Farming has always been central to my family's life, and my body of work investigates my Granny, her life and her farm, where old car bodies have always sat rusting in the paddocks. Granny is an intelligent, caring, witty and sensible woman. Her commitment to nurturing and persistence inform my practice, where value lies in the physical labour of making - crafting with care, patience and intention in an age of mass production. The animals also represent my family - my Granny's children. Although my aunts and uncles have families of their own now, my Granny is still central to their lives.

My body of work examines the cyclical nature of summer through its familiar sights - cicadas, trees and waves - with the intention of demonstrating its continuity and resonance. The drawing of a cicada references the precision of scientific illustration, accentuating intricate form in an isolated subject. The two paintings represent expansive skies, shifting light and the dynamic movement of waves and foliage. Together, the cicada's cadence, the roaring crash of waves and the gentle rustle of leaves make 'summer's anthem'.

In my body of work I represent cake as a symbol of growth, mortality and the bittersweet passage of time, contrasting the intimacy of a community gathering with the cake's impermanence in its inevitable consumption. Across progressively smaller panels the diminishing cake, shifting light sources and receding figurative presence convey a story, moving from the individual to the cake itself, communicating how its form can become a carrier of memories. My intention was to illustrate how celebration is intertwined with the inevitability of ageing. I chose to work with a traditional form to demonstrate its persistence within a contemporary world.

In Chroma to Chaos the dynamic shift in graphic design styles represents the emotional and psychological evolution from childhood to adolescence. My intention in my body of work was to create a personal memoir from my own photographs while inviting audiences to project their own experiences onto the narrative and reflect on their growth, loss and self-discovery. I've settled into various countries as temporary homes but, as time progressed, I ended up leaving that part of childhood behind, stagnated by expectations of adulthood. My adventurous youth is conveyed through whimsical compositions, with the shift into distressed graphics communicating self-liberty.

In a society that idolises flawless youth, my body of work represents the vibrancy and unapologetic characteristics of elderly women, challenging the myth that a woman's 'prime' is tied to smooth skin and conventionally youthful beauty. Focusing on lived-in skin and self-expression, my intention was to celebrate ageing in women as a form of liberation that comes with letting go of societal expectations, where age is not a decline but an elevation into a more colourful, authentic version of the self. Skin is not something which needs to be 'corrected' but is an expression of experience, emotion and living.

Rooms of the Artist's Earthly Plane is a triptych examining both my personal journey and the broader human experience. Inspired by mythology and history, my body of work investigates the impacts of concepts of faith, death, afterlife and judgement while commenting on modern issues such as the rise of generative AI. My intention in incorporating symbols, literary and artistic references and personal allusions was to encourage the audience's inherent curiosity, discovering details and making their own interpretation about the underlying meaning. The work itself sustained smoke damage from a fire, giving it a yellowed and aged appearance.

Women's business, especially as a young woman, is central to my body of work. This work represents not only my personal strength but also the collective resilience of Indigenous women. Traditionally, dilly bags were made by Indigenous women during yarning circles, where stories were shared and family bonds deepened. In making dilly bag forms in clay I draw on the natural textures and contours of the land. By working with clay - a strong, enduring material - in place of the softer fibres traditionally used, I convey the enduring strength of women and culture.

My body of work is inspired by my grandparents and the objects they have collected over their lives. I was drawn to their collections - treasures of the past full of stories, hidden objects tucked away in drawers and boxes: carved coconut shells, bronze samurai figures, bones, tools, old photographs. To my grandparents these possessions feel both precious and, as time has passed, burdensome. To me these unusual objects reveal an unseen inner world. My work represents this complexity, each engraved line and repeated print conveying how stories and objects accumulate over time.

In my body of work I examine how digital systems infiltrate our lives, subtly replacing emotion, connection and autonomy with artificial logic and repetition. I used black and white with the intention of representing a world stripped down to its stark essentials, devoid of vibrancy and emotional warmth - a sterile, binary existence where nuance is lost. Moments of visual breakdown convey the psychological and societal dissonances that occur when human rhythm is replaced by artificial systems. I invite the audience to consider how technology seduces with efficiency while quietly dismantling the organic chaos that defines being human.

Ecophilia: the closeness and positive coexistence between human beings and nature My body of work is inspired by the deep connection I felt with the shipwrecks at Moreton Island. The carefully placed shipwrecks and conservation efforts have allowed a thriving reef and stable ecosystem to develop, demonstrating how harmony with nature is possible. These wrecks show how humans can interact positively with nature, forming an ecophilic relationship in contrast to humanity having its usual detrimental effect. The intention of my work is to represent different perspectives of the wrecks, conveying how they are unified by their undeniable beauty.

Main Street, 2790 examines how the cultural and historical identity of my family's hometown, Lithgow, is maintained through the preservation of its shopfronts, rear lanes and other features of Edwardian architecture. My body of work, a collection of ceramics, drawings and collagraphs, represents the beauty found within the decay and ageing of these architectural facades and textures. My intention in using the varied surfaces and properties of the different media was to convey the patina and charm of the town's heritage. My work investigates how Lithgow's vernacular architectural and industrial past create a unique sense of place.