As the ephemeral mirage images of a geometry that escapes the grasping force of the mind; their presence is durable, plastic, their physicality is artificial, product of human technologies. Simultaneously Earthly and alien, their form is both abstract and measured, geometric yet organic.

Florescence sculptures have been exposed at Pack Gallery (Byron Bay, NSW) and Sacred Hearts Festival (NSW).

Short film/documentary

Production designer

Part silent film, part documentary;

‘Breaking Plates’ interrogates and incorporates archive footage from ‘Cinema’s First Nasty Women’ - a collection of 99 European and American silent films starring fierce and wild women characters, seemingly not at all constrained by patriarchal structures.

Best Australian Short Documentary - Antenna Documentary Film Festival 2025 (winner)
APDG Emerging Designer for a Screen Production Award (nominee)

Produced by Richard James Allen & Physical TV
Written & Directed by Karen Pearlman
Cinematography Justine Kerrigan 
Costume design Claudia Kryszkiewicz
Design and Construction assistant Ashley Craig
Art department assistants Annika Windsor, Annabelle Silk, Timothy Sharp, Desmond Bravo, Brianna Neowhouse, Valentina Lastrebova, Kate Beere

Starring Violette Ayad, Richard James Allen, Emma Watkins, Julie-Anne Long

Still Photography Gary Compton

Large-scale Installation

Opera

Set designer

Music by Benjamin Britten , Op. 64
Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears 

Produced by the National Institute of Dramatic Art and Sydney Conservatorium of Music

Conductor Stephen Mould 
Direction Kate Gaul 
Costumes Sabina Myers 
Lights Sophia Wallace
Associate Set Designer Veronique Benett 
Photos by Pollyanna Nowicki

Nida Parade Theatre, 2021

Text Bernard-Marie Koltès
Direction Robert Schuster
Assistant director Marco Damghani
Costumes Olivia Rowlands
Video and lights Aron Murray
Sound Justin Ellis
Production management Valerie Lam
Stage management Morgan Moroney
Technical management Eileen Ortiona
Set design assistant Hayden Relf

Cast: Declan Kelly, Roman Delo, Melissa Kahraman, Jazz Laker, Kira-Che Heelan, Ethan Browne, Fabian McCallum

Photography Patrick Bolan & Aron Murray 

Nida Parade Theatre, 2019

Text & direction Michael GowVideo and lights Aron Murray

Sound Khyam Cox
Production management Wun Zee
Stage management Mali Tauro-Cesca
Technical management Catherine Imer
Costume supervisor Harriet Ayers
Camera operator & design assistant Soham Apte 

Cast: Laura Cameron, Sophie Wilde, Fabian McCallum, Lewis Mcleod, Olivia Mortimer-Eade, Charlotte Freils, Matthew McDonald, Matthew Alexander, Mabel Li, Nicholas Cartwright

Nida, Playhouse Theatre, 2019

Live-cinema/theatre

Set & costume designer

DIANA is a tribute to the People’s Princess' turbulent and tormented life, interrogating the relationship between actor, icon and character.

Devised by Tait De Lorenzo & Shannon Dooley
Direction Tait De Lorenzo
Cinematography Lucca Barone-Peters
Lights Jesse Greig
Video Cameron Smit
Stage management Susie Henderson

Cast Shannon Dooley as Diana
Alex Stamell & Skye Willians as camera operators

Nida Festival of Emerging Artists 2018 

Clown of Thorns was a one off, site-specific promenade presentation of a new work that explored, through its form and context, a different relationship between a theatre piece and its audience. Delving into the concepts of Trash-thetics (the aesthetics of trash), it was designed spending zero money and using only resources available locally, asking people for help and reusing discarded materials/objects. The scenography relied heavily on the textural and and olfactive qualities of the site. The abject special effects were achieved using food products, which were also consumed throughout the performance. During Act III the power in the whole neighbourhood went out and the audience lit the scene with their smartphones. Act IV was a pot-luck banquet celebration, everyone sat at the table..

Roberto Zucco forgets his name. The sounds of the machine fill his head. 

The violence he exercises on the strangers he encounters shocks and perplexes... but what about the social violence that makes up the web of connections between the whole world of the play? It’s an ugly, sharp, mechanical world in which it is easier to point a finger and alienate the one we can name rather than face the monstrous smog of toxicity we spend our lives breathing in. 

Text Isaac Forsyth
Direction Marco Damghani
Cast Fabian McCallum, Micaela Ellis & Declan Kelly

Theatre

Set designer

Festival Designer

The Globe is a retired hot air balloon re-invented into an inflatable entity.

It is a performative beast with a light footprint on its environment and awe-inspiring presence. 

Our aim is to foster a different relationship between who creates and who watches. Everything about the Globe is performative and the community is invited not only as witnesses, but as evident participants of a spectacular creation. 

“Goldilocks Zone: In astronomy and astrobiology, the circumstellar habitable zone, or Goldilocks Zone, is the range of orbits around a star within which a planetary surface can support liquid water given sufficient atmospheric pressure.” < wikipedia

Goldilocks is about alien contact and how we might react when we are faced with the realisation that we aren't so unique after all. 

Based on the architecture of the amphitheatre, the scenographic approach was site-specific, oscillating between the lecture hall and the bunker.

Site-specific theatre, 2019

Set, costume & lighting designer

Creative Directors: Joey Ruigrock van der Werven & Sarah-Jane McGrath

Associate artists: Leisa Mcilwain & Camille Ostrowsky

National Circus Festival, Mullumbimby, 2022