Ideas behind the work…

‘Obscura’ explores the interplay between digital technologies and historical artistic tropes, in order to critique the façade which artificial intelligence creates. The cinematic quality of the drawings attempts to communicate context, that the drawing is capturing an ephemeral moment of a much larger conversation rather than a single isolated frame. I have used glass, and AI to warp original photographs of my friend’s eye, creating an exploration of the uncanny valley esthesis created after something so personal and relatable becomes clinical and digitally processed. I explored voyeurism through incorporating the idea of the lens to discuss the panopticon-esque nature of digital surveillance.

Starting points and influences…

I was interested in the ways new AI software such as DALL-E interpret subjective material I have had a lasting interest in the ways in which perception and reflection have been represented throughout history, and within a contemporary setting this is often explored through ideas of voyeurism, so I incorporated the idea of the lens to discuss the panopticon-esque nature of digital surveillance. Ways in which a larger representation of a person can be communicated through a microcosmic portrayal, built around assumptions and preconceptions.

Sources of inspiration…

I am inspired by the works of Amalia Ulman and the ways in which we present ourselves and how digital facades can alter this. Our presentation is so often superficial we have no way of knowing what is real and what is fake. Stylistically I am influenced by the dramatic lighting of Rembrandt, referencing historical artistic tropes in which the everyday was romanticized and exaggerated. In terms of perceptions and reflection I was heavily influenced by Jan Van Eyck’s Arnolfini portrait, and the way the viewer’s existence and position within an artwork can be directly challenged.

Materials and processes…

I took photos on a small digital camera using reflectors and flashes to achieve dramatic lighting, and then I used coloured pencil on paper. I then used toned grey paper and soft layers of pencil with light pressure to build up to full pigmentation, and a white Posca at the end to add highlights. To digitally augment one of the images I used Dall-E and Photoshop to create false versions of the image.

Interesting/challenging aspects of creating the work …

What I find most interesting is the persisting tropes and interests within art throughout history such as voyeurism and using art as a platform to challenge how we see things. Within my own drawing process, I found it really fascinating how the drawing comes to life only in the last few strokes and highlights.

What I find most challenging is that the process of the detailed drawings can often become tedious, and I become engrossed in the process rather than the concepts behind the work which initially motivated me to create.

Ideas behind the work…

‘City of Lights’ encapsulates the landscape of a cluttered, south-eastern apartment in consequence of modern urbanism in our century. In this place of claustrophobia, pavement, and enclosed lives, the artwork examines all the intricate details of life. Yet instead of focusing on the horrors of urban life, the routines of each animated figure of the work remind us that community and life are ongoing. As the title of the work, ‘City of Lights’, suggests the medium projection’s light, it also suggests light at the end of the capitalistic, parasitic urbanization; that people themselves are light and we are hope.

Starting points and influences…

Who am I, where am I, what do I do to define myself by not just me? It was when realising my identity is tied not only to me or my connections but my environment. So, I combined the environment of my home country, Malaysia, with Melbourne’s city into my vision. If I have my own ‘home’ in a city, what do others consider for their own? This work, therefore, is my method to conceptualise a ‘home’ for myself and others, that whenever we feel lost in the burdens of urban life and its quotidian condition- we aren’t quite alone.

Sources of inspiration…

Real-life case studies of existing cities were a major inspiration, from photographing the streets of Melbourne City to then investigating humanitarian urban matters like Hong Kong’s ‘Coffin Apartments’. My main inspiration was Kowloon Walled City, known as ‘City of Darkness’, which I reflected in my work’s title. Another main inspiration was the video game, Disco Elysium, which inspired the need to find beauty in the ugliness of a city. The movies, Wong Kar-wai’s works ‘Chungking Express’ and ‘Fallen Angels’, helped with south-eastern Asian imagery and the Japanese artist Yamagami Yukihiro inspired my medium of canvas-projection.

Materials and processes…

‘City of Lights‘ started with a digital composition plan I projected and traced onto cartridge paper, which then through gradual and steady processes drew in each apartment space referencing Kowloon Walled City and urban cities. This was done through 6B to 6H pencil, having a wide grayscale to convey the work’s realism. After the pencil on paper was done, the animating process was done through the app Procreate. Animating each figure in its own routine, I then finished it off by editing it all together as a single video to project it onto the artwork.

Interesting/challenging aspects of creating the work …

I found the process intriguing in having to balance the digital animation through projection and then the pencil on paper— so neither overwhelms the other. It took some trials and using my own projector to compare and test the projection to then the pencil on paper. Both also must work in conjunction with one another, with the pencil being the stagnant and grounding component while the projected animation is energetic and moving. It was, however, challenging to then ensure both were presented as cohesive together, of one landscape together.

Ideas behind the work…

My artwork ‘Throw Me A Rope’ delves into the theme of connection in various aspects of life, symbolised through intertwining ropes that link each character within the piece. I aim to explore the dichotomy between our inherent connections with all living things and the prevalent disconnections observed in contemporary society. While every character in the artwork shares some connection, many appear detached within their peculiar environment. This, to me, serves as a subconscious reflection of our reality, where individuals often forget their connection to the broader picture.

Starting points and influences…

Drawing, a natural inclination for me, led me to challenge myself this year by understanding light and tone through fine liner techniques. Katarzyna Gagol’s approach to crosshatching prompted my exploration. Influences from surrealist artists like Salvador Dali and guidance from Stephen Gibbs shaped my characters and their interactions. Martin Liepziger initially inspired my use of coffee stains to form foundational shapes in my artwork.

Sources of inspiration…

• Martin Bells’ ‘Worthless, Priceless’ motivated me to undertake a large-scale drawing.
• Mac Demarco’s dreamy instrumental songs from the ‘One Wayne G’ Album provided inspiration from a calm and subconscious place.
• The cartoon TV show ‘Adventure Time’ has influenced my art style and thinking since a young age.

Materials and processes…

Six vertically hung paper panels served as the canvas, onto which coffee was randomly thrown using the automatic chance technique. Ink, applied with 0.8mm and 0.4mm water-based fine liners, was used to develop characters and tonal value. Surrealism inspired the work, allowing the subconscious mind to guide the process and play with ideas emerging from almost accidental coffee stains.

Interesting/challenging aspects of creating the work …

Creating the artwork was therapeutic yet challenging, consistently drawing from my subconscious mind to craft new characters and scenes within a substantial workload. The process was gratifying, setting a challenge to produce a large-scale drawing and witnessing numerous characters come to life on paper.

Ideas behind the work…

The idea behind this work was to utilise the elements of the subject matter in the photograph and create something more from it. My art series aims to employ digital manipulation to reshape reality, challenging perceptions. Focusing on transformative power, I divert attention from original subjects to emphasize intentional alterations. I integrate manipulated elements into film photography, maintaining a connection to the source. Drawing from Andreas Gursky, repetition fosters visual coherence, while black and white tones enhance clarity. The deliberate blend of traditional film and digital techniques adds depth, utilizing texture and geometric reflections, to challenge reality perceptions.

Starting points and influences…

Main influences behind this are Andreas Gursky and Victoria Siemer. Both photographers aim to transform ordinary landscapes into works that blur the line between reality and imagination. Gursky’s large-scale photography infuses his images with sweeping grandeur. The starting point of this piece was the transformative power of altering a singular image. The aim is to push the boundaries of perception. Within each artwork, the image undergoes a transformation with Photoshop. This intentional manipulation serves as an idea, inviting the question of the authenticity of what viewers see before them.

Sources of inspiration…

• Meagan Streader’s innovative use of neon lights in her installations, her ability to transform physical spaces into immersive visual experiences through the interplay of light and color, prompted me to experiment with warm color palettes and the incorporation of neon lights into my artwork.
• Andreas Gursky’s work and his use of digital manipulation to create extremely large-scale works of fictional photography that look unreal yet still comprehensible.
• Gallery Dixon’s photography series, particularly “Venice Beach, California,” influenced my decision to focus on specific images, cropping them in a distinctive manner that introduced an element of distortion while still preserving their connection to reality. This approach encouraged me to explore the concept of ambiguity, where the subject matter might not be immediately apparent to the viewer.

Materials and processes…

I focused on intentionally using digital manipulation to alter reality. Shifting emphasis from the original subjects, I directed attention to the transformative power of altering images with only aspects of themselves, inviting viewers to question the authenticity. I used Photoshop and Adobe Lightroom to enhance composition, lighting, and details, with repetition playing a role in creating visual coherence. Choosing film photography as the foundational material added grain for depth, complementing post-production tools for precise control. I found great ease in manipulating film as the consistent grain allowed the elements to blend fluently.

Interesting/challenging aspects of creating the work …

What I found most interesting in working on all of these pieces was the extensive level of different versions and trials it took before finally settling on what would become my final, and how different it was from my original idea. I found it fascinating to learn how to cut and duplicate segments of the subject matter in a way that could be slightly believable while still distorting and creating fiction.

Ideas behind the work…

In the creation of ‘Egmode or Eggmode’, I have been exploring language and the impact that language has on influencing our thoughts and culture. I became curious about the role and responsibility that linguists have. Exploring the morality of a ‘prescription’ or a ‘description’ based model of language. In examining the French institution of language “l’Académie Française,” I became intrigued by how the board ‘prescribed’ and ‘mandated’ which parts of the French language were continued or discontinued, rather than an English model which is more focused on the observation and documentation of language.

Starting points and influences…

Art creative practice: When establishing the idea of “translating” recorded conversations into a gibberish language that sounds like English, I was influenced by Italian songwriter Adriano Celentano’s piece ‘Prisencolinensinainciusol,’ in which the artist aimed to create a song that sounded like English to Italian speakers but was complete gibberish. I was intrigued by his playfulness and light-hearted approach to exploring a topic like language, which can be quite intellectual.

Towards finalizing and refining the project, I was heavily influenced by “l’Académie Française” and created a film in which a board of ‘gibberish’ “linguists” discuss the inclusion of a gibberish word “eggmode,” as an exploration and subtle critique of this ‘prescription’ based approach to language.

Sources of inspiration…

Adriano Celentano’s “Prisencolinensinainciusol” represents an immersion into the observational practice of listening to other people and their conversations. This is reminiscent of the work of l’Académie Française.

Materials and processes…

I recorded, observed, and documented conversations I heard in public in my notebooks and on recording devices. Then I proceeded to transcribe these into a script-like dialogue with stage directions and other functions of a screenplay. I “translated” these dialogues into a conversation that sounded like English, although it was intelligible, by mimicking the syntax, diction, meter, and engagement of the recorded conversations, then replicating them with a similar combination of sounds. I then began to set up elaborate sets and props, as well as taking on directing, producing, and filming roles in the creation of the film ‘Eggmode or Egmode’.

Interesting/challenging aspects of creating the work …

I found it most interesting how, during my exploration of language, I became increasingly curious about our own relationships to language and the people around us. Through observing language, I noticed its importance in building community and shaping thought. Additionally, I enjoyed expanding and challenging myself by experimenting with unconventional art materials in the project, such as coding and papermaking.

Ideas behind the work…

My art is an expression of how fragile balance is. Our greed envelops the land we live on, polluting and commandeering the environment in a careless and thoughtless manner. If this behaviour was adopted by nature – could our bodies withstand it? This artwork delves into the repercussions of our collective impact on the environment. The piece reflects on the fragility of the balance between humanity and nature, portraying a figure trapped in the invasive grasp of branches.

Starting points and influences…

Living in an area prone to floods and storms, the constant change in the environment influenced my work. Witnessing a tree falling in my backyard triggered a profound realization about our impact on nature. This incident became a starting point for interpreting destruction into creation, highlighting the toxic relationship between humanity and the environment.

Sources of inspiration…

The environment was a significant inspiration, with a focus on studying leaves, spider webs, and the transient beauty of life, even in death. Australian musician Harry Permezel’s hauntingly beautiful songs provided a soundtrack for the sculptures, balancing melancholy with hope. Tove Jansson’s Moomintroll novels, with their eccentric creatures, served as a reminder of embracing hope in the face of challenges.

Materials and processes…

Utilising found objects, polymer modelling clay, sticks, branches, and dead insects, the artworks embodied a fusion of synthetic and natural elements. Watercolour works and a small maquette guided the sculpting process, employing an additive technique for pliability. The incorporation of flora and fauna created a biome-like aesthetic, reinforcing the environmental narrative.

Interesting/challenging aspects of creating the work …

Constantly learning new skills, such as using watercolour and sculpting anatomical features, proved both interesting and challenging. Stepping beyond my comfort zone as an artist was essential for growth. Embracing risks, studying anatomy, and experimenting with techniques led to the creation of captivating folios and works.

Ideas behind the work…

• It’s a playful exploration of institutions.
  While I positioned the project in ‘underdog opposition’ to Top Arts, both exhibitions (despite flaws on both sides) are ultimately doing the same thing: celebrating young artists. Bottom Arts is just an extension of that.
• In my research for the project, I delved into the historical representation of different school sectors in Top Arts. Bottom Arts is, theoretically, a solution to the independent school bias by omitting the selection process entirely.

