RMIT - Bachelor of Arts (Gold and Silversmithing) Completed with Distinction, 2019
International exchange to Hochschule University of Applied Sciences, Idar-Oberstein (Department of Gemstones and Jewellery), 2018.
Emily Hope Award for Figurative Work, 2019 (RMIT)
Around the Table– Assembly Point, Southbank – 28/07/17 – 20/08/17
Window Walk / RMIT Gold & Silversmithing(Jewellery, Object, Place, Space) – Assembly Point, Southbank 05/07/19 – 30/07/19
Make or Break(Part of Craft Cubed Program) – Brunswick Street Gallery - 2019
An Anthology of Making: jewellery and objects – Melbourne City Library – 2020
Graduate Exhibition 2020,Galerie Marzee, The Netherlands, 2020
Show us Your ‘Rona, Bridget Kennedy Project Space, Sydney 2020
Masterclass with Beatrice Brovia and Nicolas Cheng (Conversation Piece), 2017
Masterclass with Peter Bauhuis, Casting, Munich, 2018
Volunteering with RMIT Project Space – David Bielander, Helen Britton & Yutaka MinegishiMinegishi / Britton / Bielander, 2017
Volunteering with RMIT Design Hub – Lisa Walker, She wants to go to her bedroom but she can’t be bothered, 2019
Member of the Nunawading District Lapidary Club
RUSU Class President (Gold & Silversmithing) 2019
12cm x 8cm x 2cm (Larger one)
8cm x 8xm x 2cm (Round ones)
Neckpiece (To Hold Specimens) 2019
28cm x 18cm x 2.5cm (with no pendant)
“Totalling seven of these specimens which have been trapped in plastic for longevity. Through analysis of their distinct visual patterns it would appear that they each represent seven separate important creatures/gods from their era. These can possibly be worn as amulets - must be treated with caution (Why were they captured? Who by?) Known as: Time, Serendipity, Inspiration, Delicacy, Tension, Distraction and Curiosity. (Top to bottom, left to right.) The neckpiece appears to harness the power of the gods and pass their energy to the wearer.”
These pieces are made through deconstructing and reconstructing ready-made plastic toys collected second hand in op-shops with many on their way to landfill. This was exploring the life cycle of waste, re-creation and the ideas of that what we leave behind in the earth doesn’t really go away, or takes hundreds of years to break down. These pendants use a playful approach look at the life cycle of a product and make a full circle back to being wrapped up in plastic again almost ready to be hung up and sold.
The ‘toys’ inside have been reimagined and remade with bronze to discuss the value of material and the value of a new narrative from using time and new processes on the pieces.
Almost every piece of plastic ever made remains in the earth from packaging to product. It’s left to be found again, and what pieces, ideas and waste will we leave for the future of the past, our present?
27cm x 16cm x 5cm
This amulet is part of a collection which fantasise over the concept of future relics, from different pockets in time. This pendant is said to grant the wearer communication to their bloodlines – near, far, or from another time (future or past).
Vacuum-formed with plastic into the space inside of this amulet is a creature’s head. This explores the strength of materials and the value of plastic in jewellery. Plastic is strong enough to hold pieces together and takes hundreds of years to break down. It is normalized to be easily discarded in our society and holds a very low financial value – yet is taking a huge toll environmentally when many of the objects we use, make and discard will out-live all of us.
Materials: Copper, Enamel, Vinyl Tubing
Dimensions: 320mm x 135mm x 135mm
This work is part of the W.E. McMillan collection at RMIT, Melbourne
The work in this vessel explores notions of internal and external landscapes. Using techniques of deconstruction and reconstruction of found objects I was able to create a series of creatures containing their own distinct personalities, stories and symbols which are enamelled onto the vessel. These creatures became archaic symbols with modern yet timeless messages. Referencing the book: A Hero with A Thousand Faces by Joseph Campbell I was able to see connections through many religious and mythological stories throughout time and contemplate my own ideas and beliefs through my own creatures.
The basic ideas emerged from my research project which didn’t feel entirely serious at the time opened up an avenue of curiosity and inspiration. Then I was able to create my own basis for myths and meaning from a far removed but very familiar land, in a place separate of time.