Be/longing

Fortis et Liber, 2020.

Fortis et Liber (Strong & Free) reflects commitment to artistic endeavour and the creative possibilities revealed through exploring materials. The column, with its capital or crown, represents endurance, stability, and aspiration. As it gradually softens toward the ground, its embodied strength gives way to freedom. Inspired by the familiar tracks of land and water across Tuross and Bingie, memory, material, and lived experience converge through line, texture, and form, expressing an enduring connection to place where continuity and change coexist.

At the Jetty, 2026.

This artwork depicts the new jetty in Narooma which was built over the inlet as part of the Narooma Oyster Reef project. The jetty has become a great community asset, well used by visitors and residents alike. It allows for a closer connection with our beautiful natural environment - whether swimming, walking or fishing. It can be enjoyed by everyone- both young and old.

Warm Embrace, 2025

Together, radiating love, comfort and support.

Forever etched in your heart.

Seeing No. 62, 2025

My work explores belonging through the lens of self-perception and an awareness of how our behaviour affects others. By recognising our impact, we gain deeper insight into our relationships and become more intentional about the connections we nurture in our lives.

Aragunnu camp II, 2025.

Art camp at Aragunnu is one of life's true pleasures. I have had the good fortune to participate many times over the 26 years I have lived on the far south coast. It is the shared experience of being immersed in the surrounding landscape, and the individual creative responses that strengthen the learning of that environment.
Over time a sense of belonging grows as and the knowledge deepens.

Endurance 14, 2025.

Scaled in relation to my outstretched body, Endurance 14 draws inspiration from Guarella / Guerilla Bay, Walbunja Country. It’s about finding perspective in the perpetual rush and retreat of saltwater, and the duration of rocks formed over eons. Revisiting this place is a way of bearing witness to the ongoing passage of time, as well as recalling a particular time - the last summer of my mother’s life. Informed by Rebecca Solnit’s writing on ‘the blue of distance’, I used the emotive colour blue to signify memory and longing while representing a much-loved landscape from the distance of my Canberra studio.

Dharawee & the Yuin Marring, 2026.

This work explores belonging through the emotional and physical landscapes of Yuin Country, culture, and memory. Honouring traditional Indigenous fishing practices through Dharawee (Dolphin) & the Yuin Marring (People), it is expressed in both dance and material form. Inspired by a story shared by my Grandmother, Vivian Mason, it recalls our people calling dharawee with shell, where Dharawee gather, circle, and guide fish to shore, sharing abundance. Raised in Narooma, my connection to saltwater is deeply personal. The net, woven from stringybark and kurrajong fibres collected On-Country, carries intergenerational knowledge, embodying enduring relationships between Yuin Marring, ocean, and Dharawee.

Microcosm Studies: Scaffold II, 2026.

Beth’s practice explores material experimentation, asking how living organisms and materials engage in mutual care and interdependence. Using paste deposition 3D printing, she builds sculptural forms from custom-made calcium carbonate material, a compound that makes up eggshells, seashells, and limestone rock.
This work consolidates ongoing material research while expanding the conditions under which a living organism can co-author a sculptural work. The resulting work proposes sculpture as an active participant in a living ecosystem, contributing to broader conversations in contemporary art around multispecies coexistence, ecological entanglement, and the porous boundary between the made and the grown.

anticipation, 2026.

My painting anticipation explores the theme of belonging through the lens of Be/Longing. It emphasises the connection between our family, this place and the local Indigenous people, the Djiringanj, and their stories.
The painting celebrates the anticipation of my daughter becoming a mother and me a grandmother. She confidently strides through shallow water, symbolically entering motherhood. Being in the water signifies a deep connection to this place. We share a profound sense of belonging and deep interest in the Yuin creation story of Gulaga, Mother Mountain.
Now that she lives a distance away, II feel that longing keenly.

Still Water, 2026.

From the body of work (Don’t) Let me go.

A collage from 35mm stills, one of my mothers old dress, purchased in Greece when she was 18, photographed at an artist residency whilst pregnant with my first son. Ten years later - in the bath at home, water the colour of tea tree, walls the colour of earth. The dress no longer exists, my mother lives on the other side of the world. I belong both here and across the ocean. Loosely inspired by Fridah Kahlo’s What the water gave me, the bath holds the memories of what was, the chaos of what is and the dreams of what is yet to come.

RESILIENCE, 2026.

RESILIENCE was made in response to the horrific experience that so many people on the NSW south coast endured during the 2019/20 bushfires. The extent of the damage suffered by our beloved native bushland was both confronting and inescapable. Ghostly burnt out trees and charred remains of once dense forests where everywhere. The emotional trauma this catastrophe delivered to our collective physic was palpable. More than 5 years on, individuals and communities who live and work in this region are still struggling to recover. Fortunately the Australian bush is bouncing back, birds and animals are returning, and new growth is masking the deep scars made in the landscape.

