Playful public art, installation and participatory practice

I create large-scale, colourful installations that invite interaction, joy, and shared experience in public space.

Practice and research

I am a Brisbane-based visual artist working across installation, sculpture, printmaking and participatory public art. My practice is situated within contemporary international installation discourse and examines how play, materiality and relational encounter operate within public space.

Working through large-scale, colourful and tactile forms, I develop site-responsive installations that invite interaction while critically engaging with care, temporality and collective experience. Familiar materials and repeated motifs function as accessible entry points, allowing affect and accessibility to coexist with conceptual rigour.

My practice-led research investigates how playful sculptural interventions can reclaim public space from habitual use, commercial saturation and passive consumption. Through participation and embodied engagement, these works propose alternative modes of social exchange that privilege generosity, attentiveness, and shared presence.

Alongside my studio practice, I draw on extensive professional experience in project management and consulting. This informs a structured, systems-aware approach to the realisation of complex public artworks, enabling clarity across planning, collaboration and execution without compromising conceptual intent.

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Beyond This Place


2024
Mixed-media sculptural installation
Group exhibition, Brisbane

This participatory installation explored relational encounter through colour, play and embodied interaction. Comprising suspended sculptural elements, tactile objects and a defined ground plane, the work invited audiences to engage physically and collectively within the exhibition space.

Activated through use rather than observation, the installation foregrounded care, attentiveness and shared presence, particularly across intergenerational participation. By encouraging pause, touch and sustained interaction, the work proposed playful engagement as a critical strategy for reimagining how public and institutional spaces are inhabited.

Love Is War

2023
Screen print in fluorescent red on black and white photographic imagery (pair)
Image size: 88 × 53 cm
Unique work, framed

Love Is War operates within a Pop Art lineage that treats language as both cultural artefact and visual material. Rendered in fluorescent red, the phrase asserts itself with the urgency of advertising and protest, collapsing the distance between private emotion and public address. The work draws on Pop Art’s capacity for immediacy while resisting irony, allowing contradiction to remain unresolved.

Set against monochrome photographic imagery, the fluorescent text punctures the image field, producing a tension between spectacle and restraint. Language functions here as image rather than narrative, foregrounding repetition, visibility and saturation as mechanisms through which familiar phrases circulate and accrue power. The phrase is neither illustrated nor explained; instead, it is held in suspension, inviting the viewer to confront its persistence within contemporary visual and emotional economies.

Through screen printing, a process historically aligned with mass reproduction, and its subsequent framing, the work negotiates the boundary between circulation and preservation. In doing so, Love Is War positions Pop text not as a relic of mid-century culture, but as an active, charged form capable of articulating the frictions of intimacy, conflict and desire within the present moment.

Come Fly with Me

2023
Spray and acrylic paint on canvas
120 × 177 cm

Come Fly with Me is structured around the image of a bird in flight, suspended within a saturated field of postcard forms that reference systems of travel, exchange and communication. The bird operates as both symbol and agent, evoking movement across borders while carrying affect, memory and meaning between places. Postcards, traditionally lightweight and mobile, form a visual architecture through which the work considers circulation as both physical and emotional transfer.

Drawing on Pop Art’s engagement with repetition, mass imagery and visual excess, the painting embraces abundance rather than hierarchy. Fluorescent colour intensifies this logic, amplifying visibility and urgency while resisting narrative resolution. Forms accumulate, overlap and float, producing a surface that oscillates between exuberance and instability.

Scale is critical. At 120 × 177 cm, the work envelops the viewer, transforming the act of looking into a bodily encounter with colour, motion and saturation. Meaning emerges through immersion rather than focus, aligning the work with Pop Art’s capacity to hold contradiction, pleasure and critique simultaneously.

Positioned alongside practices that treat image circulation as cultural force, Come Fly with Me frames joy, colour and movement as deliberate methodologies. The work proposes visual excess not as decoration, but as a serious strategy for thinking about connection, distance and the persistence of exchange within contemporary life.

My Practice

My practice examines how images, objects and language circulate through everyday systems of exchange, and how meaning is produced through repetition, movement and contact. Working across sculpture, installation, painting, printmaking and participatory formats, I draw on the visual strategies of Pop Art to activate immediacy, saturation and accessibility while engaging with contemporary questions of intimacy, conflict, memory and connection.

Sculpture functions as a primary mode of thinking within my practice. Whether realised as freestanding forms, suspended elements, tactile objects or spatial interventions, sculptural strategies allow ideas to occupy space, invite touch and generate embodied encounter. Objects are treated not as static artefacts but as active agents that circulate, accrue meaning and shift through use.

An ongoing interest in circulation rather than permanence underpins the work. Postcards, printed phrases, bold symbols and familiar visual cues recur across media, operating as carriers of meaning that move between private and public space. These elements are not illustrative but performative, activated through recognition, emotional charge and physical engagement.

