Lithe (2025) continues the artist’s exploration of spatial memory and adaptation. The potted rubber fig (ficus elastica), first appearing in Green Tee and later in Disc, reemerges here as a recurring motif — a living anchor within reconfigured interiors. In the background, a landscape painting references an earlier painting she made The Infrequent Transit of Venus (2006), originally inspired by the Royal Botanic Gardens and the historic Melbourne Observatory.

That earlier work drew upon the 19th-century astronomical event — the rare alignment of Venus and the Sun — observed and photographed through the Photoheliograph House and the South Equatorial telescope. Over twenty years, more than 1,700 images of the Sun were captured, symbolising both scientific precision and the passage of time.

In Lithe, these ideas of alignment and observation transform into metaphors for flexibility and reflection: interiors shift, objects migrate across canvases, and histories—personal and cosmic—quietly intersect.

Effectively, these buildings were constructed for scientific observations undertaken during six hours in two days out of the entire 19th century. Whichever nation could calculate the distance between the Earth and the Sun could be a more accurate chronometer - a navigational device used to establish positions at sea - and thus expand their empire. A transit of Venus occurred twice in the 19th century, in 1874 and 1882, after which the Photoheliograph was used to record the surface behaviour of the Sun, and the South Equatorial telescope for the observation of comets and minor planets. Another 122 years would pass before Australians had the chance to witness the transit of Venus, in 2004.

The artist constructs each composition through a grid-based framework — a habit rooted in early architectural training. This structure informs not only the spatial arrangement but also the patterned surfaces that echo tiled floors or walls. The works adopt a flattened perspective inspired by Etruscan murals, medieval illuminations, Mughal miniatures, and Japanese ukiyo-e prints, drawing from isometric projections to build intimate, ordered spaces.

In Lithe, familiar rooms become the stage for semi-fictional narratives featuring friends and relatives as recurring characters. These domestic interiors—rearranged, expanded, or subtly altered—reflect a personal and evolving visual language where memory, design, and daily life converge.