Intervention   “Arc” is inspired by the Australian painters Rick Amor and Jeffrey Smart and their appreciation of the overlooked shapes in the industrial landscape. This led to an interest in sculptural architecture and a trip to Spain to respond to the colour and geometry of the architecture of Xavier Corbero, Ricardo Bofill and industrial buildings throughout Spain. Cement sculptures, cast from wood originals, play with the psychological impact of architectural archetypes.
  Enormous lake   Shot through the night in the Highlands of the Westfjords in Iceland, Bound to Stone centres on themes of loss and isolation contrasted with hope, and the harmony found in this intersection of emotion.  Each image immerses the viewer, creating an atmospheric energy through ambiguity, contrast of light and dark elements, and use of the naturally occurring weather and prolonged light during solstice.   “Maybe people will just experience emotions that they’ve felt before, that don’t necessarily have a name - especially tied to the experience of isolation or loss, when single emotions aren’t necessarily dominant. There can still be levels of hope and positive experience overlapping - your mind finds its own information in the areas that aren’t resolved, in the dark or obscured areas”  – Kane Alexander
  Sleeping Dingos     In vast natural spaces there can be moments beautiful and profound.  The use of multiple exposures from cameras that date back to the 1950’s allows the proportions of the images to vary. The dream-like effects in the images are achieved without much interference.  “Eyre” was shot during 2016 along the Oodanatta Track in the South Australian desert.
  Falls   A skeleton forest near Falls Creek, Victoria, Australia.
  The Colour and Light of Mist and Ice  is exploration of Iceland’s isolated landscape. The series celebrates the imperfections of film, with double exposures and unexpected composition shifts enhancing the raw aesthetic.
  Immaterial   Captured in the South Island of New Zealand, these works look at the perception of the individual in splendid landscapes. “Transitory” references the hyperbolic scenes in romantic paintings throughout history. Similar to the work of Eugene von Guérard, this work represents a personal response to each location. Like Caspar David Friedrich’s "Wanderer above the Sea of Fog” 1818, the scene is altered from reality to express emotional response. In this case, part of that expression is evoked by the unpredictable nature of the equipment used. Using an old German 35mm film camera, multiple light exposures are layered. The positions of the exposures are only estimated, as is the rewinding of the film.   
 Cocooned in the shelter of a bus for thirty hours at a time, driving through the fierce and beautiful Patagonian landscape. The land drifts by with a monotonous cinematic quality with only the glass between you and the world outside. With the movement of the landscape, your imagination creates a new romantic reality.