Starting points and influences…

The idea initially sparked during a visit to Top Arts 2022. It’s natural to ponder about all the works the show can’t represent and then consider what a different exhibition could have looked like. The rest of the concept pretty much flows from there. I believe someone was always going to stumble upon this idea – perhaps someone already had – I’m just glad I had the opportunity to execute it.

Sources of inspiration…

I was captivated by early modernist art manifestos for a while. That crowd was just fascinating. I highly recommend the Futurist Cookbook for the most absurd and insightful look into the rise of fascism in Italy. Agnes Varda is another source of inspiration for me; she embodies all the playful brilliance of other New Wave filmmakers without the ego. Additionally, I frequently listen to Betty Carter; her voice is truly remarkable. While none of this directly relates to Bottom Arts, it still ignites my passion for art.

Materials and processes…

My primary medium is emails – countless emails and phone calls. Much of the project’s promotion and development occurred online, showcasing the wide and rapid dissemination of ideas through social media, which continues to surprise me. However, I also established vital connections using physical methods like flyposting and word of mouth. It’s astounding how much of a difference dedicating an afternoon to putting up posters around the city can make – it allowed me to reach a demographic I wouldn’t have otherwise.

Interesting/challenging aspects of creating the work …

Everything about creating the work was interesting and challenging. Particularly, I underestimated how difficult it would be to find applicants. Not all my methods were elegant. At one point, I discovered that you could gain slightly earlier access to the shortlist by editing the Top Arts URL, leading to two days spent researching every name for the most likely candidate and their contact details. I have a document filled with hundreds of links to Instagram accounts. I messaged a lot of Tom Martin’s.

Ideas behind the work…

‘Self Portrait’ examines how a place may change over time, and how our perceptions of place may also change with time. Comprising both digital and analogue photographs taken by myself in Japan across the last 10 years, Self Portrait came together through a unique digital and hands-on post-production practice that refined itself across the unit. Very personal to me, the work explores my own perceptions of the country as both an outsider and frequent visitor, as well as my own coming of age. As the world in my immediate surroundings slowly loses its façade and mundanity seeps through, Japan holds its futuristic nature and brings me back to how I felt as a child: awe inspired.

Starting points and influences…

Having previously worked throughout a unit to prepare for a final photoshoot, and then having images as the result, I flipped my process on its head this year. With an approaching trip to Japan, and the discovery of artists Jean-Vincent Simonet and Leiko Shiga, the starting point of my work this year was to arm myself with a wide array of photographs that I could then draw from and manipulate in a more hands-on and involved process. Shooting over 10 rolls of film in Japan, I had well over a hundred images to work from and became greatly influenced by my experiences there and what I noticed to have changed since my last visit.

Sources of inspiration…

Extremely inspired by the writings of Susan Sontag and Paul Strand, this year I took great influence from art theory literature and became far more philosophically aware of the art I was creating, and my whole practice in general. Questioning the photographic medium and my own involvement in it, I used the learnings to strive in the creation of something different and something more meaningful. Another major inspiration for me was film and experimental cinema. Taking great influence from classical directors – Ingmar Bergman, Michelangelo Antonioni, Jim Jarmusch – as well as modern films – Lily Chou-Chou, after sun– I studied composition in-depth. I’m also really inspired by photographers. Studying both traditional and new photographers, I worked extensively to break down the practices of various artists – most notably Jean-Vincent Simonet – to find and trial new techniques that can influence my own processes.

Materials and processes…

Shooting all my images on 35mm C-41 film, I captured various street photographs whilst staying in Kyoto and Osaka earlier in the year. I then worked through an extensive printmaking process that largely involved the unconventional printing of my original images to create wet and distorted ink pools. I then worked to recapture and recombine these textures with the original images through digital imaging software like Lightroom and Photoshop to create the ethereal and distorted works. I also experimented with printing multiple rounds onto a single sheet, as well as the use of clear contact (specifically in contact-blue) to capture bubbles of wet ink and utilize this. For Self Portrait, I combined this process with images gathered in Japan by myself across my last few trips there in the 2010s. The combinations were done by hand, in multiple layers of printing – and combined similarly in Photoshop. Once I had the works combined correctly, I worked in Lightroom across three weeks to nail down every single little colour pocket to ensure the works were in an optimal condition to present.

Interesting/challenging aspects of creating the work …

I just loved being able to experiment throughout the unit and really having the ability to challenge myself. Having focused on photography in Unit 1 and 2 last year, I felt I was often limited in my capacity to explore whilst in the studio, often waiting repeatedly for my negatives to return. This year, my devotion to expanding my practice allowed me to get far more hands-on in the studio, often trialling a multitude of things at once to produce all sorts of art. Being very self-motivated, I challenged myself to the point of exhaustion – but the results far outweighed the torment I put myself through. Most challenging was the final assembly of works, after over a month of feeling on the brink of a great discovery, my trials hit a halt and I was finally able to bring it all together at the end after weeks upon weeks of trial and error.

Ideas behind the work…

I have chosen to explore the anxiety of marginalized individuals, addressing the fears of feeling outcast from the community. ‘Self Loathing Poet’ featuring the masks, provides a tangible glimpse into isolation and self-alienation driven by the fear of societal judgment. My works aim to challenge viewers to reflect on societal alienation and the experience of walking alone.

Starting points and influences…

The inspiration for my artworks predominantly stemmed from the American Halloween scenes of the 1930s and 40s. The black and white photographs featuring children in costumes and masks evoked a combination of provocation, terror, and innocence. In my own artworks, I aimed to modernise and contextualise the eerie and discomforting emotions conveyed in those images. Referencing homemade costumes, I adopted a more organic approach to creating my own masks, embracing imperfections and roughness.

Sources of inspiration…

Vipoo Srivilasa’s ‘The Marriage of Sang Thong’ collection served as a significant source of inspiration for its unique structural features. The anthropomorphic yet foreign nature of the porcelain sculptures influenced my own work.
The hauntingly innocent portrayal of American Halloween in the 1930s and 40s captivated me, influencing my aesthetic choice of crafting monster masks that blend wholesome human traits with fear-related emotions.
The mundane yet complex nature of modern life, where people conceal their true emotions and thoughts, also inspired my artwork.

Materials and processes…

To photograph the diptych ‘Self Loathing Poet,‘ presented as a self-portrait, I used an iPhone 14 Pro in ProRAW mode within a basement garage to create a sterile and inhospitable environment.

Interesting/challenging aspects of creating the work …

The most challenging aspect was executing my ideas with exceptional detail. A compelling and interesting facet was capturing raw emotions on camera. During the photo sessions, I was undergoing a deeply emotional period in my life. Portraying grief, pain, and vulnerability on film was daunting, forcing me to evaluate my readiness to be open about my mental state.

Ideas behind the work…

• Showcasing the result of a lack of human connection, focusing on the fragility and translucency of the small-scale petals which appear on the dried botanical, creating sombre, sad, and somewhat lonely emotions.
• Directly following from ‘Source of Despondency’, depicting the flourish and joy which occurs when human connection is formed, even for a short period of time, primarily illustrated through the organic and curved nature of the dried Ginkgo plant captured.
• Final photograph in the series ‘Observe the demonstrated’, examining the effects of an ending partnership, primarily a new sense of personal protectiveness and anger, exposed through the starkly contrasted sharp ends of the dried spear palm photographed.

Starting points and influences…

• I initially knew I had the desire to capture natural beauty occurring within my local landscape, having a drawn sense of desire towards images which follow the pictorial style.
• Researching artists who followed the style led to the idea of photographing botanicals, as Olive Cotton and Robert Mapplethorpe had done.
• Despite the simplicity of their artwork, stemming from capturing a single subject matter in black and white – monochromatic format, both artists were able to evoke an emotional response to their photographs, which led to the desire to utilize any artwork I produced as a powerful medium.

Sources of inspiration…

• Robert Mapplethorpe (Calla Lily, 1986)
• Purposeful positioning of subject matter captured, to convey a deeper meaning than what is initially viewed, highlighted through the coupling of other art elements.
• NGV Exhibition – Broken Spectre, Richard Mosse (October 2022–September 2023)
• Exhibition Design, creating a space that enhances the artwork displayed.
• Pictorialism photography movement
• Photographic style that emerged in the late 1860s which emphasized the beauty of the subject matter, tone, and composition over the documentation of reality.

Materials and processes…

• Utilised simple, easily found materials, including plain black cardboard and botanicals easily accessible from my local florist. Easily accessing these materials meant I had further time to produce and refine my artworks.
• A Canon EOS 1300D Digital Camera, artificial cool-tone lighting prop, and a tripod were also used to capture each of my photographs.
• I set up a space with no natural lighting to install each of the materials and equipment, and took multiple photographs of each botanical, shortlisting them, then deciding on the best photograph to edit and manipulate to express each of my intentions.

Interesting/challenging aspects of creating the work …

I found it interesting how balance is essential in producing high-quality artwork. All elements and principles I desired to utilize within my photographs had to be of an even standard. At times, during the shortlisting process undertaken, I recognized some art elements, such as line, took on a higher quality than others, which led to an imbalance within my artwork.
I desired to produce a series of photographs, which led to the difficulty of ensuring each photograph was seemingly paired with each other, in terms of subject matter portioning, levels of contrast, and overall thematic connections.

Ideas behind the work…

‘Self reflection’ is a crucial aspect of the human experience, guiding personal growth and understanding. My sculpture represents this introspective journey, featuring a figure atop skewed stairs with an empty cage as its head, a metaphor for the boundless potential for self-reflection. The sculpture’s composition reflects life’s nonlinear path, emphasising personal growth while acknowledging the tendency to revisit the past. Using clay and acrylic paint, I convey the malleability of self-discovery and emotions.

Starting points and influences…

Antony Gormley’s influence on my work is evident in his portrayal of reflective figures. His art captures the essence of contemplation and mindfulness through the poses and forms of his sculptures. Much like Gormley’s work, my sculpture aims to prompt the viewers to engage in introspection and consider their own lives and actions. The figure in my sculpture becomes a conduit through which the viewers can connect with their own experiences and thoughts, fostering a sense of self-reflection.

Sources of inspiration…

My deepest inspirations coalesce around three profound sources. Foremost is my passion for film, an art form through which storytelling captivates me, giving a voice to the voiceless. This love extends beyond cinema to encompass narrative expression in various mediums. Equally influential are the strong figures in my life, notably my mother, whose unwavering support and sacrifices shaped my upbringing. Her resilience and commitment inspire me daily. Lastly, life’s diverse experiences, whether personal or observed in others, serve as a fundamental wellspring. Gaining perspectives from varied lenses grounds me, defining my identity, and fostering a richer understanding of the world.

Materials and processes…

The choice of materials and techniques in this sculpture plays a significant role in conveying the depth of self-reflection. Clay, with its malleability, serves as an apt medium for sculpting the human form, reflecting the ever-evolving nature of self-discovery. The use of acrylic paint allows for the expression of emotions and thoughts, adding depth and complexity to the figure and its surroundings.

Interesting/challenging aspects of creating the work …

Layering clay onto the wire frame was challenging, requiring patience to create the expressive pose embodying self-reflection. Meticulously stacking individual clay strokes was crucial for defining the body’s muscles, forming the desired sculptural form.

Ideas behind the work…

‘The Seeker’ reflects the artist’s search for meaning within the daily routine, emphasizing the often-overlooked beauty in ordinary objects. Symbolism plays a crucial role in the artwork, with books representing entertainment, knowledge, and guidance; plants symbolizing growth; music as a soul-healing force; and the shoe serving as a representation of past journeys that, despite imperfections, contribute valuable lessons for future growth.

Starting points and influences…

Initially exploring the concept of the daily struggle, the artist shifted focus inspired by a Religion and Society class, delving into the deeper philosophy of humanity’s search for meaning. The influence of found objects and their interconnected relationships shaped the creation of the sculpture, aiming to shed light on the artist’s personal journey of growth and self-discovery.

Sources of inspiration…

• Rene Magritte: Influenced by Magritte’s realistic approach to surrealism and unique depiction of familiar objects.
• Instagram Artist – @owenrival: Inspired using colour and light in their work.
• Books and Jewish Philosophy: Inspiration drawn from literary works like “The Magic Faraway Tree” and philosophical concepts from Jewish philosophy and religion.

Materials and processes…

• Oil Painting: Conducted a photoshoot for reference, then applied oil paints on a primed wooden board using underpainting and alla-prima techniques.
• Sculpture: Utilised an old shoe, replaced laces with earphones, filled it with soil and plants, and mounted it on a copy of “The Magic Faraway Tree.”

Interesting/challenging aspects of creating the work …

• Challenges in Painting: Working in large shapes initially without adding details, refining work by squinting, and focusing on the bigger picture.
• Introspective Experience: Creating a self-portrait was introspective, at times confronting but ultimately meaningful.

