atmosphere or “sprit”. This work is a response to place exploring the associations and atmosphere of a contemporary suburban locale seen through the ideas of an outsider. Manicured gardens, hedges, high walls, and topiary inspire a reflection on class, colonialism, 17th century European garden design and its values of control over nature This work playfully appropriates the landscape in a quasi-mystical simulacra. The “spirit of place “is personified and sits on a walker. Some of the materials were sourced from hard rubbish debris and the plastic topiary balls are available at Bunnings.
Steel, ply, plastic hedge tile.
Photographic series and exhibition at Chamber Presents 2017 Archival pigment prints
Customer Parking Only is a photographic exploration of the overlooked edges of urban life — strip malls, empty lots, defunct signage, and sun-scorched facades. Shot across Melbourne, Los Angeles, Berlin, Texas and New Mexico, the series captures moments of accidental beauty in spaces shaped by commerce, abandonment, and absurdity.
Working with a formal, deadpan aesthetic, the images elevate the banal — a tipped-over bin, a shuttered storefront, a painted wall — revealing the quiet poetry of civic neglect. The title, borrowed from ubiquitous pavement stencils, hints at the conditional access to these spaces: you’re welcome, but only if you’re consuming.
At once tender and disenchanted, the series documents a drifting, in-between world — one built for display but slowly falling out of frame.
