A VELVET ANT, A FLOWER AND A BIRD
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 Martinez, Curator
Commission for A Velvet Ant, a Flower and a Bird: Telling Intelligence Otherwise, The Potter Museum of Art, 2026
A FLEETING SENSE OF
The Metro Tunnel Creative Program: A fleeting sense of
Including,
New Metro Tunnel artwork raises awareness of threatened species, CBD News, 2025
COMMISSIONS, 2025–2026
The remaking of things second telling for Wama Foundation 2025–2026
The Australian Jazz Museum: Tiny but Wild
Including,
Bat Massive: A Nocturnal Assembly of Art, Music, and Bats, presented by Abbotsford Convent, Wildlife Victoria, and 3RRR
COMMISSIONS, 2024
Melbourne City of Literature Office: Walking the City of Literature map
Fjord Review: POESIS collage
Competing choreographies: 10 years of the Keir Choreographic Award collage for publication
Including
From Dreamweaver, presented as part of Art Enterprise Workshop for the School of Art, RMIT University, 2024
GENESIS BAROQUE, 2022–2024
Genesis Baroque’s 2024 season
Genesis Baroque’s 2023 season
Genesis Baroque’s 2022 production of George Frideric Handel’s Acis & Galatea
MELBOURNE NOW: THE REMAKING OF THINGS
A green pocket of restored eucalyptus forest habitat collaged with pieces from the collection of the NGV.
Including
”They look straight through your soul”: The art of raising bats, Melissa Cunningham, The Sunday Age, 2023
MELBOURNE CHAMBER ORCHESTRA, 2020–2023
Poems & Romances CD for Melbourne Chamber Orchestra, 2023
Melbourne Chamber Orchestra’s 2021 season
THE BIG ISSUE, 2020–2022
Have rocket, will travel
Reel to Real
Including
Q & A for RMIT University School of Art student Mya Cook, 2022
MORNINGTON PENINSULA REGIONAL GALLERY MEMORY GAME
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).
BOWER
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”.
THE BIG ISSUE, 2017–2019
Through a forest
Memory
The year that was
In hand, in mind
In the garden with you
RIPPLES IN THE OPEN
An expanded collage commissioned especially for ArtSpace at Realm, in which we call upon our love of cinema and collecting.
A WEIGHT OF ALBATROSS
A commission, currently in flight, at Realm.
BLINDSIDE, 2014–2017
To the left and back some, a 91 page full colour publication to encapsulate BLINDSIDE’s history and role within the Melbourne and wider ARI community.
THREE COMMISSIONS, 2015–2017
Unique state artists’ book created for Art of the Cuff exhibition
A Souvenir of Paris, unique state artists’ book
Cover artwork for Meow: A Genetic Concert for Cats
THREE COMMISSIONS, 2013–2015
Cover collage created for the Creating and Collecting: Artists’ Books in Australia issue of the State Library Victoria’s La Trobe Journal
Three collages created for MIEL books special edition of their journal 1110/5
Artwork created for Objects of Affection
IMPRINT, 2015
Cover image for the Collaboration issue of the Print Council of Australia’s Imprint magazine (Autumn 2015, Volume 50, Number 1) featuring a Giant anteater (Myrmecophaga tridactyla) in John Soane’s courtyard.
Including
Dr Olivia Meehan, The Poetic Partnership: the work of Gracia Haby and Louise Jennison, 2015
MATERIALITY, 2012–2015
Number 1: BOOK
Number2: TIME
Number 3: PRECIOUS
THE WORLD OF INTERIORS, 2008–2014
Collages created for The World of Interiors magazine to accompany
The Word on the Street
Time on His Hands
The Genuine Article
Greeks Bearing Gifts
BOOK ARTS NEWSLETTER, 2007–2014
A Quartet of Salvaged Relatives in Borrowed Costumes for the November Book Arts Newsletter, No. 93, 2014, published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK, and edited by Sarah Bodman.