Her Strength in Fragments
A dialogue of femme power and perspective with sculptor Helena Lillywhite. [April 2026]
B&W film photos courtesy of Pinga Matereke.
Silk Scarves, Copper & Giclée
a sensory exhibit
In collaboration with a variety of women/femme voices on areas of their experience and expertise: from Filipina heritage in a Sapphic context, to connection with land in NSW.
Each piece features a collaged fragment — from hand-carved mezzotint plates to photographs of painted wood, bricks and microchips.
Accessibility priorities based on AArts workshop, 2025 (1.2m hanging heights, decompression zone, ramps & venue photos, low-lighting & sensory guidelines). AMA.
Silk scarf 100% silk twill 54gsm, hand-rolled hem
90 × 90cm
2026
Naomi, pictured in final photo. In her own words:
[Entangling] dark and light in the queer, the native and the feminine… Naomi is based […] on elements of my PhD thesis (on the sapphic reclamation of the babaylan), poetry and online journal […] as well as my predilections (down to my love for Baroque art and pastel hues 😭). I was in tears at the great care she took in her depiction of the Philippine supernatural and folk Catholicism in this piece (having witnessed the pre-production stages of the Trese series as an intern).
Aluminium plate Laser cut, hand-etched details
40 × 40cm
2026
A descent into the tiny chip in your phone. This piece contrasts the day-to-day lives and professional values of three alums from a high school outside of Washington D.C.
Aine — Google Pixel Team (Hardware) [centre]
Sara — AI Business Processes, Microsoft [right]
Amanda — Union Worker & Chief Steward [left]
Blending domestic imagery from gardens, tattoos, jewelry and family photos with hardware closeups and quotes, this piece gives us a glimpse of the female voices currently developing and responding to AI tech.
Giclée Ilford Galerie Textured Cotton Rag 310gsm
79 × 59.5cm
2026
Nance, Nikki, Lucky charcoals regional Australiana — feminine role models in tension with indigenous sovereignty — against worn firebox bricks.
Nikki’s fire-worn bricks are collaged between a reinterpretation of Hilda Rix Nicholas’ The Fair Musterer (1935; Ngarigo country) and the three central figures. Nikki cares for the land each and every day (from burn permits to pollinator protection); Lucky, her horse, is buried at her home on Wiradjuri country.
Giclée Ilford Galerie Textured Cotton Rag 310gsm
30 × 42cm
2026
In collaboration with Suite7a’s Rafaela Pandolfini, this piece uses three translations of the phrase “our sister(s)” to discuss the scope of feminism:
Palestinian Arabic,
Wiradjuri (learn more at WCC Language Program),
English.
Rafaela herself is a curator and artist who often works with under-represented voices. We discussed how contemporary Australian feminism has “utterly failed the women who fought and won equal rights for white women in the 60s and 70s. This mantle should have progressed to include Black and Brown women and everyone!”
Rafaela features a hand-carved copper plate collaged between the translations, and hints at symbols of Australiana, Palestine, and the Aboriginal flag.
Silk scarf
100% silk twill 54gsm, hand-rolled hem
65 × 65cm
2026
Made in collaboration with Helena Lillywhite, (pictured in the last photo) whose bronze acrobats and equine statues make up half of ‘Her Strength in Fragments’.
In response to Helena’s works, this piece features a hand-carved dancer made up of Helena’s signature spiral embellishments on a copper mezzotint plat, that has been collaged as the focal point into an emerald background, with horses and fluid landscape forms.
Mezzotint triptych Giclée on Ilford Galerie Cotton Rag, Copper Plate, Print Splice (Fabriano & Rives)
31 × 50cm
2024
This piece is a series of repeating images, changing slightly as it transfers from giclée into copper, copper into print. Intentionally ambiguous, the work features the Eastern headlands of Sydney / Gadigal.
Originally produced at Tiliqua Tiliqua for Barrett House, this piece has been the subject of recent research, and is held in private collection.