Ideas behind the work…

My last piece of this series is a bridge between my art creative practice series and the start of my art making and exhibiting series it is the beginning of finding a base in reality and a stability in life. Beige is uneventful, unworthy, unmade. Beige is the feeling of being unremarkable and wanting to do great things. Beige is the name of one of my favourite songs ever written. It is about living a basic, normal life and feeling a calling to do something great. To go to the wild and live independently, away from the crushing weight of society.
Skiing is one of the most important part of my life apart from photography. It is the feeling of being free and able to escape. This photo was taken in the village of Mt. Buller. The bright complementary colours in the photo symbolise my complete comfort on the mountain. It was inspired by both Yoke Lore, the writer of the song ‘Beige’. And Jakara Anthony, Olympic Gold Medallist, and my favourite skier whose homeground is also at Buller. This photo was made as a comfort, a reassurance, so that even through the unknown, depicted by the fog every winter I can still go up to Buller and try not to crash on the park or break my leg going too fast.

Sources of inspiration…

Richard Moss is and Irish photographer who uses infrared film that makes plants appear pink. This kind of changing of the natural colours is something that I did for every work in both series. His influence is most easily seen in Under A Dome with the reddening of the organic matter. Jimmy Chin is a rock climber, skier and photographer who takes photos in the most extreme environments on earth. I wanted to recreate this to some extent with the snow photos. Although I never expected to get into top arts, whenever I was creating a piece of work I always imagined it in the Top Arts space in the NGV.

Materials and processes…

Created using a camera and computer, colour manipulation was done in Camera Raw 15.0. Despite technical challenges, the process allowed for iterative refinement and creative expression.

Interesting/challenging aspects of creating the work …

Limited storage space posed challenges with software crashes yet offered opportunities for growth. The ability to create authentically and evoke personal meaning was the most rewarding aspect of the series.

Ideas behind the work…

I have often struggled with feelings of anxiety and nihilism and really wanted to express my own subjective opinions on the subject through the lens of humour. The core beliefs of nihilism may be true but are also absurd, abstract, and unhelpful. ‘The Mascot for Nihilism’ is a humorous representation of the absurdity and pointlessness of nihilism. The way that a nihilistic perspective on life slowly eats away at your motivation and drive was represented through the metaphor of a giant creature that is reaching out to consume the world.

Starting points and influences…

What originally influenced my works was the video piece “the Aalto Natives” by two artists, Erkka Nissinen and Nathaniel Mellors. At the time, I was enamoured with the idea of using puppets and wanted to incorporate them in some way. The art piece was originally just going to be a prop for a short film which I wanted to make about a giant planet-eating monster; however, I grew to like the idea of it being more of an installation than a film.

Sources of inspiration…

• Old Marvel comic characters, like Galactus and Eternity
• “The Aalto Natives” by Erkka Nissinen and Nathaniel Mellors
• Jim Henson and the Muppets

Materials and processes…

The mascot was made from wood, polar fleece, cardboard, hula hoops, silicone, and my old clothes. I wanted to make the mascot be able to function as both an installation and a performance prop, with aspects like the fleece being the primary material used in making the Muppets. The milk crates, carpet, plastic, and video work were all ways to ground the installation in the real world and remove the disconnect between the artwork and the viewer.

Interesting/challenging aspects of creating the work …

I found the most interesting part of the process being how my feelings changed over the course of making the artwork. I went from being proud and excited with what I was creating to being ashamed and disheartened about creating it, and finally returning to feeling comfortable with it towards the end.

Ideas behind the work…

‘Alexia’ depicts an extreme close-up portrait of a girl with her hand pressed into her cheek as she is squashed up against a pane of glass. I have adapted the themes of oppression and confinement, and flesh and manipulation. The themes of confinement and oppression are points of departure I have used to create my work. I wanted to include these ideas; however, I did not want to be extremely literal. Therefore, I used symbolism of the ‘glass box’ to represent male dominance over women and the oppression women have faced throughout history.

Starting points and influences…

In creating this artwork, I was inspired by the works of Jenny Saville, specifically her painting “Propped”. I have drawn upon Saville’s themes of the extremities of human flesh and female oppression. I am brought back to my own interests in femininity when looking at Saville’s painting. While I do think Saville’s work can be interpreted by both males and females, being a woman, myself has enabled me to view her work on a much more personal level.

Sources of inspiration…

Being a creative individual, I am fueled by many different avenues as my inspiration. Personally, I enjoy visiting galleries and looking at many new artists, specifically realism artists on social media platforms. I also turn to film as a visual stimulant that encases my senses of sight and sound to convey meaning.

Materials and processes…

To create this work, I photographed my sister Alexia for a reference image. I did this by squashing her face against a glass pane then taking a black and white image of her on my phone. I then used Pan Pastel, graphite, and POSCA to depict the subject realistically in grayscale. I used the Pan pastel to lay the base, then graphite and Posca to enhance the details such as her lashes and white highlights.

Interesting/challenging aspects of creating the work …

What challenged me most was conveying my ideas in a more symbolic way rather than literal. To do this, I developed the idea of a glass box representative of an oppressive confining world that females have endured and continue to endure. I find it interesting that while the subject is confined, she is still vulnerable and on display for everyone to see.

Ideas behind the work…

• ‘The Beauty in Chaos’ explores themes related to the human condition, conveying emotions through the flesh, heart, vulnerability, and transformation.
• The vessels represent feelings or states that individuals may experience physically or mentally, depicted through a variety of colours and textures on the surface.
• Gestures in the sculptures’ necks, shoulders, bellies, and feet suggest characteristics of a person, adding depth to the expression of emotions and experiences.

Starting points and influences…

• The exploration of clay vessels’ manipulation and stability, particularly through tearing and ripping, served as a starting point.
• Influences from artists like Peter Voulkos and Brian Rochefort inspired the manipulation of form, chaotic pourings, use of glazes, and multi-firing techniques.
• Vibrant colour choices were influenced by Maxwell Mustardo’s work, contributing to the overall visual impact of the sculptures.

Materials and processes…

• White raku clay, various glazes, underglazes, expanding foam, and casting slip were utilized.
• The process involved creating a mould to form the base of each sculpture and multi-firing to achieve desired textures and finishes.

Interesting/challenging aspects of creating the work …

• The outcome of the glazes was particularly intriguing, as their application over unfired glazes created unpredictable reactions during firing.
• The initial planning and execution of each piece posed challenges in manipulating, colouring, and arranging them to maintain coherence while offering variety.

Ideas behind the work…

Embracing your own individuality is something incredibly important to me, a deeply comforting experience that I find difficult at times. Routine investigates my insecurities regarding individuality as well as the possibility of falling into the repetitive corporate world to gain monetary support in its ever-rising expenses. Routine showcases the clockwork, routine-based mind of the everyday corporate person. Fast, jarring quick-cuts, surreal imagery, and strong, immersive foley and sound design elicit a confronting and immersive experience. At breaking point, the subject matter expresses the necessity for individuality, the complexity of the mind, and the monotony of repetition.

Starting points and influences…

My exploration started with my investigation of photography in the surrealist movement. This led me to discover surrealist photographers such as Man Ray and Philippe Halsman. Halsman’s in-depth study of his subjects and surrealist photographic style greatly inspire my work.

In 1949, LIFE Magazine commissioned Halsman to reveal the “mind of a poet” in his collaboration with poet Jean Cocteau. In ‘The Versatile Jean Cocteau’, Halsman gave Cocteau additional arms to reveal the subconscious, inner-working mind of the creative, revealing his identity. This inspired me to utilize the convention of additional arms in my video production.

Sources of inspiration…

• Surrealist photographer Philippe Halsman is a strong source of influence in my themes and style as I explore surrealist conventions and techniques. While Halsman’s intention was to reveal “the mystery of another human being” (Halsman once wrote), I seek to reveal the monotonous routine of human life in my artworks, in my urgent plea for individuality.
• Edgar Wright’s hyper-fast, tense pacing has informed me to adapt a greater manipulation of pace and timing.
• In ‘Temple’, Melbourne-based artist Rel Pham inspires me to manipulate scale to construct a deeply immersive viewing experience and work in a digital medium.

Materials and processes…

Routine began with detailed planning through a series of mock-up sketches, storyboards, and shot lists. I constructed the egg and chicken drumstick using styrofoam, masking tape, air-drying clay, and paint, while also ‘ageing’ the boxing gloves with paint and sourcing all props and costume. Routine was largely filmed over an eleven-hour shoot in front of a green screen, utilizing green cloth to isolate arms for the additional limbs and shot on a Sony A7C. I edited Routine in Adobe Premiere Pro, using Blender to 3D model and animate the floating egg. All foley and sound design were recorded using Ableton.

Interesting/challenging aspects of creating the work …

The most challenging part of my work is the post-production process. Filming on a green screen makes every shot a VFX shot, keying out the green and collating all additional footage and arms was time-consuming and a process I was unfamiliar with.
As I wanted to create a hyper-immersive viewing experience, I recorded all foley and sound design in post-production. This allowed me to have unlimited takes without taking up unnecessary time in the filming process, allowing full dedication to each shot. Though this meant editing the sound to fit every moment, from each pen scratch to mouse click.

Ideas behind the work…

My piece ‘There’s a Space in Me for You’ examines the relationship between natural forms of life and the imposition of man-made constructs and ideals. Through subject matter that positions natural components in relation to human-imposed constructs such as industrial buildings and fashion iconography, the drawing aims to assess the space that seemingly ‘vain’ or ‘selfish’ constructs take up in our lives, and their value in the constant strive for grounding.

Starting points and influences…

My works were birthed from my initial questioning of the relationship between hyper-contemporary amusements and the fundamental components of life. Through consuming social media content and reality TV while also feeling both a personal and cultural drive for groundedness, I felt this tension between the nature of existence and the history of man-made contrasts that cloud our lives.

Sources of inspiration…

• Tracey Emin’s gestural strokes and expressive mark-making convey a kind of tenderness, a certain authenticity which I aimed to incorporate into my works.
• Caroline Polachek’s work, self-described as ‘bratty,’ inspired a trial of exploration in giving importance to seemingly ‘unserious’ ideas. Her song ‘Bunny Is a Rider’ made me question the value in self-centered ideologies and their relationship to the growing push for groundedness.
• In terms of subject matter, David Rappeneaur’s illustrations adorned with Hello Kitty keychains, iPhones, and Instagram notifications informed the way I viewed such contemporary symbolism in a fine arts context.

Materials and processes…

The process for ‘there’s a space in me for you’ involved many layers of graphite pencil that would eventually be erased to make way for a new ensemble of marks. This adding and taking away of components added a ‘used’ quality to the work. I also incorporated both soft washes of graphite, with a harder grade of pencil and paired this with a softer grade to provide a harsher contrasting mark.

Interesting/challenging aspects of creating the work …

One thing I found difficult when completing my works is knowing how much to leave ‘unfinished’ and which areas require further refinement. Often, I found myself clinging to certain components of works in the early stages; it was this fear of ruining a line that I liked which stunted progress.

Ideas behind the work…

‘The Human Texture’ serves as commentary on the impact of living in a world dominated by capitalistic systems and ideologies. The artwork explores the degradation of self-caused by the constant pressure to meet societal demands, transforming the human identity from appreciation of life to resentment. The natural, genuine texture of individuals is symbolically reduced to harsh, lifeless squares, representing the repetitive and unfulfilling nature of their existences. The series format is chosen to effectively convey the all-encompassing nature of this concept.

Starting points and influences…

The interest in the collective human experience and its shared realities inspired the creation of this series. The distinctive pose of the second figure is influenced by Barbara Kruger’s ‘Untitled (Your Life is A Perpetual Insomnia)’, guiding the exploration of work-related aspects of the human experience.

Sources of inspiration…

• The Myth of Sisyphus: Serves as a metaphor for the shared struggle against the absurdity of life, especially in the modern world.
• Haruki Murakami’s Narratives: Inspiration drawn from Murakami’s exploration of the complexities of the human condition and consciousness.
• Music – ‘Luv(sic) Part 3’ by Nujabes and Shing02: The line ‘how far do we have to stretch the picture, before pixelating the human texture?’ inspired the exploration of pixelated subject matter.

Materials and processes…

Utilising the mosaic tool on Photoshop, the artist pixelated reference photos taken. Gridlines of 1x1cm were ruled on MDF panels, and individual colours of oil paint were mixed to fill in each square systematically. Working in areas of the same hue proved to be the most efficient method, and the size of the brush varied based on the precision required for square edges.

Interesting/challenging aspects of creating the work …

The most challenging aspect was the repetitive nature of the process. While not technically complex, the sheer number of squares to paint was overwhelming. Yet, the repetition became therapeutic, providing a constant and motivating presence. Witnessing each person become visually decipherable from squares served as a source of inspiration.

Ideas behind the work…

I sought to visually depict the overwhelming and intense nature of anxiety as it mentally impacts someone. The figures overlaying linework and visual density, combined with the scale of the artwork in comparison to my central figure, depicts my idea of visualizing the internalized emotions of stress and impending dread. The surrounding maze indicates the trapped and isolated emotions of my figure. Depicting my figure’s point of view in yellow serves to highlight how despite the realness of the sense of dread, it is essentially imaginary.

