News & Insights

CultureLAB Artists 2023-24

Arts House is thrilled to reveal the cohort of artists participating in CultureLAB 2023 – 24

CultureLAB is a creative development program that supports independent artists, collectives, and small-medium organisations to generate new work. CultureLAB is one of the pathways through which Arts House commissions work for our presentation seasons.

After an intense selection process Arts House is thrilled to reveal the cohort of artists participating in CultureLAB 2023 – 24. Read more below to find out about the artists and their projects. 

Maissa Alameddine
In Grief: a series of creative collaborations 


In Grief: a series of creative collaborations is a collaborative development culminating in a sound performance series, and forming the basis of a collective of female-identifying SWANA sound artists living and working in so-called Australia. It will also involve development of a collaborative installation with Naarm-based artist Emily McIntosh. 

Maissa Alameddine grew up in Tripoli, Lebanon and now lives and works on the unceded lands of the Cammeraygal and Darug peoples. She is a multidisciplinary artist and vocalist, who explores the idea of migration as a chronic injury and uses her voice as a provocation and a response. Maissa has been part of the contemporary Arab Australian arts community for over twenty years. She is co-founder and one of the creative producers of Western Sydney based Arab Theatre Studio. Maissa has recently participated in a residency at Documenta Fifteen in Germany with Indonesian Collective Gudskul. Maissa is currently artist in residence with Parramatta Artists’ Studios Open Residency and the Creative Director and vocalist in Ensemble Dandana. She has performed in LIVE DREAMS Performance Space, Carriageworks, The Sydney Opera House, The City Recital Hall and The Art Gallery of NSW. 

Eugyeene Teh, Adena Jacobs, Melanie Lane and Ho Tzu Nyen

Created by Eugyeene Teh, Adena Jacobs and Melanie Lane, with consultation from Singapore based visual artist Ho Tzu Nyen, HOW TO MAKE A VAMPIRE is a 3-week lab exploring immortality, time, death and the undead. The artists will work with digital remains to ‘make a vampire’ through AV technology. 
Eugyeene Teh is a theatre maker, architect and designer across theatre, dance, opera, and fashion. He has worked extensively on shows throughout Australia and internationally including Melbourne Theatre Company, Malthouse Theatre, Burgtheater, Back to Back Theatre, Bell Shakespeare, Little Ones Theatre and Sydney Chamber Opera.  

Recent design credits include Die Troerinnen (Burgtheater, Vienna,) Laurinda, Straight White Men, Hungry Ghosts, and Working with Children (Melbourne Theatre Company); Blaque Showgirls, Meme Girls, Loaded, (Malthouse Theatre). With Little Ones Theatre, as co-artistic director, designs include The Happy Prince trilogy, Merciless Gods (with Griffin Theatre Company and Arts Centre Melbourne); Dracula, Dangerous Liaisons (with MTC NEON, Brisbane MELT, Darwin Festival). Other recent credits include Bell Shakespeare’s Titus Andronicus, RISING Festival’s Golden Square, Melbourne Festival’s Lady Eats Apple (Back to Back); Book of Exodus PartII (Fraught Outfit); Exil and The Howling Girls (Sydney Chamber Opera, Tokyo Festival); The Seen and Unseen(Asia TOPA) and Shanghai Mimi(Sydney Festival).  

Eugyeene is a recipient of a Green Room Award with other nominations, and has been nominated for three Sydney Theatre Awards. He is also the recipient of the Keith and Elisabeth Murdoch Fellowship and a placement through the Besen Family Artist Program. 

Adena Jacobs is a theatre director and Artistic Director of independent company Fraught Outfit. Her distinct body of work incorporates queer and feminist renderings of ancient texts, hallucinatory landscapes and rich sound scores. 

Directing credits include TITUS ANDRONICUS (Bell Shakespeare), THE HOWLING GIRLS (Sydney Chamber Opera), SALOME (ENO), WIZARD OF OZ (Belvoir), ANTIGONE (Malthouse), THE BACCHAE  (Fraught Outfit/St Martins/MIAF) and PERSONA (Fraught Outfit). In 2014/15 Adena was Resident Director at Belvoir, and in 2012 Female Director in Residence at Malthouse Theatre. In Australia, her work has been seen at Melbourne Festival, Carriageworks, Dark Mofo, Malthouse, Belvoir, Sydney Opera House, MTC, Theatre Works and La Mama. Internationally, she has directed for the English National Opera in London, Tokyo Festival. In 2022, and most recently DIE TROERINNEN (TROJAN WOMEN) for Vienna’s Burgtheatre. 

