I am an Australian printmaker whose practice is grounded in observation, material sensitivity, and a lifelong connection to the natural world. Working primarily with solar plate etching, monotype, and many layers of printmaking processes, I create contemporary artworks on paper that explore place, memory, and the quiet rhythms of nature.

My work draws deeply from lived experience - from decades spent collecting specimens, walking gardens and bushland, and observing the intimate lives of birds, insects, and native flora. These encounters become layered compositions where drawing, print, and chance sit in delicate balance. Each work is made slowly and intentionally, allowing space for nuance, texture, and stillness.

Printmaking sits at the heart of my practice. I work predominantly with solar plate etching, a non-toxic, light-based process that aligns with my commitment to environmentally conscious art making. This is often combined with monotype, hand-drawing, and pochoir stencilling to build richly layered surfaces.

Rather than producing editions in the traditional sense, I treat printmaking as a painterly, exploratory process. Each work is unique, bearing subtle variations that reflect intuition, material response, and time. The resulting artworks hold both precision and softness - an invitation to slow down and look closely.

Over the past decade, my work has been exhibited across Australia and internationally. I am represented by Queenscliff Gallery on the Bellerine Peninsula and my work is held in private collections throughout Australia, New Zealand, the United States, and Europe.

I have been selected as a finalist in significant Australian print awards including the Burnie Print Prize, Firestation Print Studio Monoprint Prize, and Castlemaine Experimental Print Prize. My work has also been featured internationally, including publication in ART New York Magazine at the Beka Museum in New York.

Alongside gallery exhibitions, I have created large-scale public and commissioned works, including a major installation at Blacktown Acute Mental Health Hospital, and licensed collections with Ashdene bringing my nature-inspired imagery into thoughtfully designed everyday objects.

Education and knowledge-sharing form an important part of my practice. I have over ten years’ experience teaching printmaking in professional studios, tertiary settings, and community programs across Australia.

I was honoured to be invited to present a solar plate printing demonstration to members at Geelong Gallery, an experience that reinforced my belief in the value of teaching, skill-sharing, and process-led practice within the visual arts.

I am deeply grateful to exhibit with Soula and Theo, gallerists at Queenscliff Gallery whose thoughtful stewardship, integrity, and long-term commitment to artists I greatly admire.

Being selected as one of ten artists to exhibit in Queenscliff Gallery’s 10th Anniversary Exhibition was a significant milestone in my career - not only for its curatorial recognition, but for the sense of community and continuity it represents. These relationships matter deeply to me, and they shape the way I approach both my work and my collectors.

My artworks are created for collectors who value depth, process, and authenticity. Each piece carries the marks of hand, time, and intention, offering a quiet but enduring presence within a home or collection.

I see collecting as a relationship - one built on trust, resonance, and shared appreciation for thoughtful making. I am always honoured when a work finds its place with a collector and becomes part of their personal landscape.

I've been thinking about how the things that change us or unsettle us have their own quiet beauty. I keep returning to the idea of Kintsugi: the Japanese art of mending broken pottery with lacquer and powdered gold. Not to disguise the cracks, but to honour them. To acknowledge that the break becomes part of the story. I feel this deeply. It is how I want to live, and how I want to create.

Printmaking has always been a great love. I enjoy painting, but I always return to paper - the textures, the impressions, the way it records my drawn mark. My process follows a gentle order: drawing, mark making, and preparing plates. These stages are structured, almost meditative.

Then comes the colour. Mixing pigment is like cooking - intimate and tactile.

Inking plates and preparing the press is grounding; it's physical, almost like being in the garden.

But the moment the work reaches the press, something shifts. I move into intuition, instinct, flow. Here I'm not thinking in straight lines. The work becomes a conversation between memory, landscape, and something quieter inside.

Recently, I've been learning to pause more. To step back. To notice what I'm responding to in the work, and let that lead me forward. This has opened a pathway toward abstraction, toward what is felt before it is seen.

This shift carries echoes of family. I recently learnt of my father's design for a family home. Creating a space for his growing family. A round house - spaces drawn to feel open and held.

Now having a copy of these sketches, I am drawn to use them as yet another layer of complexity in my work.

There are cracks, of course - old ones and new ones.

I am letting them glint, just slightly, like gold.

I'm working on a new series, a gentle step into unfamiliar territory - a shift that feels both tender and necessary. It may look a little different to what I've created before, but it is the truest expression of where I am right now.

Now, as we grow into our life on the land in the Otways, these memories rise. I watch light move across the dam, dragonflies emerging in the late evening light and the breeze moving through tall grasses. I am learning about this place slowly. The land itself is teaching me to listen.