“I read all my work aloud as I redraft because the way it sounds is important to me, but voice isn’t just about style. It can also be a mode, a novel’s way of thinking, like in Beckett’s The Unnameable.”
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“That constant replacement of the immediate past with ‘the new’ is a dissociative tendency—a psychological condition that negates empathy or melancholic mood states. Modernism and settler-colonialism both engage in similar dissociative practices—it’s conceptual territorialisation.”
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“Part of the beauty of poetry, for me, is that I can let go of the desire to be understood. I can let go of accuracy and clarity in favour of a more nebulous, emotional truth in a playful space that is rife with possibility.”
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“I adore the camaraderie that comes with acknowledging that life and specifically womanhood is meant to be messy and chaotic, and it’s at that intersection where you find beauty.“
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“It’s important that this project remains malleable and joyful, not exhaustive. Otherwise why do it?“
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“If it’s not my story to share, I won’t share it. I only share my lens, the impact on me, my take on the world. I hate trauma porn so I’m not going to exploit my people’s history in order to make a bunch of white audiences feel something.”
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“Grief is the other side of love; we grieve because we love. I don’t think I would have it any other way.”
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“Self-publishing makes it possible for anyone with an internet connection to hold a copy of their own book in their hands. It also makes it possible to disseminate that book throughout a community, a society, and the world.”
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“I find it important to have a period of downtime in the studio between projects. To be kind of aimless and spend time reading or drawing—things that form a baseline for the bigger ideas to grow.”
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“I’m unashamedly a political writer—some people (and writers) think writing shouldn’t be political or polemical, and I have no idea who came up with that rule. Who benefits from such a rule? Not minorities.”
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“The main question I wanted to address in The Burrow was: how does a family who have suffered an unthinkable tragedy, go on?”
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“First and foremost, The Sunbird is a work of activism. It is art as activism, necessarily brief to counter the argument that the question of Palestine is complicated.”
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“[…] all these labels and myths about Western Sydney only restricts us as artists; frankly I’m tired of caring how we’re perceived. Like me, this work just wants to exist.”
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“I’ve always had a dispute with narration, since it traps the reader in immersion, like a drowning dragonfly. (Are writers part of the entertainment industry? Are books pastimes?)”
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“I am interested in what people will do to propel themselves into wealth, luxury and excess—especially if you possess none of it but believe it to be your birthright.”
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“I am averse to the idea of a conventional-looking facade and simplified visual emulation of historical language. I am not too interested in what the image ‘looks’ like; I am more focused on how a complex thought can be represented through methods learnt from an existing long-established practice of painting.”
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“This debut show is something of a coming-of age-story, a personal renaissance. The realisation that I had the magic within myself all along.”
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"Language is modification. It shows that the self is really a perpetual performance."
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"I think of hope in the same way I think of utopia: it’s not a fixed position, its very essence comes from the fact that we are always striving for better."
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"I could pinpoint the major presence of all these texts in my book. I used it all. I was making my own curriculum."
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