Top Arts 2019

Artist statement
Pre-loved consists of nineteen clothing items, each with a unique and unknown history, collected to depict the identity of an imagined character. The memories of this character are communicated through images, text and symbols appropriated from real memories. These communications have been embroidered, appliqued and transferred to create a unified piece that evokes both nostalgia and curiosity as the audience wades through an imagined life that questions how ‘real’ memories can be used to generate, validate or communicate a false identity.

Ideas behind the work …
We are all created through our memories; our memories tell us who we are and constantly shape our identity. We rely on our identities, and the perceived identities of others, in order to navigate and understand the world around us. However, our identities can be shaped by things that may not have even occurred or that occurred radically differently from what we recall. How far can these alterations be pushed? Is it possible to take a real memory so far that it can create an entirely different identity, develop a new persona? How can we notice a lie, falsification or fraud when it appears to be supported by things we know to be true? How could ‘real’ memories be used to generate, validate or communicate a false identity?

Materials and techniques …
Pre-loved consists of clothing items collected from my own closet, my family, friends and op shops. The memories of their character are communicated through images, text and symbols which have been extracted and appropriated from real memories then embroidered, appliqued and transferred to the clothing items.

Influences …
I was interested in the memories of those around me and the way in which those memories shaped their present identities. Because of this, Grayson Perry has a major artistic influence, not only in the way he manipulates colour and textiles, but the way in which he adopts the memories of an individual to create a new persona, such as that of Julie Cope depicted in In its familiarity, golden.

Future plans …
Next year I hope to pursue fine arts, particularly considering the way in which archaeology and contemporary art are interrelated and can influence each other. I hope to study this, while improving my use of techniques and communication of ideas, at university level.

Artist statement
The adjective ‘wizened’ denotes a sense of wrinkling with age, yet carries phonological similarities to the word ‘wisdom’. Through these drawings, one contemplates the way time changes people physically, and the ways in which various encounters and events experienced throughout life contribute to appearances. The drawing surface of the cardboard furthers this idea, as it has undergone its own journey as packaging, obtaining various markings over time on its ‘skin’. The weathered texture, tears and the irregular raw edge all allude to the impact of time on all things, both living and inanimate.

Ideas behind the work …
The idea behind Wizened was to create an intimate and intricate examination of the facial structures of living people at the final stage of their lives. For my subjects, I chose both my grandparents, to show their experiences throughout time and how time itself has interacted with them and influenced their appearance. The drawing surface of cardboard represented a coming together of journeys in time. The cardboard served its purpose as packaging and, despite being from the same box, the two pieces have individual markings and textures in varying degrees due to their own unique experiences and journey in time.

Materials and processes …
Wizened uses cardboard that was used as packaging, contributing to a weathered and aged aesthetic. The cardboard creates a visually interesting middle ground, which offsets the dark black charcoal lines and white conte crayon highlights. Charcoal was used in a variety of forms, mainly compressed and synthetic to create solid black lines. Natural willow charcoal was used to create a subtler line where I wanted to pick up the texture of the cardboard. Charcoal powder was applied with a brush for a soft and delicate tone with a smoother texture. The tone created with the powder was also much more even.

Starting points and influences …
One of the best starting points for me was a trip to the 2017 Bowness Prize where I came across Robert Ashton’s Self portrait. The artist described the photograph as a theatre of time where various experiences and events had occurred, leaving the viewer to imagine what goes on in a space over time and how it may change. This encouraged me to think about the way all things interact with time. I was also influenced by my time spent travelling in Japan, which lead me to consider different cultural adherence to and perceptions of time’s importance.

Artist statement
Clothing can be manipulated to project confidence, regardless of how we feel within. The intrusively vivid pink commands, while the reflective plastic conveys a sense of superficiality. The thickness of the double-layered PVC creates a sculptural effect, which gives the sense that the jacket is a protective ‘social armour’. This contrasts with the jacket’s transparency, revealing the true vulnerability of the wearer.

Materials and processes …
I used clear PVC material. I twisted multiple coloured threads together, and then glued in the grid pattern sandwiched between two pieces of PVC. I stuffed this with pink wool roving to create the alternating checks.

Starting points and influences …
Instagram was my main inspiration as it exposed me to everyday people creating their own art. I am inspired by seeing others achieving and experimenting. Each trial I did slowly built up to the idea of creating a ‘fabric’. This began with dying and painting fabric, and then progressed to sandwiching leaves and flowers between acetate. I then laminated threads in a laminating sleeve, and experimented with melting and manipulating the fabric.

Favourite artist …
A designer that I really admire is Angela Lowe, and her label EWOL. Her design is more focused on experimentation and conceptual ideas over functionality. I admire her use of unconventional materials, which are truly unique. This influenced my own design, as EWOL designs do not follow conventional silhouettes or techniques. This is a skill and style that I hope to develop more. Angela Lowe is more focused on creating original works rather than following trends and producing clothing en masse, which links to my own ethos of sustainability.

Artist statement
We live in a consumerist society. In many contexts, the objects we desire, buy and own are a direct reflection of our views and values. The concept of materialism is at the root of my artwork. The handmade nature of the mugs, containing personal messages, contrast with the attempted regularity, challenging the inherent nature of consumerism within society today.

Ideas behind the work …
My studio practice revolved heavily around individuality versus the ritual and intimacy of drinking tea and the tendency for human nature to give preference to otherwise meaningless objects. By looking at dysfunctionality, form manipulation and crude distortion, I was able to challenge the ideals of preciousness, through consumerism and conformity. I intended to incorporate thought-provoking, humorous elements into the artwork. By utilising an absurdist quality, through form manipulation, the vessel itself contrasts with the normalcy of a typical gloss white glaze. My artwork exudes a perceived normalcy, but also poignant discomfort as each piece is equally specious.

Materials and processes …
Through my process, I used porcelaneous clay bodies, and ceramic materials and techniques to create my final artwork. Initially, I threw earthenware clay bodies – easily workable, inherently common and porous – but soon graduated to stoneware and porcelain clays. The decision to use porcelain clays was significant in my own development as a potter, and conceptually appropriate, paralleling the value of porcelaneous clays throughout history and the ambivalent fragility yet rigidity of the clay bodies. The many processes associated with clay were essential to my process. Softening and wedging the clay, centring, pulling, trimming, handle pulling, attaching, glazing and the nature of firing were all explored and developed through my process. Wheel throwing was an intricate process; the difficult qualities that centring and pulling a wall demand were difficult for me. I found a huge respect for the process and craft. As Specious depicts manipulated mugs, I used a variety of wooden carving tools, ribbon tools, knives and cutting wires to manipulate the vessels, which were refined through my process.

Starting points and influences …
I was very heavily influenced by the intimate process of making tea, and the choice to repeatedly choose the same cup in this process. I was also influenced by the comfort that each element of a mug provides, and the sentiment attached to individual preference. I am also heavily influenced by contemporary ceramicists Brett Freund, Alison Frith and Hilda Carr. Their practices revolve heavily around surface manipulation and glazing, which are effective in producing technically flawless vessels, considering the unpredictable nature of firing. Ancient Chinese pottery and the wabi-sabi aesthetic inspire me through their beauty in imperfection. My grandad is a former potter who helped me to improve my throwing skills and explore a breadth of ceramic artists, techniques and styles. Brainstorming the significance of a handle and how manipulating the role of the handle would change the value of the vessel was the catalyst of the manipulations within my works, as these manipulations change the perception and quantification of value. By laying down a strong foundation of research on my materials, organising ideas and exploring artists, I went into my developments with a clear direction of my ideas, and the motifs that I wanted to explore. I also found that surveying my friends about their favourite mugs allowed me to gather and refine my ideas.

Artist statement
I explored the way in which the structural integrity of memories can degrade over time, presenting this corruption as amorphous masses that cut across the artwork that reflect the organic nature of memories. The piece, laid out as a mockery of a Chinese handscroll, was drawn entirely from memory, with the process serving as an integral part of the art as fragments of memories of home were stitched together to depict a hollow shell of the initial memory.

Ideas behind the work …
Degradation of home explores the ways in which perceived space in one’s memory can degrade over time. This idea stems from my own warped memories of my home in China, which I feel have decayed; my roots have become unearthed over time as I have moved around. I combined this with my interest in human anatomy, drawing connections between the grotesque nature of the human brain and the inherent fear of losing one’s memories. This piece gives the audience a peek into my own relationship with the idea of home. Aesthetically, I drew inspiration from the works of the cultures that shape my identity: Japanese traditional woodblock prints, and the dimensions of a Chinese handscroll.

Materials and processes …
The creation of Degradation of home was a long and somewhat tedious process. I used wooden boards and watercolour, as the transparency of the pigments would allow the grain of the wood to show through. This gives the image the illusion of fading away. I initially used a grey-lead pencil to sketch out the line art, all of which was drawn from memory and without reference. I lined the wooden boards next to each other horizontally to create a triptych. Fine-liner was then used to ink the piece before watercolours were applied on top in layers, building up the different tones of red and blue.

Starting points and influences …
My dreams are a significant source of inspiration for me; they consist of surreal and unsettling scenes that hinge on liminality and the uncanny valley. I am fascinated by the subconscious, and love all things horror-related, so these are often the source of many of my ideas and the focus of many of my works. Some literary works that inspire me include the writings of Jorge Luis Borges, and House of Leaves by Mark Z. Danielewski.

Artist statement
My main focus within this process was to reimagine photography by presenting it in an inviting way. I printed my image on a large scale to emulate how significant experiences affect our lives. By making the incisions and overlapping them, my conceptual ideas were reflected. Life is an adventure full of experiences, stories and relationship, and these occurrences overlap. I have left my work purposefully unfinished to express the continual journey of life and the many things left to be explored and experienced.

Ideas behind the work …
Based on the conceptual idea ‘journey of life’, the artwork depicts our gradual exploration of reaching milestones, good and bad experiences, personal achievements and attaining goals. Each strand represents these achievements and growth throughout life; hence the piece has been left unwoven, representing milestones yet to be achieved. The intimate portrait creates direct eye contact, connecting with viewers. The pixelated effect evokes the confusing and difficult nature of life. The female subject, in some ways, reflects my own life, however, I allowed for more strands to be filled than reflects my own life achievements. Despite some of the negative experiences we may face, each experience contributes to the whole picture that shapes us as individuals.