Adena’s work has been nominated for numerous awards including Green Room, Sydney Theatre Awards, FBI SMAC and Helpmanns. THE HOWLING GIRLS was recently awarded the prestigious Music Theatre NOW prize presented by the Music Theatre NOW Network and ITI as part of Operadagen Rotterdam, and the Best Vocal/Choral Work by APRA AMCOS at the 2019 Art Music Awards. 

Melanie Lane is a choreographer and performer working between Naarm/Melbourne and Ngunnawal/Canberra. She works across visual arts, theatre, music and film. Her choreographic work interrogates physical and social realities to create surreal futures that are confounded, broken and reconfigured. 

Melanie has been commissioned by Sydney Dance Company, Australasian Dance Collective, Dance North, Chunky Move, Schauspiel Leipzig and West Australian Ballet (among others) and has toured her independent work internationally. Her collaborations include projects with UK musician CLARK, Adena Jacobs, Amos Gebhardt, Leyla Stevens and Monica Lim. 

As a performer, Melanie has worked with artists such as Tino Seghal, Jan Pusch, Arco Renz, Eun Me Ahn, Club Guy and Roni, Jo Lloyd, Antony Hamilton and Lucy Guerin. Melanie was the 2015 resident director at Lucy Guerin Inc., is Resident Artist at The Substation, Melbourne. 

Ho Tzu Nyen (Singapore, b. 1976) earned a BA in creative arts from Victorian College of the Arts, University of Melbourne (2001), and an MA in Southeast Asian studies from the National University of Singapore (2007). He has had solo exhibitions at such venues as Toyota Municipal Museum of Art (2021); Yamaguchi Center for Arts and Media (2021); Edith-Russ-Haus for Media Art in Oldenburg (2019); Kunstverein, Hamburg (2018); Ming Contemporary Art Museum (McaM), Shanghai (2018); TPAM, Yokohama (2018); Asia Art Archive, Hong Kong (2017); Guggenheim Museum Bilbao, Spain (2015); Mori Art Museum, Tokyo (2012); and Artspace, Sydney (2011). He has also participated in group exhibitions at National Gallery, Singapore (2018); Haus der Kulturen der Welt, Berlin (2017); Solomon R. Guggenheim Museum, New York (2016); Queensland Art Gallery / Gallery of Modern Art (QAGOMA), Brisbane, Australia (2016); Times Museum, Guangzhou, China (2013); and Witte de With, Rotterdam (2012). He participated in the Gwangju Biennale, South Korea (2020, 2018); Sharjah Biennial 14, United Arab Emirates (2019); and the 54th Venice Biennale (2011), where he represented Singapore. His films have premiered at the Cannes Film Festival, Sundance Film Festival, and the 66th Venice International Film Festival. 

Victoria Pham 
The Songs of Mycelia 

The Songs of Mycelia is an experimental opera and installation work by composer and artist Victoria Pham. Inspired by world of mushrooms, the opera explores deep listening and patterns of growth and decay. The opera combines technological design with bioacoustic research to create a wholistic presentation of underground soundworlds. 

Victoria Pham is an Australian installation artist, composer, archaeologist and evolutionary biologist. She is a PhD Candidate in Biological Anthropology at the University of Cambridge, holding the Cambridge Trust’s International Scholarship. As a composer she has studied with Carl Vine, Richard Gill, Liza Lim and Thierry Escaich.  

She is represented by the Australian Music Centre as an Associate Artist. Pham has been exhibited and commissioned by a number of institutions like TATE Britain, the AGNSW, Anna Schwartz Gallery, West Space Gallery, Liquid Architecture and Centre for Projection Art, and Melbourne Symphony Orchestra, amongst others. She has featured in festivals from VIVID to BLEED. Pham is currently the Artistic Director of FABLE ARTS and is the host for the podcast, DECLASSIFY.  

As a scientist, her scientific specialisation is in archaeo-acoustic technology and evolution of music. Supported by the Cambridge Trust, she is a current PhD candidate for Biological Anthropology where she seeks to expand her interdisciplinary work into a broader exploration of acoustic technology and bioacoustics. 