Starting points and influences…

When creating my artwork, I was influenced to freely explore myself creatively rather than constrain myself to one idea or concept. Being able to express ideas, themes, and characters without being limited provided a unique opportunity to create art expressively. As a starting point, I thought the walls of a maze could produce a unique object for my surrounding figures to interact with. Besides this outline, the final product of characters was unknown and was a result of exploring themes which influenced my characters, like phobias, people, or animals.

Sources of inspiration…

• Artist Kim Jung Gi and their highly intricate and line-dense character works and environments inspired how I tackled my overwhelming and visually dense surrounding elements.
• Artist Song Kang’s use of cross-hatching and hatching to create a sense of depth in their artwork inspired me to create a similar effect within my characters.
• Finally, Artist Ch’ng Kiah Kiean’s limited use of colour to create a signature meaning in their work inspired me to integrate colour to create a unique point of contrast and produce intrigue within my artwork.

Materials and processes…

• I used a pencil to build up the rough sketch for my artwork, providing a clear guideline for me to work off while allowing me to visualize my characters freely before finalizing them in pen.
• Additionally, I utilised Posca Pens to depict my figures and forms, creating bold and defined lines for clarity.
• Varying line thicknesses separated my foreground and background elements for the viewers, while cross-hatching built up a sense of form and depth within my characters.

Interesting/challenging aspects of creating the work …

It was interesting to see how organically my illustrations formed as I was creating them. Methodically constructing the figures, my illustrations became a product of my artistic creativity and the randomness of my own thoughts. Due to my insistence on a large scale, it was a very time-consuming process. Filling out the negative space with my figures became difficult as I would slowly exhaust all my ideas during the making process. As such, illustrating my artwork came in bursts of creativity and a lot of thinking, leading to upwards of 200 hours put into my work.

Ideas behind the work…

‘Ordinary’ challenges traditional female representation in the media and art, more specifically how women are objectified through the male gaze and the discomfort this creates for women. This is depicted through filming from the perspective of the male gaze, which is juxtaposed with the confrontation from the female character prompting audiences to question how they view women in art. The handheld camera, out-of-time side-by-side clips, and the male eye subject matter contribute to the uncomfortable mood, conveying the discomfort and fear felt by women.

Starting points and influences…

Feminist themes in art have always interested me as I feel I can connect and relate to the strong underlying social issues presented, so I knew I wanted to create a feminist piece. I wanted to produce something that really portrayed the discomfort and fear many women feel when being viewed through the male gaze, something that encouraged all viewers to question how they view women in art and the media and understand this discomfort.

Sources of inspiration…

• I was inspired by video artists Sue De Beer and Pipilotti Rist and their engagement with feminist themes as both artists produced works that challenged traditional boundaries of women representation in their own societies. De Beer’s use of techniques and processes inspired me, such as the split-screen technique and out-of-time side-by-side clips which contributed to her signature uncomfortable and eerie mood.
• For the presentation of my work, I was inspired by the set design of Matilda the musical and Mickalene Thomas’ ‘Me as Muse’ which both used various CRT TVs.

Materials and processes…

For my work, I used a Canon 200D, newer LED lights, and a DTI RS3 gimbal stabilizer. In the production process, I utilized a handheld camera as well as close-up segmented shots of the women’s body to contribute to ideas presented. I edited all footage via Adobe Premiere Pro, in the program I was able to colour grade exaggerating the yellow and blue light in the clips creating the rich and powerful colours. Further, the program allowed me to position and order the clips to ensure they were slightly out of time with one another. To present the video onto the TVs I connected the computer to an HDMI cord, connected to an HDMI to RV converter, which then used an RCA cord to connect to the AV input of the CRT TVs. For the DVD player, I simply used a USB to present the video.

Interesting/challenging aspects of creating the work …

I found learning how to operate old technology a big challenge, as many adapters and specific cords were necessary, and I ran into many issues. However, despite this, it was also very interesting to learn so much about how everything operates and was rewarding when it all came together.

Ideas behind the work…

‘After the Fact’ explores the strength and role of single mothers, drawing inspiration from my own personal experience with my mother and my father’s affair. The artwork emphasises the determination, resilience, and empowerment displayed by single mothers during tumultuous periods. It addresses the embrace of both feminine and masculine parental roles and highlights the societal challenges they face, including alienation.

Starting points and influences…

• Exploration of childhood and its impact on my self-development.
• Interest in portraiture, with a focus on conveying a broader message through the subject.
• Reflection on my parent’s separation and feelings surrounding it.

Sources of inspiration…

• Brandon – my boyfriend and best friend. Brandon is a musician and inspires me to make art as I watch him constantly indulge in his own passion. I want to love my art as much as he loves his.
• My experiences – exploring my feelings around my past experiences, self-analysis, or environment allow me to conceptualise a lot of my artworks. I am constantly inspired by the absurdity and emotions surrounding the human experience.
• My Mum – I love my Mum, and she always encourages me to pursue my passions and do my best. She is my biggest supporter and keeps me determined.

Materials and processes…

• Acrylic paint: This portrait was painted largely with undiluted acrylic paint; maintaining the vibrancy and thickness of the pigment. Working in a fast-drying medium also allowed me to easily express the boldness of flat shapes and unblended brushstrokes, which was essential to my work.
• Underpainting: I began the painting process by covering the canvas in a heavily diluted layer of pink paint; giving my artwork a cohesive underlying tone and making it easier to overcome the intimidation of a blank canvas.
• Grid reference: This process helps me save time on fixing a sketch’s proportions, allowing me to start painting earlier.

Interesting/challenging aspects of creating the work …

Staying motivated was the biggest challenge in completing this artwork. After finishing the subject’s face (my favourite thing to paint), I found it incredibly difficult to stay inspired. Painting the limbs, clothing, and background just seemed like a chore; I wanted to give up more than once. To overcome this, I tried to find joy in filling out each piece of the portrait one-by-one, and slowly watching the final artwork reveal itself. Additionally, I let myself have more fun with the piece, focusing more on my ability to convey an expression of emotion and energy than the conveyance of realism.

Ideas behind the work…

‘Do You Worry for Your Safety?’ explores the concept of trauma and its impact on mental health, particularly from the perspective of a trans person. The artwork also delves into the effects of family violence and domestic abuse on mental health, extending the primary theme of trauma. By intertwining these parallel ideas, the artwork aims to provoke emotion and create a profound impact on viewers, highlighting the complexity of psychological distress.

Starting points and influences…

I began by collecting exploratory drawings of self-portraits, derived from extensive photoshoots, to refine drawing skills and develop a visual language. Influences from artists like Mike Parr aided in refining printing techniques and developing a strong visual style, while personal experiences served as the primary inspiration for the work.

Sources of inspiration…

• Mike Parr’s work
• Personal experiences and identity
• Exploration of psychological themes and human experiences

Materials and processes…

Traditional intaglio etching process was employed, allowing me to repeatedly strike and scratch acetate sheets to create harsh gestural lines reminiscent of the impact of mental illness. The process of etching manifests the unsettling and aggressive nature of abuse, further emphasised by the discomfort induced by the scraping sound during the process. Recording and editing of this sound, played alongside the artwork, were accomplished using Adobe programs.

Interesting/challenging aspects of creating the work …

The exploration of the interaction between water and ink when using the printing press proved both intriguing and challenging, leading to unexpected results. Despite initial setbacks, the artist found comfort in the erratic nature of outcomes and incorporated some of the seemingly “failed” prints into the final collection, embracing the unpredictable nature of the creative process.

Ideas behind the work…

‘In Mother and Child Pt. 2 (trophy)‘, hair symbolizes the global idea that the relationship between a mother and daughter is so deeply rooted and strong between the individuals; however, my work conveys the idea that this is not always how it is.

Starting points and influences…

My first inspiration artist was Polixeni Papapetrou, and she explored obscure tableaux blurring the lines between reality and fantasy, and this is where I first branched into my idea of exploring fairy tales and fables. Expanding from the relationship between myself and my own mother, I explored an intensely emotional telling of my personal story.

I was influenced to portray my story in its true form from seeing and being constantly surrounded by society’s normal portrayal of a mother-daughter relationship and by seeing the difference in comparison to my relationship with my mother compared to my friends.

Sources of inspiration…

Artists I was inspired by were Paula Rego, Caravaggio’s Medusa, and Polixeni Papapetrou; they all explored strong characters in their work correlating to women, strength, or fairy tales and fantasy. My own personal relationship with my mother inspired this work as it has been created from a personal retelling of my story and our bond., brothers Grimm, my mother relationship. Fairy tales from my own childhood inspired me through the surreal characters I created in my works and the idea of the wicked witch or evil stepmother often present in fables.

Materials and processes…

Silk, shellac, paint, charcoal, etching ink, pigment powder, printer, impasto, brushes, and palette knives. I began my process by starting on my silk work and from there the paper version of my daughter figure created itself as it is made from the leaked materials on my silk to the paper underneath my workspace. The hair prints were made from hair I collected over my ACP course and using etching ink with mixes of shellac and ink with water.

Interesting/challenging aspects of creating the work …

My materials challenged me, and learning and trialling how to use them effectively brought many ups and downs. I had to learn the behaviours of the materials and ways I could manipulate them to convey my meaning and story appropriately. I loved to explore the many uses of my materials, such as wood shellac and using it not as a shellac but as a paint, and how combining shellac with my pigment powdered made the shellac opaquer and more thickened into a paint.

Ideas behind the work…

• Investigating the ways in which conscious desires, fears and experiences can inform the subconscious and vice versa.
• Elucidating the absurdity and irrational emotional origins of dreams by constructing a nonsensical object from one of my own dreams, in real life.
• Occupying space with an object that successfully functions and exists, yet serves no logical, productive purpose within this realm; in the dream realm however, this object evoked a profound emotional effect and attachment.

Starting points and influences…

My governing theme for the year, ‘Invisible Connections’, commenced with an investigation into human relationships and how their intangible yet potent quality could be materialized, influenced by Jason Maling’s penchant for formally documenting the abstract human experience. I then explored other contexts where ‘invisible connections’ are present, such as self/possessions and eventually conscious/subconscious. I thoroughly enjoyed the nonsensical products and contraptions of Peter Burke, which often engage an audience in satirical abstract functions which appear futile but encourage meaningful reflection. This inspired me to consider sculpture or construction of objects as an art form that can achieve provoking results.

Sources of inspiration…

• Artists/filmmakers who reconfigure mundane reality with absurdity e.g. Peter Burke’s nonsensical contraptions interwoven with social commentary; the disconcerting chaos of Eric Fournier’s surreal internet storytelling as Shaye Saint John; Jason Maling’s positioning of average people’s quotidian experiences as the mystical centre of a work.
• Local magazines/zines such as Voiceworks that are conduits for the concerns and perspectives of other diverse young people, and their unique creative expression.
• Subversive music such as the industrial genre, where instruments are used in unconventional manners, jarring sounds/noises are reconfigured as music, and heavy topics can be approached with irony and humour.

Materials and processes…

I first constructed the box from scratch to my desired size using cardboard scraps and gum tape. All terrain wheels were removed from a trolley and attached to the box via a wooden rod going through the back. Thick bendable wire was used to create coat hangers, a rail and an antenna. Acrylic paint and black marker were used to paint the ‘dance floor’ on one panel. The video component was filmed on a 2000s Sony camcorder for an unpolished, bloomy, dreamy effect with stylistic zooms. Editing took place through Adobe Premiere Pro using music, sound, narration and cuts to orchestrate the desired dreamlike mood for the piece.

Interesting/challenging aspects of creating the work …

The most difficult parts of this artwork were finding the perfectly sized box I desired, which I ended up making from scratch out of scrap cardboard and managing tough weather conditions during filming. I wanted overcast conditions to achieve a gloomy mood for the video, but the on and off raining made us repeatedly cut filming to hastily cover the box with a waterproof tarp. The rain progressively damaged the box which needed constant repairs in between shots, and it also had to be transported to and from Altona via bus as I couldn’t drive at the time.

Ideas behind the work…

‘Trueskin’ delves into the constraints imposed by societal pressures, particularly the expectations tied to traditional masculine stereotypes. The act of pinching the cheek serves as a metaphor for harmful stereotypes, representing the societal demand for men to embody bravery and fearlessness, shaping their identities. The fingers pushing the flesh into a central mass depict the struggle individuals face in breaking free from these stereotypes due to the fear of judgment. The elasticity and tightness of the skin symbolize the conflicting nature of societal pressures – restrictive, yet resilient, suggesting that resistance allows for flexible and freely expressed identities.

Starting points and influences…

The initial inspiration stemmed from the desire to convey tension and anxiety, leading to sketches of hands tugging at the skin influenced by Jenny Saville’s *Propped* (1992). The painting aimed to evoke unease, illustrating how societal pressure induces discomfort and anxiety. Encounters with toxic masculinity further fuelled the artwork, as I sought to address the harmful impact of these attitudes.

Sources of inspiration…

• Jenny Saville: Inspired by Saville’s manipulation of oil paint to depict skin as malleable yet strong, challenging stereotypical depictions of women in classical art.
• Ben Quilty: Inspired by his technique of liberally applying paint to canvases, encouraging a departure from perfectionism.
• Nature’s Colours and Forms: Fascination with colours and shapes in nature, reflected in the use of earthy tones and organic shapes in the artwork.

