Brunton Avenue explores the translation of place through memory, structure, and observation. Drawing on a background in cartography, the aerial perspective became a method of navigating the act of painting itself — a way of constructing imagery through systems, mapping, and spatial relationships rather than visual recall.
 
For an artist with Aphantasia, where the ability to voluntarily visualise imagery is absent, finding subject matter can become both complex and uncertain. These works emerged from the need to paint despite that absence, using locations personally visited as anchors for reconstruction. Through layered geometry, line, and fragmented detail, the Melbourne sporting precinct  is reinterpreted not as a direct representation of memory, but as an analytical and emotional response to place, experience, and the process of recalling without images.