Her artistic and musical work is driven by explorations into the sonic connections between second-hand memory, examining modes of decolonisation, communal story-telling, intertwining electronic sound with acoustic instrumentation, and ecological expressions of construction. 

Bella Waru, Irihipeti Waretini, Fallon Te Paa, Kaycee Merito 

From four Māori artists and practitioners of Mau Rākau – Māori Martial Arts, comes TOA. Drawing from living repositories, we fight; to carry legacy, dance without fear, travel beyond pain, and carve out an ancient-future from our physical vessels, with the blueprints of our ancestors. 

Living & listening on sacred, unceded Wurundjeri, Woi Wurrung, Boon Wurrung country, Bella Waru (Ngāti Tukorehe, Te Ati Awa, Ngāti Ruanui) & Irihipeti Waretini (Ngāti Rangi) are creative collaborators who over several years have established a shared practice in Tino Rangatiratanga. With a series of works entitled Tēnei tō Mātou Kainga, presented for Artshouse, Together Apart Festival, In*ter*is*land 20:20 Festival (UK), Tempo Dance Festival (NZ) and Matriarchs Uprising (CAN).  

Bella Waru is a performer & choreographer of movement, sound, space and language, and a practitioner of the Māori healing, weaving & martial arts. Works of note include Where We Stand (DanceOn 2018, Dancehouse 2019), Kaitiaki: Sovereign Reflections (Future Lens 2020, Bodies of Woven Code Corbans Estate AKL 2022), FAMILI (Midsumma 2020) & internationally award-winning feature documentary, Knots (2020). 

Irihipeti Waretini is a visual & vocal storyteller, their trans-disciplinary practice including contemporary Māori art, photography, film, movement, personal essay, soundscape, audio scripts, live looping, & taonga puoro (traditional Māori flute). Irihipeti’s previous works include Ipu Ti (2021), Djeembana Whakaora Exhibition(2022), Oro Tau(2023) and their portraits are held at Melbourne Museum & State Library.  

Fallon Te Paa (Ngāti Porou, Ngāti Whātua, Te Āti Haunui-a-Pāpārangi, Manihiki) is a movement practitioner, choreographer, composer & vocalist, and a leader in Naarm’s Mau Rākau martial arts and traditional Māori performing arts. Significant works of Te Paa include Reckōning Samuel Gaskin (2021), Rites of Passage: The Origins of Tā Moko (2022) and Being Human, Jen Cloher (2022). 

Kaycee Merito (Ngāti Pukeko, Ngāti Awa, Ngāi Tūhoe) is a dancer, vocalist & performing artist. She is a Kapa Haka & Mau Rākau teacher/co-tutor, senior performer & creative producer. Performances include Nesian Fest (2022), Rites of Passage: The Origins of Tā Moko (2022), and Being Human, Jen Cloher (2022).

Mohamed Chamas 

is an interactive and bio-responsive virtual reality installation. The breath and heart as spiritual and vital technologies of Sufi practice center Qalbspace‘s conceptual focus. Both inner virtual space and exterior installation respond to each user’s blood oxygen and heart rate data, acting as the core mechanism in experiencing the work. 

Mohamed Chamas is an artist, independent game developer and poet based in Naarm (melbourne). Mohamed’s work holds magickal, spiritual and mystic practices in both friction and synergy to emerging technological phenomena. This unseemly tension reconstitutes the borders of heresy and divine convolution, led by the ‘dijital djinni’ ; a speculative research tool. The entanglements that emerge are framed by religious and occult studies, language, ludology, gamification, and the military-entertainment complex. Mohamed’s illusory workings emerge as image, sound, writing, utterance, interaction, virtual reality (VR), artgames, installation, performance, and often as hybrid forms that dance across these mediums. Mohamed’s location-based VR altars are made for the healing of orientalised (and otherwise marked) bodies. Namely,’سايبر تصوف (cyber tasawwuf)’ (2018), which received two Freeplay Independent Game Festival nominations in 2019. Mohamed has exhibited at Siteworks, Testing Grounds, Seventh Gallery, Trocadero Arts Space, Incinerator Gallery and MARS Gallery. Mohamed’s literary work has appeared in Co-, The Lifted Brow, Liminal Magazine, Cordite Poetry Review and Running Dog. 

