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Living amongst the temperate forests of Mt Corhanwarrabul in the Dandenong Ranges, Emma maintains a full-time multidisciplinary practice from her studio and gallery in Olinda, presenting a continuous program of her work. 

Working predominantly with handmade Japanese paper and reclaimed materials, she prioritises sustainability while exploring the tension between beauty and destruction, hope and resilience, responding to the frequency and intensity of natural disasters and their impact on people and place. Experimenting with soil and charcoal collected from the forest to make paint, allows her work to maintain a physical connection with the ideas in the work.

She conceived and led a creative recovery project in response to the 2021 storms that impacted her community which was exhibited at the Yarra Ranges Regional Museum in 2024 and at the Cardinia Cultural Centre in 2025, where she was artist in residence. In 2025 she was invited to exhibit two portraits in Burrinja’s Women Painting Women exhibition and in 2023, won the People’s Choice Award at the Burrinja Climate Change Biennale. She is a finalist in the 2026 Biennale, as well as the Victorian Sculpture Association prize and Toorak village sculpture prize. Using Japanese paper and wire, she is extending the work from the two dimensional into a suspended, kinetic form, evoking the colours and shapes of the natural world. 

Emma maintains a busy commission based practice, working closely with clients to make work customised for their home. This also extends to larger scale public artwork sculptures for Parks Victoria, highly designed and site specific, working closely with landscape architects and fabricators.

Her work is held in private collections in Australia and internationally.

 

Contact Emma for any enquiries or more information.

Pattern, layer, tone, ecology, geometry, cultural connection,  adaptation and survival. com

Emma respectfully acknowledges the traditional owners, the Wurundjeri people as the custodians of the land where she lives and works.

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