Artist Bios 30 – Kaldor Public Art Projects https://kaldorartprojects.org.au Wed, 13 Jul 2022 06:34:08 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://kaldorartprojects.org.au/wp-content/uploads/2021/02/favicon-kaldor1.png Artist Bios 30 – Kaldor Public Art Projects https://kaldorartprojects.org.au 32 32 Zin (Harriet Gillies & Roslyn Helper) https://kaldorartprojects.org.au/profile/zin-harriet-gillies-roslyn-helper/ Mon, 08 Mar 2021 03:47:44 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=2005

zin

Two young women sit, dressed in winter coats, working at laptops, on two simple wooden trestle tables. The tables are set up on a basic stage in an old industrial building.
Two young women sit, dressed in winter coats, working at laptops, at two simple trestle tables in an old industrial building. The women are on a basic stage, lit by stage lighting. An audience sits in the darkened space, and watches the women onstage.
Two young women sit, dressed in winter coats, working at laptops, at two simple trestle tables in an old industrial building. The women are lit by stage lighting, on a basic stage. At one side of the stage is a large projected image of a computer screen. An audience sits in the darkened space, and watches the women onstage.
Two young women, dressed in winter coats, are working at laptops, at two simple trestle tables in an old industrial building. The women are lit by stage lighting, on a basic stage. At one side of the stage is a large projected image of a computer screen. A young man, wearing a high-vis yellow vest with a Domino’s Pizza logo, places around 12 pizza boxes on one of the tables.
Zin (Harriet Gillies & Roslyn Helper)

zin

Harriet Gillies
born 1989 in Sydney, Australia
lives and works in Sydney, Australia

Roslyn Helper
born 1988 in Sydney, Australia
lives and works in Melbourne, Australia

 

zin was a participating artist duo in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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zin is the artist partnership of Harriet Gillies and Roslyn Helper. Formed in 2011, zin's work focuses on the power of experience by combining immersive, visceral and hybrid art elements. Through their work, they are interested in developing methodologies and concepts that deal with the public sphere, immaterial performance modes, large-scale execution, site specificity, audience immersion and activation. zin continuously redefine the audience-artist relationship by creating generative environments that encourage new ways of thinking and interacting.

zin has presented work at PACT (I’ll Have What She’s Having, 2015), Firstdraft (Karaoke For Wankers, 2015), Sydney Festival's Parramatta Opening Night Party (Take A Shot, 2014), the Festival of Live Art in Melbourne (Make The Call, 2014), Underbelly Arts Lab and Festival (zin’s Party Mode, 2013), City of Darwin's National Youth Week Festival (Make The Call, 2013) and Tiny Stadiums Festival (The Dictator’s Ball, 2013). zin received a JUMP mentorship grant from the Australia Council in 2013 and have participated in residencies and programs across Australia. Gillies attained a Graduate Diploma of Performing Arts (Directing) at NIDA and Helper completed her Masters in Arts Politics at Tisch School of the Arts, New York University.

]]> Nicola Gunn https://kaldorartprojects.org.au/profile/nicola-gunn/ Mon, 08 Mar 2021 03:42:43 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1999

Nicola Gunn

A young woman wearing glasses inside a large, open industrial building.
A young woman wearing glasses, seated at a basic plywood table, inside a large, open industrial building.
A young woman wearing glasses, seated at a basic plywood table, on top of a large plywood platform, inside an open industrial building.
A small crowd of around 25 people, standing and seated, gathered on and around a large plywood platform, inside an open industrial building.
A group of around 6 people, seated on the floor or on basic plastic stools, on top of a plywood platform. On the platform is a basic plywood desk and a clothing rack, with around 4 items of clothing on coathangers. A young woman sits on a stool, holding a pencil and looking intently at a sheet of paper.
A group of around 8 people, seated on the floor or on basic plastic stools, on top of a large plywood platform, inside an open industrial building. On the platform is a basic plywood desk and a clothing rack, with around 4 items of clothing on coathangers. Around 13 people stand and sit nearby, watching the group on the platform.
Nicola Gunn

