Can you share with us your creative process and the inspiration behind these large-scale artworks? How do you go about creating the composition?

Capturing the reference imagery is my favourite part of the entire process. The women I photograph are dancers by profession and dear friends. They possess the necessary fluid movement and have a complete understanding of their bodies' capabilities.

Being friends also means we already share openness, trust, and intimacy while creating. I take these images underwater, surrounded by florals and greenery, to evoke a sense of weightlessness, as if floating through a dreamscape. The goal, when planning a shoot this way, is to create a scene that depicts hyper-femininity and a connection to the natural world.

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Public spaces have become your canvas, transforming everyday surroundings into vibrant artistic expressions. How do you choose the locations for your murals (or indeed, do they choose you?), and what do you hope to communicate to the communities who encounter your work?

Most often, the locations choose me, as I am engaged by businesses or community groups to work on specific projects. Lately, I have been most commonly asked to paint the interiors of restaurants that are lush and full of greenery, with raw brickwork and natural elements. I feel incredibly fortunate to work on these projects and absolutely love creating these artworks.

However, I now feel ready to tackle some larger exterior walls; that's the goal. While my work is fairly open to interpretation, for me, it is about feminine power. Our feminine traits—nurturing, empathetic, caring, kind, intuitive, and visionary—are what make women so incredible. I aim to depict the passion, desire, and zest that women possess, in a wild and free kind of way.

Collaboration seems to be a key aspect of your mural projects. Can you describe a memorable collaborative experience and how it influenced the final piece?

In 2023, I worked on a project with a business called Old Station in Southport, QLD, headed by Ben Howe. This was the second project I had undertaken with Ben, and I was very pleased with how both projects turned out, particularly Old Station. Collaborating with Ben was inspiring; he encouraged me to design something slightly out of my comfort zone, and I ended up absolutely loving it. He provided a very open and creative brief, which was fantastic, and ensured everything was prepped and in place on site, allowing the work to unfold effortlessly. The more comfortable an artist is made to feel on site, the better the artwork will be.

Above: A collaboration with Toyota for the Corolla Hatch x Virgin Australia magazine, Voyeur.

Production: Bad Faith & Paper Moose, Director: Leo Faber, Editor: Bryn Chainey.

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