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

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