WHY DO I CREATE?
 

I create because play is serious. Because laughter is not a distraction from the world — it is a way back into it. Because in moments of shared joy, stillness, or absurdity, we remember who we are. At the heart of everything I make — from intimate one‑on‑one encounters to large‑scale public spectacles — is a deep belief in the power of human connection. Not connection mediated by screens or performance conventions, but connection that is lived, felt, and shared in real time.
 

It Started With People
 

My work has always been driven by people: how we move, how we listen, how we laugh, how we sit together in silence. Growing up surrounded by stories, elders, and oddball characters, I learned early that humour, kindness, and curiosity are survival skills. They are how communities are formed and how individuals feel seen. Clowning, mask, and physical theatre became my languages — not because they hide the human, but because they reveal it. Strip away words, status, and expectation, and what remains is something honest, fragile, and deeply connective.

Why Play Matters
 

Play is not the opposite of depth. It is how depth becomes accessible. In my practice, play opens doors. It invites audiences of all ages, cultures, and abilities into a shared space where no one needs prior knowledge or permission to belong. Whether through bubbles floating across a city square, a clown offering a cup of tea, or a silent mask gazing back at you, play dissolves hierarchy and creates equality. This is why my work is often language‑free. It travels easily. It belongs everywhere.
 

Making Space for Connection
 

Across works like The Bubble Canteen, HIGH TEA with BOOFF, The Lost Balloon, Bolster & Lee – The Knock ’Em Downs, and my many education and community projects, the question I return to is simple:How do we make space for people to genuinely meet one another? Sometimes that space is loud, joyous, and overflowing with bubbles. Sometimes it is quiet, intimate, and shared between two strangers.

Both are equally radical.
 

Art for Public Life
 

I am drawn to public spaces — town squares, school ovals, festival hubs, theatres, and unexpected places — because they belong to everyone. Creating work that lives comfortably in these spaces is a political and poetic choice. It says: this is for you. No ticket barrier. No cultural gatekeeping. My large‑scale installations and roving works are designed to soften cities, invite pause, and remind us that joy is a collective experience.
 

Teaching, Passing It On
 

Education is not a side‑practice for me — it is central. Working with students, teachers, and communities across Australia and internationally continually feeds my creative life. Young people understand instinctively what adults often forget: that play is how we learn, how we take risks, and how we grow resilience. Every workshop, incursion, and residency is an exchange. I teach, yes — but I also listen.

Why I Keep Creating
 

I create to:
 

• invite laughter where there is heaviness

• offer stillness where there is noise

• build moments of shared humanity in a fragmented world

• I create because joy is not frivolous. It is necessary.

And because, in the end, the smallest gesture — a bubble drifting past, a clown’s glance, a shared breath — can be enough to remind us that we are not alone.