15 years. Thousands of sessions. Still inspired.
MY APPROACH
Before alphabets, before books, before screens - humans told stories on rock walls. Cave paintings, symbols, handprints: visuals carried meaning across generations long before anyone learned to read a single word. We’ve always understood visuals faster than words… it’s our first language.
Growing up with an artist father and a master-crafter mother who lip reads, that was never an abstract idea for me. There was never a dinner out where we weren’t drawing on napkins to draw diagrams and explain ideas. From a young age I understood that clarity in visual communication isn't just an aesthetic choice - it's about genuine accessibility and making sure no one gets left behind.
That understanding has shaped everything I do.
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MY WORK HAS ALWAYS SAT AT THE INTERSECTION OF ART AND DESIGN.
After an idyllic childhood in the wilds of north Scotland, I moved to just outside London in time to start secondary school. After taking exams in Fine Art, Business Studies and Biology (I liked the diagrams!), I spent year at art school in beautiful Henley-on-Thames exploring scultpure, photography, fashion, animation, traditional drawing techniques and art history before heading to university in Bristol to study Graphic Design. My work quickly established itself at intersection of both art and design - type faces sculpted from concrete, hand-painted backgrounds layered beneath detailed lithograph prints, animations that looked like paper collage, and a final year focused on creating a huge hand sewn installation mapping climate change and sustainability (a passion that still drives much of my work today).
I wasn't interested in making things that just looked good. I wanted to make things that worked.
After graduating, I spent a couple of years working as a graphic designer, then part of the marketing team at the Royal Academy Gallery in Bristol while starting to exploring my own art practice. I moved to Australia in 2011, where I was invited to join PwC's The Difference as a graphic recorder before I even knew what graphic recording was. I became part of the KreW - a specialist team of Knowledge Workers trained in a rigorous methodology of collaborative design, running complex multi-day forums and events globally. PwC was my training ground, but I Knowledge Worked with the ASE team at Capgemini, the Acceleration Zone at ANZ, the U-Collaborate team at KPMG, the Deloitte Greenhouse team, the Wave Space with EY and the legendary Ellen and Chip Saltsman in New York, Dallas and Barcelona. My specialisms were environment and graphics - meaning I was responsible for shaping the physical and visual experience of an event from the ground up, not just capturing what happened in it.
My specialisms were environment and graphics: meaning I was responsible for shaping the physical and visual experience of an event from the ground up, not just capturing what happened in it.
ARTIST IN RESIDENCE → STRATEGIC VISUALISATION
Through my continued work with The Difference, I went on to become PwC's first Artist in Residence in Australia in 2016, spending a year embedded in the organisation and deepening what it means to bring genuine design thinking to live visual work. From PwC, I moved to KPMG, where from 2017 to 2019 I led the strategic visualisation work in Melbourne — an experience that sharpened my craft and gave me extraordinary access to complex, high-stakes work. But working exclusively with organisations that had the biggest budgets meant I couldn't always be involved in the projects that mattered most to me. So in 2019 I returned to freelancing — on my own terms, with the freedom to choose the work I believed in.
WORKING WITH GOOD PEOPLE, DOING GREAT STUFF.
Then the pandemic arrived. Together with two talented facilitators, I co-founded The Together Apart: a business built around experiential virtual facilitation that grew into a thriving practice offering face-to-face and hybrid sessions once the world reopened. We partnered with large organisations and deliberately carved out space for low-bono community work, taking the colleboation methodology we’d been trained in out of the skyscrapers and into the parks. We were resolutely commited to our purpose, working with good people doing great stuff.
After five years of building something genuinely special together, I stepped away to take stock after the loss of my father. Slowing down to reconnect with my own art practice exploring tapestry and printmaking, and to rebuild as a fully independent practitioner once more.
WHICH BRINGS US TO NOW…
I work from a home studio on the edge of the Macedon Ranges that has become, without question, the best creative space I've ever had… 24-hour access, temperature control, a collection of drawing tools and materials I've been accumulating since childhood (ask to see them, I dare you), and at least one cat under the desk at all times!
When I’m not in my studio, I’m working across Australia and internationally. The work I love most is with organisations doing genuinely important things — the Good Friday Appeal, Melbourne's Royal Children's Hospital, Australian Red Cross, The Ethics Centre, Dusseldorp Forum, Barang Regional Alliance, local councils and neighbourhood houses. I also continue to work with the big consulting firms and corporates — PwC, KPMG, Deloitte, EY, Accenture, Oliver Wyman, NAB, Westpac, ANZ, Qantas, BUPA, Melbourne and Monash Universities, UN Universities, and Government Departments of Health, Veterans' Affairs and Indigenous Affairs.