Materials and processes…

The artwork was created using oil paint on linen canvas. A blue underpainting was applied to contrast flesh tones, allowing the cadmium red to stand out. The skin was painted with a flat synthetic brush and minimal linseed oil, creating bold, visible marks and ensuring the paint sat above the canvas. The application of complementary colours enhanced contrast and depth.

Interesting/challenging aspects of creating the work …

Overcoming perfectionism proved challenging, particularly when using a reference image. The shift towards embracing the pigments of the paint itself, rather than fixating on the photo’s colours, enhanced the quality of the work. Earthy reds and greens, not visible in the reference, harmonized well on the canvas.

Ideas behind the work…

Lab Rats

In the creation of ‘Lab Rats’, the overarching themes of the artwork stem from childhood memories, specifically focusing on culture and family within Italian heritage. This led to the concept of ‘Lab Rats,’ symbolising the feeling of being experimented on for profit. Surrealist aesthetics are evident in the artwork’s overall tone, with contrasting colour values and blended techniques emphasizing different emotions associated with family and culture. The composition includes anthropomorphic rats under a spotlight, creating a visual metaphor for the subject matter.

Starting points and influences…

• Artists: Beeple, Roby Dwi Antono, Shaun Tan
• Artistic Movements and Styles: Surrealism
• Personal Influences: Italian culture, childhood, and family

Materials and processes…

I used a Microsoft Surface Pro 4 for ‘Lab Rats‘ and a Surface Pro 6 for ‘Lunchtime’, both with Sketchbook Pro. The process involved texturization using various brushes, layering with over 50 layers, and blending modes such as overlay and lighten to create lifelike shadows and highlights. Anatomy study and lighting adjustments were crucial for achieving realism.

Interesting/challenging aspects of creating the work …

Anatomy and proportions of anthropomorphic animals posed a challenge, requiring study and accuracy. Adjusting lighting to mimic natural and artificial light sources added complexity. Integrating objects into the scene convincingly and creating a sense of eeriness through deadpan expressions were intriguing aspects of the process.

Ideas behind the work…

• ‘Duality’ being made up of two identical forms represents the idea of mutual coexistence. In that you cannot have one without the other such as light and dark or birth and death. Furthermore, this can be expressed in the idea of yin and yang, impossible for one to exist without the other.
• ‘Limerence‘ is described as an intense infatuation or obsession with someone. This artwork highlights this idea through its two arches, one being smaller and the other much larger.
• ‘Paradigm‘ represents a paradigm shift especially in the way that you look at a situation. The coarse exterior of the top portion of the artwork representing a more negative feeling, its sharp edges causing discomfort the same way only looking at a problem from one side may have a negative impact.
• ‘Reflection‘ encompasses the idea of voids, the absence of substance in a space being the focal point. This empty space and the pathways around it often highlight both the fragile nature of the subject matter whilst preserving the notion of strength that concrete provides as a material.
• ‘Sanctimony‘ takes inspiration from many forms of architecture, such as the arches seen throughout Roman architecture and the viaducts seen throughout Europe as well as coffin vault ceilings inside church and castle-style architecture.
• ‘Vacancy‘ explores both a physical vacancy, in its hollow center. As well as a more metaphorical vacancy in the way emotional vacancy and absence can over time cut away at a person until there is nothing left, this notion being represented by the harsh circles cut into the sides of the artwork.

Starting points and influences…

All my artworks begin as an idea that is either immediately fleshed out in a three-dimensional form or expanded and refined throughout two-dimensional sketches and drawings. More often it is the more complex sculptures that go through this refinement process. All my artworks are influenced by an abstract form of various architectural styles seen throughout the world such as the arches of both the viaducts of Europe as well as those seen throughout Roman architecture. As well as the prominently geometric stylings of the Art Deco movement.

Sources of inspiration…

My artworks are all inspired by other artists as well as architecture in the real world. My main artist influences being M.C. Escher in his wild and fantastical geometric artworks such as Relativity and Convex and Concave. David Umemoto was another influence for my sculptures, his body of work consisting of many large geometric concrete sculptures. Additionally, Art Deco and Brutalist buildings and architectural motifs as well as the arches depicted in Roman aqueducts and European viaducts have been a prominent influence on my sculptures.

Materials and processes…

Throughout my artistic process this year I have used moulds to create the form of my sculptures. Often, they consist of an outer shell usually made from plywood or MDF and a dense cardstock or foam core interior structure that creates the details of the sculpture. This is followed by a wire support structure inside the mould acting as reinforcement for the concrete that is poured into it. To create the darker look of some of the sculptures I added various amounts of black oxide powder to make it much darker than the traditional grey of the concrete.

Interesting/challenging aspects of creating the work …

I found it challenging to find a method of production that would provide sculptures with the uniform aesthetics I was aiming for. Once I had achieved this method it was then difficult to expand upon this to a much larger scale in the size of the sculptures as the weight of the increased volume of concrete mixed added additional challenges that had to be overcome. The concrete itself being an interesting material to work with due to its unconventional and somewhat unpredictable nature as an artistic medium.

Ideas behind the work…

Essentially, the two works were designed to be exhibited as a pairing. The base concept is the inclusion of two individuals (one being the primary focus and the other being myself) and a dog. I wanted to create a work that could be interpreted in a range of ways, inviting viewers to draw their own conclusions from the images. These works explore human nature and the way we perceive others, reflecting that although identity and environments are interchangeable, they support each other when forming interpretations.

Starting points and influences…

My works went through a very extensive development period. Initially, the works were incredibly different from the pieces that became my finals. However, the creative development aspect was one of the most exciting and fulfilling elements of the journey. I began by taking an old 2009 Sony Digital 4 Mega Pixel camera to various friends’ houses to capture them in their home environment. I soon recognized that I needed to intensify my focus on just two individuals, rather than diluting the core focus with too many different people featuring in the photographs. The two individuals featured in ‘Flora’ and ‘Fauna’ were both people I felt connected with at the time. To produce a composition with which I was satisfied, I continued to visit them in their home environment and photographed them numerous times using a Nikon D5600 digital camera and tripod. Some of the factors I drew upon that influenced the images were their unique personalities, their personal style, their interests, and the built environment.

Sources of inspiration…

• David Hilliard provided me with strong inspiration regarding the separation of subject matter in the composition. Hilliard focuses on one element in each panel, one critical area of the environment to show its symbolic value within the works. I was also influenced by the incorporation of himself and his own life within the works, and how he separated the individuals yet revealed a connection through placement and environment.
• Shea Kirk became a strong influence later in my works, specifically for the presentation of the final prints. His use of black homemade nails connected with the dark elements throughout his monochromatic portraits. I felt this beautifully balanced the work while reflecting a casual quality. The goal was for my pieces to resemble posters, to not dictate the meaning of the work to viewers, but to let them determine their own meaning of each piece.
• I was also inspired by the changes in my relationship with others. How we are continuously growing, our relationships expanding and contracting. How we grow closer to people because we think they are a good fit for us, and how we grow distant from those who we grow out of.

Materials and processes…

I used a Nikon D5600 digital camera, with an 18-55mm lens and Adobe Editing software. The artworks were printed on Metallic Gloss 260GSM photo paper using an Epson Inkjet printer. The fixing nails were comprised of the top of Black Upholstery pins and the stem of Blued Cut Tacks. Using hot glue and superglue, I combined these two materials to create bespoke fixing nails. Since the shoot locations of each of the works consisted of differing lighting environments, I adjusted aperture and shutter speed with the assistance of a tripod to mediate the light. This also allowed me to keep the natural light, shadows, and feel of said location.

Interesting/challenging aspects of creating the work …

The key challenge was transferring concepts from mind to paper. I could visualize the effect I wanted, so working through the process to externalize this was a lengthy period of trial and error. During the shooting process, I found myself at times overanalysing the scene or not providing enough guidance and support to those I was photographing. This resulted in images that felt messy and emotionally detached. Initially, I was focusing on too many people, too many connections. When I did alter my attention on the subject matter as well as my approach to the shoot, I found that the emotion in the artwork began to grow stronger.

Ideas behind the work…

This artwork delves into the contrasting elements of decay and renewal within an urban environment. The title encapsulates the main themes – ‘The Forgotten and the Prevailing’ signifies the depiction of weathered structures and an older man, symbolising past generations. On the other hand, ‘The Forgotten and the Prevailing’ represents the evolving urban world, depicted through vibrant graffiti covering the old structure and celebrating the triumph of the new over the old.

Starting points and influences…

My journey began with a focus on portrait photography, exploring emotions in various settings. Experimenting with human expressions and candid moments, I captured subjects in public spaces, from Bendigo and Melbourne to Thailand. This exploration laid the foundation for understanding the dynamics of human demeanour in diverse environments.

Sources of inspiration…

• Shomei Tomatsu and Max Dupain serve as the main source of inspiration for me. Tomatsu’s candid photography focuses on the balance between opposites, reflecting human expressions and events. Dupain’s influential style highlights geometric forms in urban landscapes.
• The exhibition ‘In Our Time’ at the Bendigo Art Gallery, appreciating and reflecting on Asian culture, provided great inspiration.

Materials and processes…

The photograph was taken using an iPhone 14 ProMax and edited on a MacBook. Inkjet printed on premium poster paper; it was framed in vintage wood behind Perspex. The editing process involved assessing the RAW photograph, removing modern elements, and enhancing various aspects in Photoshop and Lightroom.

Interesting/challenging aspects of creating the work …

The most intriguing aspect was the unexpected capture during the artist’s trip to Thailand. Originally intending to photograph graffiti, the spontaneous presence of a man added a candid layer, capturing the essence of everyday urban life. The challenge lay in balancing the elements to convey the dual themes of decay and renewal effectively.

Ideas behind the work…

Shrine

These artworks delve into divinity and spirituality, exploring the profound connection evoked by rituals, adoration of objects, and time spent in certain spaces. The artist reflects on personal experiences, noting how specific acts, objects, and places foster a sense of connection. The artworks transcend personal associations to explore the universal power of all things to spark connection in individuals.

A Prayer to the Urban World 1

This installation extends the exploration of divinity and spirituality, paying respects to urban spaces. Rituals, adoration of objects, and time spent in these spaces are examined for their ability to create a powerful and spiritual connection. The artwork serves as a prayer to urban environments, acknowledging their significance in the artist’s spiritual journey.

A Prayer to the Urban World 2

Similar to the previous installation, this artwork pays respects to urban spaces, delving into the spirituality and divinity associated with rituals and adoration of objects within an urban context. The piece explores the profound connection that arises in these environments, emphasizing their spiritual nature.

Starting points and influences…

My main starting points stemmed from mysterious elements, things not being fully understood, childhood memories, and feelings of connection with people. The theme of shrines, sacred spaces, and rituals was initiated by a list of ideas, allowing for an open-ended exploration without limitations. I reflected on personal beliefs and life experiences related to shrines, spaces, and rituals.

Sources of inspiration…

I focused on the mysterious and incomprehensible elements of childhood memories and feelings of connection with people. Serve as primary inspirations, media, art, music, walks, exploration, and observations of the surrounding environment assisted me with my development toward my final outcome.

Materials and processes…

Shrine

• Found objects, such as fruits, wooden trays, ceramic bowls, worry dolls, incense, and personal creations using oil pastel, ink, cardboard, and paper.
• Personal and meaningful objects are incorporated into the artworks.

A Prayer to the Urban World 1

• Various elements, including cut-up paper, drawings, a black book with tape, masking tape, duct tape, glad wrap, tin foil, staples, printed images, and urban materials found in the environment.

A Prayer to the Urban World 2

• Similar elements as the first installation, with additional materials like rusty bottle tops, metal pieces, plastic bottle lids, CDs, and a cardboard box.

Interesting/challenging aspects of creating the work …

The way in which my creative practice took over my life. I found myself totally and utterly absorbed in the creative process. I struggled to sleep or spend time doing anything else, which wasn’t always practical. My work was always on my mind, even when I wasn’t necessarily creating, I was noting down and applying things I heard and saw in the world.

Ideas behind the work…

Hugo, Hugo 2.0

These pieces delve into the theme of individuals in society who create a facade, projecting an extravagant personality that contrasts with their less likable internal character. The sculptures represent this duality through the contrast between the textures and colours covering the dolls and the depiction of an ugly face and disproportionate limbs.

Starting points and influences…

• Hyper-realistic artists such as Patricia Piccinini, Evan Penny, and Xooang Choi influenced the focus on sculpture and human forms.
• Collecting food magazines and exploring a personal connection with food due to a diagnosis of IBS influenced the creation of Tummy Beast and the Rotten Apple.
• The desire to experiment with form, colour, beading, embroidery, and soft textiles played a role in the creation of both Hugo and Hugo 2.0.

Sources of inspiration…

• Frankie Magazines: The eclectic and quirky look at art and design, particularly the product or food reviews with different artists, served as inspiration.
• Food: Both physically and visually, exploring the variety in textures, colours, and tastes, as well as the cultural significance of food.
• Graphic Novels: The combination of reading and art in graphic novels, showcasing different artist styles that contribute to storytelling.