Materials and processes …
The photograph was edited using Photoshop. I enhanced some details and made the photo black and white. Once it was edited, I printed the image twice onto poster paper. Using a ruler and a scalpel, I cut half-a-millimetre strands horizontally with a one-millimetre gap from the edge to keep the length strands in place on one print. Using the second print, I cut half-a-millimetre strands vertically. I had to use an additional thirty-centimetre ruler for the vertical length and cut these strands while holding the two rulers together. To keep each strand in order, I initially cut all the horizontal lines, and then cut some of the vertical lines at the same time, and wove them through.

Starting points and influences …
I’m inspired by a variety of different things, ranging from music to the raw and unique beauty of nature. I love photographers such as Vivian Marie and Robert Frank, whose images present a different time that I find intriguing and informative. Travel photographer Steve McCurry was the reason I first explored photography and his works allow you to experience different cultures and ways of life from all over the globe. My work was largely inspired by artists Michelangelo di Battista and Tina Berning, and one of my favourite songs ‘Waves’ by Dean Lewis. The lyrics, ‘It comes and goes in waves’ reminded me of life and the ups and downs we face throughout. I wanted to reflect the symbolism of waves in my artwork; woven threads that are manipulated, crossing over, up and down.

Future plans …
Next year I will be volunteering in Ghana, Africa for six months. I am excited to take my camera with me and capture my adventure and journey. I will be able to experience and engage with travel photography and I believe my photos will change and develop as I learn new things along the way. After Ghana I plan to backpack through Europe and I can’t wait to capture the beautiful colours and cultures across this continent.

Artist statement
I wanted to know how collections of objects can represent and affect space. I conducted performative ‘experiments’ to draw conclusions surrounding the ways in which my own belongings could impose upon other people’s private and personal spaces. Drawing on the ideas that collected objects capture moments in time within particular places, I collated my investigative experiences in a physical object that, in turn, could be a part of a collection representing space or time.

Ideas behind the work …
The ideas behind ghost. M focuses on familiar and removed space, and how objects from that space reflect its time and connection to a person. I explored this by using objects from my bedroom to recreate my room in other people’s bedrooms. This was an attempt to reach a conclusion about what effect objects really had on a space. Similarly, the work looks to how significant other people were in my process. I was interested to see if my alteration of their space created a disturbance and if they felt their space was being imposed upon. In this way my artwork came to focus on the mental and emotional connection to objects and spaces in the process.

Materials and processes …
ghost. M was a performative piece in which I recreated my bedroom within other people’s bedrooms and slept in it for a night. After this I would write a reflection and conduct an interview with the person whose house I stayed at, to gauge their reaction. After finalising the written pieces, I altered them to create visual documentation beside the written documentation, using the letters and the form of the words as a basis for obstruction. To finalise the work, I had this document printed (using blurb.com) to turn it into an object that could then continue the performance.

Starting points and influences …
My starting points for this exploration were my own habits and the strong associations I have to objects and places. When beginning my work, I looked to artists such as Andrea Löfke, a German artist, who creates imaginary, dreamy worlds through mixed-media installations. Focusing heavily on colour and physicality, it brought me to focus on the impact ‘objects’ have on the way we perceive space. When conducting experiments around the importance of objects, the only way I felt I could truly express my experience was through writing and written reflection. When looking to the beginning of this body of work, there’s two major starting influences: one where I looked to object permanence and one where I looked to text as an art form.

Favourite artist …
An artist I admire is On Kawara and his methodology behind his art practice. The idea of repetition and process that he enacts over extensive periods of time particularly intrigue me. Specifically, his work Telegrams: I am still alive which spans over three decades, wherein he sent more than 900 telegrams while establishing a (potentially) fictional distance from himself for himself, is something that I admire.

Artist statement
This work was heavily inspired by the Colour Field Movement and artists such as Normana Wight, Col Jordan and Verner Panton. Elements such as shape, colour and form are vital to this work and convey my theme of emotion. The process used to create this piece is known as latch-hooking, a very tedious and laborious process. It was used by homemakers during the 1970s. Due to the rug’s texture, the piece becomes more interactive and personal to the viewer. All interpretations are welcome; there is no singular meaning to this piece.

Ideas behind the work …
Rug was a simple design focusing on organic shapes and colours typical of 1970s style. Rug was inspired by the Colour Field Movement and the era of fashion and design. I chose to present the work in a way that was heavily influenced by interior design of the time. Shag pile rugs were made and displayed in homes by homemakers, including both of my grandmothers. By creating the rug with my own hands and using an authentic method of the latch hook, I attempted to achieve a visual representation of 1970s style.

Materials and processes …
I used 1.5 square metres of rug canvas and approximately fifty metres of wool. To create the rug, I used the same techniques that homemakers of the 1970s used: latch-hooking. This is a terribly slow process, and Rug took just over 120 hours to complete.

Influences …
I wrote my exploration proposal with the intention of drawing and painting portraits, exploring the theme of emotion. After becoming uninspired with portraiture, I still wanted to carry emotion and connection through my paintings. I found the best way to do this without portraiture was to use art elements, colour and shape. Around the time I was experimenting with these elements, I visited the NGV’s The Field: Revisited and was inspired to create similar works. Artists like Normana Wight, Col Jordan and Verner Panton are particularly inspiring to me.

Favourite artist …
My favourite artist is Ozzie Wright, a surfer-artist and musician residing in the northern beaches of New South Wales. His unique style is heavily influenced by the surf culture, punk rock and intergalactic beings. I admire Ozzie’s attitude to life and his love for surfing, art and music. In his art he uses bright vibrant colours, patterns and shapes to create scenarios and ideas. I love Ozzie’s unconventional use of materials. Instead of using canvases, he uses buildings, surfboards, logs and fridges to paint on. Ozzie inspired me to create Rug, as he inspired me to be more open-minded and use unconventional materials to express my ideas.

Artist statement
In Classic Mia, I focused on Classical/Hellenistic sculpture and the aesthetic elements that characterise these movements. Utilising compositional devices characteristic of Hellenistic and Late Classical Greek sculpture, such as nuanced drapery and flawless skin, I envisioned the figure as a statue. Using my younger sister, Mia, as the model allowed me to explore the motif of a child’s transition to adult as comparable to an artist forging a figure from marble. This notion of transition is further instilled through superimposition of the golden ratio, galvanising change as life’s constant.

Ideas behind the work …
I created a composition that weaves in and out of negative and positive space to represent the search for self that commences at adolescence and continues throughout life. Using illustration, I wanted to acknowledge the gentle and kind person my sister has come to be; a hidden side of her often unseen due to her sarcasm and wit.

Materials and processes …
Prior to sketching the outline of my figure, I spent more than an hour mapping out the golden mean as accurately as I could on blank paper. I made it as large as I could, within the restrictions of the paper I had, which subsequently determined the dimensions of my piece. I then projected my reference image of my model onto the paper and experimented with placement until I was satisfied. Using the projector I lightly outlined the figure in pencil – adding small elements to ensure accurate proportions. Finally, I began using BIC biro pens to fill in my figure with fine crosshatching. I worked in sections, ensuring that I could deepen tones to balance out the completed composition. It’s not dissimilar to doing a jigsaw puzzle; you start with areas that you’re clear and confident in and then work on more vague parts using the surrounding context to guide you.

Inspiration …
I’m in complete awe of the natural world and the physical microcosms we inhabit. Yet I find it overstimulating; I think I’m intimidated by the vastness of the world, despite the creative inspiration it awakens in me. At this point in my life, I find I’m able to comprehensively digest other people’s interpretations of the world through their respective art – be it traditional media or contemporary – rather than perceiving the environment myself. I love the melding of personality and art, bringing life to otherwise stale objects. The fragments of consciousness that linger in art make the seemingly looming, cold world less foreign.

Future plans …
Next year I intend to commence a double degree in science and fine art. I would love to focus on human anatomy across both fields to allow for a more comprehensive understanding of function and form. I also want to make a positive impact on the world in a significant way, most likely from an environmental standpoint. There are many clear injustices fuelled by power and greed that cannot be combatted solely by frustration and outrage. I believe art transcends cultural, social and economic boundaries that other media cannot. If my work resonates with people, then I hope to use it as a tool to spark or compel positive change.

Artist statement
Felt (past tense of ‘feel’) is a wearable artwork intended to create empathy for mental illness, taking a literal approach to stepping into someone else’s shoes. The bright colour scheme of the coat conveys a positive approach to mental illness, and the embellishments are symbolic of the abstract nature of our emotions and mental state. This work is inspired by Yayoi Kusama, Vincent van Gogh and Edvard Munch, who expressed their mental health through their art.

Ideas behind the work …
In response to my theme ‘How are mental illness and emotions expressed in art?’, I chose to create a wearable artwork that combines visual aesthetics with the viewer/wearer experience. Felt (past tense of ‘feel’) is an exercise in empathy, recognising the bravery of those who advocate for the de-stigmatisation of mental illness. The embellishments symbolise the abstract nature of our emotions and mental state, and the chaotic way we individually experience them. I hope the imagery and whimsical nature of the wearable artwork inspire beneficial and constructive conversation of mental illness.

Materials and processes …
I created this work from a white woollen coat, and two pairs of white pants that I sourced at an op shop. The decision to upcycle and deconstruct preloved clothing was inspired by the unknown messages and stories of others that are held within the fibres of these clothes. I dyed the coat pink using Rit dye. The pants remained white to contrast with the bold colours of the coat. I experimented with creating French-knitted chords by hand, but then moved on to using a hand-wound machine to knit chords that I used to embellish the sleeves. Hand-constructed organic shapes of felt and tulle, attached with faux pearls and embroidery thread, developed progressively throughout construction. I tailored a smaller pair of the pants to fit as flares and attached a tulle ruffle and chords at the hem. I sewed the fabric from the larger set of pants to create a structured top and added more chords onto the back of the top in a Cornelli lace pattern.