Nicola Gunn

born 1979 in Lancaster, England
lives and works in Melbourne, Australia

 

Nicola Gunn was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Nicola Gunn is a first-person artist. She directs herself, performs herself and reveals herself. Sometimes she even tells the truth. As a performance maker she finds parallels between personal experiences and larger social realities; her work uses subversive humour to reflect on and respond to contemporary culture, people and places. She uses a multi-disciplinary approach to explore modes of performance and often makes work consistent with post-modern types of metafiction – works that put or display the idea of 'truth in fiction’ and ‘fiction in truth.’ To do this, her work tries to be open-ended using non-linear narratives and the juxtaposition of different genres and artforms to show continual slippages of self. Gunn’s artistic practice is committed to institutional critique, social engagement and generating works that activate the public sphere by questioning old ways of being or proposing new ones. She critically reflects on the role of performance in theatres, to examine power relations in existing organisations and to consider the relevance and social function of art itself.

Gunn’s work has been presented at the Melbourne Festival, Brisbane Festival, Melbourne Theatre Company NEON Festival, Dublin Theatre Festival, Festival de Keuze in Rotterdam, Netherlands, Vitalstatistix, Theatre Works, and—with choreographer Jo Lloyd—at the NGV, Gertrude Contemporary and West Space, amongst others. She has received commissions from Theatre Works, Malthouse Theatre and Performing Lines/Mobile States. In 2013 Gunn was the recipient of an Australia Council Creative Australia Fellowship.

]]> Natalie Abbott https://kaldorartprojects.org.au/profile/natalie-abbott/ Mon, 08 Mar 2021 03:41:19 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1997

Natalie Abbott

A young woman in a large, open industrial space
A young woman in Adidas T-shirt and sweatpants balances a large crash mat on its side in an empty room.
A young woman in a T-shirt struggles to carry a large crash mat on a flight of stairs inside an old industrial building.
Two young women in Adidas shirts struggle to hold up a large crash mat.
Two young women in Adidas shirts fall onto a large crash mat.
Two young women in Adidas shirts kneeling on a large crash mat, reaching to the edges of the mat, smiling.
Two young women in Adidas shirts pulling a large crash mat, grimacing.
A young woman in Adidas sweat pants, wrapped in a large black cloth, leaning backwards and pulling on the cloth, in a large, open industrial building.
A young woman in Adidas sweat pants, with her head and upper body wrapped in a large black cloth, in a large, open industrial building.
A young woman in Adidas sweat pants, wrapped in a large black cloth, pushing and pulling on the cloth, in a large, open industrial building.
A young woman in Adidas T-shirt and sweatpants, her arms outstretched and toe pointed in classical ballet style, on a basic black platform in an old industrial building. A second woman stands onstage, holding a microphone and speaking on a mobile phone.
A young woman in Adidas T-shirt and sweatpants, performing a cartwheel, on a basic black platform in an old industrial building. A second woman stands onstage, holding a microphone and speaking on a mobile phone.
A young woman in Adidas T-shirt and sweatpants, her arms outstretched and toes pointed in classical ballet style, on a basic black platform in an old industrial building.
Natalie Abbott

Natalie Abbott

born 1986 on Gadigal land, Eora nation, Sydney, Australia
lives and works on Dharawal country, Sydney, Australia, in Kulin nation, Naarm (Melbourne), Australia, and Berlin, Germany

 

Natalie Abbott was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Natalie Abbott creates sensory performance experiences. She is committed to the idea that everything is choreography, including light, sound, movement and design, and she utilises this vision when devising work. Abbott has been making her own work; touring throughout Europe, Asia and America; and working with independent choreographers and visual artists in Melbourne, the United Kingdom and New York. Natalie is a collaborator for the DEEP SOULFUL SWEATS (fantasy light yoga project) at CHUNKY MOVE, and has recently been invited to FOLA and Next Wave Festival opening party, 2014. She spoke alongside Stelarc on a panel 'ART and the BODY' at the Wheeler Centre for Ideas for the Festival of Live Art in Melbourne.

