Post Graduate Exhibition
National Art School
2026
Glass, Aluminium, archival images C. 1890-2020, collaged map, remnants of monuments from City of Sydney Stoneyard, sediments from Wiradjuri Country/Bathurst, Bulyayorang (Windsor), Burramatta (Parramatta) and the Birrabirragal land (Vaucluse) of the Dharug people, Liverpool on Dharawal and Dharug land, Kamay (Botany Bay) on Dharawal land, and Eora (Sydney) on Gadigal country
‘Sediments (Obelisk of Distances, 1818)’ is a sand installation in 1:1 scale to the wall surrounding Francis Greenway’s Obelisk of Distances in Macquarie Place Park, installed alongside fragments of discarded monuments and sedimentary materials retrieved from the City of Sydney stone yard. Tracing the wall’s silhouette in Eora/Sydney sand and samples collected from the sites inscribed on the Obelisk, the installation invites audiences to follow its curved pathways, or create their own resistant paths across it. The shifting sands and fragments respond to the extensive conservation efforts afforded to Greenway’s Obelisk, whose fragile sandstone form and colonial mythology have denied the course of time for over two centuries. In juxtaposition to the rigid monument, Sediments is easily dissipated, remade, and reinterpreted across sites and peoples.
All samples collected from sites are returned to country after the duration of the exhibition.
Urban Being
Slip Gallery
2026
31 x 108 cm and 7 x 3.5 cm
Created for Urban Being at Slip Gallery
‘Saffron’ considers Abraham Saffron’s censorship of the exploitative histories of the site of Kings Cross through a sugary sweet, barely visible facade.
Installed nearby to the site of the City of Sydney public art project ‘The Strip on The Strip’ in Kings Cross, ‘Saffron’ replicates one of the plaques inlaid into the pavement as part of the project, recalling the memories and past of the ‘King of the Cross’, or ‘Mr Sin’; Abe Saffron.
Born to a Russian Jewish family, Abraham Saffron became a major figure in the criminal underworld in the 1940’s through his illegitimate accumulation of properties including strip clubs, bars, brothels, hotels, and restaurants in the Kings Cross and Darlinghurst area. Saffron was credited for orchestrating the brutal 1979 Ghost Train Fire of Lunar Park that resulted in the death of six children and one adult, allegedly motivated by a dispute over the purchase of the themepark land. He was also suspected of involvement in the beloved Kings Cross activist Juanita Neilsen’s 1975 disappearance.
Learning of the unfavourable ‘Strip on the Strip’ plaque, Abraham Saffron sued the City of Sydney, resulting in its temporary removal from the site.
Gemini Glyph II
Twins
Stamp Gallery
2026
Designed in collaboration with Hannah A. Muir
Produced for ‘Twins’ at Stamp Gallery
Fundraiser
Schmick Contemporary
2026
Developed for Schmick Contemporary 2026 Fundraiser
NAS Pinoint
2025
The documents feature aerial photographs and maps of proposed construction sites, each overlayed with familiar symbols including stars, red circles and blocks of colour. Concealed within their innocent graphics and polite language, the masking of the architectural histories of the landscape by these icons indicates an authoritative and oppressive vantage point. These graphics become evidence of the imminent demolition, levelling and
restructuring of the cultural demographic and economic pasts and presents of their sites. This balance between each duplicate and authentic artefact within Assign considers the noise and aesthetics of construction as a condition of the colonised (gentrified) and cosmopolitan site of the National Art School and its surrounding area, while foregrounding the absence of infrastructural development that serves the local and indigenous communities that inhabit these sites.
Restaged in Substack
Gallery Paiza
2025-ongoing
When glass breaks, or with any broken item
Collect the fragments
Mark a rectangle on the ground, the scale of 205.7 x 502 cm
Pour the fragments over the outline
Remove the tape
And contemplate what is lost
In considering Sol Lewitt’s Black Form (1987) in the context of ongoing conflicts across seas, Black Form (After Sol Lewitt) acts as an unfixed mnemonic restoration of its demolished original, applying Lewitt’s method of memorialisation to current issues of erasure. By dispersing the artwork's authority through a set of instructions, Black Form (After Sol Lewitt) foregrounds the reparative capacity of public vigils and community-formed actions for colonised peoples, whose initiatives create space to resist and reorganise despite continuous fragmentation.
2025
Subtexts
National Art School Library Stairwell Gallery
2025
adjacent to Queer Contemporary: Chaosophy
Angel Hum
In collaboration with Will Naufahu
Tiny Gallery
2025
QHY Space, Join the Dots Gallery
2024
Produced for QHY Space, Join the Dots Gallery
Mechanisms Unseen
Third Space
2024
Produced for Mechanisms Unseen, Third Space