Currently: Building ELM, a software helping the next generation of high school students navigate learning and career trajectories.

ELM helps 14–17 year olds figure out their career path through conversations with a frontier model, replacing generic advice with something personal and practical. I led the design and architecture of our second version, drawing on learning science to shape how the model talks with students, and made the whole thing myself: the engineering, the design, the Figma system. Putting a real frontier model in the hands of young, vulnerable users has turned the questions I keep returning to into concrete design problems: how to guide someone without making them dependent, and how to keep them able to question and steer the model rather than just defer to it.

"The Network School is an experimental, physical co-living and co-working community. It operates as a 'startup society' designed for remote workers, tech entrepreneurs, and digital nomads."

I joined the July cohort to build Elm somewhere I could be close to people working with frontier AI full time, and to learn from the work happening around me.

The Primer is an introductory guide and foundational framework for Network Nations. I made a series of infographics that translate complex ideas of social organisation and governance into something legible to the people they affect.

Endless Library is a co-operative of 20 people building a new third space in Sydney. More than a library, though it does have a curated catalogue, it's an experiment in collective governance and community building, opening August 2026. I help run its finances and governance, keeping how the group makes decisions clear and workable for everyone in it.

The Network Nations Workshop, hosted by BlockchainGov at Emerge Lakefront in Stockholm, was a six-day gathering of thinkers, practitioners and academics, including AI ethicists, impact investors, and representatives from initiatives like Burning Man, Edge City, and ReFi DAO, all working to co-create the foundations for Network Nations.

With Lovisa Wiklund, I presented our work on why metaphor matters, drawing on historic case studies of metaphor in political organisation. The talk shared the thinking behind two projects: a ledger of political metaphors and a series of infographic illustrations describing how Network Nations organises itself. We then ran a workshop where participants hand-drew the symbols and words they would use to describe it. The through-line was the one I keep coming back to: how you make an abstract system legible to the people inside it.

Feÿtopia is a collective of artists, entrepreneurs, academics and technologists experimenting with co-living and collective flourishing over a four-month season, a testing ground for more human-centric, decentralised ways of organising.

I hosted Resonant Bodies, a workshop in deep listening and body-sensory attunement, inspired by Pauline Oliveros and a neurodivergent lens drawn from synaesthesia. Working from the premise that deep listening does not prize the ear alone, participants gathered sound through the body in an enclosed garden, and we transposed what they felt into a score, an asemic and intuitive record of the experience. It was another way of asking how you make an inner, invisible experience legible to others.

"SheFi is an educational accelerator and global community dedicated to empowering women and marginalized genders to learn about and participate in the Web3, cryptocurrency, and Decentralized Finance (DeFi) spaces."

At SheFi I completed modules in blockchain fundamentals, DeFi, Web3 and digital ownership, wallet security, and layer 2 scaling. It deepened a working fluency in emerging technology that runs through my work, art practice and research.

Edge City is a "society incubator" that convenes people working at the frontiers of tech, science and society in popup villages around the world, an in-person lab for new ideas, technologies and ways of organising.

I was invited on a scholarship to observe emerging discussions on the future of blockchain and decentralised science, and to sit in on governance workshops hosted by the Network Nations Alliance. Mostly I was there to listen, close to the conversations about new technology and how we govern with and through it.

"The Degree in Cognitive and Brain Sciences provides a strong foundation in cognitive science, neuroscience and computation, with an emphasis on building essential research skills including science communication, statistics, programming and critical thinking."

I'm studying how the mind and brain work to understand something I keep running into in my own projects: how people think alongside technology, and what happens to that when a machine starts doing some of the thinking. It's also where I'm building research skills, from statistics and programming to science communication.

Since 2015, the Varda Artists Residency has hosted four to five creatives at a time aboard the historic SS Vallejo, drawing artists, writers, curators, scientists and creatives.

Traditionally closed to the public, I was privately invited to reside there to develop my practice. It was where I first started writing code, teaching myself Python, the beginning of the technical side of how I build now.

