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:
Brunswick Street Gallery, Melbourne
Small Works Art Prize Exhibition
4–17 January 2026
This exhibition holds a special place for me — I’ve been taking part in it since 2011. If you’re in Melbourne this January, don’t miss it.
And there’s more to come — stay tuned.
1 April 2026
A big well done to everyone who joined the Autumn in Textures & Colours workshop 🍂 It was such a wonderful creative session to share together. If you missed this one — let me know, I’m already planning the next workshop!
Cultural Performance at the Ukrainian Festival, Sydney — 2022. In 2022, I curated and produced a major cultural performance at Tumbalong Park, Darling Harbour as part of the Ukrainian Festival. The show was created primarily using the private collections of Roxolana Mishalow and Tanya Whitbourn, whose garments carried deep regional and historical significance. This performance was unlike any I had worked on before. All of the models were Ukrainian refugees. Each person on stage carried their own story of displacement, resilience, and survival, which gave the presentation an added layer of meaning that could not be staged or rehearsed. The vibrant regional costumes were intentionally contrasted with the visual narrative behind them. I designed a series of projected slides showing Ukrainian towns and cities before and after the war. Together, costume and imagery created a powerful dialogue — beauty and heritage set against destruction and loss. What emerged was more than a performance. It became a moment of collective remembrance and visibility, honouring Ukrainian culture while acknowledging the realities of war. Through this work, tradition was not frozen in the past, but stood firmly in the present — resilient, human, and deeply alive.
