Escape
early back-lit prototype
Escape was developed as a compact on -wall artwork exploring how light-reactive art systems could be integrated within existing modular framing structures. The project was conceived as a proof-of-concept, testing whether commercially available systems could be re-engineered to support controlled backlighting while maintaining visual integrity and performance.
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For this work, IKEA compressed fibre frames were adapted and modified to accommodate my light-reactive artwork, alongside integrated LED lighting components to create a refined and efficient backlit solution. The focus was on achieving consistent illumination, structural stability and clean detailing within a minimal footprint — demonstrating how light-activated works can be delivered in a more accessible format without compromising aesthetic impact.
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Measuring a discrete 42.5 × 52.5 cm, Escape operates at an intimate scale, making it well suited to smaller residential, workplace or hospitality environments. While compact in size, the work retains the essential qualities of my broader art systems: internal activation through light, layered depth, and a sense of movement emerging from within the artwork rather than applied to its surface.
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The project served as an early prototype for Tier 1 art systems, informing future applications where efficiency, adaptability and budget sensitivity are key considerations. Escape demonstrates how light-integrated artworks can be engineered across a range of scales and contexts, reinforcing the flexibility of the system approach.
Whirlpool Concept installation
Ovolo Hotel
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Whirlpool is a floor-mounted, multi-panel conceptual artwork developed as part of my OASIIS presentation, exploring alternative modes of spatial engagement with light-reactive art systems. Rather than occupying the vertical wall plane, the work is designed as a portal emerging from the ground — inviting viewers to encounter the artwork from above and through movement.
The piece is composed of nine panels arranged to form a continuous field, creating the perception of a unified surface that shifts and transforms under changing light conditions. Through controlled illumination, the artwork reveals a constantly evolving pool of luminescent imagery, with colour and form appearing to circulate beneath the surface.
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Measuring 1.8 × 1.8 metres, Whirlpool operates at a scale that is both immersive and grounded, allowing it to function as a spatial anchor within its environment. The work was presented publicly at Canberra’s former Art, Not Apart fair, demonstrating its capacity to engage audiences within a high-profile cultural context.
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Conceptually, Whirlpool represents a shift away from conventional, wall-based viewing toward a more embodied experience of art. By positioning the work at floor level, the piece alters the viewer’s relationship to light, depth and transformation — encouraging contemplation, movement and a sense of entering the work rather than simply observing it.
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Whirlpool stands as an exploration into how light-driven art systems can redefine spatial orientation and perception, extending the possibilities of immersive environments beyond vertical architectural surfaces.