2-channel video installation with sound (15 minutes duration) | 2017-18 | 104" (h) x 370" (w)

Installation view at Artspace, Sydney, a premier contemporary arts institution in Australia, as a finalist in the NSW Visual Arts Emerging Fellowship

Lullaby is a multi-channel video work exploring the relationship between architecture, ritual and gender. Invented ritualized feminist gestures are performed within the monumental structures of the National Mall in Washington, DC. These performances occupy, misuse and supplement the Mall’s classical Greco-Roman architectural forms, creating a symbolic instability that disrupts the masculine iconography and spatial and symbolic hierarchies the monuments’ contain for a new symbolic order of my own making.

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4 minute sample of 15 minute video installation


The Architecture of a Witch’s Hut

Participatory installation (wood, paint, fire) | 2017 | 192" (h) x 120" (w) x 168" (d)

Created site-specifically while an Artist in Residence at The Wassaic Project, Wassaic, New York

This installation imagines the agency of the witch in building her own home, and references the surrounding New England architecture of the site and, with it, excavates the real history of witch burning in the area 300 years prior. The artist reimagines the traditionally denigratory symbol of the witch as a powerful independent female figure, and in doing so, seeks to question the Western cultural relationship to women. The project culminated in a ceremonial burning of the structure, reclaiming fire from a destructive and violent force to one of healing and regeneration.


To Future Women

Participatory installation and networked museum intervention (red, white and grey colored  paper, pencils, tape, 20 year time capsule) | 2018

To Future Women is a participatory installation and networked museum intervention that memorializes the 2017 Women’s March and #MeToo movements by generating a 20 year time capsule of letters the public writes to the next generation of women. It occupied the galleries and walls of national museums in Washington, DC, such as the Hirshhorn and The Phillips Collection, and will infiltrated their institutional archives for the next 20 years, to be re-exhibited on the 20th anniversary of the Women’s March in 2037.

To date, To Future Women has received over 3000 letters in 10 different languages, including from Hillary Clinton and Dr Jill Biden, and been covered by press all over the world.


Installation view at the Hirshhorn Museum, Washington, DC in the Lerner Room which has windows and sweeping views overlooking the National Archives Building on the National Mall.


While at the Hirshhorn, To Future Women intervened within the entire system of i’s public programs, working with staff to design and stage feminist museum tours and children’s Storytime activities - the latter of which became a permanent program.

In this image, I was facilitating a Circle Discussion ‘Archives & Lullabies’ to explore women-driven, non-institutional systems of knowledge exchange and cultural production as a method of revealing and disrupting hierarchies within the Smithsonian’s collecting and archiving processes. This shows my interest in integrating social practice methodologies into my practice, treating the public programs associated with my work as an extension of the work itself to further its conceptual agenda.


Installation view at the Smithsonian Arts & Industries Building as part of By The People art and social dialogue festival, Washington, DC


Participants taped their letters to an archway made in response to the building's architecture


Installation view at Hillyer Art Space, Washington, DC

For this solo exhibition, I reinterpreted the project into a processional chamber, punctuated by a series of archways which are mythically a threshold between the known and unknown, present and future. The installation transformed the first 600 letters collected from the public, written at or sent to The Phillips Collection which sits next door to Hillyer Art Space, into the architecture of this inhabitable tunnel of diverse voices.

Installation view at Hillyer Art Space, Washington, DC

Installation view at Hillyer Art Space, Washington, DC



Documentation (3 mins) of installations with interviews of artist and participant (Nora, aged 8)



Participatory installation (ceramic, hand-made red tree sap resin, granite, marble, timber, paint, acrylic glass, guest performances) | 2016

Installation view as a finalist at the 64th Blake Prize (one of Australia's most prestigious art prizes themed around spirituality and religion) at Casula Powerhouse Arts Center, Sydney

Part installation, part audience-driven performance, BREAK examines traditional, ceremonial acts of catharsis involving the creation and destruction of totemic or sacred objects. With no formal instructions, members of the audience are intuitively invited to select a ritual figure and - standing on a pedestal facing the collective audience - smash it. Confronted with their own reaction to destroying it, they are forced to reflect upon the emotional and symbolic value we all place on art objects. A collaboration with a group of three performance artists lead to a series of evocative and emotive performances that played the role of opening ceremony and audience instruction.


Guest performance by artist Liz Hogan


The remains of the shattered artworks accumulate and evolve over the performance/ceremony on Opening Night, existing in the gallery as relics of a collective cathartic act for the remainder of the exhibition.



Documentation (2 min) of audience participation and three guest performers on Opening Night at the 64th Blake Prize, Casula Powerhouse Arts Center, Sydney


Ritual Gathering

Participatory installation (mixed media including edible sculpture in collaboration with renowned Australian patissier Adriano Zumbo) | 2016

Installation view as a finalist at the 64th Blake Prize, Casula Powerhouse Arts Center, Sydney

Ritual Gathering transforms a modern birthday celebration into a powerful symbolic event, disrupting the spatial hierarchies and viewing protocol of an art museum context to antagonize and reimagine the conventional language of art. The work sought to highlight the audience’s intuitive, triggered response to a deeply ingrained ritual process by presenting them with specifically arranged motifs to which they had to respond with no instruction. It intended to question the contemporary Western dislocation between art and ritual by challenging the audience’s role within the gallery space.



Documentation (2 min) audience collaborative performance on Opening Night at the 64th Blake Prize