Bonnie’s paintings do not begin from representation so much as sensation. Their surfaces register movement through material: pigment absorbed into linen, wax resisting ink, and salt redistributing colour into unpredictable formations. In conversation, Bonnie described her process as collaborative with materials — an ongoing negotiation between intention and response in which materials redirect gestures and introduce moments of resistance, delay, and transformation. Linen rema

A few months ago, I published my first feature with The Big Issue — a conversation with poet Nikita Gill about mythology, girlhood and storytelling. Last month, I had the opportunity to publish a second feature with the magazine, this time interviewing Australian actor and writer Angourie Rice. The piece centred around Finding Emily, a romantic comedy set in Manchester, but our conversation moved far beyond the film itself. We spoke about character building, psychology, writi

Originally published in Esperanto Magazine, The Candid Edition, Issue 1, 2026 (print). Recently, I had the opportunity to interview Melbourne-based photographer Abigail Varney for the first 2026 edition of Esperanto, Monash University’s student arts and culture magazine. The issue, themed Candid, explored ideas surrounding authenticity, observation, and what it means to capture people honestly — concepts that immediately made me think of Varney’s photographic practice. Just b

I made this painting recently, and while looking at it again I realised how bodily it felt — almost womb-like. Womanhood in colour and movement. Perhaps the body sometimes knows before the mind does. Art that comes from the body often reaches back into it. That’s not weakness — that’s where its power is. This painting began as a physical act. I covered a previous canvas with white acrylic, a painting I had been stuck on and unhappy with for months. Over that blank surface I b

This interview began as a commissioned catalogue text for CAVES Gallery at Melbourne Art Fair 2026. The version published here extends beyond those initial parameters, shaped by a studio visit, a sustained conversation with the artist, and photographs I took within her workspace. When I first spoke with Mira about her new works, she returned to the figure of Demeter — the mythic mother who moves between anguish and recognition, sensing her daughter’s passage between worlds. T

Originally published in Esperanto Magazine, The Explorer Issue, Vol. 4, 2025 (print). The Nicholas Building elevator has a way of making me feel like I’m travelling somewhere secret. The doors close, the world outside blurs and when they open, I’ve arrived in a quieter part of the city. Not higher, exactly — just elsewhere. I think that’s what keeps drawing me back to Melbourne’s smaller galleries — places like Blindside Artist Run Initiative, CAVES, No Vacancy, fortyfivedown