I work in the field of visual art through the streams of management and curation. My practice has evolved through working in institutions, gallery direction, public art advisory, board membership, and arts leadership. Now, as Fair Director at Melbourne Art Fair, my work focuses on shaping a platform that supports artists, galleries and contemporary practice at scale.
What role does intuition play in your approach?
Intuition plays a significant role in my approach, but it’s an informed intuition shaped by years of working closely with artists, galleries, collectors and curators, and by paying attention to what resonates, what feels urgent, and what conversations are needed.
I trust that instinct, but it’s a process that is also guided by research, consultation and collaboration.
A common myth about your industry?
There’s a common misconception that art fairs exist solely to drive sales. While commercial viability is an inherent priority, fairs also function as vital cultural platforms — spaces where ideas circulate, careers take shape, and audiences encounter contemporary practice in a concentrated and meaningful way.
Are there particular places, histories, or cultural threads you find yourself returning to?
I consistently return to the histories of artist-run initiatives and independent spaces. They’ve shaped my thinking about how contemporary art ecosystems function — particularly the importance of experimentation, community and care as foundations for larger institutions. I’m also interested in the ongoing relationship between local contexts and global exchange.
What has been a particularly memorable encounter/environment?
Walking the floor of Melbourne Art Fair before it opens — when the works are installed but the public hasn’t arrived — is always memorable. It’s a quiet, anticipatory environment where you can sense the impending thrum.
Least favourite interior trend?
When restraint turns into uniformity or blandness. My least favourite interior colour is grey!
Artwork to match the curtains, or the person?
Definitely matching, or not matching, the person.
A must read?
What is Contemporary Art by Dr Terry Smith (2009) and The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art by Donald Thompson (2008) were pretty foundational for me when I was starting out as an art dealer. I’d love to find some more recent equivalents. Recommendations welcome!
A must listen?
I’m enjoying The Art Newspaper’s A Brush With and The Week in Art podcasts at the moment.
Favourite place to dine?
I have to say Marion in Fitzroy. It’s my go-to.
If you could undertake any project, without limits, what would you pursue?
A gallery and sculpture park with an epic garden, like Hauser + Wirth Somerset.
One thing you can’t work without?
My note book. I like to use pen and paper to take physical notes. It cements things in my mind so much more effectively than notes on my phone or laptop. Plus you have the satisfaction of being able to cross, or even violently scribble, something off!
Advice you’d give to your younger self?
Take more risk.
You can invite any three individuals to dinner, who do you invite?
I’ve really enjoyed working with the next generation of gallerists in the planning of this year’s Melbourne Art Fair. I’d love to be in a room with Conor O’Shea from S_y_d_n_e_y_S_y_d_n_e_y, Emil Scheffmann from Grace and Matthew Ware from Animal House Fine Arts. I’m sure it would be very lively.
A hero?
My daughter Sage started school for the very first time when I was knee-deep in the planning and delivery of my first Melbourne Art Fair. She coped so well with my absence.
If you could live with any artwork of your choosing, which one would it be?
A Francis Upritchard bronze from Fine Arts, Sydney or a glass work by Tamara Henderson from PALAS.