CURATING
Selected curatorial projects
BACHELOR OF FINE ART (HONOURS) IN CURATING
MONASH UNIVERSITY, 2026
The Words You Whispered
September
Featuring works by Donna Bailey, Parker Lev Dupain, Frank Hinder and Jas Shalimar
With poetry by Eden Blake and text by Georgia Vanselow
The Words You Whispered takes its title from Eden Blake’s poem Carole Grace, which explores memory, touch, inheritance and the desire to maintain connection beyond physical presence. The phrase speaks to the exhibition’s interest in how intimacy persists through language, gesture, objects, materials and memory.
Bringing together artists working across photography, sculpture, print and object-based practices, the exhibition considers how touch, care, resemblance, making and memory can become material forms. Objects carry relationships, materials hold encounters, and artworks create spaces where private experiences of connection become shared.
At the centre of the exhibition is an expanded understanding of the maternal, considered not simply through biological motherhood or representations of the mother, but as a mode of relation shaped by care, attachment, nurture, inheritance and transmission. Moving between bodies and objects, mothers and daughters, generations and materials, The Words You Whispered considers intimacy as something continually negotiated between presence and absence, holding and letting go, and the tangible and intangible.
After Touch
May
Featuring works by Rosie Carr, Grace Lee and Siyu Xiang
After Touch takes inspiration from the fragmented and propositional structure of Maggie Nelson’s Bluets, where meaning emerges through accumulation rather than resolution. In this project, artworks are approached as propositions that build emotional and bodily resonance through their relationships to one another.
Across print, textile, drawing, and installation, the practices of Rosie Carr, Grace Lee, and Siyu Xiang engage with embodied processes of making. Their works hold gesture differently: through transfer and transformation, repetitive labour, and acts of layering and concealment. Together, the works propose intimacy as a spatial and relational condition that emerges between bodies, materials, and environments. Trace becomes a way of understanding what remains after contact, evidence of touch, repetition, and embodied experience that continues to occupy space.
Rosie Carr
FrangiFanny
2025
Photopolymer Prints on Resin-Coated Plant Stems
Dimensions Variable
Carr’s work explores the relationship between print, surface, and organic material through photopolymer prints mounted onto resin-coated plant stems. The works sit between image and object, where printed forms extend beyond the flat surface into fragile sculptural structures. Constructed through collaging, rubbing, layering, and material transfer, the works foreground process and physical contact. Carr has described the application of colour as the moment the works “take their first breath,” transforming the prints from static impressions into living forms. These processes leave visible residues and imprints that register touch through transformation rather than direct representation. Dispersed across the wall in multiple fragments, the works require close viewing, negotiating intimacy through proximity and scale. Organic stems and repeated imagery create a sense of accumulated contact where intimacy emerges through instability, repetition, and material transfer.
Grace Lee
The First 5 Socks I Ever Made (1–3)
2025
Wool
Dimensions Variable
Grace Lee’s hand-knitted woollen socks operate as sculptural forms that hold traces of labour, repetition, and bodily presence. Positioned directly on the floor, the works occupy a vulnerable space within the gallery, requiring viewers to physically navigate around them. The socks retain an intimate relationship to the body: shaped through touch, repetition, and domestic gesture, they suggest both protection and exposure. Their placement at ground level draws attention toward care, proximity, and the body’s relationship to the floor as a site of contact and vulnerability. Within the exhibition, Lee’s works frame intimacy through softness and repetitive making. The knitted surfaces carry the residue of time and embodied labour, functioning as quiet bodily remnants that remain after the body itself has departed.
Siyu Xiang
Automatic
2026
Pencil and Fine Liner on Paper and Fabric
Dimensions Variable
Siyu Xiang’s work combines pencil and fine liner drawing across layered surfaces of paper and fabric, producing shifting fields of marks that move between figuration and abstraction. The transparency of the materials allows viewers to partially see through layered surfaces, creating a tension between concealment and exposure. The delicacy of the cheesecloth introduces resistance into the act of drawing itself. Marks cannot move freely across the unstable surface, slowing gesture and drawing attention to the physical process of making. Red linear forms resembling veins, vessels, or bodily markings emerge through translucent layers while soft figurative forms dissolve into the surrounding wall. Built through repetition and accumulation, the work registers intimacy through fragile gestures and partial visibility. Bodily presence is never fully fixed or revealed, instead appearing as layered traces that hover between memory, sensation, and concealment.