RESILIENCE captures the blistering heat of fires, the blackened aftermath of the destruction, and the greening of regrowth in one work. Lines of shimmering gold pick out veins on the iconic gum leaf shape, delivering rays of hope to those who call this place home.

Temporal Anomalies, 2022.

Temporal Anomalies explores belonging as something formed through time as much as place. Filmed around Narooma between 2021 and 2022, this series of one-minute videos captures small, shifting moments within the landscape—light, tide, movement, and the quiet rhythms of everyday life.

Each video is transformed through bilateral mirroring, creating a subtle anomaly in which ordinary moments become quietly strange, inviting viewers to slow down and look again.

Presented here as a single-channel installation, the work also extends beyond the gallery. A companion map invites visitors to seek out the original filming locations, where QR codes reconnect each video with the place in which it was recorded. Standing in the present while encountering a recorded past, visitors are invited to experience place as layered rather than fixed.

Temporal Anomalies suggests that belonging is not only about where we are, but how we pay attention to a place over time. It is an invitation to return, to notice, and to inhabit multiple moments within a single landscape.

Weathered Pod, 2025.

As a maker I am interested in every part of the ceramic process. I enjoy the plasticity of clay and the flexibility it allows while creating. I look for the evidence of clays pliability and softness in a finished ceramic piece. This evidence of the handmade can connect us to those who have made the object.

Wood firing imparts flame marks, fire blushes & natural ash splashes and falls. I am interested in the flame paths in the kilns I fire and how each form can invite or inhibit the flame to explore and enhance its surface.

Cheviot Beach 3, 2017.

From the series Cheviot Beach, 2017.

Cheviot Beach, Victorian Coast Australia.
On December 17 1967 the then serving Australian Prime Minister, Harold Holt disappeared after entering the water at this exact spot. The water was not calm and there were warnings but he often swam here and took no notice. This was, he considered, a place he knew well. He had a house nearby. Minutes after entering the water he disappeared and his body was never recovered.
A simple drowning or a larger mystery. Australian history only records the unlikely fact of a person holding the most senior position in Australia disappearing without warning and leaving no trace. A place Holt knew and loved. A place where he felt he belonged.

Becoming Stone, 2026.

In the Bay: a woman steps through the water till she reaches the rocks, opening her arms; she lays her body across the surface of the rock. In that gesture, I saw a quiet conversation between body and landscape — a return, a recognition, a longing to be/long to something older and steadier than ourselves.
This work reflects that exchange. Its form carries the weight of the earth and the tenderness of human connection. Becoming Stone explores how Be/longing is found in the places that hold us, shape us, and endure long after we leave.

Traces #1, 2025.

This work explores the connection to place shaped by memory and experience.

Memories blur and fragment over time, returning as softened traces that shape an emotional connection. Colour also plays an important role, carrying a sense of familiarity and nostalgia that speaks to comfort and belonging.

Through layers, texture and diffused imagery, I’m interested in the space where the external world and experience meet and the emotional response that emerges from that intersection. For me, belonging isn’t fixed - it’s something we carry with us, warmly familiar and lingering in quiet intimacy.

Matriarch knitting daughters blanket, 2026.

On a cold Blue Mountains morning the family Matriarch finds a sunny spot to finish knitting one of her signature colourful blankets for the eldest of her darling daughters.

Small Moon Vase, 2025.

Wood firing is a ritual shaped by months of preparation—harvesting and processing clay, making forms, and cutting and stacking wood—followed by the careful packing of the kiln. Pots are arranged using shells and wads to direct the path of flame, with each decision influencing the final surface. Once lit, the kiln is sustained over a long wood firing, where heat, ash, and atmosphere act on the work in unpredictable ways.

My practice responds to the local environment, drawing on an interest in geology and connections to my ancestry. Using locally sourced clay and self-developed glazes, each firing becomes a record of place, time, and process. Ash deposits, flame markings, and surface variations function as material evidence of the firing, embedding duration and transformation into each piece. No two works are the same; each carries the trace of its making.

Little Lake Tilba, 2023.

The work is part of an ongoing body of work with an environmental theme. Little Lake Tilba is not on the Ramsar Wetland Convention list, but many like it provide valuable habitat.

I live near the Batemans Marine Park. My work aims to draw attention to things that are not daily visible in our region. Bringing focus to the numerous endangered species and the journey south of the long-spined sea urchin that threatens our kelp forest.