Could you tell us a little bit about yourself?Well, I was a bit of a rebel and left school early at 15 to work with racehorses.
My parents reassured me that I could always return to study as an adult and it was a great support to know that, and it turned out to be exactly what I did.
In my twenties I was living in Cairns, where I began studying for a degree in horticulture and started my own landscaping business – something I loved immensely.
I still draw on my background in botany and plant knowledge in my artwork today.
During those years I had the opportunity to work with several Indigenous communities.
I undertook landscaping projects for large tourist operations, notably the Tjapukai Aboriginal Dance Theatre, and these were very exciting, enriching experiences.
In 1997 I travelled through Central America with my dad before heading on to Europe, where I ended up working at a wonderful garden centre in London.
We worked on projects for some pretty special clients, including Camilla Parker Bowles.
Little did I know at the time that one day she would become Queen Consort!
I returned to Australia in 1999 to start a family, and it was during this time at home with a toddler that I turned towards creative practice.
I undertook a year studying printmaking at Lismore TAFE, which sparked the beginning of my artistic path.
I felt like I’d come home to myself and was keen to pursue a Bachelor of Fine Arts, but like many parents of young children, it took some years before I was able to give it my full attention.
During this time, I wove my art practice around motherhood, participating in exhibitions and continuing to develop my printmaking skills.
In 2015, I enrolled in a Bachelor of Visual Arts at Flinders University, graduating in 2018.
That same year, I was invited to work with the South Australian Museum and Artlab Australia to preserve the handwritten labels from a 19th century ornithological collection.
This led to a four-year research project which culminated in a publication, Flight, An Illustrated Notebook of Bird Life and Loss (2022).
In 2024, I was awarded a scholarship to study Honours at Central School of Arts.
The program’s strong academic focus has enriched my art practice immensely, giving me the confidence to commit to a full-time art practice.
What first sparked your love for art?Oh gosh, I think we are all born with an intrinsic appreciation for art – whether that’s fine arts, music, gardening, cooking or embroidery or things like that.
I had a very lovely childhood, with lots of travel that included museums, exhibitions, as well as plenty of creativity at home. I was always making things and being inspired by storybooks, many of which had superb illustrations that I think really influenced me. My mum also sketched regularly – she’s very creative, and we made all kinds of things together like dress-ups.
At around 11, I made a small diorama of the French revolution, complete with pipe-cleaner people and a surprisingly functional guillotine.
It was inspired by Mum reading us The Tale of Two Cities by Charles Dickens, which made a big impression on me.
What is your main medium?Years ago, I would have answered printmaking.
But since undertaking my honours degree, I’ve shifted towards installation work, as I’m interested in creating more interactive experiences and enjoy the freedom working in three-dimensional space. I think this connects back to my years in landscaping, where I was creating engaging spaces for people to interact with the natural world.
How would you best describe your artistic style and how has it evolved over time?I have always leaned towards an Eastern aesthetic and prefer natural, subtle colours.
I love intricately detailed work, both in printmaking and other mediums and it’s often about finding a balance between negative and positive space, or setting heavy lines to contrast with delicate mark making.
This balance is part of an ongoing evolution in my creative process – learning that each work asks for something different and taking time to listen and respond to it.
Who or what inspires your work?It can be a slow process at times.
The natural world is at the heart of my practice.
I often return to birds as a source of inspiration, and I aim to honour their lives and deaths by drawing viewers into stories of our shared ecological narratives.
My work is shaped by engagement with archival collections, and I’ve been fortunate to undertake research at the British Library and the Ornithological department of the South Australian Museum.
The opportunity to explore the intersections of art, science and conservation within these institutional settings has strongly influenced my practice.
How did it feel to be recognised in the Waterhouse Natural Science Art Prize this year?Absolutely amazing – a real highlight! It has been a huge honour to be part of this art award and something I have long aspired to. The Waterhouse Natural Science Art Prize offers an important platform for artists to speak about the beauty of our natural world, natural history and science, as well as to raise environmental issues that concern us all.
Who is your favourite artist, living or historic, and what do you enjoy about their style?For me this is an impossible question, because there are hundreds of artists who have moved and inspired me.
But to name just one, it would be Albrecht Dürer, (1471–1528) an important historic artist of the German Renaissance and a technically brilliant printmaker.
I love his aesthetic, his ability to depict meticulous detail and his gift for storytelling.
As a printmaker at heart, I feel indebted to his skills, which elevated printmaking to a higher level and continues to influence the medium today.
If you could own any original work, what would it be?Oh, there are so many artists work that I would love to own, but I would be exceptionally happy to have a print of the wonderful Adelaide Hills artist Janet Ayliff, hanging in my home. Or one of Dürer’s would be fine too!
What is your ultimate goal for your work?I would like my work to encourage conversation and engagement around environmental issues such as habitat and species loss. I think art has a unique role in posing questions and inviting reflection on the important issues we face today.
In my practice, I’m always seeking ways to foster a deeper understanding and appreciation of the fragility of the systems that sustain life.
I like to think that my work may, in some small way, help foster a sense of care for Country and an appreciation for the wonder of the natural world.
When you’re not in your studio, what are you doing?Birdwatching and gardening are integral to my life and my art practice.
I’ve designed my garden as a haven for birds, frogs and lizards, with plenty of flowering plants, native grasses and natural rock ponds. It’s a joy to spend time there.
I also have a fruit orchard, an extensive veggie garden and an aquaculture system that provides rainbow trout.
I try to follow a 100-mile diet to reduce food miles and my ecological footprint, growing much of my own food, and supplementing from the local farmer’s market.
Growing food connects me to the seasons and the earth; it gives me joy and I love being able to share the excess with family and friends.