For more than 25 years, Kunsthaus KuLe has been a utopian experiment in interconnecting art and life (Kunst & Leben) through collective living, founded by creative practitioners in a once-squatted five-storey building on Auguststrasse 10, Berlin-Mitte.

I lived within the community while developing the visual language of Studio AVA: brutalist, data-inspired typography that reduced words into sequences of symbols. It was a study in the philosophy of language through form, how meaning holds once it leaves us to become syntax and something shared, and what stays unscripted in the gap between what we say and what we mean. I was exploring language as a cognitive technology: something we think with so completely that it couples with the mind in a feedback loop, an early version of the extended mind thesis. If language is part of that loop, then changing its form changes perception, and reducing words to symbols was a way to test exactly that, watching how a shift in form adjusts the way meaning is read.

Toy Factory was a digitally native photography studio built around four leading Australian photographers. Passionate about art and culture, I saw an opportunity early: I coordinated the four artists across multiple launches, explored what digital curatorship could be, and raised over $300,000 in sales. It was an exciting way to contribute to curating photography right at the point where it met a new technology.

VERSE was a pop-up gallery on George Street, Sydney, bringing digital art into a physical space, another chance to curate at the meeting point of art and new technology. I managed a team to design and build an online gallery platform alongside the space, and oversaw $60,000 in angel investment and a $20,000 Creative NSW and City of Sydney grant. I built the community around it online and in real life, curated shows with prominent international artists, and ran a cultural program of workshops and talks at the gallery on art and digital culture.

I wrote the successful application that secured $20,000 in combined funding for VERSE: its opening exhibition, an events and learning series, and a set of talks on how creativity is changing in the digital age. Running it was a way to learn about imaging technology and digital art while engaging the community and helping educate people about a new medium.

Blockchain Australia is the industry body representing Australian businesses and professionals in the blockchain economy, encouraging responsible adoption across industry and government.

I was invited to speak on the changing nature of art distribution and shared ownership during the original 2021 rise of NFTs, translating what was happening in art for an industry audience still making sense of it.

Art Biesenthal is an annual contemporary art exhibition at the historic Wehrmühle, a former 14th-century mill in the Brandenburg countryside north of Berlin. Inspired by the architectures of Italy and the political relics of Berlin, I looked at how built environments discipline bodies and behaviour, encoding social control and consensus into the organisation of space, and noticed the parallels to Australia's "tall poppy syndrome". Using material and form, I was investigating something I still work on, how a designed structure shapes the behaviour of the people inside it.

how to behead a tall poppy (2019)

Presented at ART Biesenthal, Berlin. Cotton jacquard weave.

How to behead a tall poppy (2019) depicts an imaginative vision of the destruction of 'tall poppy syndrome' and questions such systems that allow for its metastasis. Colloquially, 'tall poppy syndrome' is often used in Australia and refers to the idea of cutting a tall poppy to size, that is undermining the success of the other in favour of remaining the same. Suspended, the two panels (2030 x 1520) hang in conversation with the viewer, who was invited to fall into the altered realm of collaged image and the violent backside of inverted red chromatic thread. The tapestry reads: red-bottom stilettos worn by morphed bodies that mingle in the wild flower hordes; brought down to earth on the same geo-level as the soil from each poppy that grows. Monumental buildings, architectures reveal themselves in outer-rings of the cyclical composition suggesting the influences of established systems in the collective syndrome.

"At RMIT you learn to use design as a strategic tool, shaping how people understand, navigate and engage with the world, and to build the creative thinking, research capability and design judgement needed to work across industries and adapt as the field evolves."

Proximity was an independent cultural programming platform I co-founded, staging exhibitions every three months for local and interstate artists across a two-year programme. I handled artist acquisition, curatorial briefs, event production and audience development, cultivating an interdisciplinary community across music, sound and visual art. We debuted more than 20 sound, visual, fashion and multidisciplinary artists into Melbourne's scene.

Studio AVA is my independent creative technology practice, sustained for a decade across Australia, Germany, the US, France and Singapore. My practice focuses on the places where people meet technology, and on making those systems legible through digital and material experiments.