Kudos acknowledges and pays respect to the Gadigal and Bidjigal people of the Eora nation. They are the traditional custodians of the land Kudos operates on. We create, design, share, and exchange our work and knowledge on this important meeting place. We pay our respects to elders past and present and extend that respect to any First Nations people who engage with Kudos. This is and always will be Aboriginal land.
| I am a conceptual multidisciplinary artist, and I particularly enjoy painting and installation. With my painting practice I am mostly a water and oil painter. With installation my concepts draw out what mediums I require but I do often use light as a key feature. I have pieces that use video, fabric, sublimation printing, paper, wood, metal, string, acrylic etc. All the pieces I create engage with themes of tragedy and are imbued with the symbolism of fire. I use fire as a metaphor for the inherent capacity to create, destroy and transform—an elemental force capable of reshaping even the most resistant materials, such as metal. At the same time, fire has the power to bring people together and to illuminate even through darkness. Using duality, I explore fire as both a force of destruction and renewal, reflecting the complexities of personal experience and transformation. It's engaging for me to explore the singularity of my work as a deep act of reflection and particularly self-reflection and how this can expand in more universal connections with the viewer. |
| Holy Love Holy Love, 2026 Tulle, plastic rods, polyester fabric, metal bars and a projector H 2m W 1.62m D 1.7m Drawing inspiration From Frida Kahlo’s ability to capture herself as both victim and holy figure, turning personal pain into universal symbolism. I pushed how this duality can be represented in the form of a 3- dimensional installation. The 3 transparent walls are made of common wedding veil material, tulle. The glow cast across the fabric, together with the front and back lighting of a large sublimation photograph and the title itself, evokes a sacred and almost devotional atmosphere. These installation and compositional methods reflect Kahlo’s beautiful ability to capture more than just a one-dimensional essence but as also resilience, dignity and nuanced beauty victim narratives can evoke challenging simplistic or one-dimensional representations of trauma. Drawing inspiration from Suzann Victor’s artistic optical illusion. I created an immersive artistic experience where the subject appears more emotionally neutral from the external viewpoint and the audience literally walks into the real-life story of a domestic violence survivor revealing hidden emotional pain and tears that need to be viewed close to be seen. Societal responses to domestic violence often involve disengagement from the confronting experiences of survivors but this composition subverts prevalent social normalities by compelling viewers into close engagement with the work, thereby foregrounding the issue of domestic violence. Finally, through drawing on an affinity of Jenny Holzer’s artistic powerful use of moving text projections. Holy Love converts her effective use of text as a medium by executing with significant transformation to stand as its own work as opposed to just mere imitation. This was achieved through displaying text one word at a time and gradually fading through the sentence. Additionally, this artwork uses text as an immersive experience leading the viewer deeper into the installation space |