In these works, inspired by a trip to the Kimberley, the crevice functions in a number of conceptual ways; the form of the crevice lends shape to the split, and the dialectic of the split – a term that implies rupture and limitation – is expressed initially through this form. The vertical natural walls of a crevice correspond to built walls; as a site conflating the ‘natural’ and the ‘cultural’, they suggest the cultural structures that enclose us and dictate our paths (such as money and finite resources).

Since landscape is the locus upon which we form our collective memory – both the expression of our romanticised national identity and shared history of colonial exploitation – the depiction of the Australian landscape is a site of contestation, being the interface of human activity and exploitation.