‘Gilgai - echo of an ideal world’ is a 21 page mixed media work on paper that celebrates the diversity of ephemeral water. It spans 6 metres x 1.5 metres. This idealised view immerses the viewer in the possibilities of what is living there: incorporating algae, wetland plants, insects, fish, birds, snakes and marsupials.

https://www.abc.net.au/goulburnmurray/programs/saturday-breakfast/endandgered-sloanes-froglet-exhibition-in-albury/101498806

https://flow-mer.org.au/gilgai-wetlands-gilgai-echo-of-an-ideal-world/

Inhalare was a wonderful collaboration between isolated artists during the Covid pandemic. The brainchild of Kim Goldsmith, and supported by Orana Arts, ecoPULSE and Create NSW,.Inhalare was a 2 stage project. The stage one artists recorded their immediate environment and wrote about their place, whilst the stage 2 (re)IMAGINES DISTANT ENVIRONMENTS artist’s responded to the words and sound. I was delighted to partner with Anna Glynn who lives at Jasper’s Brush on the south coast of NSW. Her beautiful sound work and exquisite words embodied Paradise for me. I made embellished jewel boxes that captured, reflected and recorded the essence of that place that I was experiencing through another artist.

162 vintage optometrists glass lenses painted with the story of Sloane’s froglet. The challenges of climate change and specific challenges, ideal habitat and co inhabitants. Two years research and work on lenses so tiny I needed glasses and a magnifying light!

Noreuil Memoirs celebrates the beautiful story of Noreuil Park Albury. Six 3.5 metre banners hung in majestic trees as part of the Upstream Festival Art + Culture in Albury Wodonga.

Retrospect celebrates the vibrancy of Wodonga Artspace before it was demolished for the new Gallery. The Memory Imaginarium consisted of hand lettered veils that held messages from Artspace visitors books and images from past exhibitions.

Gardenesque at Albury Botanic Gardens celebrated everything about gardens. A 2.7m scarecrow plus 10 smaller characters dotted the Albury Botanic Gardens and a workshop over the 2 day festival resulted in 450 mini scarecrows being made by the a great multitude of visitors. All made with recycled materials to encourage everyone to rethink what is waste.

A week long residency at Mt Morgan in central Queensland to explore the family history. My Great Great Grandfather was one of the original partners in the Mt Morgan gold mine. So rich the mountain eventually ended as a hole in the ground.

I explore the ideas of myth and memory through artwork made on site and community engagements about family history.

Laser cut aluminium cicadas (folded) wings 1.2m and 1.8m cicada with outstretched wings. Collaboration of City of Wodonga, Mann’s Complex and Vicki Luke - Magic Design Workshop

Five recycled PET bottle chandeliers added wonder to winter in The Cube courtyard outside the Wodonga Library. Project City of Wodonga

I have always painted. Any materials any ground.

The Gariwerd painting is from visiting this sacred place and working en plein air; trying to capture the wild spirit of our beautiful land.

I have regularly made commissioned pieces for private clients and local government. Laser cut steel, acrylic and wood are my specialty. The largest work has been two 6 m x 2m cor-ten steel memorial walls.

Many of the works are about landscape and memory.

I have always loved drawing. Whatever material, whatever ground. I remeber drawing in the dirt as a three year old and I really haven’t changed.

I regularly conduct workshops in all aspects of visual art for all ages. I have been a practicing drawing and painting teacher for many years and also regularly volunteer as an artist in my community. During Covid I invented a zoom class using items form home…a lot of fun

I have been involved in many performances. The image of the endangered Sloanes Froglet celebrated World Environment Day with a 40m x 30m frog mosaic. The froglet was made from 1200 painted boards laid down by teams of installers and surrounded by 400 school children who became the environment.

The 20th Anniversary of the Yackandandah Folk Festival began with a lantern parade that featured recycled materials. 300 lanterns, 20 chandeliers and a candelabra were made from 2 litre milk containers and PET bottles.

During lockdown I collaborared to make an interactive work in the grounds of the ABC Wagga.

I have enjoyed sharing artmaking since I was a child.

These pieces were made for the opening of the new regional gallery at Albury MAMA. The idea was a collaboration with local indigenous dancers and non indigenous makers using traditional materials to produce pieces for the ceremonial dancers. The Waga-dyi Balgarra dancers were resplendent in their emu feathers and Kurrajong seeds.

Paradise Lost is a series of works about climate change. They encompass the ideas about paradise, safety and fragility. 20 painted domes that rely on the image, reflection and shadow to add meaning. These works were finalist in the Blake Prize and Traveling Blake Prize.

The Murray River is the lifeblood of North East Victoria. A fragile and essential element that heals and gives life.Shadows from paint on glass tell the story of landscape and memory.

Edenhouse is a series of works that are scribed smoke on glass. The glass vessel vessel reflects the enclosed space of Eden which was also described as closed but open as it was always open to God.

These fragile works which feature images of Australian flora, echo the Wardian cases of the 19th century and the fashion to collect and protect fragile things.

The One River project responded to the Centenary of Canberra recognising our capital as part of the Murray Darling Basin system. Ten artist projects were awarded throughout the Murray darling basin to respond to community attitudes to the river in that area. Collaborating with Bianca Acimovic and Vernon Bartlett we produced a series of short films and animations that were projected on to the Hume Dam wall. I painted hurricane lamps with images of the local insects with the idea of drawing attention to the delicate balance that the Murray River affords all life in this area.

The Black Faced Shag project in Goolwa South Australia was based where the Murray River meets the sea. A thousand kilometers from where I live. Installed in the Courthouse Gallery in Goolwa, this project encompassed writing, performance, photography and visual art.

I installed a cut paper work that was inspired by walking in the tea tree forest near the sand dunes at Goolwa. This powerful place where the trees make cathedrals of branches, protected and nurtured Aboriginal families for eons.

The project was the brainchild of Michelle Murray, Richard Hodges and Leah Grace. It told the story of a woman inspired by history who was found marooned on an island close to the coast who was solely clad in a cloak of shag feathers. It confronts the role of women in history and the power of the landscape and colonisation of Australia.

This solo exhibition at The Albury Regional Gallery explores the relationship of the myths of Eden, the sublime and climate change. Through a wide range of techniques, the  human impact on the fragility of nature was expressed through scribed smoke, assemblage, mixed media drawing and sculpture.

This exhibition explored the myhts of Eden, Paradise and the sublime. Responding to the Black Saturday fires of 2009 these works examine the yearning to live in the beauty of the forest and what that means in the face of climate change.

Looking for Jane Thomas 2006 explores the double portrait of two people. The Grandmother I never met and myself. Exploring the few stories that remain I used her love of nature and gardening that has echoed in her children and grandchildren.

Solo exhibition transition transform at the Wagga Gallery poses the question. Does every child need to leave their history behind to find their true self. this idea is explored through collaged prints, artist books and installations.