MATERIALS
Resin and polymer clay are at the core of my practice, but I also explore anything interesting that crosses my path. I’ve learned that these materials have personalities. Resin is precise, dramatic, and occasionally temperamental. Polymer clay, on the other hand, is patient and waits politely while I change my mind. Their differences are essential to the work. They keep it lively and prevent it from slipping into repetition. Each one nudges the process in its own direction, opening new possibilities.
RESIN
I work with epoxy casting resin and UV resin.
Epoxy resin is clear, glass-like, lightweight, and durable. It looks like it has no right to be jewellery, which is part of what I love about it. It cures without heat, forming solid structures that I later incorporate into my designs. Each piece begins with a custom silicone mould. Liquid resin is poured, left to cure, and then I spend way too long sanding and polishing.
The process rewards patience. Measurements must be exact, and since temperature and humidity dictate the outcome, I essentially plan my production schedule around the whims of the Sydney weather report.
UV resin is used for smaller parts and surface finishes, allowing for immediacy and control in detail work.
POLYMER CLAY
Where resin is a demanding perfectionist, polymer clay offers a more direct, sculptural approach. It remains pliable until baked, allowing time to shape, adjust, and refine, building surface, form, and pattern until it’s ready for the oven.
It comes in a wide range of colours and effects that can be blended and combined, sometimes obediently, sometimes with a mind of its own. Each project begins with conditioning the clay, followed by shaping by hand and with simple tools. Once formed, pieces are baked, then finished through sanding, polishing, and assembly.
MIXED MEDIA
I am interested in what happens when elements that do not naturally belong together decide to cooperate long enough to become something cohesive.
Different materials are brought together to create contrast and unexpected relationships. Smooth and rough, matte and reflective, rigid and flexible textures are deliberately combined. They usually surprise me by getting along beautifully—no small feat given their different egos.
Natural elements such as stone, sea glass, shell, and wood introduce an organic dimension, while rubber, mesh, and textiles add movement. Gemstones bring weight and presence.
TECHNIQUES
My craft develops through an ongoing exploration of materials, form, and technique. I approach making with a spontaneous, responsive mindset, allowing methods to evolve through the work rather than following a rigid manual. What you see here is just a snapshot of a moving target; my methods change as often as my ideas do. I’ll be honest: some of my best results started as happy accidents that I then spent weeks trying to reverse-engineer.
EMBEDDING
SCULPTING
MARBLING
With resin, I often embed organic bits and botanicals, suspending and preserving them within the transparent depths. Sculpting is a method I developed early on, and I use it selectively, as it requires time, patience, and persistence. Colour is introduced through pigments, dyes, and layered pours, building depth, subtle shifts in tone, and marbling. I often work in stages, developing tone gradually to achieve variation and complexity.
MOKUME GANE AND TEXTURES
TORN PAPER TECHNIQUE
BARGELLO TECHNIQUE
Polymer clay offers a different kind of freedom, enabling effects not possible with other media. As a relatively young material, it continues to evolve and expand, and many ideas are informed by techniques borrowed from other disciplines. These include mokume gane, derived from Japanese metalsmithing, torn paper approaches inspired by collage, and Bargello, influenced by traditional embroidery. Each is reinterpreted to create distinctive pattern, rhythm, and structure. What begins as a borrowed method ultimately resolves into something distinctly my own.
INSPIRATION
Inspiration does not begin with a fixed idea. It rarely announces itself. It usually taps me on the shoulder mid-process as an intuitive and often unpredictable pull, shifting as the work develops.
It begins with a feeling, an immediate response to something encountered in the environment. From there, it evolves through the actual hands-on effort. I am drawn to that tug-of-war between control and unpredictability, refinement and rawness, intention and accident.
Often, a single detail, a colour, a texture, or the way light moves becomes the starting point. I follow it instinctively, allowing the work to absorb and transform these impressions into something personal.
Ancient Iridescence (THOUSAND YEARS collection) 
TIDDAS or Aboriginal Women Collective (DREAM TAPESTRY collection) 
Chromatic Bloom (RADIANT SURGE collection)
In the collection Thousand Years, which captures the slow persistence of geology, the piece Ancient Iridescence draws its colouring from peacock feathers. The polymer clay necklace Tiddas (Aboriginal Women Collective) interprets closely connected family units in Aboriginal culture, honouring the strength of sisterhood while reflecting a relationship to the Australian landscape. Chromatic Bloom is a nod to the simple joy of a box of crayons, with colour applied to the tips of each projecting element, creating a controlled outward rhythm.