‘An invisible red thread connects those who are destined to meet, regardless of time, place, or circumstance. The thread may stretch or tangle but will never break’ (Chinese Proverb).

My work explores the concept of the Red String Theory, and the innate connection brought by its presence.

I made this my subject matter as this philosophical concept is interesting to me, and I wanted to

portray the way I perceive it in the world around me.

I want the audience to learn about this concept and its philosophical interactions with the world.

My work uses three mediums to narrate a mythological legend which contains cultural significance to Chinese New Year. It visually narrates a combination of the myth, as well as modern representations of how people celebrate Chinese New Year using etched plates and carved woodblocks. As a way of learning more about my identity, I’ve always had an interest in the stories within Chinese culture, and through my works, I hope that the audience can learn more about the myth behind the internationally recognised celebration, and the reasoning behind the prevalence of red during it.

My work is about memory loss and the impact that dementia has on a person’s daily life. The collection delves into how simple actions require constant reminders to get one through an ordinary day. These paintings are a tribute to my grandparents who suffered from dementia and the impact that has had on their lives. I want to share this experience with the audience on a symbolic level and tap into our deeper emotions on such a common and devasting degenerative disease.

My work is an exploration on how we remember our dreams. My film is of me trying to piece together a dream I had the night before and trying to make sense of it the following day, as I recall the somewhat clear and vague details .. never knowing if I got it quite right. I’ve always been intrigued by my dreams my whole life, and throughout my thoughts I explored how my recollections would get muddled sometimes, having something missing in the story. I had first explored this idea through art in Year 9 when we learned about Surrealism, an art movement where the main focus is to allow the unconscious mind to express itself. I hope this inspires audiences to explore and enjoy the wacky nature of their dreams even if we don’t remember them fully or accurately!

This work is a sculptural representation of the Story of Narcissus, a figure famed in Greek mythology whose tale of self-obsession inspired the term ‘narcissist.’I crafted and painted seven sculptures using special K clay, capturing their photographic evolution. The various fabrics in the images symbolize the river where Narcissus met his end. This project was a memorable experience, and I’m glad that I chose clay as my medium to bring to life a story that has captivated me for years.

‘If you follow the child…you can find out something new’ - Jean Piaget
My work follows Jean Piaget’s theory of the four stages of child development throughout four book versions of ‘Alice in wonderland’. Each book representsa stage of child development.

BOOK 1: Sensorimotor stage (Colours and objects).

BOOK 2: Preoperational stage (Language)

BOOK 3: Concrete operational stage (Transition)

BOOK 4: Formal operational stage (Abstract ideas)

I am interested in this topic as I am intrigued by the changing nature of perspective as a child matures into an adult. I hope the audience is able to see the progression of thinking and responding that a child goes through in an interpretive way.

My work revolves around the experiences and emotional toll of feeling lonely in life. Based around my experiences of feeling lonely combined with research on how people, universally experience loneliness.Feeling ‘blue’ and it’s literal use in my work strongly conveys sadness and isolation.I chose to paint as I am quite confident with the medium and have been since I was little. I was inspired by Edward Hopper’s work and his interpretation of loneliness. I hope the audience builds an emotional connection with my painting and perhaps even relates to it a little.

My work is a depiction of the physical and mental struggle musicians go through while performing, and the relationship between their passion and pain. As well, while directly referencing singer Courtney Love, I explore how the music scene impacts other aspects of her life, comprising of music, life and the Other Thing. Having experience in performing music this subject matter is of great interest to me. Being a fan of Courtney Love and the Artist Brett Whitley, my artwork is an appropriation of his ‘Art life and the other thin’ while also referencing his ‘Self-portrait in the Studio’, I have combined my own personal interests to place his art in a new context. I hope the audience is drawn to the emotional distress displayed in Courtney Love’s scream and contemplates the different realities of a musician’s life while under the pressure of performance, whether that be on a stage or in the comfort of their home.

My work is about the struggles and ongoing emotional and physical trauma resulting from growing up with a chronic illness. I’m interested in this subject matter because I have CRMO (An autoimmune disease that causes pain due to swelling of affected bones), and it has impacted me throughout my childhood and continues to as I grow. I hope the audience is informed about the reality of having a chronic illness and that opens their eyes to the intense mental impact it has, as well as the harsh physical effects. My work is also for those who struggle with illness to help them feel seen and less alone.

My work is about distressing family car trips and the arguments that often arise in such confined spaces. The work demonstrates how family conflict is perceived, felt or escaped by the individuals involved. I’m interested in this subject matter because escapism from conflict is something that I exercise when faced with overwhelming and difficult experiences. I chose family conflict as I have personally experienced its tension and impact and figured it was a universally relatable experience too.
I hope the audience can understand or relate to the shared experience of confined conflict and its negative impact on all involved. I hope people question their anger management in confined spaces and how it may impact those with no means of escaping such stressors.