Colour operates as both material and signal. Fluorescent palettes, graphic contrasts and layered surfaces disrupt passive viewing and demand proximity. This heightened visual language draws on Pop Art’s legacy of mass communication while resisting irony, allowing contradiction, pleasure and affect to remain unresolved.

Across sculptural installations and static works alike, I prioritise relational experience. Audiences are invited to engage physically, emotionally or imaginatively, positioning the work as a site of shared presence rather than detached observation. Through play, repetition and exchange, my practice proposes sculpture and participation as serious methodologies for thinking about how meaning is produced and sustained within contemporary life.

Sculptural Installations

Flower Power

2023
Public sculptural installation
Mixed media, outdoor installation

Flower Power is a large-scale participatory sculptural installation that operates as an immersive site for nature bathing, sensory attention and shared pause. Installed within an outdoor landscape, the work brings together saturated colour, sculptural seating and organic form to create a temporary environment shaped as much by atmosphere as by structure.

The installation is animated by its surroundings. Bird calls, shifting light and the movement of breeze through the site actively complete the work, situating sculpture within a living sensory field. Rather than isolating the object from its context, Flower Power embraces environmental sound and air as collaborators, extending Pop Art’s interest in immediacy and presence beyond the visual.

Drawing on the visual language of Pop Art, the work deploys bold colour, repetition and accessibility as invitations rather than statements. Colour becomes a call to stop, sit and linger. The familiar phrase Flower Power is reactivated not as nostalgia, but as a contemporary proposition grounded in care, attention and collective experience.

Positioned in public space, Flower Power reframes sculpture as a social and sensory encounter. Through play, rest and embodied engagement, the installation proposes joy, immersion and attentiveness as serious artistic strategies for reconnecting people with each other and with the environments they inhabit.

Why Be Boring? (An Art Manifesto)

2023
Installation with text projection, sculptural elements, participatory badges and seating

Why Be Boring? is an immersive manifesto installation that positions joy, colour and affirmation as deliberate artistic strategies rather than decorative gestures. The work brings together projected text, suspended objects, sculptural seating and hand-made wearable elements, transforming the gallery into a site of proposition, encounter and exchange.

Language operates as material. Short declarative statements are projected at scale, drawing on the visual urgency of Pop Art and mass communication while resisting irony. Phrases such as Why be boring? and There is nothing wrong with toxic positivity function as provocations, challenging the suspicion often directed toward optimism within contemporary art discourse.

The installation is intentionally silent. In contrast to a previous work where sound was rejected, Why Be Boring?embraces the absence of audio as an active compositional decision. The quiet unsettles expectation, heightens bodily awareness and generates an emotional atmosphere shaped by pause rather than stimulation. Silence operates as a spatial material, allowing visitors to encounter the work without instruction or resolution.

Participatory badges featuring manifesto statements were pinned to elements within the installation and gifted to visitors at the conclusion of the exhibition. These objects extend the work beyond the gallery, transforming critique into circulation and dispersing its language through acts of generosity.

Why Be Boring? proposes pleasure, colour and affirmation as forms of resistance. The work insists that joy is not naïve, but a conscious and defiant position within a cultural landscape that often privileges restraint, seriousness and suspicion over connection.

Duck Rabbit Monster

2022
Installation with sculptural objects, furniture, textiles, drawing and found materials

Duck Rabbit Monster is a large-scale installation that explores sculptural ambiguity, perceptual instability and the shifting status of objects as they move between use, display and imagination. The work takes its conceptual framework from Helen Molesworth’s Part Object Part Sculpture, which examines how artists destabilise the boundary between the functional object and the sculptural form.

Drawing on the practices of artists discussed in Molesworth’s text, including Cy Twombly, Robert Rauschenberg, Marcel Duchamp and Yayoi Kusama, the installation operates as a dialogue across time rather than an act of quotation. These artists’ approaches to accumulation, mark-making, repetition and bodily scale inform the work’s structure and logic, but are reinterpreted through my own visual language and material sensibility.

Rather than reproducing specific artworks, I create sculptural equivalents. Objects are invented, altered or assembled to echo the conceptual strategies of their historical counterparts while remaining autonomous forms. Familiar domestic furniture, toys, vessels and textiles are reconfigured into hybrid entities that resist fixed identity. Each element oscillates between object and sculpture, seriousness and play, recognition and estrangement.

The title Duck Rabbit Monster references the classic perceptual paradox in which a single image can be read in multiple, conflicting ways. This instability is central to the installation. Meaning is not resolved but continually renegotiated as viewers move through the space, encountering objects that refuse to settle into singular interpretations.

Documentation is integral to the project. Alongside the installation, I maintain a detailed visual and written record mapping the relationship between each referenced artist, their sculptural logic and my own interpretive response. This material functions not as supplementary evidence but as an extension of the work itself, positioning research, translation and making as inseparable processes.

Duck Rabbit Monster proposes sculpture as a site of active thinking. Through play, colour, material excess and deliberate ambiguity, the installation insists on sculpture as an experience that unfolds through movement, attention and sustained encounter rather than immediate resolution.

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