My arts practice is informed by environmental concerns. These include the challenges of a changing climate, impacts of species displacement through urban sprawl, alongside the resilience and recovery of our native species after natural disasters such as bushfires and floods.

These explorations translate to the methods I use incorporating ochres, dyes and resins. Many of these materials are foraged from nature, and combined with discarded, recycled and remnant objects. The raw truth that these materials offer captivates me. They expose the connection between memories and place, or the history of their usage, neglect or abuse. These histories are evident in surface dents, scratches and scarring. If I incorporate new materials, I often scuff, hammer or mark the surface to create imperfections.

I enjoy transforming salvaged, remnant and discarded materials by stripping, cleaning and deconstructing. I then reconstruct these materials to reimagine them as botanical specimens or features within the landscape. This material ‘rebirth’ symbolises species regeneration and resilience, despite the challenges that our native flora and fauna face.

Fire, a reoccurring theme, is important as both an observation of environmental concerns and methods. I often use flame-treating, burn or smoking techniques to achieve earthy and often unpredictable surfaces. I use flame within metalsmithing soldering techniques, clay-form kiln-firing, as well as to produce handmade dyes and stains.

My current bird series combines stylised clay forms of Australian native birds with mixed native plants. I use handcrafted ochres on white clay to form the bodies of birds such as kookaburras, honeyeaters and lorikeets. Extending from these are delicate appendages of leaves, vines and flowers made of mixed materials in earthy palettes. This series looks to biodiversity, cycle of life, and the resilience of nature in the face of changing environments.