Cultural Production at Scale: Behind the Scenes of Diplomatic Performances. Large-scale cultural productions rely on careful planning, close collaboration, and deep respect for historical detail. The costume performance at the National Gallery of Australia, Canberra, in 2019 was the most complex project of this kind that I coordinated. It was created for the Embassy of Ukraine and the Ukrainian Women’s Association, and held in honour of the late Christine (Hrystyna) Syvenkyj-Bailey, whose lifelong dedication to Ukrainian cultural heritage continues to resonate deeply.
The project required working across multiple teams and private collections to deliver a unified and meaningful performance for a diplomatic audience. For this event, I coordinated 29 models and 17 private collectors, alongside multiple cultural organisations and contributors, bringing together diverse elements into a single coherent presentation.
Every detail — from costume construction to the order of presentation — was carefully curated to communicate a clear cultural narrative. My responsibilities spanned curatorial decision-making, logistical coordination, visual design, and narrative development, ensuring that each component supported the overall experience.
An earlier performance in 2018, initiated by Christine Syvenkyj-Bailey, was created primarily on the basis of her personal collection. My role focused on shaping the presentation, coordinating contributors, and translating the collection into a clear and engaging public performance.
Creating region-appropriate floral head wreaths and jewellery for such a large number of models was particularly challenging, both creatively and logistically. Managing the transport, handling, and return of numerous historical and handmade items required precision and care, but the process was completed successfully without loss or damage. Following the event, I designed a commemorative calendar featuring photographs taken during the performance by Tetiana Matsypura, extending the life of the project beyond the event itself.
Breathing Space was a group exhibition by True Blue & a Little Bit of Yellow, held at The Art House, Wyong, NSW, from 1–25 May 2024. It felt good to return to the Central Coast and exhibit together once again. The works on display moved between bold painterly gestures and refined detail, with many pieces inspired by the coastal landscapes of the Central Coast and Sydney’s Northern Beaches. The exhibition offered space for colour, reflection, and connection — a moment to pause, breathe, and engage with art grounded in place and experience. Breathing Space was both a return and a continuation — of shared practice, shared values, and ongoing support through art.
Over the past months, I’ve been honoured to be selected as a finalist in several exhibitions across Australia. Being part of the evolving art mosaic in Sydney and beyond is something I truly value. In October, my work was shown at Gallery 11:11, followed by Bridges to Belonging in Adelaide in November — an exhibition that explored connection, identity, and shared stories. December brought another exciting milestone: I was delighted to be a finalist in the 40 by 40 Exhibition at Newcastle Art Space 🎉 This exhibition celebrates over forty years of a vibrant creative community and showcases artworks measuring 40 × 40 cm — a reminder that great art can come in small packages. The exhibition ran in early December 2025. Also in December, I was selected to participate in The Summer Prize Exhibition at Northern Beaches Gallery, an exhibition absolutely worth visiting with many outstanding works on display. Among them was my painting Jingymia mallee — Eucalyptus synandra, shown in late December. Another memorable moment from this period was seeing one of my artworks sold at auction directly from the concert stage — a powerful reminder of how art can live and breathe beyond gallery walls. Currently, my work Nocturne for Large-Fruited Mallee is on display at:
