This exhibition can be seen as a garden of knowledge, structured around three familiar figures from nature — a Velvet ant, a flower, and a bird. These figures represent a parliament of beings, each carrying symbolic and metaphorical weight that encourage us to reimagine what intelligence means.
— Chus Martínez, Curator
Commission for A velvet ant, a flower and a bird, The Potter Museum of Art, 2026
Because of our inertia for Burning Inside, a print exchange folio and exhibition project curated by Rona Green and Thomas A Middlemost, 2025
Reel, an online viewing space, featuring variations of original works on paper and large scale collages in a different format: a continuous digital reel, 2020–2025
Restoring corridors is a multi-panelled, double-sided artists’ book that when hung on the gallery wall makes an interchangeable, reversible 100cm x 300cm slice of biodiversity in flux.
Including An extract from Kelly Fliedner's A message, a Point of Connection, a Gesture to Where We Are, from Mornington Peninsula Regional Gallery’s National Works on Paper 2024 catalogue
This time around, our fellow exhibitors, the insects, all, momentarily pressed within our artists’ book, Bilateral symmetry, are untethered and unglued upon the unfolding paper stage. And all weighing no more, it is estimated, than 1662 grains of gold, once bound in book form.
Including Gloriously Wild: How artists Gracia Haby and Louise Jennison opened a tiny wildlife shelter in their backyard, Brita Frost, The Lost Island, 2024
What if you could grow a forest from a collection. What if you could weave a floor to ceiling landscape from E. G. Adamson’s Snow coral (1930s–1940s) and Louisa Anne Meredith’s Study for gum-flowers and ‘love’ (c. 1860). Slide Tom Roberts’s She-oak and sunlight (1889) alongside Tom Humphrey’s Summer walk (c. 1888), and glimpse Grace Cossington-Smith’s Bottlebrushes (1935) through the foliage.
Including Erratic Temporality, Sophie Cunningham, The Melbourne Now broadsheet, 2023
We were commissioned to create a Memory Game for Mornington Peninsula Regional Gallery comprised of artworks from our three artists’ books Because I Like You (2016), Prattle, scoop, trembling: a flutter of Australian birds (2016), and A Flight of Twelve Southern Hemisphere Birds (2013).
Empty the room. View it from the outside in. Brick by brick. Twig by twig. At the beginning: what is there?
An artists’ book featuring variations of the original Bowerbird collages we created especially for Genevieve Lacey’s Bower.
Including Inspired by the Collection, as part of World of the Book, Dome Galleries, State Library Victoria, 2024–2025 Paper Universe: The book as art, Galleries, State Library of NSW, 2025–2026
We were commissioned to create artwork for Genevieve Lacey’s Bower, “a project inspired by bowerbirds’ obsessive collecting habits, and their ability to build magical architecture out of fragments”.
