Her collaged depictions, though tied to movement, are characteristically static. But the flow remains, the eye is enticed to travel. The line of a woman’s hip glides into the curve of stone architecture; a body suspended mid-air spirals into a white stairwell.

A ballerina contorts her figure in line with concrete rafters. “The work poses the human body simultaneously at odds and in step with its environment,” offers the Melbourne-based artist. “It presents the body both restricted by its architecture and in symbiotic harmony with it.”

It should come as no surprise, then, that Croggon is influenced by the work of choreographers, along with directors like Lucrecia Martel, Maya Deren and Hiroshi Teshigahara and the almost-architectural drawings of Brazilian artist Lygia Clark.

“Much of my work considers the effects our geographic environment has on our physical and emotional condition. I think this concept of the body navigating natural and built space is where my interest in dance comes in as well.”

“I find the trained body and modern architecture fascinating counterparts ... each unyielding, severe, and rigorously functional in form.”