2022-2024
Drawings which interrogate conventional and received notions of botanical illustration
2015-2024
Exploration of studio objects and interactions as subjects and metaphors in late modernist practice. This includes a consideration of Still Life focusing on personal, collected artefacts as an appropriate field for cultural, historical and geographical speculation.
2020-2021
Lockdown Project, re-engaging with Interlocutions (2002-2013), focusing on the politics and processes of translation and cultural interaction. (and in this particular iteration ‘isolation’). I intend my ‘Interlocutions’ to translate or speak between the digital and the traditional, the decorative as decoration or coded narrative, the figurative and the abstract, the formal and the expressive. From one culture to another, one medium to another, one language to another, one place of being to another.
2013-2019
The Prodigal Returns, a series interacting with Vladimir Tretchikoff’s Chinese Girl (1953), its changing status in a postcolonial and globalized world and its elevation from kitsch to controversial cultural symbol in Post Apartheid South Africa.
2014-2016
The Piano Lesson/Matisse considered and Abandoned, a series of large format paintings extending and responding to the dialogue from the previous series.
CURRENT THEORETICAL RESEARCH:
Focus on Postcolonial theory, specifically around Settler, Diasporic, and Immigrant Cultures; intersections between Queer and Post-Postcolonial/Global issues; and the impact of Popular Culture on multicultural educational environments.
EXTERNAL EVALUATION AND REVIEWING:
2023-2024
Judge, Waimarino Art Awards, Rahiti, New Zealand
2021, 2022, 2023
External examiner for MFA Candidates, Otago School of Art, Dunedin, New Zealand.
2012-2020
Independent Monitor for various graduate programs at Otago Polytechnic.
PUBLICATIONS AND PAPERS:
2021
Editorial Board member of Scope, Otago School of Art.
2016
Paper titled The Prodigal Returns, Otago School of Art, Graduate Seminar, Dunedin
