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.

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.

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.

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.

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.

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.

Commissioned to create a second artwork informed by student learning and collaboration with local Elders. Students submitted original artworks, which I digitised and wove into a new design featuring key cultural symbols such as muttonbirds, animal tracks, and meeting places.

In collaboration with W Rugby, I designed a First Nations artwork for their Won for Won program, an initiative where every ball purchased sees another donated to Indigenous communities as well as regional and remote sporting clubs.

Commissioned by Constance ARI, I collaborated with author and artist Luana Towney to digitise her daughter’s illustrations for a public story trail about the Muwinina people. These artworks were engraved onto timber panels lining the Hobart Rivulet.

Commissioned by Working It Out, an organisation supporting LGBTQIA+ Tasmanians, this artwork represents my own journey as a queer Aboriginal man while speaking more broadly to shared community experiences.

In partnership with Weave and NAB, I facilitated a large-scale participatory artwork during a corporate gathering in Nipaluna. Guests were invited to make intentional marks using pyrography tools on 350 recycled timber blocks.

As part of a playful national campaign responding to the rise of AI-generated art, I was one of several artists commissioned by Tourism Tasmania to hand-create works based on public prompts submitted online through the TasmanAI portal.

Engaged to design the 2023–24 Aboriginal Partnership Plan Implementation Report, I created a cover artwork symbolising the many organisations, groups, and networks that support Aboriginal community in the region.

Tunapri Moonlight Stories is a large-scale projection and soundscape installation that honours the deep-time stories, cultural identity, and ancestral presence embedded in Country.

Commissioned by ACRRM for their national conference in Nipaluna, I developed a hero artwork exploring the connection between community, culture, Country, and health. The piece formed the visual backbone for the event’s print, digital, and environmental graphics.

I created an artwork that reflects our ancient connection to landscape. The design incorporates two line styles, one representing land under non-Indigenous management, and one marking waterways and access routes.