VCA Grad Show
Soft Boundaries
Babe Space 
Lockdown Videos
Glitter Box Power Pussy
Fluoroesce @ NGV
Chroma Cut @ Signal
Fluoroesce @ Area Gallery
Glitter World View
Dino Draw
Glitter Splatter 
Photocopy Nights
Investigative Toy Series


The material and conceptual intention of the work undertaken this semester has aimed to explore deeply felt frustrations over the saccarine and sexist depictions of women in contemporary life on t.v and internet media, with particular reference to domesticity, sexuality, ambition, creativity, fashion, beauty and personality.

After working further into mediums I have historically been using including collage and installation, I began to realise the potential for the photographic and filmic to expand my response to these issues within final artworks, particularly using video as a way to ‘sculpt’ time and space and to depict alternate readings of the feminine.

Influencing my thinking and making within this time I have turned to many sources.

As a starting point reflecting on artists works such as Pippilotti Rist’s video artwork ‘Ever Is All Over’, 1997 for its portrayal of feminine rage, Katerina Grosse’s painted installations that immerse the grand spaces of architecture into a gestural rage of colour, as well as the colourful, formal and symbolic pictorial spaces set out in the work of artists such as Mikayla Dwyer, Elizabeth Gower, Howard Arkley and Sally Smart.

I reflected on colonial narratives through the works of Helen Johnson, Constance Zikos and Mary Reid Kelly, with particular emphasis on studying the work of Mary Reid Kelly for her ability to create artwork that is richly layered in both video form, language and concept.

Reading the theoretical works of Jack Halbersalm provided break through moments particularly in relation to domesticity, family structures, queer failure and gaga feminism. Which helped me to realise the rage within in regards to sentimentality and women’s preordained dominion in the world of craft. While not wanting to diminish the act of crafting in its nurturing capabilities, I have chosen to weaponise craft symbolically within film, to immobilise messages of pain, rage and anger at that which oppresses many women in society. My choice to partner this ‘weapon’ with performance aims to within the filmed space further strengthens the message carried.

Working within a home environment due to COVID-19 with its inescapable confines of the domestic, has provided an opportunity to delve much deeper into inhabiting these themes than if I had been called away from the spaces of bedroom, kitchen, lounge and porch that create the setting for the final work presented.

That I have had to confront the reality of the physical materials i own, in the form of past artworks, excess studio making materials (paint, canvas, glitter, etc) as well as the objects of my possession, (furniture, clothing, rented space etc) without the physical connection or experience of physical interaction with the institution. In a way it has allowed for a greater focus on a personal experience of art making within the parameters of what I already have.