My body of work examines Australia's diverse ecosystems with the intention of evoking wonder and curiosity. The recurring motif of the sphere conveys the distinctiveness and biodiversity of five major Australian landscapes. The spheres also represent a transformation of the flora and fauna into alien- like organisms. Each sphere was drawn freehand, intentionally imperfect, to communicate the organic irregularities of nature. I chose vibrant colour and an illustrative, playful style to encourage audiences to rediscover familiar landscapes with fresh eyes and a childlike sense of curiosity. The key catalogues the 76 native and introduced species referenced in the work.

My body of work represents my family as I see them, examining the emotions, relationships, and shared experiences that shape us. Each portrait conveys moments of joy, conflict and connection, while my own image holding a camera communicates my role as both observer and storyteller. This work invites audiences to consider how identity is shaped not only by what is on show, but by what we choose to see.

My body of work examines the interplay between doubt, ambition and transformation. How we grapple with our uncertainties is like the concept of inertia - an object at rest remains at rest, an object in motion stays in motion. We dream of lofty goals that, like the sky, seem impossible to reach yet remain beautiful to behold. In my work the red surface represents doubt, which must be navigated to achieve aspirations. My intention in this work is to convey how change is necessary to reach our goals, and to remain mindful of the passions we risk losing while pursuing dreams.

In my body of work, I investigate the tension between the primal and the constructed, using teeth as a central motif to convey a raw form of aggression and vulnerability. Teeth are markers of what is animal within us. The nuances of my concept developed from the very act of repetitively and methodically painting teeth, gum and fur; this revealed to me the recurring anatomical structures between vastly different animals. By juxtaposing these natural forms with human inventions, my intention is to examine society's discomfort with the body's natural state and the compulsion to restrain or 'civilise' what is innate.

My body of work, an eight-photograph series in the style of architectural minimalism, investigates the concept of floating architectural forms. I photographed custom-built models, using high contrast and sharpened detail, with the intention of achieving an intangible, otherworldly quality where the unique forms and deep colours encourage an undistracted focus on shape. In my preliminary darkroom experiments I used torchlight to make the distinct, abstract shadows of each model, ensuring no two images are identical. In my work I challenge conventional architectural photography while representing the serene, meditative essence of Modernism.

My body of work examines the intimate tension between body and object, representing limbs merging with domestic items to form unsettling hybrids. My intention in this work was to blur the familiar and unfamiliar and convey how identity is shaped by the mundane. Through this interplay, I communicate absence and presence, inviting the audience to reflect on how we project ourselves onto everyday things and how they shape us in return.

Dynamic Suspensions investigates the nature of light and its interplay with the energy of human emotion. In my body of work, fluid, abstracted forms of dance are conveyed through a long exposure. My intention in layering motifs within each phrase of light was to create sequences that represent a lifetime of dance. These forms communicate the physicality that is central to my being: the vivid colour of connecting to one's inner self; waves of sadness and fear suspended before moving into explosive sharpness and finishing brightly. The dance of light is the driving force of my life's emotional frequency.

My body of work began as an investigation into Renaissance portraiture and evolved through my study of German photographer Thorsten Brinkmann. Influenced by Brinkmann's use of everyday objects to conceal identity, my intention was to make something playful and nonsensical. With Manet's model, artist Victorine Meurent, as my inspiration I used thrifted clothing, bed sheets and tablecloths as costumes and backdrops to appropriate the formality of Renaissance portraiture. The resulting portraits invite the audience to question identity, representation and meaning within contemporary portraiture.

L'art de Pondering is a film about the Chicken and the Egg. It's a nonsensical film, but the philosophical relationship between egg and chicken represents broader conflicts and pressures in today's society. I admire how humour can disarm audiences before introducing a deeper idea so I applied that concept to my body of work. I filmed with a dodgy iPhone camera, edited on a dying laptop and relied on a true friend, who made the work possible by saying yes to being in an egg suit.

My body of work is inspired by Shaun Tan, detailed botanical drawings, and strange monster plants I found online. Using clay, glaze and watercolour I built sculptures that convey a dream-like state - bright creatures that are half-plant and half-monster. I used strong colours - greens, blues, reds and yellows - with the intention of making each form appear to have come from another world, full of mystery and energy, alive and ready to move. The Bright Unknown represents a place where nature is wild, colourful and unexpected, inviting audiences to experience a world that is strange but full of life and imagination.

The Making of an Honest Self-Portrait is dedicated to the deity Fate. My intention in my body of work was to examine the small part which I represent of Fate's universe-encompassing artwork and to convey how every human is meticulously forged by the people, objects and experiences Fate brings into their lives. I encourage the audience to use my work to reflect on how Fate has crafted each of them and to seek the ultimate purpose of their life in playing out Fate's great work.