]]> Lottie Consalvo https://kaldorartprojects.org.au/profile/lottie-consalvo/ Mon, 08 Mar 2021 03:39:35 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1994

Lottie Consalvo

A young woman in a plain grey sweatshirt in a large, open industrial building.
A young woman in a plain grey sweatshirt, arms outstretched, presses her face and upper body against a bare plywood wall.
A young woman’s hands, wearing a simple wedding ring, and her feet, in black socks, hang over the edge of a basic plywood platform.
A young woman wearing a simple white shirt, black pants and black socks, sits on a black folding chair inside a basic plywood structure. The woman’s upper body is slumped forward, and her hands dangling over the edge of the plywood platform.
A young woman wearing a simple white shirt, black pants and black socks, sits on the floor of a basic plywood structure, focusing intently straight ahead, looking at a black folding chair.
A young woman wearing simple black clothing sits on a black folding chair inside a basic plywood structure. The woman’s upper body is slumped forward, and her hands dangling over the edge of the plywood platform. At the end of the plywood structure is a large blackboard, with a list of names and times, and a simple map diagram, labelled “Upstairs.”
A mattress covered with a plain white sheet, inside a basic plywood structure. On top of the mattress, the legs of a person, in simple black clothing, stick out from under a messy pile of white bedclothes.
A mattress covered with a plain white sheet, inside a basic plywood structure. On top of the mattress is the shape of a person sitting under a pile of white bedclothes.
Lottie Consalvo

Lottie Consalvo

born 1985 in Melbourne, Australia
lives and works in Newcastle, Australia

 

Lottie Consalvo was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Lottie Consalvo's practice traverses performance, video, photography, installation, painting and sculpture; she explores emotional and psychological conditions. Created from fragments of the everyday and fractures from significant life events, her work deals with tragedy and longing. In her long durational and endurance-based performances, Lottie endures discomfort both physically and psychologically. She re-lives past events where audience often witnesses her undergoing a psychological change in real time.

Consalvo's most recent live performances have been presented at Alaska Projects, Tiny Stadiums Live Art Festival, The Lock-Up, Newcastle, and Lake Macquarie City Art Gallery. These works have positioned her in seemingly comfortable domestic environments almost still or moving occasionally, however often slumped and in discomfort. In her performances, tragedy, desire and longing are all present. Consalvo also makes what she calls "life performances"—her most recent being Compartmentalise 2013-2014, a year-long performance in which the artist lived with minimal possessions in an attempt to gain psychological control after a significant life shift.

]]> Frances Barrett https://kaldorartprojects.org.au/profile/frances-barrett/ Mon, 08 Mar 2021 03:37:06 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1990

Frances Barrett

A young woman in a leather jacket kneels on a plywood platform, and creates a complex written diagram with white chalk on a blackboard. The diagram includes the text, “Curator, Emma Pike, A performance of care for 12 hours, Curator caring for artist.” A second woman in a winter coat stands on the plywood platform watching.
A young woman in a leather jacket, smiling, inside an old, open industrial buildingz.
A young woman in a leather jacket, blindfolded, wearing noise-cancelling headphones inside an open industrial building. The woman is walking, with her hand placed on the shoulder of a second young woman.
A young woman stands on a plywood platform, and creates a written diagram with white chalk on a blackboard. The blackboard is partly covered with large, messy white strokes and drips. The diagram includes the text, “Can we do something more disturbing? Marina, 2015.”
A complex diagram, written with white chalk on a blackboard. The diagram includes the text, “Curator, Emma Pike, A performance of care for 12 hours, Curator caring for artist. Predictive Care. Work and Productivity. Rules of Exchange. ”
Frances Barrett

Frances Barrett

born 1983 on Gadigal land, Sydney, Australia
lives and works in Sydney, Australia

 

Frances Barrett was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Frances Barrett is a Sydney-based artist whose practice explores performance through symbolic and direct action. Barrett’s work is informed by queer and feminist methodologies and recent projects have taken the form of body-based live actions, endurance performance and sonic experimentation. Since 2005 Barrett has worked as part of the performance and video collective Brown Council whose work interrogates modes of collaboration and the history of feminist art practices. From 2009-13 Barrett was Co-Director of Serial Space, a space that was dedicated to supporting and presenting live and experimental art forms. In 2014, she presented work as part of Day for Night at Performance Space (Sydney), SafARI (Sydney), Tiny Stadiums Festival (Sydney) and Restaging Restaging at Alaska (Sydney). In 2015 she will be performing work at 4A Centre for Contemporary Asian Art (Sydney) and Australian Experimental Art Foundation (Adelaide), while also curating Haunting at Firstdraft (Sydney). She is currently Curator of Contemporary Performance at Campbelltown Arts Centre and host of FBI Radio arts show, Canvas.