Materials and processes…

• Rudimentary patterns were created for fabric, which was sewn together using hand stitching and machine sewing.
• Acrylic paint was used for hand-painting colourful designs on Hugo and the large doll from Tummy Beast and the Rotten Apple.
• Beading and embroidery techniques were employed for texture on Hugo 2.0 and the fruits from Tummy Beast and the Rotten Apple.
• Faces were crafted using oven-bake clay and hand modelling.

Interesting/challenging aspects of creating the work …

• The challenge of creating faces, especially since it was the first attempt at human or face modelling, required trial and error to find the best approach.
• Constructing the belly of the large doll posed difficulties due to its indented form, leading to the exploration of patterns without using advanced mathematical techniques.

Ideas behind the work…

• Governing symbol of a shed human skin to represent identity and the self as impermanent, multiplicities and in a constant state of flux, rather than singular and determined.
• ‘Tattooed’ graphics imply the paradoxical embodiment of past selves within the present self, alongside the inevitable metamorphoses that evolve us into new identities.
• Dissolution is intrinsic to evolution and vice versa.

Starting points and influences…

My governing theme for the year was ‘Invisible Connections’, inspired by a very deep friendship I made last year which provoked me to explore how the existence of potent, yet intangible, relationships can be materialized. My experiments began with investigating how people comprehend connection in their relationships, strongly influenced by Jason Maling’s penchant for formally documenting the abstract human experience. Experimental interviews and activities were conducted, the findings turned into cryptic stickers plastered around the CBD to facilitate new invisible connections. Explorations then shifted towards other contexts of invisible connection such as conscious/subconscious, self/possessions and, finally, past self/present self.

Sources of inspiration…

• Artists/filmmakers who reconfigure mundane reality with absurdity e.g. Peter Burke’s nonsensical contraptions interwoven with social commentary; the disconcerting chaos of Eric Fournier’s surreal internet storytelling as Shaye Saint John; Jason Maling’s positioning of average people’s quotidian experiences as the mystical centre of a work.
• Local magazines/zines such as Voiceworks that are conduits for the concerns and perspectives of other diverse young people, and their unique creative expression.
• Subversive music such as the industrial genre, where instruments are used in unconventional manners, jarring sounds/noises are reconfigured as music, and heavy topics can be approached with irony and humour.

Materials and processes…

I used liquid latex, a large paint brush, Vaseline, scissors and my mum’s assistance in brushing 4 coats of latex (for desired opacity) over my entire body. I stood with my arms up to prevent sticking and smudging as each layer dried to be built on again. A large back slit allowed for removal, but due to painful personal error, my body hair had to be cut and left embedded within the piece. The graphics – or ‘tattoos’ – were drawn in 0.5 fine liner using the technique of stippling, where solely dots are used to create form, texture and achieve tone by being clustered either closer or further apart.

Interesting/challenging aspects of creating the work …

The most difficult part of this artwork was creating the suit in one piece. The process involved brushing numerous layers of liquid latex over my entire body, then cutting down the back to remove without ripping. Due to my own error in not priming myself with enough Vaseline beforehand, lots of my body hair was either ripped out or had to be trimmed with scissors to avoid ripping the piece – an extremely painful ordeal. The embedded hair was not particularly planned, but I enjoy the visual/emotional shock value and think it aligns very well with my conceptual ideas.

Ideas behind the work…

‘Empty Space’ delves into the impact of rapid urbanisation on human connection, exploring feelings of isolation in modern, technology-driven, and fast-paced societies. Despite the apparent density of cities, a disconnect among people creates barriers for genuine connections. The artwork conveys the paradox where cities, seemingly full, can feel empty due to a lack of meaningful human interaction.

Starting points and influences…

The artist’s interest in city architecture and its evolution underpins the artwork. Growing up in Melbourne, the disconnect observed in a large population prompted reflections on how human needs shape the environment. Expressing these ideas through architectural sculptures and printmaking became a means to illustrate the impact of industrialization and mass production.

Sources of inspiration…

• Wes Anderson’s Films – Asteroid City: Inspired by Anderson’s exploration of the consequences of events like COVID, conflicts, and the rise of technology on human connection.
• Surrealist Art – Yves Tanguy: Tanguy’s surrealist landscapes and altered, dystopian scenes sparked thoughts on Earth’s irreversible changes.
• Greek Folk Music – ‘Rebetika’: Growing up with this music highlighted the transformative nature of commercialization on human expression.

Materials and processes…

• Lino Printing: Black ink on cardboard for the background lino, creating a repetitive, industrial, and monotonous environment.
• Yellow Acrylic Paint: Applied on cardboard to replicate city road signs, emphasizing an unfinished and incomplete comparison.
• Air Dry Clay: Used for sculptures, requiring experimentation with various techniques, tools, and methods to achieve structural strength and desired textures.

Interesting/challenging aspects of creating the work …

• Clay Sculptures: The fragility of air-dry clay posed a challenge in creating structurally strong sculptures, leading to time-consuming trial and error.
• Style of Head: Deciding on a face that is blank yet humane, allowing identification without feeling alien, was the most challenging creative aspect.

Ideas behind the work…

Lunchtime

My artwork “Lunchtime” explores themes of childhood memories and cultural identity, particularly within Italian heritage. It depicts a surrealistic scene inspired by personal experiences of cultural differences during school lunches. Anthropomorphic pigs in uniforms replace the Australian children, symbolising the feeling of being judged for non-Australian food. The use of digital art allowed for texturisation, layering, and blending modes to create depth and realism in the artwork.

Starting points and influences…

• Artists: Beeple, Roby Dwi Antono, Shaun Tan
• Artistic Movements and Styles: Surrealism
• Personal Influences: Italian culture, childhood, and family

Materials and processes…

I used a Microsoft Surface Pro 4 for ‘Lab Rats‘ and a Surface Pro 6 for ‘Lunchtime’, both with Sketchbook Pro. The process involved texturization using various brushes, layering with over 50 layers, and blending modes such as overlay and lighten to create lifelike shadows and highlights. Anatomy study and lighting adjustments were crucial for achieving realism.

Interesting/challenging aspects of creating the work …

Anatomy and proportions of anthropomorphic animals posed a challenge, requiring study and accuracy. Adjusting lighting to mimic natural and artificial light sources added complexity. Integrating objects into the scene convincingly and creating a sense of eeriness through deadpan expressions were intriguing aspects of the process.

Ideas behind the work…

Tummy Beast and the Rotten Apple

This artwork serves as a representation of my complex relationship with food. It reflects both the love for food, providing comfort, and the constant battle with pain, discomfort, and anxiety associated with eating.

Starting points and influences…

• Hyper-realistic artists such as Patricia Piccinini, Evan Penny, and Xooang Choi influenced the focus on sculpture and human forms.
• Collecting food magazines and exploring a personal connection with food due to a diagnosis of IBS influenced the creation of Tummy Beast and the Rotten Apple.
• The desire to experiment with form, colour, beading, embroidery, and soft textiles played a role in the creation of both Hugo and Hugo 2.0.

Sources of inspiration…

• Frankie Magazines: The eclectic and quirky look at art and design, particularly the product or food reviews with different artists, served as inspiration.
• Food: Both physically and visually, exploring the variety in textures, colours, and tastes, as well as the cultural significance of food.
• Graphic Novels: The combination of reading and art in graphic novels, showcasing different artist styles that contribute to storytelling.

Materials and processes…

• Rudimentary patterns were created for fabric, which was sewn together using hand stitching and machine sewing.
• Acrylic paint was used for hand-painting colourful designs on Hugo and the large doll from Tummy Beast and the Rotten Apple.
• Beading and embroidery techniques were employed for texture on Hugo 2.0 and the fruits from Tummy Beast and the Rotten Apple.
• Faces were crafted using oven-bake clay and hand modelling.

Interesting/challenging aspects of creating the work …

• The challenge of creating faces, especially since it was the first attempt at human or face modelling, required trial and error to find the best approach.
• Constructing the belly of the large doll posed difficulties due to its indented form, leading to the exploration of patterns without using advanced mathematical techniques.

Ideas behind the work…

The artwork serves as an homage to the journey of self-discovery, particularly influenced by my mother’s experiences as a first-generation immigrant in 1990s Melbourne. Depicting her amid a late 20th-century Melbourne streetscape, the artwork encapsulates the reality of cultural dichotomies, language barriers, and feelings of disassociation and isolation. Through this portrayal, I aim to resonate with the immigrant experience, fostering solidarity and perpetuating a deeper exploration of Australian identity.

Starting points and influences…

The concept stemmed from my curiosity about people’s relationships with their environments, particularly within the Australian context, leading to interviews with my mum and an exploration of her journey and stories. Inspirations were drawn from familial influences, cinematic portrayals by Wong Kai Wei, particularly the film “Chungking Express,” and the artistic approach of Chinese contemporary artist Liu Xiao Dong.

Sources of inspiration…

• Familial influences, particularly my grandmother, mother, and sister, who embody sensitivity and strength, contributing to my compassion and introspection.
• Wong Kai Wei’s cinematic portrayals, especially in “Chungking Express,” which evoke a sense of displacement and solitude, resonating with themes of cultural identity and disassociation.
• Chinese contemporary artist Liu Xiao Dong’s emphasis on observation and motif-driven narratives, inspiring me to orchestrate symbolic compositions to convey compelling stories.

Materials and processes…

Techniques were informed by artists like Liu Xiao Dong and Nicolai Fechin, with a focus on impasto application using a palette knife to create depth and atmosphere. Passing figures were deliberately blurred and stripped of identity to emphasise the protagonist’s disassociation, achieved using large squeegee-like devices inspired by Gerhard Richter’s studio process.

Interesting/challenging aspects of creating the work …

The process involved significant introspection and refinement of ideas to effectively convey my intentions, with most of the time dedicated to conceptualisation rather than execution. Witnessing the gradual realisation of the idea onto canvas proved immensely rewarding, highlighting the significance of persistence and self-reflection in the artistic process.

Ideas behind the work…

My series of still-life paintings is titled ‘Row’. The ideas behind it include enhancing the everyday, nostalgia, sentimentality, and an individual’s personal perspective on the four seasons. Its purpose is to prompt the viewer into creating their own interpretations. For example, the position of the camera is from the side and very close up to the objects on the outside table, almost as if a child were peeking over and seeing it at eye level, squinting to avoid the sun in their eyes. The symbolism continues with the rippling of the water, the cherries rolling about, and the playing cards.

Starting points and influences…

I was greatly inspired by other talented still-life artists I followed on social media such as Alai Ganuza, Leah Gardner, and Victoria Jane. Their colourful, joyful, and impressionistic art pieces highlight the fun and elegance hidden within everyday objects. Alai and Leah do this through oil paintings while Victoria explores this through interesting photographic compositions. Nevertheless, all three attempt to view the world in new ways, by arranging objects, manipulating light, or enhancing the hidden colours and textures of their subject matter. Therefore, they formed the three research artists I consistently went back to throughout my year of art making.

Sources of inspiration…

Firstly, films such as ‘Eternal Sunshine of the Spotless Mind’, ‘Aftersun’, and ‘Only Lovers Left Alive’ were significant sources of inspirations as they all utilised the necessary world-building and atmosphere achieved through moments of still-life in cinematic shots. Secondly, instrumental music such as the emotional and melodious works of Jon Brion formed the basis of my nostalgic and comforting theme. Finally, the encouragement I received from my talented friends inspired me to try film photography and ultimately changed my perspective on art entirely.

Materials and processes…

I chose to utilise the unpredictable but unique route of film photography for the references I would eventually paint. I meticulously planned and set up each scene with objects around my house before photographing with my Canon Sure Shot 105 zoom film camera. Once they were developed and I had crafted the wooden boards out of pine wood, I began painting with my 1980 Gamblin Oil Paints and Linseed Oil. I used colour theory to match the colours within the photos and created textured brushstrokes to distinguish each object.

Interesting/challenging aspects of creating the work …

Unlike some other oil paint brands, Gamblin offers a smaller range of colours in very bright and naturally rare hues. Their pigments are extremely versatile and of excellent quality; however, colour mixing is therefore constant and unavoidable. Learning colour theory in a completely practical sense was how I came to find my own technique in creating colours unique to my paintings. For example, to get a certain more natural shade of green from the intense phthalo green, I now know that I need, in addition, red, yellow, orange, purple, white, and black in specific ratios to achieve it.

Ideas behind the work…

The first in a series exploring memory and nostalgia. I made the artwork busy and closed in to imitate the cozy feeling of being inside a warm cabin in Winter. The idea behind this work is to use aesthetic qualities to create the same feeling of warmth and homelyness in other people that I feel when I look at any one of the things in this image. Firstly the colour theme is inspired by the Teskey Brothers Christmas EP album cover, the warm, natural colours of the cover and the music of the EP for me represent the togetherness of family. I knew I wanted to use our log cabin in my series as it has great significance to me and my family but I wanted to manipulate the image further than I had all year with just colour. So I decided to include as much as I could such as my skis, Mt Buller and my best mate.