Starting points and influences …
I find most of my inspiration in street fashion, online blogs and Pinterest. My art making lies predominantly in clothes. For this work I was inspired by current street style in major international Fashion Weeks. This combines classic silhouettes with colourful motifs, and unique materials and textures. Fashion appeals to me as it is an everyday art, unrestricted by wealth, status, gender or age, that allows anyone to express their individuality with ease and freedom. Clothes are able to change and lift your self-esteem and self-confidence, and they have the power to capture and enhance our human condition, which inspires me to create my artwork to explore our humanity, too.

Favourite artist …
My favourite artist would have to be Yayoi Kusama, a Japanese contemporary mixed-media artist. Initially I enjoyed the whimsical, aesthetic nature of her works, such as the ‘infinity’ rooms and ‘infinity’ nets. However, there is more to Kusama than her artworks – her childhood was rife with abuse and neglect, and an onset of multiple mental illnesses guided her to art as an outlet. I admire her strength, determination and energy, and it is humbling to know that although she has been set back so much, she has made her mental illness into a strength by expressing it in art.

Artist statement
Interaction drawing IV was created by Drawing machine III, a device that allows the audience to take control of auxiliary drawings, which are produced on its surface. The machine allows for the response of the subtle and chaotic dynamics of human movement, translating powerful pushes, sweeping turns and abrupt stops onto paper coiled around its surface.

Ideas behind the work …
The users of Drawing machine III have a direct influence on the aesthetic quality of the finished piece, where their movement is expressed as visual language. The work is underpinned by the themes of fate and coincidence, disarming the control of the artist and passing it on to another.

Materials and processes …
This work was created with ink on paper using the drawing machine. As the pen attached to the machine was dragged across the surface of the elongated page, long linear and never-ending marks were produced. The lines occasionally jump and skip as a result of violent or enthusiastic interaction, yet the line remains singular.

Interesting and challenging aspects …
The most enjoyable part of creating this work was discovering the subtitles and nuances of the drawing machine and witnessing the emerging concepts of fate and coincidence. Additionally, I enjoyed watching the audience participate in the drawings; their enthusiasm and interest in contributing to the piece were particularly rewarding. The most challenging aspect in the production of these works was refining the movement and mechanics of the drawing machine. It took many minor changes to achieve its current operation. Changes I made included the type of pen, weight of the wire, and interaction of the machine with the exhibition site’s floor surface. Refining these aspects together in congruence was difficult, however, a more refined aesthetic has been achieved.

Artist statement
We are completely fixated upon ourselves, with no regard for issues that truly matter. Fuelled by self-obsession in social media, we turn a blind eye to detrimental climate and environmental problems. We would much rather adapt to a dystopian world than stand up and fight for action. This portrait, produced with acrylic paint and layers of coloured pencil, emphasises ‘selfie’ culture, our role in nature and the increasingly technology-dominated world we live in.

Materials and processes …
I began by adjusting the shape of the large wood board that I had used as my ground. I did this by creating a straight wood frame with wood glue and gluing this to my larger board. After preparing my ground, I established the placement and size of my portrait through a light graphite sketch. After my basic outline was achieved, I began my first layers of colour with extremely diluted acrylic paints. The first few acrylic layers left a light stain, blocking out my main areas of colour. Slowly building the concentration of my acrylic paints, I built layers of colour while maintaining translucency. Once I was satisfied with my washes of colour, I began using a mixture of both Prismacolor pencils and Faber Castell Polychromos to build up areas that required more depth and detail (such as the facial features, shoe details, hair and fingers). Meanwhile, I utilised different shades of gold Global Colours acrylic paint along with an iridescent medium to develop the gas mask and phone. To further refine my piece I used extremely sharp pencils to adjust smaller details.

Starting points and influences …
I am most inspired to create when I feel passionate about a certain message behind my piece. In most cases, I find that all aspects of nature inspire me to produce my artworks. When I create works based on environmental issues, the raw emotion I feel translates into impactful subject matter. I was motivated by the current disregard for environmental issues globally. It motivated me to use my art as my own platform for voicing these issues. #Adapt was inspired by my travels to China and the low quality of air. While on this trip I began to develop respiratory issues. This prompted me to think about the future of our atmosphere and the important changes we must make to overcome this issue.

Future plans …
Next year I hope to study environmental and climate sciences at Monash University. I will continue to create art with the aim to commission pieces. While I don’t plan for art to be my main career, it will always stay with me as one of my greatest passions in life.

Artist statement
My work explores evolution, focusing on the interference of humans within the natural process. I wanted to bring to light the ongoing debate between religion and science, considering whether using science to manipulate the natural course of evolution is considered ‘playing God’. This artwork asks the viewer to consider whether humans should allow evolution to occur naturally, or whether they can use scientific advances to intervene. The piece is an abstract diorama, in which I installed miniature scenes inside Petri dishes inspired by my enthusiasm for small-scale objects. The mix of materials emphasises the dynamic between art, science and nature.

Materials and processes …
I used many materials in my piece, from naturally found resources to synthetic materials. For the park and the forest, I used scale foliage and moss runner, as well as rocks and twigs. The water was made using two-part resin, which I had to mix in a 1:1 ratio and, depending on whether it was murky river water or sea water, I added brown and blue/green ground pigments. Most of the objects were glued down either by using a hot-glue gun, wood PVA glue, or a technique I learnt from YouTube where PVA was mixed with water and detergent to glue down dirt or sand without having a visible top coating. The beach involved more height so I used plasticine to create the slope, and glued down a layer of sand before pouring in more sand that would remain loose.

Starting points and influences …
My ideas behind the artwork stemmed from my wish to create a piece that was highly symbolic and explored a controversial topic in modern science and evolution. I wanted to use scientific materials in my work, thus the inclusion of Petri dishes. I began researching microbial art and other forms of scientific art which led me to Luke Towan, an Australian artist who creates dioramas of scenic landscapes. I decided to combine my love for science, nature and small-scale things to create tiny dioramas inside the Petri dishes.

Favourite artist …
My favourite artist is Myriam Tillson. She is a French contemporary artist who uses watercolour and gouache and displays her art through social media. I admire her as a person because she is very open about her thinking processes before, during and after creating a piece. This has helped me to understand that my insecurities about my artwork are shared by other artists, and it helps me push through and continue to create art. Her style is surreal and eerie, and I admire her ability to create art that challenges perception. It reminds me that my art should be representative of myself no matter what others think.

Artist statement
My conceptual practice intends to traverse the complexity of Australian culture, reflecting the dialogue between colonial Australia and its Indigenous heritage from the standpoint of a white Australian. I use photography to investigate enduring Indigenous culture, and the lasting effects of colonisation on Aboriginal Australia, both the population and the land. My images contend the view that Indigenous culture is historical, damaged and deserving of sympathy. Conversely, my images demonstrate that this culture is thriving and powerful, not deserving of our sympathy but instead of our respect.

Ideas behind the work …
This work is series of portraits inspired by the NAIDOC theme ‘Because of her, we can’, which celebrated ‘the incredible achievements of Aboriginal and Torres Strait Islander Women’. These women are filled with unbridled power and pride, fighting for justice, equal rights, and Aboriginal and Torres Strait Islander peoples rights to Country. These five portraits explore a diverse and shared history of Country and First Peoples. My hope is that these images provide a realistic representation of the diversity and importance of Aboriginal and Torres Strait Islander peoples strength, community and culture, language, music and art.

Materials and processes …
My portraits were taken on a Leica film camera and developed in a photo lab. These images were produced in a homemade studio that I built over multiple weeks. This process consisted of combining natural light with LED lights, a navy-blue backdrop, a silver-lined reflective umbrella, and a tripod. The photographs are 35mm negatives, which I scanned and then converted into monochrome photographs on Photoshop. I edited the images’ lighting, contrast and clarity. I printed each photograph at sixty centimetres with a five-centimetre border on an inkjet laser printer.

Starting points and influences …
I would say my primary source of inspiration is passion. I believe that passion can radiate onto others, inspiring and motivating people. I believe all aspects of art are sources of inspiration. I am inspired when I observe artists who combine their passion with their creativity. Any creation that provokes me to feel, think or question myself serves as an inspiration in my life. When creativity forces me to investigate the complexities of the human condition, I find myself inspired to create more, to say more, and to be more. The work of Rosemary Laing has always been an enticing and unique approach to contemporary photography. Her large-scale images eloquently and consistently investigate cultural positions from which we understand the complex nature of place and landscape, disrupting the equilibrium of our awareness through contradictory elements. Having attended Laing’s exhibition exploring Indigenous land at the TarraWarra Museum of Art, I was inspired by her ability to create unease in her audience by explicitly criticising colonial Australia. Laing’s passion for Indigenous rights to Country radiated off her landscapes. Her collection of works showed me how an artist can use their works as a mechanism to express cultural concerns in a way that is both aesthetically beautiful and conceptually confronting. I was inspired to replicate this mechanism in my own art practice. Witnessing the power, strength and pride that radiates off the Aboriginal and Torres Strait Islander peoples community of Melbourne inspired me capture this splendour.

Favourite artist …
The work of Tracey Moffat had a huge influence on my artwork and I highly admire her artistic practice. Moffat’s diversity within her creative process is what I find most fascinating, as she has pursued portraiture, landscape and narrative photography within her career. I have great respect for her ability to use photography as a platform to inexplicitly criticise the patriarchy, and the systematic oppression evident in our society. Her application of colour and contrast in the production of her work is impeccable, and her ability to set her subjects at ease in front of the camera creates strikingly emotive images that have highly influenced my practice.

Artist statement
A brief introspection investigates the depiction of vices such as greed, jealousy and vanity, and the literal act of ‘introspection’ to combat such habits. Through my continued evaluation of these adverse behavioural tendencies, I concluded that it is often our inadequacy that provokes the reactions within us branded as ‘vices’.

Materials and processes …
I first explored the concept of vices, visualising potential imagery within the composition, conducting a photographic shoot and eventually producing an oil painting as my final work. As I was interested in toying with various surrealistic colour palettes, I experimented with altering the colours of the original photograph in Photoshop, and adding various colour filters/masks to change the palette of the skin tones. Despite viewing many film stills and photographs, I chose to use oil paint due to its overwhelming versatility and the opportunity to manipulate the composition at any point in a more direct and tangible sense, altering hues and varying brushstrokes. I also adopted certain aspects of the chiaroscuro technique, placing a greater emphasis on the presence of tonal variation and the juxtaposition of shadows and highlights in order to create the illusion of curved surfaces making up a three-dimensional form. In embracing this particular style I found that I was simultaneously able to further accentuate the sense of melodrama and disturbance within my work.

