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.

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'?

We live in a world of distorted realities and fragmented expectations, consumed by technology, where the selfishness of social media feeds our narcissism. How often do we really pause in nature and reflect? I believe the ocean seeks to bring us back to meaningful connections with each other and the environment that surrounds us. My body of work is intended to be a protest against our escalating addiction to technology. Using a pixelated style expresses how technology manipulates our sense of reality and connection to place.

My body of work represents my contortions of identity in questioning my faith, and how I found peace, not through or with others, but within myself. It expresses the past - where I've come from and what I've learned - as well as previewing the future - where I'm going. Elements of the work that seem to simultaneously appear and disappear question ideas of perception. I struggled to find a form of acceptance to keep my faith. I invite my audience to revisit their experiences to find that serene feeling of acceptance. If listened to carefully, these silent pictures will yell a story.

Architecture transcends time by accumulating chronicles of memories and emotional connections. My body of work explores our permanent connection to the mystery of experiences in everyday spaces that were once possessed with life. The photographs use bursts of light and colour to express these aged architectural forms being brought back into existence, while the book narrates their role, who they housed and what they've seen. My intent is for my work to comfort the disturbed and disturb the comfortable, as I express the permanence of the departed through energy and activity.

"Never regret thy fall, O Icarus of the fearless flight; For the greatest tragedy of them all Is never to feel the burning light." Oscar Wilde.

My body of work pays homage to the myth of Icarus, whose wax wings melted when he flew too close to the sun, plunging him into the sea. This expresses my own ambition and drive for success without concern for the consequences. The large-scale wings represent Icarus's flight and fall, with one pair burnt and one dipped in wax. The book narrates Icarus's story, with abstract feathers and wax in reference to his fall.

A conscious choice. A voluntary cycle of love and loss. My body of work expresses an understanding of the unity forged between two exceedingly contrasting organisms, alike in their nature, differing in the time nature has granted them. This selection of short-lived ambiguous figures is intended to represent the emotions in this relationship while allowing viewers their own interpretation of the figures' features. The changing scale of the statues moves the focal point from start to finish, and the series can loop around to start again if observed that way, alluding to the continuous cycle of this specific 'memento mori'.

My body of work was inspired by family weaving traditions that connect mother (the giver of life) and child. I used a variety of weaving techniques and enjoyed the therapeutic nature of the physical act of weaving fibres into sculptural forms.

In my body of work, the artmaking process behind each painted frame, Perspex plate and piece of piano music involved my hands. Hands translate artists' emotions into art. Every form of art involves an intrinsic passion surrounded from a young age by the light of learning and encouragement. This light gradually transitions into darkness where the emotion lies, then through the hands into the final artwork. I represent this progression in the piano's black and white keys. I was inspired by how an orchestra conductor's hands reveal the expression of a musical piece, binding rhythm to emotion.

My body of work uses visual and sound-based forms to represent the conglomeration of ideas, characters, environments and emotions found inside my brain. This experimental film is intended to stimulate a human experience that is both collective and unique. By removing all narrative context, the viewer's typically organised thought processes are liberated, allowing for an exhilarating cerebral deliverance.

My body of work is a memento mori exploring humanity's impermanence, reminding viewers of their own transience. It mourns the absence of individuals who we never knew, paying respect to their lives regardless of our relation to them. Hollow sculptures of clothing express the brevity of our lives. The absence of the figure in the fossilised objects represents varying states of absence. Accompanying objects provide some elaboration on these anonymous figures and their unheard memories. My intent is to prompt reflection upon the extent to which lives are valued before and after their passing. Mortality transcends the confines of materialism.