Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

Into the Void iterates the fantastical story of a young female exploring her newfound wonderland. Wearing a modest vintage wedding gown and holding a silver candle-holder aloft, white candle alight in the daytime, she's placed into the unlikely setting of lush native forest. Set in panoramic format, the series of digital photographs combine two or three images to form a disjointed narrative. Sometimes fetching to meet herself as she enters from left and right of the image.

There is a strong emphasis on the moss, being reminiscent of a childhood game - tearing island-like tufts from the ground and placing them atop the circular unlit pot-bellied stove, the hope of covering the entire surface never achieved (thankfully). Then there was the tradition of making baskets lined with moss, feather and other found treasures; left out overnight to be to filled with chocolate. The fresh smell of morning Eucalypt on the damp bush during the morning egg hunt.

The flame poses notions of nurturing the Divine within; Sacred flame, illumination, warmth. Questions are posed but not answered in the repetition of the figure. The eternal search continues.

This photographic series of six digital portrait-oriented triptychs depicts a male and female figure in various
Tasmanian bush settings. A scarlet ribbon lies on the ground in each frame, continuing the flow between
images, with the figures posed at either end. Contrasting vibrantly with the green landscape, the ribbon forms
a visual metaphor for connectedness in separation. Japanese tradition recognises the 'red thread of fate',
stating that “the red thread should bind the pinky fingers of those who are fated to one another”.

The first image, unlike the others, shows only the female figure. In the right image she crouches beside a
rusted bath, trees behind arching in synchronicity with her arm as she pours water from a pitcher. The ribbon
tracks across the wet rock below, intimating the idea of miscarriage.
Reminiscent of Frederick McCubbin's 1889 painting 'Down on His Luck ', the male leans against a gum tree
chewing a stick, saw and axe leaning beside him, chimney at right of frame. Distanced yet connected by the
ribbon, the female figure sits pensive in the doorway of a corrugated iron shack.
A weathered branch lies fallen in a reedy paddock, scarlet ribbon swirled and entwined about it. Sitting at
either end, the pair exclude the viewer. The female with back turned, the male looking left out of frame; yet
each touches the ribbon signifying a silent conversation.
Standing among a hill of mossy rocks and small trees, the figures face out of frame, hands tied by
the ribbon suggesting restraint, sacrifice. Yet there is a softness, harmony and strength to their poise.

Duality was the initial starting point for this series, influenced by from Iness Rychlik's seamless photographs
exploring the boundaries between sexuality and cruelty. Rebecca Dagnall's 2012-14 series 'In Tenebris'
projects an Australian Gothic narrative in response to the Australian landscape; her work was influential on this series both
thematically and visually.

Frederick McCubbin's 1904 triptych painting ' The Pioneer' helped inform the layout and character ideas. Joachim Froese's 2002-03 series 'Rhopography', as well as Tim Coad's 'Beneath the Sticks' (2019) photographs and his
'Four Foot Road' drawings, as well as a talk by the artist, helped develop the concept of carrying images through more than one frame.

Stylistically, the photographs fit the Tasmanian Gothic genre, tying in to the stories told by Jennifer Kent in
her 2019 feature film ' The Nightingale '. They also draw influence from the poetic, sparse, dark, feminine
styling and cinematography Kent showcases. These photographs aim to blend modern minimalism with a
classical ethos.

The ideas explored in this series begin in Australian colonial times with marriages of convenience, unhappy
marriage with no option for divorce, and isolation. The common practise of the time was for the family to
stand polished and proud at the front of the house to pose for the camera; or poised, surrounded by finery, in
their sitting room.

The narrative aims to explore various aspects of intimate relationships; that disdain can share space with
care; suffocation with love. The viewer is asked to fill the characters' thoughts, to construct the rest of the
narrative by drawing on their own shared experiences.

In every individual's life there is duality - anger and calm, love and hate, harmony and disharmony. Through it all is the
flow of the soul. Through relationships with others we can view ourselves.