Silver: Bluebird (2016)
neo_form (2016)
Topographical Complexities IV (2015)

Topographical Complexities I (2012)

Group Exchange: 2nd Tamworth Textile Triennial (images: David Lawrey/UTS Gallery)
Work created with the support of Calcoup Knitwear -

Topographical Complexities IV (2015)

Area of expertise:

Fashion design
Knitwear design
Contemporary design
Object design
Patternmaking and Drape
Swimwear design


Master of Design (Hon) by research, College of Fine Arts, UNSW, 2008
Graduate Certificate in Higher Education Teaching and Learning, UTS, 2001
Diploma of Marketing, SIT, 2001
Bachelor of Design (Fashion and Textiles), UTS, 1993


2009    (Re)Skin: contemporary knitting (UTS DAB LAB-research gallery) in conjunction with Sydney Design Week 09
2009    Visible markings (Craft Victoria)
2008    Second skins: new knitting (Ivan Dougherty Gallery, Paddington)

2016    4th Fashion Art Fashion Art Biennale Seoul (South Korea – Invited International Artist)
2016    Meroogal Womens Art Prize 2016, Nowra, NSW (selected finalist) 
2016    MAAS, Powerhouse Museum, Out of Hand: Materialising the Digital, (selected designer) 
2016    Seed Stitch: Inaugural Contemporary Textile Exhibition, Warringah Creative Space, Warringah, NSW   
2015    Wangaratta Contemporary Textile Award (selected finalist)
2014    2nd Tamworth Textile Triennial, Tamworth, NSW - on tour until 2016
2014    20x2020: group UTS DAB staff show, NG Gallery, Chippendale
2014    Craft NSW: 50 Shades of White (guest exhibitor), Craft NSW, The Rocks
2014    New Weave: Contemporary Approaches to the Traditions of Weaving, Object: Australian Design Centre
2013    Making it: 20 years of Student Fashion, MAAS, Powerhouse Museum, Sydney, Australia
2012    2nd Fashion Art Fashion Art Biennale Seoul (South Korea - Invited International Artist)
2012    Red Objects: COFA, UNSW, Paddington
2011    Sensorial Loop: 1st Tamworth Textile Triennial - on tour until 2013
2011    Wangaratta Contemporary Textile Award (selected finalist)
2010    1st Fashion Art Fashion Art Biennale Seoul (South Korea – Invited International Artist)
2008    Momentum: Tamworth Textile Biennale
2008    Fragments: methodologies of making fashion (UTS DAB LAB-research gallery) co-exhibitor/author: Alison Gwilt (exhibition and DAB publication)
2006   Blurring the boundaries (Fairfield City Museum and Gallery)
2006   Valency, Kudos Gallery, UNSW

Exhibitions curated:

2013    UTS Fashion and Textile India Tour Exhibition 
2012    UTS Fashion and Textile India Tour Exhibition (co-curated with Cecilia Heffer)
2009    Fashion Craft/Fashion Technology (curated student embroidery work on display)
2008    Fragments: methodologies of making fashion (co-curated with Alison Gwilt)


2013    The Embroiderers' Guild NSW
2009    Tamworth Regional Art Gallery NSW

Press and media:

BRINK, Sydney Morning Herald Education Supplement, Weaving a new way (April 2013)
Dhub: There’s a little more to knit one, purl two with Alana Clifton-Cunningham (August 2012) 
(Scar)ves: textile art explores self-mutilation, Precinct Publication (2010) Magazine, Issue 25 (May 2010)
Oyster Magazine, Uprising issue (May 2008)
The Age (2009)
The Sydney Morning Herald (2009)
Craft Victoria-CLOG (2009)
Craft Australia (2009)
Aprons and Hammers-the work of Greenwood (2009)
UTS Precinct magazine (2009)
Concrete Playground (2009)
Renee-Marie (2009)

Previous work...

Second skin-muff and leg wrap, 2007.
Previous knitted work that I have created, has focused on skin markings and identity. My particular interest is the traditional practice of body scarification, a tactile language inscribed onto the surface of the skin that is often misunderstood due to popular Western misconceptions and negative connotations. Within this work, body scarring has been utilised in conjunction with knitting as a form of symbolism exploring the concepts of gender, protection and identity. In some cultures scarring signifies a ‘rite of passage’: sexual maturity, the journey from childhood to adulthood, or social acceptance. Other forms of scarification serve the purpose of tribal identification, spiritual protection, or aesthetic beautification. Previous exhibitions such as Visible Markings (Craft Victoria - 2009) and Re:skin (UTS DAB LAB-Research Gallery) appropriates patterning techniques from the tradition of scarification to place knitting at the forefront of a politics of the body.  
Photography: Seung Rok Baek (seungrokphotography)

Pauldron, 2010.
I was invited to participate in the 2010 International Fashion Art Biennale in Seoul by the Korea Fashion and Culture Association. Coinciding with the 60th Anniversary of the Korean War, the hosting of the 2010 G-20 Summit, Seoul's designation as the 2010 World Design Capital and other cultural programs, the Biennale took 'War and Peace' as its theme. Through the medium of fashion art the broad aim was to channel the scarring experience of war and to provide a platform for sharing, co-existence and peace. The exhibition was held at the Hangaram Design Museum, Seoul Arts Centre. 104 Korean and International artists participated. Inspired by military body armour and practices of body scarification, the work created for this exhibition, 'Pauldron', explored the three dimensional qualities of knitting in relation to the body. A combination of techniques (tucking and short row knitting) and a variety of materials were used. Formed on a mannequin, the intention was to challenge perceptions of how contemporary knitting could be applied uniquely to the body. The work took the form of a knitted 'body piece' which both cocooned and distorted areas of the body. As a designer who works in both fashion and textiles my research interests are in demonstrating the alternative ways in which knitting can be represented on the human body and the diversity of new techniques that can be created. The work explores how unconventional techniques can be used to create new body constructions that move away from and challenge conventional garment shapes.
Photography: Seung Rok Baek (seungrokphotography)

Second Glance, 2011.
This work was produced with the support of Calcoup Knitwear for the 2011 Tamworth Textile Triennial.  The work focuses on illusion and trompe l'oeil effects and imagery.
Photography: Jennifer Chua