Starting points and influences …
One of the major influences while creating my work was my love of cinematography, which led me to explore the way various cinematographers and directors have successfully conjured up emotions and narratives within stationary moments utilising vivid imagery. I found myself particularly drawn to the melodrama and surrealism presented in film stills through the use of coloured lighting and varying camera angles. The artworks of Anne Wallace, VR Morrison and Sarah Bahbah have shown me how the surrealistic drama of films can be emulated in a variety of visual forms such as photography and oil paintings. I have been continually fascinated by the ability of artists to capture quotidian moments and transform them into fantastical dreamscapes, a trope that I aimed to explore in my own work.

Future plans …
As made evident throughout my artistic explorations, I have always harboured an innate interest in the human psyche and the way our psychological tendencies manifest through certain behaviours and actions. Because of this I hope to pursue a career in this field, where I am keen to further explore and develop the role of art within the world of science and explore the psychological and therapeutic effects of artistic practice.

Artist statement
The Moving Surrealism Photography series intends on capturing a moment in time with a twist. The series brings to life an element of the photograph and asks the audience to see the surrealism within the moving component. Moving imagery evokes emotion as does still photography. I wanted to generate a balance to showcase a binary of two media.

Materials and processes …
I began by taking photographs using my Canon 6D Mark II. I imported the images into Photoshop and manipulated them. This was exhausting at times as I had to erase, replace, edit and recolour certain aspects of the image in order to achieve the desired look. To apply the moving element, I used an application called Werble. This allowed me to import my still image and apply a moving element.

Starting points and influences …
I am most inspired by film. The way a cinematographer captures a moment within a single frame can be so perfect that it can affect my mood within seconds. Other times I can be inspired by a stroke of paint. Artist Callen Schaub manipulates beautiful paints in such a way that exudes a natural, organic placement of colour. The process by which he creates this exceptional artwork is called ‘painting trapeze’. This process is inspiring to me because it is so innovative and dynamic.

Favourite artist …
My favourite artist is the Belgian artist René Magritte (1898–1967). His artworks are so engaging and surreal that each viewer feels a different emotion upon inspection. His perception of the world was so wonderful and imaginative. Although his works can be considered bizarre, they appeal to me as they present a powerful paradox between reality and dreams due to his idiosyncratic approach to surrealism. My favourite work of his would be The lovers (1928) because it develops the concept of a festering lust that is hidden behind the purity of the white clothes draped over the figures’ faces. Magritte’s works evoke mystery and unsettling thoughts.

Future plans …
In 2019 I plan to study film and television and I hope to travel. I would like to carry my art with me through life. In 2019 filmmaking will play a large role as I would like to be part of the film industry, mostly behind the camera where I can manipulate a shot in such a way that it can evoke an emotional response in viewers.

Artist statement
Still life is a personal investigation into tradition and devotion in painting and the domestic realm. Temporal aspects of still-life painting were important in my observational, trial and error process of creating the work. As a slow art, still life requires dedication and time. This is reflected in my subject matter, which depicts the ‘domestic’. An appreciation of traditional still-life composition is evident within a modern context, full of imperfections.

Ideas behind the work …
Still life is a practice in creating traditional still-life paintings and an exploration of art making in and of itself. The final artwork communicates concepts surrounding the natural world, linked to my previous art work this year, which presents nature and human spirituality in its most rudimentary form. The subject matter, vases of flowers and bowls of fruit on a wooden table, emphasise the importance of the pure, palpable natural world. This focus on the domestic realm is depicted in a contemporary context, which is most obviously symbolised through the plastic water bottle, but also in my painting style.

Materials and processes …
For Still life I began by using a T-square ruler, pencil and scissors to cut a large rectangle from loose, raw canvas. Then I mounted it to the wall with staples and loosely sketched in my plan from a photo I took on my laptop. I then put a straw-brown paint wash over the background, using acrylic paint, water and a medium to create a warm background for the rest of the work. When painting the subject I used a small oval-tipped paintbrush and applied a heavy amount of acrylic paint with each stroke. When I finished painting the subject and was ready for the background, I liked the way that the loose blocks of colour looked, so for the most part, I left it.

Inspiration …
History and learning inspire me the most. I am particularly fascinated with Australia’s history as well as with the Russian and French revolutions. I don’t think I will ever stop wanting to learn about history, from ancient to modern and all over the world, and every time I do I feel awe and fascination that is often translated into little drawings and pieces of writing of my own.

Starting points and influences …
Still life was influenced by the domestic realm and still-life painting. My interest in religion is noticeable in the traditional Catholic cross that hangs on the wall in the background of my painting. Through discussion with my teacher I found that all of my interests, religion, traditional still-life painting and the domestic realm, all have one important thing in common: they all require time and devotion. So, perhaps without me realising it, time and devotion have been the biggest influences in my artwork all along.

Artist statement
In my journey to explore the passing of time, my father took me to the house where he stayed on the first evening of his immigration to Australia. The sight of it left a deep impression on me, as it seemed like an entire alternate universe contained in a single building. I began to consider the sacrifices and drastic changes he made, and his journey had begun in the building right in front of me. I imagined the decades flashing past outside the window, suspended before a future yet to be created.

Materials and processes …
I used oil paint on Masonite, using thin glazes paired with careful blending to achieve soft gradients and a moody, atmospheric quality. The violet light in the piece was achieved by mixing alizarin crimson into each colour. As the Masonite dried and desaturated the oil paint, I added a layer of clear gesso and then built my subject matter on top. Finally, I glazed the painting with a gloss varnish to illuminate the hues and tones, also protecting the paint itself.

Starting points and influences …
My painting style is deeply influenced by artists such as Rick Amor, Edward Hopper and Clarice Beckett. I am drawn to works that evoke deep melancholy and mystery while displaying a high level of technical skill. Empty train stations, abandoned cathedrals, midnight convenience stores, and nightscapes have conceptually informed my fascination with liminal spaces and the apparent suspension of time. I wanted to explore the theme of time and how it can affect of our surroundings. I had a strong affinity towards architecture, which led me to develop my core imagery for my work. The key moment of inspiration came from a discussion I had with my dad about his journey to Australia. This journey that had begun so long ago was preserved in a tangible place. This led me to investigate the intersection between time and space.

Future plans …
As someone who has been passionate about visual arts since a very young age, I know that art will continue to play a crucial role in my career, and how I interact with the world around me. I plan on using my creative passion to start a small craft business to raise funds for charities and continue improving my painting skills through continuous practise. I know the skills I learnt from art such as empathy, critical thinking, problem solving and persistence will support me in every future endeavour.

Artist statement
A deep fascination with the complexity of human emotion led to this symbolic exploration of line, colour and tone. Through portraiture, I felt compelled to capture and humanise pedestrian subjects using carefully considered colour palettes and the application of rich oil pastel and chalk. Moments of genuine emotion define human vulnerability, which is the essence of our existence. Capturing these moments felt necessary to me, encapsulating the true beauty of being vulnerable, and being human.

Ideas behind the work …
My intention for this portrait was to express the emotive qualities of my brother through the symbolic use of colour and treatment of line. It was crucial for me to explore pedestrian subject matter, because this allowed me to humanise my sitter, enriching his relevance to a wide range of people. I approached my final folio with the intention of creating traditional portraits with my own twist, where I adapted unconventional lower angles and harsh lighting in my reference photos to make my sitter appear more vulnerable.

Materials and processes …
I explored a wide range of colour combinations until I found one I felt successfully conveyed the expressive nature of my sitter and simultaneously maintained a harmonious colour relationship. My treatment of line also varied depending on the positive or negative connotation of the expression of my sitter. With my pastels I applied my strokes in a rough, erratic motion to convey emotions of confusion and disarray, and within my two chalk pastel portraits I adopted a fluid, smooth technique to communicate a sense of ease and comfort. The large, approximately A1 scale was essential in affording me the scope to apply an intricate and considered application of line, allowing me to fully establish the intricate detail necessary for a powerful, emotive portrait.

Inspiration …
I’m a people-watcher. I enjoy observing those around me and having even the smallest glimpse into their lives. The diversity of my family, friends and peers inspires me, and I’m intrigued by the complexity of human nature. Pablo Picasso’s Blue Period and his meticulous use of monochromatic colour have been a great source of artistic inspiration.

Ideas behind the work …
fish and nuts explores the aesthetics of everyday life through the environments and objects we encounter. The series of three animated digital illustrations feature different characters in their places of occupation. The work treats the subject matter as a mode of storytelling using visual parallels and recurring imagery to create coherence between scenes. fish and nuts acts as a visual account of the mood of the characters, their respective environments an extension of their mindsets. Each piece captures a moment of calm in an otherwise stressful occupation. The repetition of movement reflects the regularity of everyday life, subtly contrasting the stillness of the overall environment and giving a sense of tranquillity.

Materials and processes …
On paper, I sketched a basic composition for each scene and scanned these into Photoshop. I used a graphics tablet to hand draw the linework with a raster brush, using the pencil sketches as a guide. I then used the Photoshop video timeline to draw frame-by-frame animations for each character and other details in the scene.

Starting points and influences …
Music is my biggest inspiration. I think musical and artistic storytelling are quite similar. Every little detail that goes into a musical composition contributes to the overall ‘identity’ of the song. This influences the way I create characters and my compositions. Musical subculture and fashion is also a major influence on the individual aesthetic of the characters. I began with an exploration of the general theme of lifestyle aesthetics. I examined the facets of life that I identified as being influential or consequential to the way we live, such as environment and culture. In considering how these factors may be observed or expressed aesthetically, I found that personal environments could be manifestations of the routines and rituals that make up our lives. This became the basis for the work. I was inspired by my own personal workspace and the way that I manipulate it both practically and decoratively.

Favourite artist …
Anna Cattish is a Russian comic artist and character designer. Her illustrations and animations are bold and captivating. I admire her ability to express the attitude of her characters through their designs, expressions and poses. Her character Nana has her own Instagram profile where she models edgy outfits and promotes her music. I admire the attention to detail that goes into the projects for which Nana acts as the face.

