Commissioned to create a welcoming and culturally resonant artwork for Tasmania Legal Aid’s Devonport office, I drew on the ridge-line of Wulinantikala/Cradle Mountain as a central motif.

Engaged to curate and produce Kani Tunapri/Talking Knowledge, I developed a program of yarning circles within the festival that created space for cultural exchange between First Nations Elders and the wider community.

This dual public-private commission involved extensive collaboration with stakeholders, architects, and designers to bring seven bespoke carpets to life. Each uniquely shaped, the largest stretching 15 metres across.

Commissioned for Ten Days on the Island, this illuminated public artwork was created as part one of the Love Letter to Pataway series. It stands as a call to action and a reminder of our collective responsibility to protect Country.

Commissioned by MONA to complement Yhonnie Scarce’s work In Absence, I am leading a culturally responsive environmental intervention through the planting of endemic and culturally significant species.

Commissioned for Dark Park at Dark Mofo in collaboration with Alex Podger, This Bitter Earth was a nightly ritual of fire and smoke that mourned the loss of Country and culture through visceral performance.

Commissioned for a highly visible 11-metre wall on the Northern Integrated Community Services building at the LGH, this work was created to honour the strong connection between the local Palawa community and the Bass Strait Islands.

I developed a bespoke artwork for Lifeline Australia’s RAP and associated materials. Centred on community, care, and connection, the work reflects my lived experience as a queer Palawa man navigating mental health and healing.

Engaged by staff following the success of earlier commissions, I worked with Elders, students, and community members to co-design a culturally informed Acknowledgement of Country plaque.

Selected through an open call and endorsed by Elders Auntie Theresa Sainty, Uncle Rodney Dillon, and Auntie Lola Greeno, I was commissioned to design the Indigenous Round uniform for the JackJumpers.

As curator and producer, I’ve led the opening night program of Dark Mofo for multiple years, transforming Winter Feast into a full site-wide blak-out. Each event has opened with ceremony led by Pakana Kanaplila, including smoke, dance, and welcome.

I contributed a suite of artworks to the Devonport Sound and Light Show, part of the city’s Living City redevelopment. My designs included projected visuals and laser-cut steel poles featuring motifs that tell the story of the First Palawa.

For the cover of the Tasmanian Government’s LGBTIQA+ Strategy 2025–2030, I created an inclusive illustration representing the diversity of the community, spanning age, skin tone, faith, and disability.

Commissioned as part of Yirramboi’s emerging artist program Barring Yanabul, I created My Body is Country, My Blood is Salt Water, a large-scale neon text work suspended in the festival’s Meat Market hub.

Commissioned to create an Acknowledgement of Country for Town Hall, I departed from the standard format and instead composed a poem expressing my personal relationship with Country paired with a native fibre planting.

Presented as part of HOME|LAND, a group exhibition exploring relationships to land and home, Midland Mourning is a sculptural work created from farm-collected stones, monumental in form, yet subtle in message.

Commissioned through Solid Lines for Deloitte’s Nipaluna headquarters, this site-specific artwork depicts the journey of freshwater from Kunanyi/Mount Wellington to the tidal waters of Timtumili Minanya/Derwent River.

Working with Waanyi designer Cassandra Pons as part of the Indigenous Fashion Projects Pathway Program, I created a custom print for her Australian Fashion Week collection which featured on the David Jones runway.