CultureLAB x Blakdance 

Kamarra Bell-Wykes 
Shrunken Iris (revisited)

Kamarra’s hard-hitting debut work was originally presented by Ilbijerri theatre in 2003, 20 years later armed with wealth of experience and her newly-formed theatre collective A DAYLIGHT CONNECTION, the show will be re-constructed as a site based work on an active railway station, featuring live performance and complex sound design.
A DAYLIGHT CONNECTION are a motley crew of visionary theatre-makers smashing the binaries of form, narrative, theme and performance. Perculating for almost a decade they joined forces in 2022 with the critically acclaimed CHASE (Malthouse, Hot House). Deeply collaborative the team masters almost all creative roles, performance, chorography, devising, dramaturgy, playwriting, direction, set, sound and AV. Bringing impeccable craft and mad-crack realness to a banging musical score A DAYLIGHT CONNECTIONS crawls through the mouldy crevices of class, identity, existentialism, spiritualty and the ancient-modern zeitgeist. Their 2nd work A NIGHTTIME TRAVESTY will premier at YIRRAMBOI 2023 with a suite of new works in development for presentation in 2024. 

Kamarra Bell-Wykes (Yagera/Butchulla) is a playwright, director, dramaturge, devisor, facilitator, performer, producer, curator, community developer and education consultant. Her transformative practice is highly sought after, delivering innovative research, resources and acclaimed performances. Kamarra served as ILBIJERRI’s Education and Learning Manager and later Creative Director from 2014-2018 and has been a Malthouse Resident Artist since 2020. Kamarra’s writing/directing credits include Because the Night, (Malthouse) CHASE (A Daylight Connection/Malthouse/Hothouse) The Score, Scar Trees, Viral, North West of Nowhere, Body Armour, Chopped Liver, Shrunken Iris (ILBIJERRI), Crying Shame (Next Wave) and Mother’s Tongue (Yirra Yaakin). Kamarra received the 2021 Patrick White Playwrighting Award (STC) for her work Whose Gonna Love ‘Em? I am that i AM (FCAC/ILBIJERRI).  

Carly Sheppard (Wallangamma and Takalaka) 

Carly Sheppard is a cross-disciplinary performance artist based in Naarm (Melbourne) whose work negotiates across dance and theatre performance, sculpture, drawing, voice, and installation. Carly’s recent performance credits include Set Piece (Anna Breckon and Nat Randall) Considerable Sexual License (Joel Bray Dance), Anthem (Performing Lines/Arts Centre Melbourne), and Love (Cornelius and Dee). Carly received the Sidney Myer Award, a Green Room Award for Production In Experimental Theatre for her work Crackers N Dip With Chase N Toey, a Green Room Award nomination for Performance for Crackers N Dip With Chase N Toey. Carly received a Green Room Award for Performance in Independent Theatre for Love by Dee and Cornelius, and a Green Room Award Nomination for Performance in Theatre Company for Anthem. 

small sound (Qaundamooka) is the most recent creative incarnation of Melbourne born and based multi-form artist, multi-instrumentalist Andrew James. Creating, composing and performing original music, sets and sculptural space in response to independent dance, theatre and film works for over twenty years has been not just a privilege, but an inevitable evolution. Past work for other companies and individuals include Malthouse, Hothouse Theatre, MTC, ILBIJERRI, Farmwalker Films, Blackbox Media, Human Sacrifice Theatre, Eagles Nest Theatre and Chimene Steele-Prior. 

Daniel Nixon is a composer, sound designer and multi-instrumentalist. He has performed with the Melbourne Symphony Orchestra, Orchestra Victoria, John Farnham, Yothu Yindi, Sebine Meyer, Mikko Frank and many others. He has written and recorded multiple albums and worked extensively as a session player, programmer and producer. He has scored and designed numerous films, plays and dance works, including work with Flashgun Films, Cascade Films, Little Ones Theatre, Red Stitch Actors Theatre, American Girl, Universal Television, Disney Pictures, Al Jazeera, The National Gallery Australia, Melbourne Theatre Company, Queensland Theatre, Malthouse Theatre, Chunky Move, Dirty Pretty Theatre, Griffin Theatre Company, Ensemble Theatre, Madman Entertainment, NBCU, ABC, Netflix, Arts House, HBO, Films by Jove and many others. In 2020 he won the Greenroom award for Malthouse Theatre’s Production of Loaded. 