Artist statement
My artworks explore the private spaces and actions that make up individuals’ everyday routines. I am interested in providing an insight into the repetition of these actions through the medium of photography. I wanted to use black and white photography to eliminate the distraction of colour in communicating the focus of the subject matter – their mannerisms, environment and similarities that they share with other individuals.

Materials and processes …
I explored different photographic methods to best document the subjects for these works. This included experimenting with a Polaroid camera, manual photography, digital photography and film. After multiple trials focusing on various aspects of my subjects’ daily routines, I found the bedroom contained the most insight into an individual. Using digital photography, I manipulated the photos using Photoshop to create the aged aesthetic found in analogue and Polaroid. To create my final work, I used plywood as a plaque for the portraits to create a sense of continuity.

Starting points and influences …
I researched the techniques and styles used by Dutch artist Anton Corbijn and Finnish artist Markus Jokela, who capture subjects in intimate settings, communicating a narrative. My family and friends introduced me to art at a young age. Exhibitions such as Top Arts, Monet’s Garden, and those featuring the works of Andy Warhol and Ai Weiwei inspired me to create work that communicates a narrative through an emotional aesthetic. Observing people and their routines, their everyday behaviours and their environments inspired me to create this work. I was further influenced by the intimate portraits of Corbijn and Jokela.

Future plans …
As I completed VCE Studio Arts as an accelerated subject in Year 11, I will be continuing to explore art, taking VCE Visual Communication and Design and hoping to apply for Top Designs 2020. I have also been elected Art Captain for 2019 and plan to open a student-run exhibition space as well as a collaborative installation group. Outside of school, I am exhibiting in the Centre for Contemporary Photography Salon Exhibition and applying for my first solo exhibition at Seventh Gallery.

Artist statement
Absence explores the result of concealing feelings. The absence of colour intentionally provokes a sense of numbness in viewers, creating a focus on the absence of emotion present within the piece. The loose, organic lines reflect the pulling away of emotional barriers, demonstrating that the layers we build to hide our emotions can be lifted. Neutral and genderless, the subject’s experiences can speak to all viewers. This artwork highlights the ways in which people intentionally hide their feelings and emotions from others, creating a numbness.

Materials and processes …
I used various thicknesses of fine-liner and charcoal on watercolour paper to create this piece. I began by sketching the outline of the face and altering the composition until I was happy with the result. Once I had decided on the composition, I began adding the fine-liner and charcoal. I slowly added thicker lines and smudged the charcoal to create depth within the piece. To create the loose, organic lines that float off the page, I attached my fine-liner to the end of a paintbrush and drew them with my arm extended to make them appear as raw and abstract as possible. Throughout the process of creating this piece it was important that I stood back as I worked, so that I could see the total composition of the artwork and ensure that all the small details worked cohesively together.

Starting points and influences …
My visit to Top Arts 2018 gave me inspiration for the creation of my final piece. I was particularly drawn to the work by Philippa Gan. I found the organisation of her artwork visually satisfying and chose to reflect that structure in my final works. Artworks by Veronica Cay were also a significant influence in my work this year. Cay uses loose, organic lines in her works, using a neutral or grey-scale colour palette. This inspired me to explore these techniques further and was a major influence for my final piece, Absence. The starting point of my artwork stemmed from the desire to create conceptual portraits. The initial influence for my work was artist Frida Kahlo. Kahlo used narrative in her artworks as a response to the events in her life. This is something I wanted to reflect with my portraits. Nic Lepard also inspired my work. Lepard’s distorted and fractured faces contributed to my creation of abstract portraits that focused on the idea behind the face rather than the face itself.

Artist statement
Influenced by both Del Kathryn Barton and Yayoi Kusama, Untitled 1 and Untitled 2 from the Oblivion series reflect my theme of exploring the word ‘oblivion’. The idea behind the mixed-media artwork is to evoke aesthetic qualities of ‘oblivion’ from the viewers as they become lost in the intriguing sea of pattern amid the various materials in an immense canvas. The time-consuming process of drawing the circles, which I call ‘dots’, ultimately consumed my work, and reflect how the canvas can hypnotise those who stare at it intensely.

Ideas behind the work …
Untitled 1 from the Oblivion series explores how the word ‘oblivion’ impacts the viewer’s own interpretation and examination of the detailed composition of this work. Initially, I was simply intending to represent my own perception of the word ‘oblivion’, however, as my process developed, I decided to focus the work on evoking confusion for the viewer through the patterned aesthetic.

Materials and processes …
My pattern work is both repetitive and hypnotising, conveying the aesthetic quality of confusion and oblivion. I also implemented the use of organic and serpentine lines, which purposely, yet randomly, divide the canvas into clear sections where I combined materials and techniques. I layered oil pastels over gold leaf and built up watercolour paints to create different tones and textures. The buttery texture of the oil pastels contrasted with the fine-liner dots, which stimulates the viewer and challenges their perception. Finally, synthetic gold leaf provides a compelling contrast with the transparency of the watercolour, and represents a sacred and religious reality of abstract art.

Starting points …
This work started from the word ‘oblivion’. I was mesmerised by the word itself and the meaning of feeling lost. I decided that I wanted to create something that could also evoke a sense of emptiness and confusion without it being too evident; abstraction seemed to be the best way in which I could explore this idea and evoke aesthetic qualities of emptiness and oblivion. I was inspired by Del Kathryn Barton’s work after visiting The Highway Is a Disco in February at the NGV and since then I became fascinated with impeding pattern in my own work.

Artist statement
My final artwork is personal and political. It is my first self-portrait and it depicts me as an observer of my emotions. I explore themes of detachment and isolation, especially within the cityscape around me. The use of text is a political statement, forcing the viewer to critically question the nature of Australian society. Symbols such as a metro train, an Indigenous flag and council blocks are significant to my identity, and highlight my experience as an Indigenous teenager from Melbourne’s west.

Materials and processes …
I created my artwork pieces using gesso, lead pencils, acrylic paint, permanent markers, spray paint and glossy spray adhesive. I started by painting each canvas white with several layers of gesso. After I layered on the gesso, I painted them again with more layers of acrylic white paint, to achieve a deep white. After drawing a rough sketch with my grey-lead pencils, I then applied my coloured paint, filling in each of my sketched shapes with bold reds, blues, yellows etc., often applying multiple layers of the one colour to create the opaque and bold aesthetic that I wanted. I then drew over the top with my permanent markers, cleaning up the space in between the coloured blocks of pattern and shape. Once this process was complete, I spray painted the sides of each board white, by shielding the works face with bits of thick card and tape and spraying away from myself. Once it had dried, I applied about three layers of glossy spray adhesive.

Influences …
In 2017 I was elected to be the first female prime minister of the national Indigenous parliament. As well as my painting, I do a lot of social activism within my community and take influence from political leaders such as the Aboriginal Tent embassy’s founder Gary Foully and revered land-rights campaigner Eddie Mabo. This kind of social advocacy inspires me and bleeds into my painting, shaping its political style and commentary.

Future plans …
Recently I found out that I have been accepted into the Bachelor of Fine Arts (Visual Art) at the Victorian College of the Arts. I am incredibly excited to use this degree to continue to develop my painting practice and I am eager to exhibit my works. I have also started my own podcast, which will focus on empowering young people, including artists. I will oversee the programming of the podcast and will also create posters and other graphics for the platform. I would like to continue to use my art to express myself, as both an artist and an activist.

Artist statement
Presence (standing) is a morally ambiguous figure that occupies the space in a room alongside the viewer, with no indication as to whether the presence poses a threat to the viewer. My intention is for the work to exist in the space with a veil of anonymity that protects its moral intentions towards the viewer. The figure is positioned in a powerful pose in order to reflect its dominant nature, yet as the figure is frozen, this increases its vulnerability around the audience.
Presence (Adam) is an appropriated representation of Michelangelo’s The creation of Adam. This work focuses on the creation of humanity and our existence in nature. It poses the question, are we morally bound to protect the earth, or is this desire merely a by-product of human need to prolong our own existence? This is an important question to ask when considering the manifestation of moral hierarchies in society and their underlying weight against opposing positions.

Materials and processes …
Presence (standing) was created by entirely covering a mannequin in vertically aligned rope. I then painted the figure using black paint, to give the figure a shadowy and ominous presence in order to intimidate the viewer. The limbs and head of the mannequin have been attached in such a way to give the figure a dominant pose to display the power within the presence itself.
Presence (Adam) follows a similar process to Presence (standing) but rather than using a mannequin, I used plaster of Paris to create my own form. I cast my brother’s full body while he was mimicking Adam’s pose in The creation of Adam. I then covered the cast in rope and spray painted the figure black while it was suspended. The suspension gives the work of art the illusion of floating.

Starting points and influences …
My inspiration draws largely from a range of nineteenth- and twentieth-century artists, as well as philosophers Ludwig Wittgenstein, Friedrich Nietzsche and René Descartes. Their ideas surrounding morality, language and reality are often what I explore, consider and express in my artwork. I’m very interested in the morality of our society and the possibility of a more universal morality existing in nature. This universal morality may possibly provide solutions to problems that are prevalent on our planet. The starting point of an artwork often comes from a conversation or a dream that I have had, which inspires me to pursue and explore the ideas that I have been thinking about. I like to think deeply about the universe and the human psyche, investigating ideas along the lines of morality, nature, truth and consciousness. Deep thinking triggers my need to express these ideas, which results in the product of my practice.

Favourite artist …
Currently my favourite artist is Marina Abramović. Her performance works have always inspired me, especially due to her ability to draw raw emotion from the viewer. For my own art practice, my goal is to achieve any kind of emotive response from my viewer, be that fear, disgust, happiness, joy or even love.

Artist statement
My aim was to create bodies of work that explored themes that are often ignored. I focused on the supremacy of ideas rather than on traditional aesthetic qualities. Focusing on mental health and feminism, I explored contemporary issues that face our society but are, at times, selectively ignored. Through both Units 3 and 4, I explored these ‘ugly’ themes through an artistic approach, aiming to captivate my audience through interesting and challenging aesthetics that force the audience to confront these issues and consider them in new ways.

