The work gives a microscopic agent physical scale. Viral structures are translated into ceramic, glass, metal and drawing, making an otherwise invisible infection encounterable as an object.

The material logic is inseparable from medicine. Ceramic processes echo destructive treatment by heat and cold; the Karyogram works use trichloroacetic acid, a chemical used clinically on HPV lesions. A recurring black-and-white code distinguishes high- and low-risk groups.

Six works mark key cellular stages through which HPV encounters tissue, enters through microtrauma, integrates and may progress toward dysplasia and cancer.

The sequence was developed in Sydney during postgraduate training in sexually transmitted infections. Biological progression becomes a temporal visual structure: encounter, entry, integration, amplification, transformation and shedding.

The project emerged from sexual-health research in Sydney and from observing that microbiological agents circulate differently across population groups. The forms originate in the interpretation of epidemiological data.

Laboratory stains used to analyse infected samples are applied to cotton paper; epidemic models are extended into sculpture with Liquidambar seeds. The work links infectious disease to social behaviour and the conditions that allow transmission to persist.

These paintings extend an investigation of biological and social systems toward the human figure. The body is approached as a site of observation, tension and transformation—at once intimate and estranged, whole and fragmentary.

The term specimen holds a deliberate tension between clinical observation and the irreducible specificity of a person. Rather than classifying the figure, the series tests what becomes visible when habits of looking associated with medicine are brought into proximity with encounter, vulnerability and desire.