RECENT writing (2017 — )
Street Art Meets Aboriginal Culture in the Work of Reko Rennie
Exhibition review for Hyperallergic, December 2024
The essence
Essay for exhibition by Renee So as part of Local / National / International at The Lowry, November 2024
healing at a distance
Essay for 99 glasses, solo exhibition by Shirley Jianzhen Wu at Post Office Projects, November 2024
The finest art galleries in Melbourne as picked by a local curator
Melbourne City Guide, Roadbook, October 2024
bulletin #74
Editorial, Women’s Art Register, July 2024
a break-up letter to silence
Criticism, Suite 7a, July 2024
Sincerely Yours, ARMY: Exploring Fandom as Curatorial Methodology
Book Chapter, Bangtan Remixed: A Critical BTS Reader, Duke University Press, July 2024
Watching the night watch
Reading, Dinner Party Press, May 2024
Why art can’t be apolitical
Overland, April 2024
The show inviting Australians into Palestinian life: ‘Artists can move nations if they want to’
The Guardian, January 2024
Artists as influencers: advertising or advocacy?
Opinion piece for Art Guide, January 2024
no coincidence
Studio visit and interview with Desmond Lazaro for Look, Art Gallery of New South Wales, December 2023/January 2024
hossei
Critic’s Choice for Artforum, September 2023
Why I love being a BTS fangirl in my 30s
The Guardian, June 2023
Never Mind the Nepo Babies—Here Come the Crony Pals
Opinion piece for Art Guide, March 2023
The Political Purpose of Self Care
Essay for Self Care Action Series, solo exhibition by Kate Just at Linden New Art, March 2023
Beyond the Canvas
Profile on Emma Coulter for Artist Profile, March 2023
how i see it: blak art and film
Exhibition review for Artforum, March 2023
i will wait for you until 2025
Extended exhibition text for Recreation, project8, February 2023
Can a cultural critic actually be ‘neutral’? And should they be?
Opinion piece for Art Guide, February 2023
knit your own: the great australian dream
Essay as knitting pattern for Suburban Turrets, solo exhibition by Emma Buswell at Goolugatup Heathcote, November 2022
soda jerk
Critic’s Choice for Artforum, November 2022
20/20 vision
Essay for The Middle Distance, solo exhibition by Britt Salt at St Heliers Street Gallery, November 2022
Picass-no
Opinion piece for Art Guide, October 2022
contested air
Essay for Conflated, NETS Victoria, September 2022
Racial equity and representation
Writer for NAVA Code of Practice for Visual Arts, Craft and Design, September 2022
Conversations with my father
Essay for Evanesce, Centre for Projection Art x Climarte, June 2022
IF you know, you know
Essay for My parents didn’t cross the Mekong River so I could shit in a hole, solo exhibition by Michelle Bounpraseuth at Chalk Horse Gallery, April 2022
you can’t be what you can’t see
Profile on Amrit Gill for Art Collector Magazine, Issue 100, April — June 2022
If you’re no longer making art, are you still an artist? Who decides?
Opinion piece for Art Guide, March 2022
WHEN SHOULD YOU WORK FOR FREE?
Opinion piece for Art Guide, February 2022
Filling the hearts of absent women
Essay for Hearts of Absent Women, solo exhibition by Ema Shin at Counihan Gallery, February 2022
#CASUALFAN
Fan letter as curatorial essay for Sincerely Yours, January 2022
goodbye 2021: a year of loss and optimism
Opinion piece for Art Guide, December 2021
Days like these:
Anecdotes on the dogs in my life
Commissioned for the Companion Companion Reader, 2021
a conversation between friends
For Writing in the Expanded Field Vol 3, ACCA
on the ordinariness and extraordinariness of this thing we call art
Opinion piece for Art Guide, January 2021
in between spaces
Essay for Corporeal/Spiritual, solo exhibition by Linda Sok at Firstdraft, November 2020
reading between the lines
Essay for Are You Having a Good Night? at Fremantle Arts Centre, September 2020. Catalogue designed by Susie Blatchford
We are the dew drops
Profile on Lindy Lee for Art Guide, September 2020
FACING THE TIMES
Catalogue essay for About Face at Artisan, July 2020
burnt out culture
Opinion piece for Art Guide, June 2020
on loving bad artists
Opinion piece for Art Guide, February 2020
To those i’ve loved and those i’m yet to love
Hand-written love letter as curatorial essay for The Four Letter Word at Artbank, November 2019
about a pink sweater
Personal essay for Pom Pom Quarterly, November 2019
A SPACE OF YOUR OWN
Curatorial essay for Open Close Gallery, November 2019
Arts Writing in the Meme Age
(and Other Complications)
Opinion piece for Art Guide, August 2019
ARt/WORK
Curatorial essay for For Love or Money at Town Hall Gallery, July 2019
STATUS QUO
Art criticism for INSITE Magazine, May 2019
barriers to entry
Catalogue essay for Barriers to Entry at KINGS, April 2019
what does love have to do with it?
Catalogue essay for From China with Love at Hugo Michell Gallery, February 2019
the quilts of jess and cynthia johnson
Garland Magazine, Issue 12, September 2018
Anonymous was a Woman
Catalogue essay for This Wild Song at Town Hall Gallery, September 2018
the burrangong affray
Exhibition review for Un Extended, July 2018
interview with nikki lam
Liminal Magazine, May 2018
glossary
Experimental essay for Infrastructuralism at La Trobe Institute of Art, February 2018
WIP: The unfinished business of feminism
Exhibition review for Runway Conversations, January 2018
heroine knits
Portrait Magazine, Issue 58
poetry of the everyday
Article published in Journal of Australian Ceramics, Issue 57, November 2017.
Permission has been given to make it available on this website.
© The Australian Ceramics Association 2017/2018
interview with jason phu
Liminal Magazine, November 2017
five ways with clay
Exhibition review published in Journal of Australian Ceramics, Issue 56, July 2017
Permission has been given to make it available on this website.
© The Australian Ceramics Association 2017/2018
a white utopia
Art criticism, June 2017
performing geographies
Review of AsiaTOPA for 4A Papers, Issue 2, May 2017