Ideas behind the work …
In our mind accentuates the duality of human emotions and thoughts, representing both the beauty and brutality of the ways in which these can dictate our lives. We are collectively affected by mental health disorders, directly or indirectly. In our mind aims to highlight how our thoughts can have an impact on the lives of many, and sheds light on the social stigma surrounding mental health.

Materials and processes …
In my artwork I incorporated materials considered to be stereotypically male or female. I used broom handles, nylon tights and fiber to represent women’s household duties, and acrylic sheeting to represent construction jobs that are typically male-dominated. Through my use of materials, I aimed to challenge the gender stereotypes that have become entrenched in our community over time.

Starting points and influences …
Before creating this artwork, I explored social media and visited galleries to get a few ideas before brainstorming ideas, concepts and what type of art I would create to convey my message. I was influenced by artist Li Hong Bo and Louise Paramor, who had an exhibition at the NGV. These artists were highly influential because they both used the honeycomb and paper gourd technique, which was the main method used in my unit 3 work.

Favourite artist …
My favourite artists are Jeff Koons and Damien Hirst because they are both very creative contemporary artists and they have changed the entire art world and what art means today. Damien Hirst is of particular inspiration to me because he focuses on audience participation and really thinks about how the audience reacts to his work. I also find it interesting how both artists have staff working for them, and their use of ready-mades to create their work.

Artist statement
My artwork Transparency is inspired by the theme of individuality. I created Transparency by photographing my subject, Dan, both in and out of his drag costume. Using 3D glasses I then drew each portrait separately in red and blue pencil.

Ideas behind the work …
My artwork depicts a subject that demonstrates a fundamental complexity in the acceptance of individuality. A drag queen demonstrates two distinct layers of individuality through the use of makeup and attire, which are represented here through the use of red and blue of the opposing portraits. The utilisation of anaglyphic glasses demonstrates the separation of those two personalities combining as one unified person in the ultimate acceptance of individuality.

Materials and processes …
In researching the history of drag and exploring the transformation of myself into a male, I was better able to understand the mind of a transgender person, which assisted in my creation of the artwork. In creating Transparency, I met with Dan and photographed him in and out of drag. I then used these images to demonstrate his contrasting personalities by initially drawing ‘Dan’ in red pencil on paper. I used my anaglyph glasses to eliminate ‘Dan’ from the paper so I was able to draw ‘Nancy’ in blue pencil without the confusion of a pre-existing portrait. The anaglyph glasses worked to remove the corresponding colour from the page, so when the portrait is viewed through the red lens, only Nancy’s portrait is visible, and vice versa. The large scale of the paper, 120cm by 92cm, symbolises Nancy’s big personality in expressing her individuality.

Starting points and influences …
My mother was a big influence on the starting points of my artwork. The conversations we had in brainstorming themes for my work allowed me to think beyond my own life experiences and expand my understanding of individuality. Her personal connection to Dan allowed me to explore the idea of a drag queen, and the embodiment of individuality. I believe every artwork should be thought-provoking and push the audience beyond their comfort level when viewing a finished piece. This work certainly pushed my own comfort level in exploring subject matter beyond my own personal experience.

Favourite artist …
I am particularly motivated by the works of portraiture artist Chuck Close. He is a realist artist who produces works using a range of media to create photo-realistic portraits. Having explored portraiture in my own work from a very young age, I find Close’s standard of photo-realism an inspiring feat, which I have consistently worked towards throughout my artistic journey.

Artist statement
My exploration focused on self-destruction and the physical and emotional turmoil it causes. I aimed to capture the harsh reality of the lives of people who suffer the cruelty of their own mind. To access these ideas and to engage in this project, I challenged myself to delve into the darkest corners of my own mind. This was difficult, but essential to my development. Using my experiences, this darkness guided my work, allowing me to experiment with a variety of techniques. The authentic experiences I brought to this work have resulted in its uniqueness.

Ideas behind the work …
I wanted to physically represent the emotional crashing feeling that mental illness and self-destruction can inflict. I chose to use the imagery of a bird, specifically a raven as an omen of death, and used this to represent the ways emotional turmoil can have a physical effect.

Interesting aspects …
The most challenging part of creating this work was having to push myself and delve into my own experiences and emotions to be able to capture the truest form of self-destruction, which was so personal.

Starting points and influences …
I think the influences on my artwork were mainly my own experiences and how I wanted people to know how much more common self-destructive habits are than many people realise.

Favourite artist …
Currently my favourite artist is Shawn Coss because of how cleverly he personifies mental illness and how truly alluring I find his work. I am particularly inspired by how accurately he is able to portray particular kinds of mental illness.

Artist statement
My theme of quiet enabled me to explore both expressive and insightful photographic methods. Last year I used narrative throughout my work, which enabled me to explore the hidden beauty and quiet of landscapes through four conceptual ideas: serenity, secrecy, soft and still, and silence. I used both the digital and analogue processes to photograph different degrees of quiet. I drew inspiration from a range of influences, which allowed me to explore each conceptual idea.

Ideas behind the work …
My images intend to create a fanciful narrative of hidden love between the rabbit and the pigeon. My photographs capture conflicting identities, which highlights how it may be that only in quiet times that we find peace within ourselves, which in turn allows us to hear more around us. The animal masks taking on human characteristics provokes a sense of heightened curiosity. This further enhances the mystical and slightly surreal feeling of the work.

Materials and processes …
I used a Canon 80D camera with Bluetooth connection to capture my photographs. This enabled me to do a self-shoot by connecting the camera with my phone and using my phone as a controller. A tripod was vital to capture each photograph, as it allowed still and clear shots. I used Photoshop to edit the photographs, which enhanced the vibrancy and brightness of each image. For the ‘secrecy’ shoot, I used two animal latex masks, which became a vital component of my photographs.

Starting points and influences …
I began my exploration for this artwork by researching different hidden locations within Victoria that I believed embodied the extreme beauty and dreamlike aura I wanted to capture in my photographs.

Favourite artist …
Throughout my research for this work, I have come to love the works of Polixeni Papapetrou and Prue Stent. Both of these artists capture a magical aura in their photographs, which I have taken inspiration from throughout my theme of quiet.

Artist statement
Profile for a study of community is a cast ceramics work. Traditionally, casting has been a method of creating functional objects at an industrial scale, yet these are all non-functional, riddled with holes and cracks. Into the liquid clay I mixed materials that hold value within our culture, whether they be a symbol of education, nourishment, belonging or purity. Through this I aimed to question the durability of our cultural values and the impact that their absence may have on individuals as well as communities.

Ideas behind the work …
All materials incorporated into the clay hold value, whether that be a symbol of education, nourishment, belonging or purity. As these went through the process of refinement during the making of the artwork. Casting, drying and firing caused the materials burnt out, leaving cavities and shadows of what once was there. Through this process I aim to question the durability of our cultural values and the impact that their absence may have of individuals as well as communities.

Materials and techniques …
A variety of non-conventional materials such as paper, rice, cornflour seeds and steel wool were mixed into the liquid clay, which was poured into moulds: one vase and one mug. The additions caused cracking as the clay dried, and when the pieces were fired to 1280 degrees Celsius.

Influences …
When creating Profile for A Study of Community, I was interested in how writing throughout history has depicted community breakdown and its agents, such as the four horsemen of the Apocalypse in the Bible or the seven deadly sins. I was also inspired by artists such as Penny Burne, who translated these ideas into a modern context to question our cultural values.

Future plans …
Next year I hope to pursue fine arts, particularly considering the way in which archaeology and contemporary art are interrelated and can influence each other. I hope to study this, while improving my use of techniques and communication of ideas, at university level.

Artist statement
Emphasis on the personal process of creation in this artwork holds greater significance than the appearance of the finished product. Viewers may see a broken artwork; however, this piece has accomplished my goal of creating and intentionally destroying an artistic process.

Ideas behind the work …
Focusing on ceramic tableware that holds sentiment and forgotten cultural significance, what audiences may disregard as shards of broken clay is, in reality, an artwork that I have put hours of time into. Emphasis on the personal process of creation in this artwork therefore holds greater significance than the aesthetic value of the artwork itself. Through construction and deconstruction, expressed is the idea that there are endless meanings contained within contemporary artworks. However, viewers many only be able to deconstruct meaning of an artwork through preliminary observations.

Materials and processes …
I first painted a porcelain slab with oil paints, which was then fired in a kiln. Following this, I broke the painting by hitting it with a wooden hammer. The tool used to destroy the clay became a component of the artwork.

Starting points and influences …
I am inspired by the works of artists Gerhard Richter and Hitomi Watari, whose oil paintings are endowed with a simplicity that brings out a sense of other-worldliness. In addition, visiting local and international art galleries stimulate my passion and creative thinking. The starting point for my artwork stemmed from the question: When we build a body of work or produce an idea and then demolish it, what will we have left? When a carefully assembled piece of artwork is reduced to a pile of rubble, the meanings and messages will be left for viewers to decide. I wished to justify the idea of how the measured ‘success’ of an artwork lies within the hands of its creator, not the viewer.

Favourite artist …
I was greatly influenced by contemporary artist Ai Weiwei. Weiwei’s literal acts of destruction reference a variety of conjectural notions. Dropping a Han dynasty urn led me to question the difference between destruction and deconstruction.

Artist statement
Storm has been developed to interpret the storm of climate-change problems. The haphazardly wrapped tubes represent the circular nature of tornadoes and the damage they cause. The intertwining tubes show the twisted force and motion of tornados, where the wearer is stuck in the middle of the tornado and has no control over stopping it from occurring. The form behind the wearer represents a natural force that is slowly but surely destroying life for humankind as we know it, but how we still have to try to live through it without being able to stop it.

Ideas behind the work …
Storm was developed to represent the serious threat that climate change poses to the existence of our planet. My wearable artworks represent the damage that storms have caused. The haphazardly wrapped tubes are evocative of the circularity of tornadoes. The ways in which the tubes intertwine evokes the twisted force and motion of tornadoes, where the wearer is trapped in the centre and has no control over the forces surrounding them. The smoke exuding from these tubes serves to create a realistic and destructive tornado-like effect within the garment. The artwork covers the whole body of the wearer in a constricted manner, to represent how we are powerless to alter their direction and force of damaging storms, and how instead of making change, we invent ways to get around them. The wearer drags a sculptural formation behind them. This form represents a natural force that is destroying life for mankind, but how we still must try to live through it without being able to stop it.

