I've been working with found plastic for over two decades — first in Japan, where I spent three years living and studying, making urban interventions with discarded objects that opened up unexpected conversations with strangers. That spirit of serendipity and material thinking has never left my practice.

"Plastic is the material of our time — optimistic, promiscuous, and now deeply troubled. I'm interested in what it means to make something beautiful from it."

My PhD at ANU (2016) took colour as its subject — not as decoration but as system, language, and residue of feeling. The thesis included a colour divination system, an artist book, and a series of performances called The Vivisector Oracle: A Colour System for Artists and Others in Times of Uncertainty. It drew on Hélio Oiticica, Sol LeWitt, Wittgenstein's Remarks on Colour, and Patrick White's novel The Vivisector.

A research residency at the Cittadellarte Fondazione Pistoletto in Italy and Albania deepened this into installation and performance work. My 2023 solo exhibition at ANCA, The Anything You Want Machine, brought together painting-like plastic textiles, installation, and video to propose a feminist revision of plastic as a material — damaged and full of possibility at once.

I'm a fluent Japanese speaker, a queer practitioner, and someone who came to visual art through translation — the conviction that meaning is always slipping sideways between one form and another.