]]> Clark Beaumont https://kaldorartprojects.org.au/profile/clark-beaumont/ Mon, 08 Mar 2021 03:33:36 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1988

Clark Beaumont

Two young women in winter clothing stand outside an old industrial wharf building. They are each holding up a simple white banner with large, plain black lettering in capital letters. One banner reads, “Me.” The other banner reads, “You.”
Two young women in winter clothing inside an old industrial wharf building, smiling directly at the camera.
Two young women in winter clothing stand facing the Sydney Harbour Bridge, high above them. They are each holding up a simple white banner, seen from the back.
Two young women in winter clothing are each standing, holding up a simple white banner, seen from the back.
A young woman in winter clothing stands, holding up a simple white banner with large, plain black lettering in capital letters. The banner reads, “Me.”
A young woman in winter clothing stands, holding up a simple white banner with large, plain black lettering in capital letters.
A young woman in winter clothing stands on an old industrial wharf. The woman is holding up a simple white banner with large, plain black lettering in capital letters. The banner reads, “You.”
A young woman in winter clothing stands on an old industrial wharf. The woman is holding up a simple white banner with large, plain black lettering in capital letters. The banner reads, “Me.”
Two young women in winter clothing work at a large table inside an old industrial building. The women are measuring and folding pieces of plain black and white fabric.
Two young women in winter clothing stand at a large workspace, which consists of four plywood tables pushed together, inside an old industrial building. The tables are littered with pieces of black and white fabric, tape and coffee cups. The women are looking at each other and smiling.
Clark Beaumont

Clark Beaumont

Sarah Clark
born 1991 in Brisbane, Australia
lives and works in Brisbane, Australia

Nicole Beaumont
born 1990 in Sydney, Australia
lives and works in Brisbane, Australia

 

Clark Beaumont was a participating artist duo in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Clark Beaumont is the Brisbane-based collaborative duo Nicole Beaumont and Sarah Clark. Through both live and mediated performance works, they investigate ideas and constructs around identity, female subjectivity, intimacy and interpersonal relationships. Clark Beaumont are the subjects for their work and their collaboration means exploring the social and physical dynamics of working together to create artwork.

Clark Beaumont formed in 2010 at Queensland University of Technology, Brisbane, whilst completing their Bachelors of Fine Arts. In 2013, Clark Beaumont were selected as the 13th addition to the 27th Kaldor Public Art Project, 13 Rooms, curated by Hans Ulrich Obrist and Klaus Biesenbach. In 2014, Clark Beaumont held their first solo exhibition at Roslyn Oxley9 Gallery and were selected by QAGOMA as the 2014 recipients of the Melville Haysom Memorial Art Scholarship. They also received Highly Commended at the Churchie National Emerging Art Prize and in 2015 exhibited in GOMA Q: Queensland Contemporary Art at the Gallery of Modern Art, Brisbane.

]]> Christian Thompson https://kaldorartprojects.org.au/profile/christian-thompson/ Mon, 08 Mar 2021 03:28:21 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1983

Christian Thomson

portrait of Christian Thompson
A young man dressed entirely in white, sits on a stool in a bare plywood room, and holds a paperback book by author Joseph Campbell to his face.
A young man dressed entirely in white, sits on a stool in a bare plywood room, and reads a paperback book.
Christian Thompson

Christian Thompson

born 1978 in Gawler, South Australia
Bidjara, North-East region
lives and works in London, England, and Melbourne, Australia

 

Christian Thompson was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Christian Thompson is an Australian-born, London-based photographic, conceptual and performance artist whose work explores notions of identity, cultural hybridity and history. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance and sound. His work is primarily focused on the performative exploration of identity, sexuality, gender, race, ritual and memory. In his performances and photographic works, he inhabits a range of personas achieved through handcrafted costumes and carefully orchestrated poses and backdrops, and he is known for his evocative photographic self-portraits and video works.

