Theatre of the Grotto, an experimental installation consisting of five videos with sound scapes and narrated texts; cement and ceramic sculptures, fabric hangings and soft sculptures is currently showing at the ‘The Cube’, Mosman Art Gallery, from the 10th of April to the 13th oif June, 2021. A room brochure is available with an essay of the work by arts writer Victoria Hynes. I will be holding children workshops creating fabric and assembled river creatures. On the 22nd Of May I will be giving a talk on the inspirations for this exhibition and a short history outlying the significance of the Grotto. 


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River language II with ceramics

My exhibition ‘River Language‘ is from the 5 – 23 May 2020 at Arthouse Gallery, Sydney. In this time of the Covid 19 virus and current limitations the exhibition is still able to be viewed by appointment, and a video walkthrough and descriptions of my work and processes are available on Vimeo.

I have contributed editorial to the upcoming Art Almanac magazine which is dedicating its next edition to the affects of the Covid 19 virus on the arts community, current exhibiting artists and commercial galleries, in this time of restrictions and closures.


The painting ‘The River is our Mother’, 169 x 214cm, acrylic on linen, 2019, and the ceramic sculpture, ‘Lagoon’, 49 x 38 x 21 cm, stoneware ceramic with glaze, 2019, are now part of the permanent collection of the Manning Regional Art Gallery, NSW.


Exhibiting at the Manning Regional Gallery, Taree, NSW, ‘The Lyrical River‘ 25 July – 1 September 2019, the work is a culmination of field research and exploratory investigation with a range of materials back in my studio, expanding and invigorating new approaches to my art practice, consisting of paintings, ceramics, sculpture, video and fabric based installations.


Pieve di San Cresci of Domesticity copy

Undertaking a residency at La Macina di San Cresci, Tuscany, Italy, May 2018, experimental works emerged inspired by the surrounding countryside, museums and Etruscan artefacts, resulting in an installation installed in the adjoining chapel. Titled, ‘Pieve at San Cresci of Domesticity, The Archeological Museum of Domesticity and the Everyday’, the work explored the tensions between creating art and being a mother of small children


Featured in the Artist Profile magazine, in the Process section, Issue 41, 2017, p 130 – 132, I discuss my current work and art practice, excerpts from my article are:

” My work has moved away from any specific landscape to become my own inner recollections, a reduced and abstracted essence of the land. The river, the trees, the rocks and broad spatial vistas become a series of signs or totems”

“Embedded in my works are memories and recollections of my youth, swimming in the Wollombi Brook, with its shallow, amber gumleaf-stained edges moving to the cool mysterious deep green umber depths. for me the river is a place of connection; a journey undertaken and a vehicle back to a slower pace and sense of place.”

“abstracted gestural calligraphic marks float above an expansive space of bleached and stained canvas. Colours transfuse from pinks to gold to blues, depending on the heat of the day. The marks made on the land are like a text or a series of musical notes, an implied language to be understood or deciphered. The works acknowledge our need to understand the land in order to work with and preserve ts fragile ecosystems.”



My work ‘Totems of the land’ has been selected for the exhibition, ‘Land’, at Manly Art Gallery & Museum, 3 November – 3 December 2017. Curated by Katherine Roberts, senior curator at the Manly Art Gallery & Museum, the exhibition explores the notion of land. A noun, a verb, a place, an idea, a possibly, a presence, a contested space, Landscape, headland, wasteland, landfill, landmine.


Selected for the Australian Ceramic Association’s group exhibition, curated by Susan Ostling,  ‘The Course of Objects: the fine lines of inquiry’ at the Manly Art Gallery & Museum, 2 May – 8 June 2014, my work explored the interplay and tension between the gestural painterly mark and the three dimensional form.

The Course of Objects: the fine lines of inquiry’ is an exhibition without a specific theme, Rather, the intention is to provide a way to map, gather, assemble and reflect on current ceramic practices. It is intended too, to take the pulse on what is being made now, and to ask about current ideas or issues of influence. Importantly, its intention is to try to unravel the triggers that inspire practice, and lead to focused and rigorous lines of inquiry”