drawing
sketches for to have and to hold 2021
under textile heading
Pen, ink and pencil on paper. 29.7 x 42 cm
darwing for "the other"
Not just pleasant on the outside, our Pleasantview Gem Inn properties are especially popular among families. With underground parking and floor-to-ceiling windows, there's no shortage of natural light or space.
Pen, ink, graphite, pencil and charcoal on paper.
Enough 2020
Enough (2020) reflects the tension between being observed and asserting agency. By withholding the eyes, the work disrupts recognition and the authority of the gaze, emphasising the fragile balance between private presence and external scrutiny. The inclusion of legible and partially illegible text transforms the piece from quiet reflection into a declaration of resistance, insisting on boundaries, consent, and self-possession.
The work navigates vulnerability and strength, presence and absence, and the interplay between exposure and withdrawal. It becomes an inquiry into becoming, where identity and autonomy are negotiated through observation, absence, and the ongoing assertion of agency.
Enough (2020). ink, watercolour on paper. 19 x 30 cm.
Prey 2019
Prey, a graphic novel, confronts the quiet fractures of city life, where anonymity and diversity collide. It traces a moment of violence and its reverberations, inviting reflection on the choices we make, the fears we carry, the compassion we offer, and the ways we navigate disruption and respond to the other in the world.
Prey 2019 in Art of the Graphic Novel, Volume 7, UWA Publishing, Western Australia (WA). Pen, ink, graphite, pencil and charcoal on paper. 14.8 x 21 cm.
Where Seeing Divides 2019
This self-portrait withholds the eyes, the cultural cornerstone of identity and authority, disrupting the authority of the gaze and challenges the expectation that a face can reveal who we are or what we feel. Identity is suggested rather than declared, forming through absence, concealment, and restraint. The viewer is denied an easy point of entry.
The work navigates the tension between vulnerability and agency, exploring what it means to be seen and what it means to withhold. Charcoal’s tonal flux, smudge, and erasure, responsive to gesture and touch, reinforce this instability, allowing the face to hover between presence and disappearance. The portrait resists singular belonging, hovering between legibility and opacity.
Rather than declaring a stable selfhood, Where Seeing Divides becomes an inquiry into becoming, how identity emerges through tension, entanglements, fragmentation, and ongoing negotiation across internal and external ecologies.
Where Seeing Divides 2019. graphite, and charcoal on paper. 19.8 x 24 cm.
Assimilation / Silence 2019
This self-portrait explores the tension between presence and erasure through layered marks of pen, pencil, and charcoal. Lines accumulate, overlap, and are partially scratched away, leaving scars that trace what has been drawn and what has been removed.Identity emerges as provisional, unstable, and in process, never fully fixed, never entirely legible.
The work navigates the interplay between vulnerability and imposed norms: drawing asserts presence, while scratching and erasure withdraw it. The layered marks trace the body, experience, and memory, reflecting a self that is relational, fragmented, and shaped by broader social pressures, including the constraints of assimilation and systemic inequities.
Rather than presenting a complete likeness, the portrait becomes an inquiry into becoming, where identity is formed through tension, repetition, and the ongoing negotiation between presence and absence.
Assimilation / Silence 2019. ink, pencil graphite, and charcoal on paper. 19.8 x 24 cm.