Sources of inspiration…

Richard Moss is and Irish photographer who uses infrared film that makes plants appear pink. This kind of changing of the natural colours is something that I did for every work in both series. His influence is most easily seen in Under A Dome with the reddening of the organic matter. Jimmy Chin is a rock climber, skier and photographer who takes photos in the most extreme environments on earth. I wanted to recreate this to some extent with the snow photos. Although I never expected to get into top arts, whenever I was creating a piece of work I always imagined it in the Top Arts space in the NGV.

Materials and processes…

Created using a camera and computer, colour manipulation was done in Camera Raw 15.0. Despite technical challenges, the process allowed for iterative refinement and creative expression.

Interesting/challenging aspects of creating the work …

Limited storage space posed challenges with software crashes yet offered opportunities for growth. The ability to create authentically and evoke personal meaning was the most rewarding aspect of the series.

Ideas behind the work…

• ‘Backyard Sunset’ captures the dramatic vibrant cloud sunset, contrasting the dark silhouette of my shrub-filled backyard of Belmont. I wanted to capture the varying lights and colours which filled the space.
• ‘Storm at Bells’ is inspired by a photograph taken at Bells Beach, Victoria. I aimed to capture the contrasting tones, from the bright foaming waves to the dark storming sky.
• ‘Over the Hills’ showcases the calm winter glow present within the bright clouds of the hills of Ceres.
• ‘Waterfront reflections’ is inspired by a photo captured of Corio Bay at sunset, aiming to capture the power held within the clouds.
• ‘Botanical Doorway’ aims for a more impressionistic style, capturing the fine, intricate details of the Daylesford botanical gardens, from the Autumn leaves to the dirt paths’ indents, compacted into a small canvas showcasing the sheer beauty of the outside world.

Starting points and influences…

The first artist who inspired me to follow an impressionistic impasto painting style was Melbourne artist Emily Persson. Her use of colour and texture is captivating, and her painterly Victorian landscapes resonate with me. I love the diversity of my local landscape, including farmland with rolling hills, the Surf Coast, the bay, suburbia, and surrounds.

Sources of inspiration…

Impressionism and Expressionism art movements inspire me, particularly how Impressionists conveyed their reality/perspective of an environment by leaving visible brushstrokes on the canvas. Inclement and unpredictable weather patterns, and the juxtaposition of contemporary photographs and historic Australian landscape paintings in exhibitions like “Beating about the Bush” at the Art Gallery of Ballarat.

Materials and processes…

I took my own photos with a Nikon and iPhone during different seasons and times of day to capture an ‘impression’ of the day and atmosphere. I used thick layers of oil paint applied mainly with palette knives, layering the paint heavily on the canvas to create impasto texture. Mixing analogous colours both on my palette and on the canvas board, only loosely blending the paints so that the strokes applied with my knife were visible. Due to slow drying times of oil paint blended with linseed oil, I worked in stages on multiple compositions.

Interesting/challenging aspects of creating the work …

I found it challenging at times to mix the paint to get a specific colour and to avoid muddying the colours. To combat this, I ensured the thick layers of paint had fully dried. When completed, I realized displaying them effectively within a gallery setting on a wall in a salon hang would be difficult, so I chose to frame them for both practical and symbolic reasons. I used natural wood to connect the artwork series, making them cohesive and meaningful.

Ideas behind the work…

‘Swallowing the Pretense’ is a display of cyanotype prints, featuring my childhood photos and scans of medication. The main theme of the work aims to encapsulate the inner struggles experienced growing up with undiagnosed neurodiversity. Through photoshopping the scans of my medication to create a ‘mask’ over just me, I wanted to place emphasis on how growing up, subconscious masking becomes such an innate part of oneself, you have no concept of who you truly are. The physical mask also represents how aware yourself and others are that you are different but due to a reductive society you won’t know why until you’re done growing, and the impact this has on your present self.

Starting points and influences…

• Researching into more unique art styles and mediums I could use. I knew I wanted to experiment with an art practice that allowed me to really become ‘one’ with the process from start to finish and allowed me to incorporate varying textural elements which is when I came across sun printing and thus cyanotype.
• My medical diagnosis and research into ADHD and autism in women.
• My twin brother and I’s own journey with neurodiversity.
• Artist: Lluis Estopianan.
• Going through my own art and pieces of writing from primary school.
• Phoebe Bridgers Stranger in the Alps album cover by Angela Deanne.

Sources of inspiration…

• Any kind of poetry especially about childhood, the female experience, and human nature.
• Music – Phoebe Bridgers, Adrianne Lenker, The Smiths, jazz, etc.
• Blue hour and the moon.

Materials and processes…

• Cyanotype part A and part B solutions
• Sponge brush
• Scans of childhood photos
• Deconstructed medication boxes cut out onto watercolour paper to cyanotype
• Photoshopping a ‘ghost-style mask’ using the scanned medications onto just me in the childhood photos
• Transparent film paper
• Various textural elements – lace, spoons, wire, cloth, wool, string
• Artificial UV lamp source

Interesting/challenging aspects of creating the work …

The most challenging aspect about creating my work was figuring out how long to expose the cyanotype prints to the artificial UV lamp source to ensure the work wasn’t either overexposed or underexposed after the solution is washed off. The most interesting was the uniqueness of each piece, even if the same film transparency is used, the way the image picks up on the cyanotype and exposure differs which allowed me to create such raw and personal pieces of work.

Ideas behind the work…

‘A Sleeping Venus’ examines historical female portraiture to interrogate standards of feminine beauty, and how the iconography of the painted female muse upholds these ideals.

• Appropriating the title of Renaissance painter Giorgione’s Sleeping Venus, and the motif of the apple, white sheets, and bed scene, both canvases distort the conventional female reclining nude. However, portraying myself as unselfconsciously large-scale and brutally candid, I reclaim agency over my own representation.
• Through two self-portraits, I subvert the relationship between the captured female and male voyeur, mobilizing depictions of women as plural and multifaceted, rather than as static, one-dimensional, and poised subjects.

Starting points and influences…

• As an identical twin, I am keenly aware of the way I look, and how much appearance can shape perception and identity. I knew from early on I wanted to pursue a self-portrait, and my subject matter was the starting point for my artwork.
• As a teenage girl, beauty standards and romantic ideals of femininity at once guided exploring my self-image. What began as a fascination with unconventional beauty and the ‘grotesque’ developed into researching historical portrayals of body hair, skin, and expression in female portraiture so that A Sleeping Venus is informed by tropes, symbols, references, and feminist theories.

Sources of inspiration…

• Figurative art: I am fascinated with portraiture and the revival of figurative art in the 20th century. I love paintings which depict people, and reading the personalities, emotions, and stories from these painted faces.
• Jenny Saville: My favourite female artist known for her large-scale paintings of fleshy nudes. Saville motivates me in her feminist and trailblazing approach to female subjects (“Beauty is usually the male image of the female body.”)
• Experience as a woman: Going to an all-girls school, my art is largely informed by the strength of women around me, and I wanted to capture this power and femininity.

Materials and processes…

• I sourced my own reference photos on my iPhone.
• Using a projector, I traced my underdrawings in grey lead.
• I prepared the cotton canvases with three layers of gesso.
• I used acrylic paint for its fast-drying properties and vibrant colouring.
• I used underpainting to define colour values, providing a base for subsequent layers.
• Instead of using white acrylic, I mixed an impasto medium for a sculptural thickness.
• Using varying-sized palette knives, I applied each stroke of colour individually with raised, scraped textures for a broken and grotesque flesh colouring.
• I used thinner paintbrushes for finer detailing like the eyelashes.

Interesting/challenging aspects of creating the work …

Trying to keep myself to my idea of unconventional feminine beauty was an interesting challenge throughout painting as I found the temptation to clean and polish my work difficult to resist. I was met with an internal struggle when accentuating my insecurities and blemishes, and it was difficult to actively remove all subconscious flattery from my self-portrait. Using texture in a raw, chaotic impasto surface and broken colouring helped me pronounce the imperfections of flesh and avoid this beauty standard of smooth, flawless skin.

Ideas behind the work…

‘Sing it 2 Me’ offers a reflection of the balance of human life. By giving both the natural form and human-imposed ideals contemporary importance, I aim to position audiences to question the worth of these jarring concepts. What is the value in such modern constructs in the quest for innate peace and reconciling with our natural form?.

Starting points and influences…

My works were birthed from my initial questioning of the relationship between hyper-contemporary amusements and the fundamental components of life. Through consuming social media content and reality TV while also feeling both a personal and cultural drive for groundedness, I felt this tension between the nature of existence and the history of man-made contrasts that cloud our lives.

Sources of inspiration…

• Tracey Emin’s gestural strokes and expressive mark-making convey a kind of tenderness, a certain authenticity which I aimed to incorporate into my works.
• Caroline Polachek’s work, self-described as ‘bratty,’ inspired a trial of exploration in giving importance to seemingly ‘unserious’ ideas. Her song ‘Bunny Is a Rider’ made me question the value in self-centered ideologies and their relationship to the growing push for groundedness.
• In terms of subject matter, David Rappeneaur’s illustrations adorned with Hello Kitty keychains, iPhones, and Instagram notifications informed the way I viewed such contemporary symbolism in a fine arts context.

Materials and processes…

The use of oil paint in ‘sing it 2 me’ involved free form strokes, with little direction other than intuition. This freedom aims to develop a fluidity to the piece, reflecting the fundamental natural components that make up life. On the accompanying paper piece I used a soft grade graphite pencil and pressed firmly with my hand, greeting rigid bold lines. These unconforming lines convey a sense of brattiness, a certain validating of ones own vanity.

Interesting/challenging aspects of creating the work …

One thing I found difficult when completing my works is knowing how much to leave ‘unfinished’ and which areas require further refinement. Often, I found myself clinging to certain components of works in the early stages; it was this fear of ruining a line that I liked which stunted progress.

Ideas behind the work…

Familial bond is a timeless and very important value. Although my siblings are separated through canvas, they are connected by the raw ochre backdrop drawn from our family home’s walls. The motif of a transparent glass bird captivates my subjects with the enchanting play of light through its transparent form—a unifying symbol celebrating children’s joy in life’s simple pleasures. The ability of finding joy in the simple things in life is natural for children but lost as they get older. I believe it is an important ability to exercise, so this artwork is to remind viewers to learn from children to be more curious and actively find simple pleasures life offers.

Starting points and influences…

During quarantine as well as recent events in our family, I was spending more time with my siblings. I realized the role of family heritage, how much previous generations affect the next generation’s way of thinking, and the importance of having strong, healthy familial bonds, especially between siblings. I was always captivated by simple, beautiful scenes of the everyday. I realized that this beauty was created by various effects of light through different materials, the way it creates textures, movement, nuances in colour, etc., that trigger the viewer’s senses. I looked at Rembrandt’s work to study not only the way he represents the effects of light but also how he used his materials to manipulate how light interacts with the painting itself and therefore better create the effects and moods in the subject matter he is communicating. For my artwork, I took my new realization of the importance of family with my fascination of the effects of light and capturing moods through light.

Sources of inspiration…

• Light: the way light reacts through space, its interaction with various materials of objects, how different colours of light can create different moods, and how to paint various effects of light how the eye perceives it.
• Portraiture artists like Rembrandt who can capture a mood or intimate emotion of their subjects. I painted in Rembrandt’s technique of layering opaque and transparent paints to depict texture,light and dark and space.

Materials and processes…

First, I had to take photos of my siblings with my iPhone. Although I had a general idea, I let the photoshoot be quite loose so that the subject matter can build organically. After getting good photos, I made thumbnails and value drawings to decide on the best composition. I first toned my canvas with a yellow ochre and burnt sienna diluted with turpentine, then created an underpainting with more concentrated burnt sienna and Vandyke brown for the darker areas. After getting the values right, I started layering colors. Here I had to be aware of opaque and transparent paints. I used opaque paints for the skin and dress, but layered many different transparent paints on top to achieve depth, textures, and various effects of light interactions. A final glaze of Damar varnish was used in parts of the face, hair, and clothes creating a glossy effect to contrast with the raw background that had been left untouched since the very first wash.

Interesting/challenging aspects of creating the work …

The most interesting was definitely learning oil painting techniques of glazing, opaque and transparent paints. I liked seeing my technique grow over the year. Being able to study how light interacts with different materials, especially with the painting materials satiated a curiosity I always had. The most challenging was being meticulous about the nuances of colours to use and especially capturing a likeness to the details of my sister’s face since it was such a small area to work on. I had to scrape off the whole face area and start over again and again to get it right.

Ideas behind the work…

The painting ‘Kids of the Farm’ serves as a microcosm for society, depicted through the lens of a farm. Inspired by real-life animals and spontaneous ideas, it draws influences from artists like Mirka Mora and Marc Chagall. The dreamlike and surreal nature of the painting encourages viewers to project their own meanings onto it. The artwork represents ideas such as surveillance, community, isolation, and harmony with the environment.

Starting points and influences…

The starting points involve reading books and exploring beautiful areas, opening my mind to the surrounding world. This helps initiate the artistic process.