Materials and processes …
To begin constructing the garment, I made a cage as the base. I then covered this in bird wire, as I knew that this would enable me to attach the tubes. I made the tubes with soft bridal tulle stuffed with polystyrene balls. The combination of these two fabrics added intriguing shape and texture to the form. The tubes were intertwined in spontaneous directions and this allowed for the tubes to grow in a natural way. To create the second element of the garment I used a wooden base with metal curved beams attached to the top, covered in bird wire so that the tubes could be attached. With wheels lifting the cage up and a latch door was placed on the bottom to allow the smoke machine to be housed inside. Three tubes were used as the connector, creating a cohesive flow that bridged the gap between the artworks. Clear vinyl tubes (for the smoke to travel through) were stuffed within other tubes, allowing for an element of surprise when the smoke protruded.

Starting points and influences …
I was inspired by how Vanessa Barragao draws inspiration from climate change effects on coral reefs and uses all traditional hand techniques that do not require energy. I was also inspired by fashion designer Iris van Herpen through her highly conceptual thinking and use of modern technology to express her ideas about climate change. My research led me to learn that climate change causes storms and tornadoes. Building on these ideas, I designed and developed a wearable artwork that reflects tornadoes and a strong message of the damage it creates.

Future plans …
I have a strong interest in fashion and am excited to pursue it and see where it will take me. I am fortunate enough to have been offered a place at the London College of Fashion, starting in September 2019, studying International Preparation for Fashion (Certificate in Higher Education). This is a one-year course and will guarantee me a place in an undergraduate course at the college. I am very excited to go on this adventure. I am looking forward to having art as a part of my life. Art challenged me to think outside the norm, which I enjoy as it makes me think in new ways and pushes my creativity.

Artist statement
Release explores the idea of water being cleansing and purifying. It is especially marks a personally cathartic moment of letting go of bad thoughts and habits that fuelled my OCD. I created a visual representation of this act and wish to enable the viewer to engage in a similar transformational ‘release’ of mind and body. Brought to life portrays my brother being ‘reborn’ through the revitalising properties of water. Contrasting monochrome tones with vibrant colour symbolises the role of the water in enhancing my brother’s life.

Ideas behind the work …
Release explores the idea of water being cleansing and purifying. It is especially cathartic for me as it depicts a transformation I went through when I was younger – letting go of the bad thoughts and habits that fuelled my OCD. I aimed to create a visual representation of this act to strengthen the message of water enabling the viewer to ‘release’ their mind and body. Brought to life presents the story of a transformation through the revitalising properties of water. It portrays my brother being ‘reborn’ with water, using contrasting colours between black and white, the realistic colours provided by the water. This artwork portrays the cleansing and purifying qualities of water, contrasting monochrome tones with vibrant colour, which emphasises the role of the water in enhancing my brother’s life. It suggests that one cannot survive without water in a physical sense, but one also must work through the dark days to reach a point of being revitalised.

Materials and processes …
I started by taking photographs my iPhone. From there I used a projector to project a previous developmental sketch I had done so I could sketch the basic outlines onto the primed canvas, ensuring the proportions were accurate. I started with an underpainting of oil paints together with a mixture of fifty per cent solvent and fifty per cent linseed oil to map out the basic colours and tone. With each layer, I used a mixture of twenty-five per cent solvent and seventy-five per cent linseed oil to achieve a thicker, more opaque paint. While I worked alla prima on each layer, I built up layers after the previous one had dried to increase the amount of detail. I used larger brushes to fill in large areas and smaller brushes for finer details. I mixed the oil paints with a palette knife on a glass palette to achieve different colours and tones.

Starting points and influences …
A starting point for my artwork was the different symbolism associated with water. Water can be a menacing force that can cause harm, or an element that is purifying and calm. The symbolism that can be drawn from water and its natural qualities guided me to focus on our interaction with water. My own experiences were also a source of inspiration for me. My struggle with OCD when I was younger made me feel as if I was drowning in my own thoughts and actions. I was eventually cleansed from my own grasp.

Favourite artist …
My favourite artist is Samantha French. She paints vivid, large-scale oil paintings of people underwater. These portray the feelings associated with being in the pool on relaxing summer days. I admire her attention to detail and her dedication. I am fascinated by her ability to capture the light coming through the water and the movement of the water in such a hyper-realistic way.

Future plans …
Next year I plan to take a six-month break to work and save money before starting university. I intend to start a Bachelor of Arts mid-year, majoring in art history with a minor study in Italian. I always knew that I wanted to pursue art in some way. I intend to go on to study a Masters in Cultural Materials Conservation, specialising in paintings. I believe it is so important to preserve artworks from all time periods for future generations. In this way, I think I will always be surrounded by art whether it is my own artworks or the masterpieces of others.

Artist statement
This work consists of nine pieces of canvas stitched together. Each piece consists of an acrylic painting (some with embroidery) of a zoomed-in screenshot of the Korean singers from the group SHINee being physically close to each other to represent relationships and bonds. Many audience members won’t know who the subject matter is but I want them to still experience the love and closeness of relationships detailed in this work.

Ideas behind the work …
This work revolves around the intimacy and love of friendships and bonds. The work consists of nine pieces of canvas hand-sewn together. The subject matter consists of the five members of the K-pop group SHINee. By removing the context, this work is less about who the people are, and more about the relationships they share. The audience may not know the singers depicted, but they know the feeling and love of relationships.

Materials and processes …
I used acrylic paint and embroidery on unstretched canvas. I looked for the colourful undertones in the reference image I used to create the palette. I didn’t use any specific embroidery techniques; I filled in all the areas needed with thread to create the same blocks of colour that I like to create in my paintings with unblended, solid brush strokes.

Inspiration …
Korean music (K-pop) is a big influence on my work. The music videos are always made to such a high quality with very strong visuals including vibrant colours. I’m also highly inspired by all the artists that share their work on Instagram. This platform allows people to view a range of different work quickly, so I can always find artists using a range of mediums and subject matter to inspire my work.

Starting points and influences …
My love of painting came from experimenting with different materials. More recently I started experimenting with acrylic paint. I only had basic colours and I didn’t know how to mix colours to create realistic portraits, so the colours would always end up being bright and stylised. I then started to refine my work by emphasising these stylised colours to create vibrant and colourful works. Despite my inability to create realistic colours initially seeming like a weakness, I made it a strength of my artwork.

Artist statement
My work explores the Japanese concept of wabi-sabi (わび さび). Using layering, my works depict the ordinary as beautiful, aiming to create a harmonious connection between ideas, thoughts and patterns. This is an insight into society, the mind and popular culture. This piece seeks to provide insight into the emotions of the everyday human, and how society collaborates and shares knowledge to create greatness.

Ideas behind the work …
Protective services and Industry are introspections into society and the ways in which businesses and corporate greed contribute to the way our world operates and controls how we live our lives.

Materials and processes …
I printed on A0 sheets of paper. Each work was developed on Photoshop and Illustrator. The works were then mounted onto old advertising posters stripped from buildings and cut thinner to convey an urban feel. My own media posters were then pasted on top using diluted PVA glue.

Favourite artist …
Tekashi Murakami’s use of colour and imagery is interesting to me. Further, I find myself gravitating towards Frida Kahlo’s rich use of symbolism. I particularly admire how the smallest details in her works always contribute to the bigger picture. Each aspect of her work is all part of a puzzle that the viewer solves in order to discover the message.

Future plans …
In 2019 I am planning to study architecture, industrial design or interior design. I will continue to visit galleries and look for aesthetic beauty in my day-to-day living. I hope that my creativity in whatever field I pursue will continue to engage people and to reflect upon my world.

Artist statement
A Square is in Fact a Circle is a satirical exploration of propaganda techniques used to incite strong beliefs in and emotional reactions to the propaganda target. By depicting arbitrary subject matters in extreme and perverse ways, I intended to show that beliefs presented as ‘the truth’ are often irrational, or at least debatable. By presenting twentieth-century-style propaganda posters in a contemporary setting, I hope to prompt viewers to reflect on and critique contemporary propaganda that is typically spread through online platforms in this ‘post-truth’ political era.

Materials and processes …
I began by drawing preliminary sketches of each component. I then refined the sketches using the digital program Autodesk Sketchbook. I printed these, traced them onto cartridge paper in pencil and went over them in black ink using a brush. This combination of digital and traditional techniques gave the lines the dynamic and organic quality produced by traditional ink and brush techniques, while avoiding unforgiving ink mistakes. I added colour and text in Photoshop.

Starting points and influences …
My work was heavily inspired by historical periods of upheaval and extremism and contemporary propaganda. Further, George Orwell’s novel 1984 inspired me to invent political and social causes to provoke thought about the nature of propaganda, rather than relying on one specific belief or social issue. I began by collecting examples of historical and contemporary propaganda from books and the internet. I photographed any political posters or graffiti I saw and collected flyers from people promoting various causes, mostly on the street corners near Flinders Street Station and St Paul’s Cathedral. I took screenshots of political ads that came up on social media platforms. By collecting and viewing a wide range of propaganda, I was able to identify common propaganda techniques and use them in my own satirical works.

Future plans …
I hope to begin a Bachelor in Visual Communication Design, continuing to pursue my interest in graphic design and illustration. While I think I work best when assigned a brief that I can fulfil using a creative approach, I will also always continue to make my own art to explore subjects of personal interest and significance.

Artist statement
Caos 15 and Caos 7 both represent the chaos in society, explored through the exaggerated reactions of people to events that do not warrant such reactions. In this work, an individual’s actions are condemned as antisocial and results in an immediate and chaotic reaction from society. Simultaneously, another figure commits a more offensive and violent action, but goes ignored. This reflects contemporary society as people focus their hatred on insignificant events, rather than focusing on the larger, possibly life-threatening events that certainly are deserving of attention.