In 2010 Thompson made history when he was awarded the Inaugural Charlie Perkins Scholarship and became the first Aboriginal Australian to be admitted into the University of Oxford in its 900-year history. He holds a Doctorate of Philosophy (Fine Art), Trinity College, University of Oxford, England; Master of Theatre, Amsterdam School of Arts, Das Arts, The Netherlands; Masters of Fine Art (Sculpture) and Honours (Sculpture), RMIT University, Melbourne, Australia, and a Bachelor of Fine Art from the University of Southern Queensland, Toowoomba, Australia.

]]> George (Poonkhin) Khut https://kaldorartprojects.org.au/profile/george-poonkhin-khut/ Sat, 04 Jul 2015 04:38:21 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=1992

George (Poonkhin) Khut

A man in a puffer vest, smiling, inside a large, open industrial building.
A man placing a small black, metal device around the head of another man. The second man is smiling, his eyes closed.
A man sitting at a basic plywood table, in deep conversation with a second man, sitting on a plastic stool, inside an old industrial building. On the table is a laptop and coffee urn. Next to the table is a recording device mounted on a tripod. Underneath the table is a powerboard, a stack of electrical equipment, and a dense tangle of power cables.
A man leaning on a basic plywood table, in conversation with a second man, seated, inside an old industrial building. On the table is a laptop and two small audio speakers. The second man is wearing a simple black device around his forehead.
A man leaning forwards, looking downwards, with a serious, focused expression. In the background, a man lies on a basic plywood platform, bathed in red light.
A man leaning on a basic plywood table, looking intently at a laptop. On the opposite side of the table is seated a woman, with a serious expression, wearing a simple black device around her forehead.
A woman in a winter coat, wearing a simple black device around her forehead, lying on a white pillow, bathed in red light.
8 small blackboards, each with an identical template of the outline of an adult human body, lined up against a black wall. The first 6 templates have each been filled in with a range of written notes, arrows, wavy lines and zigzags.
A man in a puffer vest sitting at a basic plywood table, inside an old industrial building. On the table is a laptop, a range of small electrical devices, and two red lamps. The man is in conversation with a group of six people, in warm winter clothing, gathered around the table.
George (Poonkhin) Khut

George (Poonkhin) Khut

born 1969 in Adelaide, Australia
lives and works in Sydney, Australia

 

George Khut was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

Explore the residency

George (Poonkhin) Khut is an Australian artist and academic at UNSW Art & Design, working across the fields of electronic and participatory art, interaction design and health. For the past 12 years he has been working with biofeedback technologies, creating intimate, body-focussed participatory artworks, that re-frame our experiences and representations of embodiment, presentness and body-mind interactions. Khut works with biofeedback technologies to challenge popular assumptions about the impact of digital technologies on the body. He challenges the idea that technology minimises our ability to pay attention and uses technology instead to slow down and focus our attention into our body, the bodies of others, and the psycho-physiological dimensions of our being.

In 2012 Khut was awarded the Queensland Art Gallery | Gallery of Modern Art National New Media Art Award, for his heart rate controlled interactive artwork Distillery: Waveforming—a work developed as part of his residency at the Children’s Hospital at Westmead, Sydney, where he collaborated with Brain Injury Specialist Dr Angela Morrow on a heart rate controlled application for use with children undergoing painful procedures. Recent exhibitions include The Heart Library Project, exhibited in the Group Therapy group exhibition at FACT, Liverpool, UK, and MoCA Taipei, Taiwan, 2012, ThetaLab presented at ISEA2013, Sydney, and Cardiomorphologies presented at the Biennale of Electronic Arts, Perth, 2007, and InBetweenTime 2006, at Arnolfini, Bristol, UK.