Sources of inspiration…

• Spaghetti Western movies, with their deep focus on landscapes and storytelling through cinematography, have been a significant inspiration.
• Marc Chagall’s life and art have had a profound influence, shaping my approach to the work.

Materials and processes…

The materials used include charcoal and acrylic paint. The process involves taking photos of the school farm for inspiration, creating a photo collage, sketching various composition ideas, tracing them onto a canvas with a base colour, and then allowing imagination and ideas to take shape through acrylic paint.

Interesting/challenging aspects of creating the work …

I find joy in the community aspect of art, engaging with classmates about their paintings and sharing the personal meanings behind the artwork. Expressing thoughts in a beautiful way through art is a fulfilling experience.

Ideas behind the work…

‘cityloopz’ focuses on Cascina, who, while blocking out noisy transit with social media while waiting to meet up with Vidara, confronts more noise: irritating online misogyny. I challenge the best intentions of ‘just put the phone down’ because the internet is essential to everyday life. Young people must fight fire with fire; escapism to escape their escape (social media). Misogyny is never-ending, but a few seconds of funny dogs provided by Vidara relieve them of this; they can laugh and be. When reaching their destination, the video loops, emphasizing that this content is repetitive and never-ending, like their train route.

Starting points and influences…

• Stylistically influenced by cartoons like Samurai Jack, Clone High, and Total Drama Island, utilizing a minimal, shape language-driven art style but occasionally exaggerating movements for comedy and to communicate a character’s personality. Production art, character sheets, and background paintings from these shows were my best friend.
• My experiences with online misogyny from when I was little to the present day.
• Frustration with contemporary male artists depicting women using social media as inherently vain and women as the face of ALL societal problems, flipping this idea on its head.
• Using social media as escapism during lockdown, on transit with friends/family/myself to kill time.

Sources of inspiration…

• Films/ TV Shows: Adventure Time, The Spider-Verse Films, Everything Everywhere All at Once, and the Italian series ‘Questo mondo non mi renderà cattivo’ (This world can’t tear me down).
• Visual Artists/ Musicians: Mauro C Martinez, Victoria Vincent (@vewn), Vincent Namatjira, Kelela, PinkPanthress, RXKNephew.
• Every aspect of my social media feed, particularly X (formerly Twitter), YouTube, and TikTok, especially the comments section, quotes, etc. How we interact with content and what people decide to post, even the most random or hateful, interests me; what we collectively joke about online and the way we do it changes so frequently.

Materials and processes…

I started straight with pencil to paper, jotting my ideas down and sketching out character designs and backgrounds, finalized in Procreate. Then I drew storyboards, laying out the story and composition of each shot. I painted the background in Photoshop, trying value mapping techniques and utilizing cohesive colours, texture. Some ‘screenshots’ painted in HEAVYPAINT. Every frame was hand-drawn in Procreate, occasionally copying frames to make minor tweaks. I’d frequently ask friends if they saw the same thing I had envisioned, then adjust for comprehension. I composited all shots and effects in After Effects, compiling shots, dialogue/audio, and colouring in Premier Pro.

Interesting/challenging aspects of creating the work …

I almost spent 3 months exploring 3D animation as a medium but eventually went back to 2D due to familiarity and time crunch. I completely ditched my Year 11 animation workflow and switched to animate with Procreate on my iPad. Procreate is very difficult to animate with, from managing my colour and linework layers to frequent crashing. Even though I drew turn-around character sheets to keep on model, complex full-body movements longer than a second and keeping my characters uniquely expressive was challenging and laborious to animate, especially since my hands cramped a lot due to injury.

Ideas behind the work…

‘Mr Slugworth’ – wanted to create a feeling of ‘retro youth’, also pushed myself with the presentation, ending up with a mystery image puzzle.

Starting points and influences…

I grabbed inspiration from all around me. I started with really wanting to use the bus as a subject as it photographs well and jumped off from that point.

Sources of inspiration…

• Environment around me; I live along the river and love getting outside.
• Nadav Kander + Fleetwood Mac
• The Beach – Warwick Thornton

Materials and processes…

DSLR camera. I loved the idea of shooting on film, unfortunately couldn’t. Tried to emulate this effect through editing.

Interesting/challenging aspects of creating the work …

Choosing one of my many ideas and narrowing my choices.

Ideas behind the work…

Essentially, the two works were designed to be exhibited as a pairing. The base concept is the inclusion of two individuals (one being the primary focus and the other being myself) and a dog. I wanted to create a work that could be interpreted in a range of ways, inviting viewers to draw their own conclusions from the images. These works explore human nature and the way we perceive others, reflecting that although identity and environments are interchangeable, they support each other when forming interpretations.

Starting points and influences…

My works went through a very extensive development period. Initially, the works were incredibly different from the pieces that became my finals. However, the creative development aspect was one of the most exciting and fulfilling elements of the journey. I began by taking an old 2009 Sony Digital 4 Mega Pixel camera to various friends’ houses to capture them in their home environment. I soon recognized that I needed to intensify my focus on just two individuals, rather than diluting the core focus with too many different people featuring in the photographs. The two individuals featured in ‘Flora’ and ‘Fauna’ were both people I felt connected with at the time. To produce a composition with which I was satisfied, I continued to visit them in their home environment and photographed them numerous times using a Nikon D5600 digital camera and tripod. Some of the factors I drew upon that influenced the images were their unique personalities, their personal style, their interests, and the built environment.

Sources of inspiration…

• David Hilliard provided me with strong inspiration regarding the separation of subject matter in the composition. Hilliard focuses on one element in each panel, one critical area of the environment to show its symbolic value within the works. I was also influenced by the incorporation of himself and his own life within the works, and how he separated the individuals yet revealed a connection through placement and environment.
• Shea Kirk became a strong influence later in my works, specifically for the presentation of the final prints. His use of black homemade nails connected with the dark elements throughout his monochromatic portraits. I felt this beautifully balanced the work while reflecting a casual quality. The goal was for my pieces to resemble posters, to not dictate the meaning of the work to viewers, but to let them determine their own meaning of each piece.
• I was also inspired by the changes in my relationship with others. How we are continuously growing, our relationships expanding and contracting. How we grow closer to people because we think they are a good fit for us, and how we grow distant from those who we grow out of.

Materials and processes…

I used a Nikon D5600 digital camera, with an 18-55mm lens and Adobe Editing software. The artworks were printed on Metallic Gloss 260GSM photo paper using an Epson Inkjet printer. The fixing nails were comprised of the top of Black Upholstery pins and the stem of Blued Cut Tacks. Using hot glue and superglue, I combined these two materials to create bespoke fixing nails. Since the shoot locations of each of the works consisted of differing lighting environments, I adjusted aperture and shutter speed with the assistance of a tripod to mediate the light. This also allowed me to keep the natural light, shadows, and feel of said location.

Interesting/challenging aspects of creating the work …

The key challenge was transferring concepts from mind to paper. I could visualize the effect I wanted, so working through the process to externalize this was a lengthy period of trial and error. During the shooting process, I found myself at times overanalysing the scene or not providing enough guidance and support to those I was photographing. This resulted in images that felt messy and emotionally detached. Initially, I was focusing on too many people, too many connections. When I did alter my attention on the subject matter as well as my approach to the shoot, I found that the emotion in the artwork began to grow stronger.

Ideas behind the work…

‘Conceptual Paradigm’ delves into the realm of our digital information-driven world, exploring the intricacies of perception and interpretation. In a landscape inundated with data, individuals grapple with the task of processing, moderating, and interrogating this influx. The artwork prompts viewers to contemplate this within the context of interconnectedness and invites them to compare their interpretations with others. The varied images on the iPhone and projection symbolize the divergence in perception and interpretation attributed to human error. Each of us filters information through our unique paradigm.

Starting points and influences…

The influences for this piece draw from Refik Anadol, Joseph Cornell, and Tyrone Wright. Recognising the significance of the medium in conveying the message, the starting point involved teaching myself digital software as an integral part of my art practice.

Sources of inspiration…

• Developing technologies, particularly AI.
• Film and media, with a focus on Science Fiction.
• Computers and technology.

Materials and processes…

• Materials: Utilised the ‘geometry nodes’ feature of Blender, a digital 3D modelling software, to create the animation. The technique involved sequencing a code to simulate particle and geometry growth on a large scale. Self-developed code was used for animation.
• Head Model: Crafted a 3D print by capturing photographs from different angles and calibrating them.
• Music: Created using GarageBand.

Interesting/challenging aspects of creating the work …

The lack of a curriculum tailored for Digital folios and art, despite residing in a digital world, posed a notable challenge. Access to necessary technology and equipment at my school, particularly for running essential software and 3D printing, presented additional hurdles. Limited support from teachers, hindered by their lack of understanding and training in the field, added to the challenges.

Ideas behind the work…

This piece conveys the threat of environmental destruction caused because of climate change. It also aims to depict the fear and guilt that comes because of the acknowledgment of our own responsibility in humanity’s descent into crisis.

Starting points and influences…

• The starting point for my artwork was the idea of nature’s power and monumentality, and the idea of doom and guilt.
• Another starting point was my previous and extensive experience with drawing eyes, which has been an almost obsessive interest of mine for many years.
• I was heavily influenced by the romantic works of Caspar David Friedrich and JMW Turner, as well as the early realism works of Gustave Courbet.

Sources of inspiration…

• JMW Turner
• Caspar David Friedrich
• Classical music such as the New World Symphony, by Antonín Dvořák

Materials and processes…

• Graphite pencil drawing (preparation)
• Charcoal drawing (preparation)
• Photography (gathering reference and inspiration)
• Oil painting

Interesting/challenging aspects of creating the work …

• I found exploring the subject matter of dead trees and their animated appearing forms very interesting.
• I found that finding a balance between the background landscape and the large eye in the composition very challenging.
• Despite my aim for realism, it was challenging for me to find and retain an appropriate level of expressionism as well as realism in my depiction of the eye.

Ideas behind the work…

For this artwork, I aimed to reflect my experience exploring identity and mental growth over time. By painting a picture that depicts a wide range of patterns, colours, styles, and subject matter, I wanted to convey a chaotic feeling that represents the change and influence the world can have on one’s identity over time. I wanted this idea to be evident through both the title and the painting itself, purposefully leaving out unclear statements so the viewer can interpret the artwork in an individualistic way.

Starting points and influences…

I began the artwork by exploring a title before painting. After researching into Steven Rendall’s ‘Cadavor’, I similarly wanted to create an artwork that holds meaning in the connection between the title and physical work. I also aimed to create an emotive work; rather than having a central figure or focal point that can communicate the greatest amount of meaning, I wanted to create a splurge of colour and subject matter that can convey a ‘Chaotic’ feeling or aesthetic.

Sources of inspiration…

• Philosophy (e.g., ‘The good life’, ‘personal identity’).
• Artists such as Salvador Dali, Peter Booth, Steven Rendall, Gian Manik.
• Pop Culture (the bridge between fine art and skateboard/graffiti culture).

Materials and processes…

Oil Paint on Unstretched canvas

Interesting/challenging aspects of creating the work …

Previously, I had never used unstretched canvas. However, after completing my work, I found that it was not only easier to work on but gave much character to the overall aesthetic and feeling of the work. Additionally, my earlier works have predominantly focused on a central focal point; however, the busyness of this painting created difficulty in finding one. Yet, I soon accepted this and grew to like this new style I was working with.

Ideas behind the work…

Hang On, I’ll Just Be a Moment’ explores the relationship between authenticity and self-curated images. This voyeuristic view of someone not quite in control of their presentation serves to question the nature of self-curatorial images in contemporary society. Are these highly informed, calculated outfits, or makeup looks a true representation of ourselves?.

Starting points and influences…

My works were birthed from my initial questioning of the relationship between hyper-contemporary amusements and the fundamental components of life. Through consuming social media content and reality TV while also feeling both a personal and cultural drive for groundedness, I felt this tension between the nature of existence and the history of man-made contrasts that cloud our lives.

Sources of inspiration…

• Tracey Emin’s gestural strokes and expressive mark-making convey a kind of tenderness, a certain authenticity which I aimed to incorporate into my works.
• Caroline Polachek’s work, self-described as ‘bratty,’ inspired a trial of exploration in giving importance to seemingly ‘unserious’ ideas. Her song ‘Bunny Is a Rider’ made me question the value in self-centered ideologies and their relationship to the growing push for groundedness.
• In terms of subject matter, David Rappeneaur’s illustrations adorned with Hello Kitty keychains, iPhones, and Instagram notifications informed the way I viewed such contemporary symbolism in a fine arts context.

Materials and processes…

I used free-form gestural marks of graphite pencil as a basis for my work. While refining certain areas, I deliberately left others with only the initial stroke. This juxtaposition of techniques aims to reflect the tension between more curated forms of presentation and a raw, unfiltered view of someone. This freedom aims to develop fluidity in the piece, reflecting the fundamental natural components that make up life.

Interesting/challenging aspects of creating the work …

One thing I found difficult when completing my works is knowing how much to leave ‘unfinished’ and which areas require further refinement. Often, I found myself clinging to certain components of works in the early stages; it was this fear of ruining a line that I liked which stunted progress.