The Moment of Collection

In the series, Collection, I explore the changing nature of the relationship of horse and rider in the highly competitive world of elite equestrianism. With the horse industry in Australia worth around AUD$6.3 billion per annum, increasing commercialisation of equestrian sport is eroding aspects of the horse-human relationship traditionally at the centre of the sport, threatening the formation of vital deep bonds between horse and rider.
Developing these bonds involves a symbiotic melding of both bodies, with humans and horses establishing a high level of mutual bodily control and sensitivity. In essence, it’s an empathetic, physical dialogue between the two, with the ultimate goal of having two bodies operate as a single unit in the competition arena. This series offers glimpses into moments of intensity, intimacy, and mutual understanding shared between these magnificent animals and their riders, capturing their silent communication.
This beautiful synchronicity can take years to develop, starting with the most rudimentary level of communication, then, through a system of applying pressure to parts of the horse’s body, which is then developed over countless hours of working together.
It is based on mutual respect and understanding, and the development of trusting partnerships is particularly important in elite equestrian sport, where horses and humans rely on each other to tackle sporting challenges.

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I am a photographic artist from the Central Goldfields of Victoria, Australia.

In 2014, I relocated from Melbourne into regional Victoria, to a rural property outside of Castlemaine. I think that living in the country has changed the way I look at and connect with the natural environment. So many of us are disconnected from nature; and we are damaging the environment at a terrifying rate. At some level, many of us are grieving all this, and through my work, I am trying to honour that grief and to create a deeper connection with the natural world around me.

From a young age, I imagined a working future in the arts, but ended up being sidelined by an international career in law and social impact. Initially working as a lawyer in top-tier firms in Australia and Hong Kong, I went on to work in the offices of State and Federal members of parliament, founded an education not-for-profit, got involved in documentary film-making and set up a social impact consulting firm.

For me, the “gift” of COVID was to make the long-overdue decision to commit to developing a full-time art practice.

I haven’t looked back.