]]> Sarah Rodigari https://kaldorartprojects.org.au/profile/sarah-rodigari/ Fri, 22 May 2015 04:45:04 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=2001

Sarah Rodigari

A woman wearing glasses and a black puffer jacket inside a large, open industrial building.
10 people dressed in warm winter clothing, seated on tiered bench seating, inside a basic plywood cubicle. The cubicle is framed by heavy black curtains.
A woman wearing glasses and a black winter coat stands by a basic plywood cubicle, holding aside a heavy black curtain.
A woman wearing glasses and a black winter coat stands in a basic plywood cubicle, inside a large, open industrial building. The woman is pushing a basic bed with white bedsheets away from the cubicle. Next to the cubicle are a small plywood shelf and heater.
A woman wearing glasses and a black winter coat, pushing a basic bed with white bedsheets, inside a large, open industrial building.
A woman wearing glasses and a black winter coat stands in a basic plywood cubicle, stacking basic white benches on top of one another.
Sarah Rodigari

Sarah Rodigari

born 1976 in San Francisco, US
lives and works on Gadigal land, Eora nation, Sydney, Australia

 

Sarah Rodigari was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

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Sarah Rodigari creates performances that address economies of exchange pertaining to socio-political engagement, shared authorship and new institutional critique. Working at the intersections of theatre, visual art and social practice, her method is responsive and context-specific. Recent projects take the form of lecture, text, video, collaboration and curation.

Rodigari has presented work at the Museum of Contemporary Art, Sydney; Melbourne International Arts Festival; South Project, Indonesia; PACT Zollverein, Germany; Centre for Contemporary Art Glasgow; The National Review of Live Art, UK; Anti-Contemporary Arts Festival, Finland, and SOMA, Mexico City. Sarah has a BA (Hons) in Sociology (UNSW), a Masters in Fine Art (RMIT) and is currently a PhD candidate in Creative Art at the University of Wollongong. She recently published a chapter on performance art and sympathetic magic for the publication Travel and Transformation and co-edited the book Going Down, an anthology of contemporary Sydney performance. Rodigari is a founding member of the collective Field Theory, who make and support art projects that cross disciplines, shift contexts and seek new strategies for intervening in the public sphere.

]]> S.J Norman https://kaldorartprojects.org.au/profile/sarah-jane-norman/ Thu, 14 May 2015 04:46:23 +0000 https://kaldorartprojects.org.au/?post_type=profile&p=2003

S.J Norman

A person wearing a black leather jacket, inside a large, open industrial building.
A person, seated at a basic plywood table, inside a large, open industrial building.
A person, wearing large headphones, seated at a basic plywood table, on top of a small plywood platform. On the table is a laptop, desk lamp, and electrical device connected with 4 audio cables. Behind the person is a large blackboard, with text handwritten in white chalk, including, “Ghost, Spectre, Phantom, Apparition.”
S.J Norman

S.J Norman

born 1984 in Sydney, Australia
Wiradjuri, South-East region
lives and works in Australia and the US

 

S.J Norman was a participating artist in the Australian Artists' Residency Program as part of Marina Abramović: In Residence, 2015.

Explore the residency

SJ Norman is an artist, writer and curator. They are a trans-masculine person and a south-eastern Koori of Wiradjuri heritage. Their career has so far spanned seventeen years and has embraced a diversity of disciplines, including solo and ensemble performance, installation, sculpture, text, video and sound.

Their work has been commissioned by the Biennale of Sydney, Performance Space New York, Venice International Performance Art Week, and the National Gallery of Australia, to name a few. They are the recipient of numerous awards for contemporary art, including a Sidney Myer Creative Fellowship and an Australia Council Fellowship. They are the author of one book, the award winning short story collection Permafrost. Their writing has won or placed in numerous prizes, including the Kill Your Darlings Unpublished Manuscript Award, the Peter Blazey Award, the Judith Wright Prize and the ABR Elizabeth Jolley Short Story Prize. In 2019, they established Knowledge of Wounds, a global gathering of queer First Nations artists, which they co-curate with Joseph M Pierce. They are currently based between Sydney and New York.

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