Amanda Schunker's work navigates the intersection of a complex, multicultural heritage, with roots spanning Chinese, Indian, and European lineages across England and Australia, alongside the raw, indifferent endurance of the natural world. Schunker views the landscape as a "non-denominational sanctuary that belongs to no one and everyone"; in other words, she seeks a practice that is unbound—free from cultural restraints, the historical weight of ancestral bound feet, and the internal prejudices we impose upon ourselves.

This body of work centers on a borderless presence—remaining unattached, yet responsive to the land. To paint abstracted rock formations en plein air is to enter a non-denominational sanctuary; a space that belongs to no one and everyone. Time in the field serves as the essential substrate of Schunker’s practice, through which she captures the “bones” of the work, or the foundational layer. These outdoor sessions are a pursuit of neutrality, painting without borders to remain as unattached as possible, yet responsive to the "calamity of triggers" found only in nature.

Returning to familiar sites across Bunurong Country, Yiruk Wamoon/Wilson’s Promontory, and Mangowak/Airey’s Inlet, Schunker taps into sensory triggers exclusive to the rock formations, capturing an energy that prioritizes intuition over deliberation. “I hope these paintings give a sense of the natural world, whether through the literal weight of rock formations or a more abstract resonance,” says Schunker. “By embracing ambiguity, the work invites a personal dialogue that can shift with each viewing. Ultimately, I aim to evoke an emotive response that beckons the viewer to pause, look closer, and perhaps question the familiar.”