10 July 2026 — & Something Else Gallery 1 /8 Belgrave st, Manly 2095
I am delighted to share that two of my artworks have been selected for The Language of Flowers, a curated group exhibition at & Something Else, a new contemporary gallery in the heart of Manly on Sydney's Northern Beaches.
I am grateful for the opportunity to exhibit alongside a talented group of Australian artists.
The Language of Flowers celebrates the beauty and symbolism of flowers, inviting to explore the relationship between humanity and the natural world through botanical forms. The exhibition brings together diverse artistic approaches inspired by growth, renewal, transformation, and the fleeting beauty of flowering life. As an artist, nature has always been at the heart of my practice. I am excited to contribute to this conversation through my selected works.
See more here: https://www.andsomethingelse.com.au/language-of-flowers
The Language of Flowers
Exhibition Dates:
10 July – 2 August 2026
Venue:
& Something Else Gallery
Manly, Sydney's Northern Beaches
Email: hello@andsomethingelse.com.au
Phone: 0429 617 236
Gallery Hours: Tuesday - Sunday 10am - 5pm
Address:1 /8 Belgrave st, Manly 2095
Opening Night
Friday 10th July 6pm
I am looking forward to sharing my work with visitors, meeting fellow artists, and becoming part of the vibrant creative community that & Something Else is building in Manly.
If you're in Sydney over the coming weeks, I would love for you to visit the exhibition and experience this beautiful celebration of flowers, nature, and contemporary Australian art.
Furniture Decoration — Art You Can Live With. Working with furniture brings me a particular kind of joy. Three-dimensional objects are experienced from all sides, revealing a different picture as you move around them. There is something deeply satisfying about applying art to forms that are not only observed, but used and lived with every day. Chairs, tables, cabinets, and screens become surfaces where colour, texture, and form extend beyond the wall. Decorated furniture has the power to anchor a room. It can become a focal point, decisively unify a colour palette, or bring cohesion to an interior style. When art moves into functional objects, it becomes part of daily rituals, adding character and warmth to everyday moments. The process becomes even more meaningful when an old piece is given a second life. Repairing, recolouring, redesigning, reimagining, and reusing transforms something forgotten into something personal and renewed. Furniture decoration is, for me, a way of combining creativity with care — honouring what already exists while shaping it into something fresh, purposeful, and full of story.
Cultural Production at Scale: Behind the Scenes of Diplomatic Performances. Large-scale cultural productions rely on careful planning, close collaboration, and deep respect for historical detail. The costume performance at the National Gallery of Australia, Canberra, in 2019 was the most complex project of this kind that I coordinated. It was created for the Embassy of Ukraine and the Ukrainian Women’s Association, and held in honour of the late Christine (Hrystyna) Syvenkyj-Bailey, whose lifelong dedication to Ukrainian cultural heritage continues to resonate deeply. The project required working across multiple teams and private collections to deliver a unified and meaningful performance for a diplomatic audience. For this event, I coordinated 29 models and 17 private collectors, alongside multiple cultural organisations and contributors, bringing together diverse elements into a single coherent presentation. Every detail — from costume construction to the order of presentation — was carefully curated to communicate a clear cultural narrative. My responsibilities spanned curatorial decision-making, logistical coordination, visual design, and narrative development, ensuring that each component supported the overall experience. An earlier performance in 2018, initiated by Christine Syvenkyj-Bailey, was created primarily on the basis of her personal collection. My role focused on shaping the presentation, coordinating contributors, and translating the collection into a clear and engaging public performance. Creating region-appropriate floral head wreaths and jewellery for such a large number of models was particularly challenging, both creatively and logistically. Managing the transport, handling, and return of numerous historical and handmade items required precision and care, but the process was completed successfully without loss or damage. Following the event, I designed a commemorative calendar featuring photographs taken during the performance by Tetiana Matsypura, extending the life of the project beyond the event itself.
