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The second instalment of the video for Rollerchimp and Dean English’s Lit Link presents the full interactive scope of their work. From opening night right through the remainder of the exhibition, visitors of all ages involved and immersed themselves in the performative installation. The sheer variation in people’s reactions almost gave me too much footage to choose from!

Here’s how Rollerchimp describes the work in detail:

“The installation is a compositional abstraction and spatialisation of the information housed in the score of The Ring Cycle. As the audience move and slowly flail their limbs as one would a conductor, separated instrumental elements of the score are activated one note after the other, constructing a non-linear interactive composition that is based on the sonic content of The Ring Cycle. Eventually through enough interaction all sixteen hours worth of musical material can be uncovered across varying instrumental parts at completely different times. The traditional instruments of The Ring Cycle have been sonically reinterpreted by a number of emerging sound designers to create a constantly evolving orchestra with which to perform this non-linear score. Lit Link seeks to deliver the immense amount of musical information involved in the opera in a way that embraces new technologies and their influence over modern day forms of generative composition.”


Recently, I put together a couple of short videos to showcase Rollerchimp’s latest collaborative new media installation. I shot and edited, while the Chimp himself handled the sound.

Lit Link by Andrew Bluff (Rollerchimp) and Dean English, appeared in Wagnerlicht – part of Sydney’s famed Vivid festival this year. The group exhibition – a celebration of Richard Wagner’s 200th birthday – also travelled to Germany and is continuing to evolve and make it’s way around the world as we speak.

This video gives an overview of the buzzing opening night at the Sydney Conservatorium of Music, while the second video focuses in on Lit Link itself.



I don’t care much for winter, but I do love a good road trip! Throw in a borrowed obsession for all things bird, some moody mist-filled mountains, and the best lemon tart in the antipodes and you won’t hear another peep out of me ’til spring.

Sound art collective Triangulate have been very busy in the lead up to their bird inspired concert Whips and Tendrils – both in the studio and out in the field. Luckily, I got to traipse around the countryside with them as their unofficial fieldwork documenter, while they hunted the most elusive of bird sounds.

While I wasn’t involved in the recordings in any technical capacity, I like to think that I helped in the search for any and all bird-related sounds. This involved lots of wild pointing at the sky and various other muted mannerisms. I also learnt to stop dead in my tracks on command in order to avoid becoming an electroacoustic soundbite.

I certainly didn’t start out as a bird nerd, but this experience has changed me. Not only have I been sensitised to the minutiae of sounds that their wings, feet and beaks make, I have become hyper aware of the persistent hum of humanity encasing them.

After the concert has been performed in September at the Campbeltown Arts Centre, I’ll put be putting a short video together documenting the trio’s process.



Dress Code is an interactive work that revolves around the exchange of intimate information. The series explores how pattern – as an attribute of surface – codes, manipulates and intervenes with personal information and intentions.

Family and friends were asked to think about their own personal packaging – their projected public appearance and submit photographic self portraits. They were given some guiding ‘rules’, and were able to interpret the brief in several ways: how they would like to appear, how they think they appear, or how they think others view them.

Reactions varied wildly. One friend decided to send me a portrait wearing nothing but a handyman’s tool belt, while others found the project far too personal to take part in at all. Some sent me their take on all three views,  while others asked me what I thought they should be wearing and argued about the rules! The way people dealt with the brief and the specific instructions ended up being just as revealing as the images supplied.

So, after bravely surrendering photos of their outfits with a corresponding object, I proceeded to reinterpret and standardize them into packaging – effectively turning them into a slick patterned surface. Exhibited as large format packages – resembling point of sale advertisements – their representations mingled with gallery visitors.

After the opening night, my sister (who took part in the project, but couldn’t be there in person) wanted to know if she had enjoyed herself! I saw this interaction as breathing life back into surface. Each participant also received a digital print of their own abstraction and a personal lolly package to complete the exchange.

Dress Code has been exhibited in Inkwell (Tap Gallery 2008), The Dean’s List (Verge Gallery 2009) and made it into the 2010 MCAP as a finalist.



