Tell us about your creative process. What drives your practice? 

My practice is playful, I like to respond to my curiosity and use art as motivation to research and respond to the world.

Drawing is the best and such a low pressure way to get things flowing and then iterate – to make multiple versions of things to see what lands. I wear a few hats in this world so my creative process often happens in sprints – nothing like booking a day of printmaking at Megalo Print studio and coming out the other side with some new works.

What is the impact of merging analogue and digital processes within your printmaking practice, and how does this inform the works and audience engagement? 

Merging analogue and digital is the best of both worlds, and actually a great workflow for printmaking. I enjoy the measured approach of digital where I can adjust and scale and overlay to simulate how the print might work out. Then, as with all hand made processes involving human production, the nuances and textures to make prints feel rich and lively. Sometimes I also pull prints back into digital with Augmented animated layers… so what was a digital file becomes a print and is then translated via a phone interface so that it moves in space and time. 

Can you introduce us to the characters and whimsical creatures featured in your works? Who are they and what role do they play in your practice?

Expressions are interesting to include and placing a face on forms is often the most fun thing for me. I think they are feeling themselves in each moment, being real and cute and themselves in a way only they can be.

Collaboration and skill sharing are intrinsic to the printmaking workshop. How do you employ these as a methodology in your cross-disciplinary practice?

More and more my practice has been about working in teams, my collaboration pals are the best to generate and grow ideas into big cool realities. Megalo in Canberra is my print studio, I love the dance of printing along side others – to see what they are producing and to celebrate the success. There is a magic energy in that place, all the prints being made by so many members sharing tables and space. I love how it's liminal and not owned, we need more spaces and places like this. 

In terms of my methodology, I love to collaborate because it’s fun and social, and also leans into the understanding that we can’t be the expert on everything and artists should be always learning and evolving. 

My art collective Friends with Computers was recently formed with my superstar collaborators Pat Younis and Jordan East, they are so talented and we have the best times playing in virtual and sharing art with audiences.

Are there any printmakers | artists that influence you?
I am a huge Michael DeForge fan, he is a Canadian comic artist and illustrator. I appreciate his play with character design and expressive forms along with some weird and dark subject matter. 

In terms of print I am in awe of Mervyn Street, a Gooniyandi artist from Fitzroy Crossing. The way he captures a moment and executes stories in print is potent and important. 

Another favourite is Corita Kent, a trailblazer who played with bold colour and shows us how negative space (the paper) is so key to a poppin’ print.

Finally, what exciting projects are you working on at the moment? 

I have some big things upcoming … In February we will be presenting with the Perth Institute for Contemporary Arts (PICA), as well as exhibiting a cute print as part of LOCALS at Outré, Collingwood. Then later in the year I am developing some scaled up things with Megalo Print Studio, Canberra Art Biennial, and working on cool new things with Blacktown Arts Centre.