Biomimicry: designing new products using patterns and strategies that occur in nature. The inspiration for my body of work was the form of viruses, bacteria and cancer cells as viewed under an electron microscope. Struck by the simple purity of the forms within the surrounding environment, I represented what I saw as an investigation of form and space. I pushed the medium of tissue paper to its limits, creating organic forms from geometric shapes. Through manipulation, the material transcends the world of the organic and metamorphic, taking on its own lifeform and transforming into biomimicry.

In my representations of an angler fish and squid/octopus, I include the defining features of each animal and leave the rest to the viewer’s imagination, mirroring the idea that the deep ocean can only be imagined by most people. My fascination with the ocean, fishing and sea life led me down this path. I found the mediums of metal and charcoal most effective, and used welding to create solid single-piece forms, representing the smooth and streamlined surfaces of the creatures. By heat treating the metal I was able to attain an iridescent effect to express the colour-changing qualities of the squid.

Many people have to leave their home country and live in a culture completely foreign to them. This is the concept behind my body of work, but it was a difficult concept to physically represent. I had to experiment with different ideas to find the right balance of emotional depth and familiarise the audience with the reality that such people face. The range of difficulties that I experienced include: bubbles in the epoxy resin; creating a clay mould for the concrete; the bronzing of the tiny woman as it was such a small object to bronze; using the laser cutter to print the maps.

Escaping the Psychle explores the limitations of human thought and the notion of a universal consciousness that traps us within a cycle of thought, limiting us from being able to think freely. Using light, scale and unconventional metallic sculpting materials I have overcome the physical limits of the sculptural medium, creating a kinetic sculpture which represents the mental entrapment that we all face. The deliberate incorporation of the symbolic human figure and over sixty unique cog designs invites the audience to visualise this subconscious entrapment, prompting the question, 'How do we escape the Psychle?'

My body of work explores art’s traditional interest with intimate feminine moments, while also considering the voyeuristic undercurrent present in many artworks featuring female nudes. Motivated by the consistent and perhaps invasive portrayal of the female form throughout art history, I used a variety of materials to re-imagine, subvert, confront and re-contextualise the way the female form has been represented by artists such as Rodin, Degas and Brian Dunlop. I then constructed the relief sculpture to introduce a concrete representation of the male gaze.

They are the curious, sometimes frightening, sometimes humorous creatures that inhabit Gothic architecture. And they are now making appearances in 21st century buildings. If Sydney Harbour Bridge had a gargoyle, it may look like this.

My body of work represents the process of restoration occurring in my homeland of Afghanistan. Just as nature can flourish and overcome the destruction caused by war, wild flora and mushrooms emerge from within the cracks of each broken ceramic. In the Japanese Kintsugi technique of mending broken things with gold, the cicatrix of each piece becomes a thing of beauty. I was inspired by Frida Kahlo's own exploration of her cultural heritage, my work embodying the hope that one day Afghanistan will regain its rich culture. As humans, it is inevitable that we encounter adversity. However, through this we can find a new form of beauty and healing.