Excited to be chosen as a finalist in this year’s Marrickville Contemporary Art Prize (MCAP). My six tiny collage objects Roberta Reconciles were installed in a room at the Chrissie Cotter Gallery (Camperdown) with some intricate and delicately crafted pieces.

The MCAP is an initiative of At The Vanishing Point (Newtown), and  is officially part of The Sydney Fringe Festival this year.

Exhibition runs until 19 September.



Feeling very privileged to be chosen for the PICA (Perth Institute of Contemporary Art) Hatched exhibition this year – an annual showcase of selected works from art colleges all around Australia.

Carol was carefully packaged up in a giant Raider’s of the Lost Ark style crate by the good marketing people at Sydney College of the Arts, and shipped to the other side of Australia.

I did not make my way over in a crate, but arrived in one piece just the same. With husband in tow, we took PICA up on their kind offer of an insider art tour of Perth, discovered some of the city’s most secretive small bars and attended the main event: Hatched opening night.

The populace of Perth must have shown up that night too, as PICA’s substantial gallery spaces and corridors writhed with people. This did nothing to quell my opening night stage fright which manifested itself in a stand-off situation with my designated name tag. Several sparkling wines later, I managed to give in to the intensity and slapped on the giant sticker. As a good friend of mine always says on nights like these “It’s showtime!”

For more information on the show including press and artist bios, check out PICA’s website.



My ephemeral and interactive work Fortune Teller will literally be up for grabs during At The Vanishing Point’s winter group show: Reality Cheque. Artists were asked to address this statement in their proposals:

“Now, more than ever, we are all being asked to consider what makes the world go round; to consider our actions, our impact on the environment, our economies, our cultures and how our actions and choices effect all. It may not be money but a different kind of currency we need to look for to facilitate the world going round!”

Fortune Teller was a great way of continuing previous explorations into privacy, information exchange, identity and value, by manipulating surface and pattern. This work is my own personal ‘statement’ thrown back at financial institutions – a cathartic release from the power they hold over my day-to-day dealings.

After cancelling my old bank account due to the latest onslaught of fees and rules, I decided to pulp every impersonal statement in my files and reconstitute them into new leaves of handmade paper. I then screen printed a template and instructions onto the paper for making a nostalgic game.

These whimsical childhood distractions are a curious blend of choice and chance – an apt metaphor for how our financial realities function. Through this work, I am exploring the need to take more control over the ‘choice’ part of these realities.

Once the non-monetarised object is taken and played, its value is activated. In this way I am physically, mentally and symbolically severing a power connection to the bank. Hoarded statements which once held a very private record of my life – my daily financial choices and decisions – are reborn as very public origami ‘fortune tellers’. Though participants can take as many sheets as they want for free, once the stack runs out they will not be replenished, as they are based on a finite number of bank statements.

There are also two separate stacks to choose from. Written is screen printed with eight irreverent money-related fortunes based on cliched expressions such as “If a stranger on a bus requests that you show him the money, you should comply”. The outer section, which starts the game, displays “soar”, “dive”, spend”, “save”. This alludes to conflicting and fluctuating media reports and instructions about the economy. The second stack, Unwritten, has fold marks but no messages. Participants can inscribe their own personalized combination of fortunes as they see fit.

Reality Cheque runs until 5 July, but if you don’t hurry, your fortune may run out before then…

No Junk Mail_1


Beyond excited to have my work No Junk Mail exhibited in The Marrickville Contemporary Art Prize (MCAP) this year. The series of 30 cards is the result of documenting the seemingly mundane contents of my mail box every day for 30 days.

Every afternoon I faithfully photographed both the shapes of the mail within my letterbox as I found them, along with the textures of each stack. I then used a design program to create outlines from the abstract shapes and place the mail textures within each shape, before printing out a colour photocopy using a very specific kind of toner. This was all in order to transfer the digital collages onto beautiful textured card by hand.

The transfer process involved some fairly noxious acetone and a lot of elbow grease as each copy was drenched with the chemical and burnished within an inch of its life! The final images have a delicacy and incompleteness about them belying their labour intensive process. The cards seem a world away from their lowly junk mail origins as loud, brash, irritating commercialised qualities dissolve into an elevated ethereal aesthetic.

On display until 28 September at ATVP, Newtown.