Roadster Crash scene, 2021 The scene Roadster Crash, is in reference to Elon Musk’s Telsa Roadster that he launched into space and is currently in orbit around the sun. The scene plays with the idea that the Roadster fell out of its orbit and crashed back down to earth. Shot from the POV of a figure moving through the washed up crash, the work uses camera motion as well as this figureless POV as a tool to draw the viewer into the scene. Photographed and filmed at sunrise and sunset, the work uses light and colour to create a dreamy aesthetic in an absurd contrast to that of the violence of the fragmented car. The absurd nature questions ideas of dominance and boundaries within the relationship of nature and technology. The installation and scene was filmed on Yuin Country, on Australia’s South East Coast. From the project Love Bites, 2021. Love Bites Project Bio: Love Bites is a comedic multimedia installation consisting of both sculpture and photo-media based work. The project is a surreal self-portrait in the form of a meta queer dating profile. The work looks at relational identity within the digital and natural world. The project asks what role does technology play in our lives when it comes to intimacy and dating, as well as that of danger and desire? The work is a parody that combines elements taken from documentaries such as Herzog’s Grizzly Man and Burden of Dreams as well as that of true crime, and online queer meme culture and that of found footage 1980s datings tapes. The work’s non verbal script is that of AI generated observational narrations through Alt Text captioning. The AI Alt Text has been chosen due to its inability to pick up on cultural subtext and its lack of a physical experience of the world through that of a body, or as we would perceive as one. The project as a whole follows the artist through different media as they are slowly transformed and consumed by the Great White Shark. The work explores the different ways in which we experience life through physical and digital spaces as the artist attempts to create both a sense of danger as well as intimacy with the viewer. The queer white cisgendered female body is examined through the work in contrast to that of the apex predator of the Great White Shark. The stereotype of the predatory queer woman is satirised in the work through the contrast of these two bodies, while also looking at the different lenses that shape female queer desire and whether it is ever possible to escape the haunting legacy of the male cinematic gaze when it comes to sexual desire., The Great White Shark has been chosen for several reasons, one is due to its status as an endangered apex “man eating” predator that cannot survive outside of its natural environment. Another is also because of how little we know about the sex lives of Great Whites because of their inability to survive in captivity. The work as a whole looks at the body as the medium in which we experience different spaces through a dark comedic lens of both absurd and slapstick-based humour. The work builds on the practices of other artists and theories especially that of those within Auto Theory Feminism. The work examines the vulnerability and lived experiences of different bodies and the potential for violence to be enacted on them as well as enacted by them, highlighting the role of shifting power dynamics, as well as modes of being and understanding that exist from within different spaces. Charles Darwin described the physical body as where worlds combine through our involuntary mechanised responses and movements that are due to the traces of past environments from evolution.