CultureLAB x Basement Theatre 

Rebecca Jensen 
Embryonic Punch 

EMBRYONIC PUNCH is a new, vibrant, cross-disciplinary project that works in the nexus between the Contemporary Dance and Professional Wrestling scenes in Aotearoa. Pro-wrestlers and dancers draw on spectacle, grandiloquence, gimmick, flesh, and violence underpinned by a dedicated investigation into each form’s techniques, history, and subculture.

Rebecca Jensen is a dancer, choreographer, teacher, and facilitator, inspired by the equally speculative and practical forces of dance practice. Her choreography is presented in theatres, galleries, screens, and public spaces, spilling between disciplines. Notable works include Slip Kier Choreographic Award 2022; The Effect (film), Experimental Dance Week Auckland 2020; Spawn Blindside Gallery 2021; Venice Biennale International Dance Festival 2018; Deep Sea Dances Dance Massive 2017; Explorer Kier Choreographic Award finalist 2016; Sinkhole with Jess Gall and Arini Byng, Designhub RMIT, Irene Rose Gallery 2018, MPavillion 2020. 

With Sarah Aiken she founded ongoing participatory project Deep Soulful Sweats (2013). They have presented Underworld, (Darebin Arts Melbourne, Supercell Festival Brisbane 2017, Melbourne Knowledge week 2019); OVERWORLD (Next Wave Festival 2014, Dance Massive Melbourne 2015); What Am I Supposed To Do? (WAISTD) Art Centre Melbourne 2019. 

Rebecca is informed by her extensive experience as a dancer/performer including Lucy Guerin inc, Shelley Lasica, Lee Serle, Atlanta Eke, Alicia Frankovich, Mårten Spångberg, Public Movement, Harriet Gillies, Marcus Mckenzie and notably, Jo Lloyd since 2010. Green Room Nominationated for Best Performer 2019, 2020, best production WAISTD 2020. Rebecca’s a  DanceWEB Europe Scholar 2015 and recipient of Australia Councils Cité Internationale des Arts, Paris residency 2020 and resident director at Lucy Guerin Inc in 2023. 

Ooshcon + Jahra + Henry Lai-Pyne

Digital bodies carved from flesh, polygons and stories. This project instigates a collision between game and dance/movement cultures, enabling playable performances augmented by both dancers and audience. A hybrid digital/live work unfolding across 3D animation, motion capture, sound, street dance, and gaming elements, situated in a large-scale set.

The final evolution of this work with collaborators Sam McGilp and Harrison Hall will be a large-scale set in public space, bejewelled with screens/portals to a digital world. The set is a site for playful interaction for audiences, and a place for dancers and community to perform and share stories that meander through physical and digital forms.

Jahra and Ooshcon have a continuous creative partnership  (known as CONJAH), by which they facilitate young people’s programmes, hold festivals, create work together and empower each other’s practices. CONJAH are the NZ Arts Foundation Springboard Award 2022 winners, receiving mentorship from renowned artist, Lisa Reihana.

Ooshcon ‘The Decipherer Of Circles’ is an experimental Hip Hop movement artist of Samoan and palagi origin, based in Aotearoa/New Zealand. Ooshcon is an award-winning Hip Hop theatre choreographer, a respected Hip Hop and open-style battler, a sought-out performer with experimental skills in a range of Street Dance styles. Ooshcon, alongside creative partner Jahra Wasasala, as their creative identity

‘CONJAH’ received the 2022 ‘Arts Foundation Springboard Award’. As CONJAH, they facilitate workshops, hold festivals, create touring dance work together and empower each other’s practices. Ooshcon directed Aotearoa’s first Krump-Theatre work ‘HYPAMASS’, which focused on the hardships involved in Pasifika and Maori men navigating themselves towards love. Collaborated and performed by Byrin Mita (aka XIII) an excerpt of ‘HYPAMASS’ was performed in 2019 in Auckland (NZ) at the Pacific Dance Festival Choreolab and was further developed as a full length work in 2020 adding in two more Krumpers Trenten Taskcomb-Omeri (aka 12) and Jay Mita (aka Plainsundaee) which then premiered the full length work in 2021 in the Pacific Dance Festival.

