17/06/2026 - 17/07/2026

I've started exploring pixel art, it's so much fun to animate with. It's nice to be bringing a bit of whimsy back into my artistic practice. To animate in Procreate you first need to assemble a custom brush that only paints a pixel at a time, but after the pixel art is finished, to prevent blurry images you need to upscale the canvas before exporting. This is an animation of The Horse in Motion, a series of cabinet cards taken in 1878 by Eadweard Muybridge. The series became the first example of chronophotography, using 12 tripwire cameras to prove a galloping horse leaves the ground.
I first saw this video at the Australian Centre for the Moving Image (ACMI) in Melbourne many years ago. I thought of it again recently when talking to my father about Arthur Esam, a painter of whom my grandmother was very fond of for his paintings of horses.
After finishing my pigeon animation, I decided an animation of the Horse in Motion, side by side like a filmstrip could be very effective. The 15 minute proof of concept has a lot of charm and I really like how it almost dances, but I'm very happy with the glide and elegance of the final animation. This piece is of a crested pigeon, found all over central Australia, but rarely in Melbourne. I've fallen in love with them on my trip to the Red Center this winter. I witnessed a particularly passionate bird doing it's best to impress another, trying to balance dancing and running after its audience as she wandered away with disinterest. I thought his dancing was just marvellous.
The feet were quite difficult to get right, and required lots of back and forth, resizing and testing. I especially love the colour palette; pulled directly from my website, its position as the dancing icon for Birdle suits it perfectly.

The first complete version of Artle is now live, after a very special pilot launch at Art Show Pakenham. It was submitted as an interactive art installation in the special category 'Think Outside the Square', because in the endless debate of 'what is art', when does website cease being digital art on the web and become just a web page? If neither Kant, nor Tolstoy, nor Wagner could define a singular boundary of 'art', then a category showcasing art that has gone beyond boundaries might be inclined to celebrate such a proposition.
It was a great opportunity to have Artle as an interactive installation. It gave me insight into how people approached the game, where they found frustration, and how I could alter the game to suit a wider play style. With some changes made (which can be read about here) thanks to valuable user feedback,
Artle is now live!

I've been exploring linocut printing over the past two months for an upcoming commission. The result has been a growing interest in printing fish. This piece is a Murray Cod, or ponde, an apex predator in the Murray-Darling River system. I love the way imperfections show the touch of the artist's hand in printmaking, an especially valuable thing in a computer age of ai.

In honour of David Finch's I Could Do That this is my year of turning 'I think I could paint that' into a collection of artworks and lessons.

A digital frame-by-frame animation painted in an impressionistic style. The artwork merges with photography taken by the model herself, pulling forward a palette of the colours she stamps on my skin.

Winner of Digital Prize at Art Show Pakenham 2026.

I took this photograph at the March for Australia anti-immigration protest on 31 August 2025 in Melbourne. I was not there to participate in or support the protest, but I felt compelled be there to try and understand how it had come to be. To witness how the city responded as this crowd of people moved through its streets. I wanted to photograph the bystanders, to glimpse the reactions of those on the sidelines as the floodwater passed them by.

The picture was taken on Bourke Street, as patrons of Florentino observed the protestors passing by.

Jenny Holzer

Awarded First Prize for 'Digital - Moving Image' at Art Show Pakenham 2025.

Mike Barr

Colin McCahon

David Finch

A collaboration in which I modelled this wearable art piece called 'Urban Warrior'.

Generating a David Rollyn design in the programming language Gosu.

Mark Rothko

Based on photographs taken of the school's biology skeleton. Itaglio print.

Based on a bookplate. Intaglio print.

Louise Hearman

Emily Kame Kngwarreye

In my first year of VCE Studio Art, I developed an interest in early photographic processes through botanical prints and the work of Anna Atkins. Atkins is widely regarded as the first person to publish a book illustrated with photographic images, and is often described as the first woman to create a hotograph. I was particularly drawn to stinging nettles, a plant with a contradictory identity as both a weed and a medicinal resource, and commonly found on the farm where I grew up.

My interest in early processes extended into Vandyke brown printing, a technique derived from the iron-silver processes developed in the nineteenth century, particularly the work of John Herschel in 1842. The process is named for its tonal similarity to the brown pigment associated with Anthony van Dyck. It involves coating a surface with a solution of ferric ammonium citrate, tartaric acid, and silver nitrate, then exposing it to ultraviolet light as a contact print. The resulting prints have a distinctive deep brown tone that creates this intoxicating warm glow, as if the sun alone had burned the image into the paper.