My body of work explores the seven deadly sins of Roman Catholic theology: envy, greed, lust, gluttony, pride, wrath and sloth. Individuals within the Catholic faith are considered sinful if they commit these immoral acts. There is one panel for each sin, represented through key behaviours, inspired by history and animals' characteristics. Envy: jealousy and malicious behaviour. Lust: uncontrolled cravings. Gluttony: the desire to over-consume. Pride: untethered arrogance. Wrath: unbridled anger, rage and hatred. Greed: irrational desire.

My body of work is intended to be a stylised glimpse into the human subconscious. Each drawing is a representation of thought.

I have an affection for the Betta fish (Siamese fighting fish). Its tolerance of low oxygen levels and poor water quality has created a misconception that it is an ornamental display piece, and it is forced to endure a confined life in a glass bowl. During lockdown we underwent a phase of isolation and many people experienced stress and vulnerability. The Betta can have similar feelings. My body of work examines the confusion and helplessness of both the COVID-19 lockdown periods and the Betta fish. Captions in Thai script and self-portraits express my interpretation of those emotions.

My body of work represents pieces of my lived experience throughout the time I was at school. It's largely inspired by my thoughts, feelings and frustrations pertaining to my art and my schooling. These feelings have often been both a source of inspiration and a hurdle in my growth as an artist. Doodling on an exam paper is something I have always wanted to do, and was in trouble for in primary school. Doing this felt like the clearest and most satisfying way of expressing myself and closing the chapter on my school career, making this work cathartic and invigorating.

My body of work focuses on the underwater world as it occupies most of the earth's surface, yet is largely inaccessible to us. The creatures represented in my work thrive underwater, sometimes in complete darkness, in an environment that is alien to us. Beyond Humanity is intended to provide a glimpse into the range of weird and wonderful water-dwelling lifeforms. More broadly, the concept underlying my work is to encourage viewers to see beyond their own people-dominated lives for a moment, to disrupt their anthropocentric perspective and consider the plethora of other lifeforms on our planet.

My concept for my body of work was the fracture between persona and private self, examined in relation to my ADHD. Through my attempts to be seen as a competent, stable and accomplished person, I have realised that changing how we are perceived takes immense effort. A persona is an artform, rigorously cultivated with energy and dedication, like the process of photorealism. In representing my desire to be seen as successful, against the unstable self I feel I am, I ask: How often is one's most insecure, vulnerable self ever really shown? And in what circumstances can we show it?

My body of work, Someone, Something, Somewhere, examines the intersections between everyday life and the chaotic, fantastical dreamscape of the city. It explores the three fundamental subjects that define our experience of the city: people, objects and places. Referencing surrealism, I have drawn the subjects out of focus, streaky and warped, to represent the infinite number of images a person perceives in a day, focusing on some, barely seeing others out of the corner of one's eye. My work is inspired by an essential inquiry on the nature of city life: Where do we end; where does the city begin?

My body of work, Inextricable, represents the fulfilment found in familial bonds. Developing the concept during the coronavirus pandemic, I was influenced by recognising the importance of family during times of uncertainty. As a twin, my intent was to explore the dynamic connection twins share. The concertina display means the work can be viewed from each side to see us growing as individuals. While many twins strive for individuality, I treasure the power of shared experiences in shaping our complementary personalities. Although we have time apart, the seamless linking of these drawings from a front-on perspective expresses our inextricable ties.

'Home' is known as a place of refuge, a person's safe place and often their livelihood. Where is our safe place now? My body of work represents recent abnormal events that destroyed many people's 'safe place'. Inspired by Robyn Sweaney's and Howard Arkley's ability to explore notions of Australian identity and place through simple streetscapes and homes, I drew flood-affected homes in my own small town to express the disaster of the floods.

My body of work expresses my twisted emotions and memories of the identities of someone who has been absent in my life. The puzzle-like aspect of a developing mind going through trauma makes it challenging to differentiate between childhood romanticism, manipulated narratives, and reality. To fill the empty space of the absent I create characters representing who I remember them to be, who I wish they were, and who I assume they will become. Can I trust past memories to be true, or current judgements to be accurate, when thinking about the distorted identities of 'the absent, unknown, and make-believe'?

My body of work uses architectural forms and optical illusions to explore my personal and cultural values, expressed as a complex labyrinth. I used buildings to represent how identity is a construct, as we are shaped by our experiences of our world. Our life path is rarely clear. We traverse the landscape and, as in books, enter new chapters or rooms of our life. My intent was to create a visual biography that invites observation and reflection as understandings develop over time.

My mother and I are represented in my body of work, gazing intensely out at the viewer. My mother was disconnected from her Thai culture after immigrating to Australia at the age of nine and was forced to immerse herself in an alien western culture. Due to her deep sorrow and trauma, she could never share her culture with me, even though I wished she could. My work is intended to be viewed from both sides. On the backs of the portraits is a collage from passports and documentation transferred onto tin, laser etched with a culturally inspired pattern.

Our consciousness is affected by the paradox that it can be both aware of self and dislocated from it when faced with the seemingly familiar. The intent in my body of work is to explore this paradox, inviting intimacy as the viewer follows the unsettling trajectory of an inner conflict. In representing consciousness (and lack thereof) as a fog - a 'plaguing' force - I intensify its ephemeral yet potent nature; it intrudes and can either prove to be a beauty or a hindrance, much like the essence of human thought.