Line of Flight:January 30 to February 27

Line of Flight<br/><br/>I honour the custodians of the Country in which we live: the Mineng, Mirningar, Goreng and Wirlomin people, who have always been here. I am grateful to be mentored by Elders and emerging leaders of this breath taking place known as Kinjarling/Kincinnup. It is a deep privilege. Boodja, Moort and Katatjin.<br/><br/>My practice focuses on technique, materials, and the way a work occupies space. Visual appeal is important to me. Some works are carefully planned, with drawing at their core—developed through chiaroscuro and, at times, colour. Other works are more open and experimental, shaped by chance and accident. In these pieces, the process becomes meditative, allowing the materials to guide the outcome.<br/>The ideas behind the work are informed by philosophy, particularly thinkers such as Roland Barthes, Jacques Derrida, Michel Foucault, Hannah Arendt, Luce Irigaray and Rosi Braidotti. I explore these ideas across a range of media, from pencil through to AI. At the heart of the work is embodiment—what it means to be present, aware, and alive in the world. Influences include Friedrich Nietzsche’s idea of ‘becoming what one is’ and Gaston Bachelard’s writing on roundness, imagination, and continual becoming without a fixed endpoint.<br/>During my studies, Foucault’s writing helped me see the visual world differently. His use of a surreal quotation from Jorge Luis Borges at the beginning of The Order of Things revealed how systems of knowledge can be strange, humorous, and unstable. I laughed out loud. Bachelard’s idea that ‘being is round’—removing the uncertainty from Van Gogh’s phrase “life is probably round”—opened up new ways of thinking about form and unity. From this perspective, even birds can be understood as round. As Jules Michelet writes, “The bird, which is almost completely spherical, is certainly the sublime and divine summit of living concentration.”<br/>Alongside these philosophical concerns, some works respond directly to historical, political, and military events. These pieces are influenced by Walter Benjamin’s call, in The Work of Art in the Age of Mechanical Reproduction, to reflect critically on our position within systems of production—especially in times of crisis. His warning about the rise of fascism remains disturbingly relevant. As Emmanuel Todd writes, “To commit a wrong all you need to do, most of the time, is to look away.” I choose not to look away.<br/>Line of Flight brings together my artistic practice and philosophical thinking. It is about movement, attention, and becoming—holding space for reflection while remaining grounded in material, place, and presence.<br/>