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Studying sculpture and printmaking at the National Art School and Alexander Mackie College in Sydney during the 70s, Vivien's prints and timber sculptures were informed by nature and landscape. After graduating she was awarded a Visual Arts Board Grant to exhibit with the Sculpture Society, Sydney. 

Taken by the Japanese aesthetic and interpretation of nature, Vivien developed her visual language through carving woodblocks, hand printing and mark making. Creating a body of work that included scarves, textiles and collages, where layers of unique monoprints, sgraffito, textures and muted colours encapsulates the essence of the natural world. 


Developing her textiles further with the knowledge that the printmaking techniques could be reproduced digitally, she approached Think Positive Prints, Sydney. Emilie Cacace’s expertise facilitated Vivien’s singular visual language where the technology allowed her work to develop in unexpected ways. The macro scale of the block prints makes for striking contemporary compositions, the muted colours, textures and layers rendered by hand can be revived, accentuated and lose little definition. The shift in scale and complexity realised in these collections and larger commissions.  

During her four decade career she has taught in professional and educational arts programmes. The printed scarves sold in galleries and select stores. Exhibiting in solo and selected shows within public and private galleries and museums around Australia. Represented in public galleries and institutions within Australia.


Haley's exhibition work continues to evolve, depicting our place in the natural world within the context of a rapidly changing environment.


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