Through found objects, we undertake an exploration of our own emotions and the questionable permanence of humanity in an ever-increasing digital world.

I have a long standing obsession with found photography and objects - I love to explore the relationships we hold with objects, in particular, photography. I have undertaken several projects exploring this, highlights of which can be seen below. These two projects were displayed as part of Monash University's graduation show, MADA Now, in 2016.

Anon Anon

In "Anon Anon", photographs and other objects created by authors whose identities have been lost to the "catastrophe of Time" are presented, exploring themes of memory and nostalgia. The research undertaken investigates our emotional connection to memories in tactile media - because of their immediate physical presence, a stark contrast in today"s digital world, we seem to feel a more emotional connection to these objects. As Daniel Palmer writes, we are attracted to their historical residue, the small indicators that they have been handled by some long lost soul. Anon Anon is an exploration of this idea, and whether this excitement is over the memories themselves or a side effect from the media they are recorded in. It also questions the permanence of object/images, and the accuracy with which they portray the human experience. Ultimately, it is a celebration of this ongoing experience of humanity and the anonymous traces that we leave behind after we have gone.

View from this Side

Found in an old shoe box in a locked cabinet in the corner of a large antique bazaar in the Melbourne suburbs, these images are a long forgotten part of someone"s personal memories. The images in this project were taken in various places around the world, and can be identified by the landmarks included in the shots. Buckingham Palace, Niagara Falls, and the Empire State Building are just some of the famous icons that help us track the movements of our photographer. The collection also includes images of anonymous family and friends, the people she felt were important enough to include in her permanent memories. It"s obvious to see that these images once held significant meaning for someone. Yet, at some point, they became unimportant, and destined for a life of mysterious anonymity. In the words of Susan Fereday, they hold "a kind of indeterminate melancholy, or soporific malaise", something that draws people to found objects and to these photographs. This project is an almost archaeological undertaking. Despite not knowing this person or their whole story, there are some things we can piece together, creating an account of their journey. In some ways, we are also on a similar journey. We are following this person back in time and taking an almost voyeuristic view of their life. We can see where they went, and follow their path across the world. It is also interesting to note that the presence of people and loved ones in the photographs increases as the photographer grows older, as if she stopped devoting her life to changing scenes and companions, and instead settled down with those she knew best.