Untitled, 2026

This image from the Becalmed series sits at the intersection of concealment and exposure, where the body becomes both subject and site of tension. Encased in red lycra, the figure is simultaneously held and constrained—its surface stretched taut, obscuring identity while amplifying presence. The fabric acts as a second skin, a membrane that suggests both protection and suffocation, echoing the internal realities of living with mental health struggles and domestic violence. The colour red is deliberate and unrelenting. It evokes urgency, danger, and the physiological intensity of heightened emotional states—panic, fear, shame, and survival. At the same time, it holds the weight of cultural and symbolic associations: blood, lineage, and the visceral imprint of lived experience. Within this monochromatic field, the body becomes abstracted, reduced to form and movement, resisting easy interpretation. The absence of a visible face denies the viewer a point of emotional resolution, instead asking them to sit with discomfort and ambiguity. This work draws from personal experience and the often-invisible nature of domestic violence and mental health. It speaks to the quiet endurance that exists behind closed doors—the ways in which individuals adapt, contort, and survive within environments that are both intimate and unsafe. The lycra becomes a visual metaphor for this duality: it holds the body together while simultaneously restricting it, mirroring the psychological bind of staying, coping, and navigating harm. In creating this image, I was interested in the tension between control and loss of control. The figure’s gestures suggest resistance, but also a kind of surrender—an oscillation that reflects the cyclical nature of trauma. There is no clear narrative resolution; instead, the image operates as a fragment, a moment suspended in time that invites reflection rather than explanation.

I work with photography to develop project based works that stem from lived experience and a desire to tell stories that create change. My projects are socially and locally engaged, made in collaboration with my community to reflect direct experience while reaching wider impact.
Recurring through my work are themes of identity, home and connection to place, alongside violence against women and girls, cultural reconnection, and quieter forms of resilience that do not make headlines. I am intensely interested in the human condition, and in what it means to hold space for stories that are difficult to tell.
My work moves between contemporary art photography, environmental portraiture and community collaboration. I use these approaches together rather than separately, letting a project call on whichever is needed: a formal portrait when a person’s presence carries the weight of the story, an environmental setting when place is part of what needs to be said, and a collaborative process when the work belongs to a community rather than to me alone.
I hold a Bachelor of Photography from Queensland College of Art (2012) and have exhibited nationally and internationally.