The Illawarra Pavilion. 2021, Wollongong Art Gallery. Pagoda in the form of stacked Altar Tables and burial jars against an illusionistic architecture confabulated out of 3,932 tiled and overlapping 80 gsm A4 colour photocopies. Collection items 2003.043, 2003.052, 2003.213, 2003.216
The Illawarra Pavilion. 2021, Wollongong Art Gallery. A4 paper-tile Installation schema for Pagoda in the form of stacked altar tables and burial jars. Collection items 2003.043, 2003.052, 2003.213, 2003.216
The Illawarra Pavilion. 2021, Wollongong Art Gallery. Collection Item No. 2003.215 Red lacquer and gilded pine cabinet, lower shelf Collection Item No. 2003.051 Late Ming Dynasty Longquan Vases, Upper shelf 2 IKEA dinner plates with decal stickers in the form of eyes, inserted into the illusionistic architecture confabulated out of 3,932 tiled and overlapping 80 gsm A4 colour photocopies.
The Illawarra Pavilion. 2021, Wollongong Art Gallery. Displaced cabinet door, wall mounted and inserted into against an illusionistic architecture confabulated out of 3,932 tiled and overlapping 80 gsm A4 colour photocopies, from Collection Item No. 2003.215 Red lacquer and gilded pine cabinet. A QR Code embedded into the illusionistic architecture takes the place of actual wall notes for online ones accessible via a mobile device.
Hannah Halle. 2024, Lismore Regional Gallery. Confabulated out of 4,336 overlapping 80 gsm colour A4 photocopies applied onto wall, this image features artworks by Rene Bolton, Kathryn Dolby and a poem by Daniel Browning - accessible via a QR Code printed on metallic gold paper, inserted into the "window openings" of the illusionistic architecture.
The Table Recalls What the Axe Forgets. Study, 2026. A proposed show for AGSA, this study shows an unfolded 2D elevation of two perpendicular walls, where the real Hugentobler & Strum Tilt Top Table (c1878) from AGSA's collection is proposed to be placed the left-hand Wall, while the Zhizha paper-effigy replica to be placed on the right-hand wall. A visually sumptuous architectonic flourish consisting of a repeating and expanding chevron pattern informed by the table's actual wood inlay will radiate out from behind both of the actual and the paper-replica tables, utilising tiled and overlapping 80gsm A4 colour photocopy prints mounted onto the gallery walls.
The Table Recalls What the Axe Forgets. Detail of Study, 2026. This image shows a to-scale detail of the proposed Zhizha paper-effigy replica of AGSA's Hugentobler & Strum Tilt Top Table (c1878), where each of the four corner Compass-Rose "wood inlays" will be replaced with QR Codes. The four QR codes will link to a tetralogy poem and moving-image chronicle written and spoken by Bundjalung writer Daniel Browning.
C*town Conservatory. 2026, Campbelltown Arts Centre. Overall Foyer View. 160 QR Codes, each containing a new or commissioned project resulting from the C-A-C's 20-year history of commissioning process, is embedded as architectural "breeze blocks" within the illusionistic Conservatory architecture confabulated from 1,882 80gsm A4 colour photocopies mounted onto the walls of the Art Centre's foyer space.
C*town Conservatory. 2026, Campbelltown Arts Centre. Close up view. 160 QR Codes, each containing a new or commissioned project resulting from the C-A-C's 20-year history of commissioning process, is embedded as architectural "breeze blocks" within the illusionistic Conservatory architecture confabulated from 1,882 80gsm A4 colour photocopies mounted onto the walls of the Art Centre's foyer space.
C*town Conservatory. 2026, Campbelltown Arts Centre. "Staircase" View. 160 QR Codes, each containing a new or commissioned project resulting from the C-A-C's 20-year history of commissioning process, is embedded as architectural "breeze blocks" within the illusionistic Conservatory architecture confabulated from 1,882 80gsm A4 colour photocopies mounted onto the walls of the Art Centre's foyer space.