Jahra (Arieta) Wasasala is a Fijian/Pakeha world-builder, movement psychopomp and writer of realms. Within Viti/Fiji, they hail from the provinces of Macuata and Ba. Jahra Wasasala is based in the relational space between a world ending and another world beginning. Jahra centers dance as the chosen tool of transmutation, living-memory, and embodiment, whilst expanding that living work into sound, adornment, poetry, sculpture, and digital realms through their collaborations that have travelled internationally to Aotearoa, Australia, Hawai’i, New York, Berlin, Guahån and Canada. Jahra has created commissioned embodiments for institutions such as the Auckland War Memorial Museum in Aotearoa, The Banff Centre in Calgary, the Smithsonian Museum in Washington DC., the University of Canterbury and the Metropolitan Museum of Art in New York, as well as performing their solo work at numerous venues internationally, collaborating with artists and performing for companies such as Christoph Winkler, Amrita Hepi, Ta’alili Company, Kaha:wi Dance Company and Henry Lai-Pyne (eek).

Jahra affectionately sees their work as ‘Oceanic Terror-fi’, and constantly moves towards being spirit-led and blood-led in their evolving creative offerings.

Henry Lai-Pyne (aka Eek) is a multimedia artist and designer working across film, fashion, moving image, and experimental music. His individual creative practice often involves ‘kitbashing’, the merging of various mediums, processes, found sounds, and subject matter, to create new narrative, symbology, and world-building. Henry’s individual and collaborative work has been featured at Soft Centre, Arts House, AsiaTOPA, ACMI, Melbourne International Film Festival, AIDLAB Hong Kong, Afterpay Australian Fashion Week, Berlin Art Film Festival, and Montreal Independent Film Festival. Alongside Henry’s creative endeavours, he has been involved with a number of new-media and art organisations including Liquid Architecture, Exhibitionist, MetaObjects, and Soft Centre, as well as practising artists Lu Yang, Bridget Mary Chappell, Jahra Wasalla, Atong Atem, and Hector Clark. Additionally Henry’s digital art practice extends to more commercial areas of the creative industry, including commissioned design for fashion label, INJURY; having features on SHOWstudio, VOGUE, Fashion Film Festival Milano 2022, Bucharest Fashion Film Festival 2022


CultureLAB x ACCA

Tina Stefanou 
An Imageless Sea 

An Imageless Sea is a new work by Tina Stefanou, in collaboration with visually impaired motorcycle mechanic and rider Matthew Cassar. The work blurs the boundaries between sight-vision-touch-sound, coinciding with Mathew’s journey to be the first blind rider to break a world record motorcycle jump. 

Tina Stefanou is a Greek-Australian artist, performer, and researcher living on unceded Wurundjeri country in Wattle Glen, Victoria. With a background as a vocalist, she works undisciplined, with and across a diverse range of mediums, practices, approaches and labours: an embodied practice that she calls voice in the expanded field. Informed by working-class and diasporic experiences, Stefanou engages in sound and research as social practice with a wide range of collaborators, exploring with and beyond the all-too-human and more-than-human voice. Investigating the forces, fabulations and flows that uphold, reproduce or alter where and for who art practice and welfare is experienced— from the planetary commons to the socio-economic realities of the (extra)ordinary. 

Stefanou has performed, published, and exhibited locally and internationally including: Salt Museum (Istanbul); Kadist Gallery (Paris); Le Pavé d’Orsay (Paris); Residency Corazon Gallery (La Plata); The Yellow House (Sydney); The Sydney Opera House; Carriageworks (Sydney); Gertrude Contemporary (Melbourne); The Ian Potter Museum (Melbourne); Blindside Gallery (Melbourne); Perth Institute of Contemporary Art; McClelland Gallery and Sculpture Park (Langwarrin); Australian Centre of Contemporary Art (Melbourne); Disclaimer journal (AU); Women’s Art Register (AU); RMIT’s non/fictionLab (AU); Cordite Poetry Review (AU); Rosi Bradotti Posthuman Summer School (NL); Project Anywhere (AU/US); Museum of Old and New Art (Tasmania); Buxton Contemporary (Melbourne); The Substation (Melbourne); and Sarah Scout Presents (Melbourne). 

Stefanou has won an Australian Art Music Award for Excellence in Experimental Music with the Music Box Project (2020); Schenberg Arts Fellowship (2020); Marten Bequest Scholarship (2021); City of Melbourne Arts Grant (2022); Art and Ecology COVA Residency (2022); SPACED Residency (2022-23) and was a finalist in the 67th Blake Prize (2022) and Incinerator Art for Social Change Award (2022). 

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