'Headphones' explores the use of a much loved and ever-evolving product that allows individuals to listen to their favourite tunes privately.

The black screen-printed images on this work were taken at various music festivals. The work aims to show a juxtaposition exploring the private use of headphones alongside the collective experience of live music.

This work is a combination of hand-blown, screen-printed and kiln-formed glass. Three headphones are hung in front of a UV light box, allowing 'uranium' glass to glow. 

This work expresses my intrigue toward natural phenomena, particularly the spectral colours that appear when light refracts through a transparent material at just the right angle of incidence. The clear glass in this work allows light to pass through the material and create small glimmers of spectral colours. 

The concept of the IncanLED touches on the phase-out of the incandescent light source. Although the tungsten incandescent was not the most efficient lamp, it has very high colour rendering capabilities and a lovely warm glow. The clear bulbous shape of the tungsten halogen is appealing in and of itself. The spherical form of this work was intended to echo the incandescent lamp, while the LED light source contrasts its appearance. The ominous glow that emits from the base of the globe highlights the form of the glass and creates a sense of mystery as to the inner workings of the light source. 

Five IncanLEDs were commissioned as centrepieces and exhibited at the 80th birthday event for Architectural and Engineering firm Steensen Varming, held at The Sydney Opera House. 

The IncanLEDs were also exhibited at the Globelight, Fringe and Decor + Design Exhibitions in Melbourne. 

Mirror Room was an exploration of my interest in all things music. The space invited viewers to move around and explore the imagery found on what can be described as ‘glass records’ suspended and spinning inside colour-changing lightboxes.

The work explores the notion that the human body has an innate urge to move while listening to music. 

'The Boiler Room’ was a multisensory installation intended to warp viewer’s perceptions and make them acutely aware of their body in the space.

To achieve this, I explored moments of rapture in the multisensory environment of a music festival, a situation where perception and senses work in concert with one another. I used a combination of materials and technology to emulate a destabilising and immersive experience for the viewer.

A darkened cylindrical room set the scene and allowed control over what the viewer encountered. Theatre and laser lighting, projection and a floor covered in small pieces of pink foam were used to overload participants’ senses. A lycra dome was given to each participant as they entered the space to wear over their heads for further disorientation. Abstracted images were projected onto the lycra as participants moved through the space. Participants stumbled around and bumped into one another whilst listening to distorted sounds recorded from various music festivals. 

The city of Goulburn celebrated its 150th birthday in 2013. The graduating lighting design students from The University of Technology Sydney were invited to illuminate the beautiful St Saviours Church.

I wanted to bring out the lovely warm tones of the sandstone whilst highlighting the classic architecture. A tree in the courtyard contrasted the warm colours used on the building.    

Lecturers Emrah Baki Ulas and Mike Day, along with Master of Lighting Design student Marin Church and myself, had the pleasure of lighting the historic Kirkbide Building Complex, home to Sydney College of the Arts, for the sold-out Laneways Music Festival. The sandstone buildings, trees and the spectacular tower were lit using specialised lighting equipment, generously lent to The University of Technology Sydney by ERCO, Zumtobel, ECC and we-ef.

The Blackhorse Restaurant commissioned these bespoke designs in Sydney's Sutherland Shire. The light sculptures were designed to compliment the interior of the restaurant/brewhouse and "dazzle" passers-by. 

Artists: Ilana Thorpe, William York, Duncan Johns. 

This shadow theatre structure attempted to capture fanciful utopian themes.

Passers-by were asked to enter this little world and help bring the work to life.

People enjoyed the space, interacting with friends and strangers. This work took on the role of puppeteer, playing with light and perspective and exploring the art of shadow and silhouette.

These wine decanters were made from hand-blown glass. The decanter's highly polished rim was designed for easy pouring of wine. The decanter rests in a CNC-machined timber base. It was intended to be a functional statement piece. 

'Light Nest' was created for 'The Beams Light and Art Festival' in the Sydney suburb of Chippendale. The work was site-specific and was intended to reflect its vibrant urban environment. Small 'nests' of light were created using colour-changing LEDs encased in woven bundles. 

The best way to describe myself as a designer would generally be concept-driven and process-oriented. 

My practice usually progresses through initial research - both visual and theoretical- through rough hand sketches, computer-aided design, testing with materials, and making physical prototypes or models.