Materials and processes …
Both artworks were created using similar processes and materials. I used my iPad, the Animation Desk Ultimate app, a stylus, computer, Windows Movie Maker, Audacity, a microphone, and various objects (such as a pillow and a book) to create sound. I began animating the work by following storyboards I had created depicting the plot and using the characters I designed through trials. A stylus was used to help with neatness when drawing so I wasn’t just using my finger. I drew each frame making use of the app’s tools to move certain figures around the frame and readjust as needed. The animation was then moved to my computer where I began to work using Windows Movie Maker. I included multiple sounds I had recorded using the microphone and Audacity. The sounds were made using several objects, such as tapping my fingers on a book to create walking, or dropping a pillow to make a punch sound. Once the sounds were recorded and placed in the appropriate spots in the video, the animation was complete.

Starting points and influences …
I was inspired by the animated films I used to watch as a child. I have always been interested in the animation industry – when I was younger I would create simple stop-motion films using Lego. My passion for animation has continued as it is an industry that I love. To begin my works, I first developed my characters and created designs for their looks. I also had to find animation software that was easily accessible for me to be able to work both at school and home. I was influenced by contemporary news reports and the media, as well as social media, and the issue of online bullying.

Favourite artist …
Hayao Miyazaki is a Japanese animator who is behind some of my favourite animated films, such as Spirited Away and My Neighbor Totoro. I admire Miyazaki, as he stuck with traditional animation techniques, drawing every frame by hand, rather than using digital animation programs. Miyazaki’s works also promote humanity and peace. Many of the characters within his films are flawed – there is no perfect individual, instead there are people who make mistakes but still try their best to do what is right.

Artist statement
There is a hypnotising serenity within isolated spaces at night. These spaces enact the likeness of a dream. Tomorrow and today become irrelevant without the pervading anxiety of society. We become lost within a melancholic dream in which we are liberated by a serene, reflective state of lucidity.

Ideas behind the work …
This piece is an exploration of a unique serenity that I encountered within an isolated nightscape. This space allowed me to reach a deeply self-reflective state that arose from a dreamy haze. Through this work I attempted to describe a timeless dream and the serenity that I found within it.

Materials and processes …
Without a wristwatch that counts sheep is a large digital print on fine art paper. I framed a landscape and shot multiple photos of a figure passing through the frame. Using editing software, I manipulated the figure from each frame into the composition of the landscape. I then increased the brightness and gold tones of the streetlights and darkened the background to create islands of light across the frame.

Starting points and influences …
Film is a significant influence on my work. Blade Runner established a deep-seated obsession for ambience in urban landscapes, whereas Enter the Void, Waking Life and Clerks brought forth my interest in manipulating light, environment and lucidity. Brassaï’s series Paris de Nuit established my fascination with the beauty of nightscapes; his manipulation of light is astonishing and the way in which he describes the secretive uniqueness of Paris at night was the greatest influence for my artwork. Through use of mists, streetlight and shadow, Brassaï created complex and beautiful images of isolation and serenity. Walking home from parties late at night, I encountered these isolated spaces. Finding myself alone within them, I would slow down to admire the melancholic solitude they brought. I found this experience uniquely liberating. These spaces were dreamlike, with the bedlam of a party falling behind me, and in the ambient solitude of the glowing streetlights I felt as though I were submerged in a deeply self-reflective catharsis.

Artist statement
The bubble wrap, in conjunction with the ‘Fragile’ sticker, speaks to the overprotective nature that baby-proofs us from our own responsibility for our safety. Pressure from media to live a ‘perfect’ lifestyle leads people to shield themselves from experiencing risk and adventure. I explored how bubble wrap can distort figures, using oil paint to create a sterile and hostile environment, which isolates the subject from the world. This disconnection from the viewer intends to alienate the portrait, inspired by the restrictiveness of our bubble-wrapped society.

Materials and processes …
I began by experimenting with incorporating bubble wrap with other art media, including wrapping trials to experiment with distortion. However, this technique distracted from the sterile mood I wanted to create. I then experimented with drawing and painting body parts that were covered in bubble wrap to develop my skill, but the pencils and water-based paint didn’t offer me the softness and drying time I needed to create a realistic effect. I refined my technique by using oil paint, which allowed me to achieve soft edges and better transition of colour. Oil paints enabled me to blur and blemish areas that were further in the background to create focal points in my work.

Starting points and influences …
I explored global issues and how they resonated with individuals in different ways. In exploring different concepts, I found connections between materials and styles that led me to investigate effective ways to express key ideas, which enabled me to refine and develop my concepts. I found that drawing inspiration from the world around me to be the most effective method to allow me to create my own unique interpretation and observations. A major influence in this work was researching how other artists conveyed similar concepts through their individual styles and variations. Each individual’s culture and experiences influence their perception; whether this be through an artist’s eyes or a viewer. This variation inspires me to create work that captures my own observations of the world, making art a platform to share my visions.

Artist statement
Existential elegance (The three graces) strives to subvert traditional notions of beauty. The three torn segments are a direct reference to the three graces in Renaissance and neoclassical art, which symbolise unattainable cultural beauty standards. This piece explores a sense of resentment inflicted by how the three graces were objectified by male artists. A sense of reconciliation is generated through the reconstruction of the portrait and the inclusion of native floral elements, a personal take on what I consider beautiful.

Ideas behind the work …
Existential elegance (The three graces) challenges the cultural norms surrounding natural beauty by subverting the traditional portrayal of the three graces. The factors that dictate our perceptions of beauty today are largely imposed on us by advertising companies, celebrities and social media. In my artwork I challenge my audience to construct their own perception of what beauty is. Historically, artworks by Botticelli, Frost and Canova have depicted the three graces as representing the female ideal – beauty, fertility, desire and prosperity. The implied effect of torn paper symbolises a sense of resentment towards these traditional and objectifying depictions of women. Repairing these tears is a personal and contemporary reconciliation of what the three graces means to me.

Materials and processes …
I printed off the three photographs selected to represent the three graces, tearing them and re-assembling them into one identity until I created a composition that I really liked. I then scanned this and continued to resolve my collage digitally using Procreate. This is where I added the flora and fauna elements to create a harmonious balance that adapted to the circular shape of the paper. I developed a colour map to match colours in the collage to my pencils, to aid me later when drawing. I chose to draw on Strathmore Toned Tan paper because the earthy colour conveys a raw, authentic quality that aligns with my theme of natural beauty, and it contains thirty per cent post-consumer fibre, so it is environmentally friendly. After transferring the collage onto paper, I began drawing, building up layers and textures, and blending with Prismacolor coloured pencils.

Artist statement
My photography focuses on identity and stereotypes. We feel the need define identity with a set of rules. Stereotypes reduce us to simplified ideas that are often inaccurate. Following a recent DNA test, I started learning about the countries I am from and decided to channel the stereotypes from each place. I am mixed race so I have history across a range of ethnicities. However, I only really identify as Cuban, Serbian and Australian. When people ask me where I’m from and I tell them I’m Australian, they roll their eyes as if I am meant to give them my entire background. I always find it hurtful as I identify as culturally Australian. This project gives insight for myself and others into the complexities of my ancestry. I was inspired by Atong Atem and Nadine Ijewere who are artists of colour and incorporate cultural critique into their works. Using a shutter release I was able to take self-portraits, thus making this cultural exploration more authentic.

Materials and processes …
I used a tripod, laptop, camera and shutter release to take self-portraits. Using tethering, I was able to see each photo on my laptop as the photos were taken. This allowed me to adjust my position in each photograph. I edited my photos using Photoshop and Lightroom to create an equal background colour, as the photos were taken in natural light, which changed throughout the day. I had to make sure the background was a consistent flat grey so that the images were cohesive. After multiple tests printing on various papers ranging from gloss to matte, I decided that the archival matte suited the look of the photographs best.

Starting points and influences …
I am incredibly inspired by culture and people. Much of the inspiration for my project came from watching people learn their DNA profiles and how this prompted them to better understand their own ancestry. Further, I am inspired by the artist Atong Atem who is an Australian/South Sudanese photographer. Her colourful portraits explore culture and identity. Cuban culture is a part of my life. Having the experience of travelling around Cuba, I learnt about their religion, Santeria, which helped me for the Cuban photograph. For each photograph I drew inspiration from the stereotypes attached to that ethnicity.

Artist statement
Memento mori explores the ways in which we must prioritise morality despite humans’ tendency to be more concerned by materialism and death. This work is a self-analysis, exploring my own interests with ownership and death. Inspired by mourning portraiture and vanitas still life, it views death as a part of life, giving us a reason to live and appreciate what we have.

Ideas behind the work …
Inspired by the memento mori, still-life artworks, the title translates as ‘Remember you must die’ and represents a critique of my own obsessions with death and materialism. The work is a reminder to not dwell on the inevitable or the disposable and to appreciate life and its transient nature. Morality and decency should be a priority in life – not for an afterlife or for material gain, but because it is the right thing to do.

Materials and processes …
This work is oil on canvas. The still-life setup was created, then photographed and edited using Photoshop. The image was then projected onto a canvas and the basic outline was traced with grey-lead pencil. I then toned the canvas and lightly blocked the shapes. A combination of number zero, two and flat brushes were used to paint the piece; linseed and odourless thinners was used as the medium. Glazing was also applied to the background, fabric and hair to increase depth.

Starting points and influences …
A major starting point was my obsession with death. I believe that I spend an unreasonable amount of time thinking about dying, so looking at death in terms of myself and other cultures helped me explore this pre-occupation. Lucian Freud’s work was also a starting point, as his portraits are quite graphic yet very human in the emotions they convey. Freud helped me connect portraiture with obsession and led me to mourning portraiture and eventually the vanitas and memento-mori, still-life artworks. Stylistically, I took influence from William-Adolphe Bouguereau. I found his idyllic paintings of biblical scenes beautiful but also quite obsessive in their perfection.

Future plans …
My goal is to go to Australian Catholic University to study paramedicine. In the future, I hope to continue to refine my painting and art skills along with my career as a paramedic. Perhaps making art will be a hobby, maybe something more. Art is not something I hope to abandon, so I’m sure in the future I’ll still be visiting galleries and learning more about art.

Artist statement
My overarching theme focuses on social disconnection and isolation, which stems from my deep personal connection with these issues and their profound impact on my life. Through my art I wish to raise awareness for the loneliness that individuals may feel. My painting, originally one of three, is oil paint on dibond, completed using the traditional ‘fat over lean’ technique with a combination of small brushes. Impasto painter Euan Macleod, who created very expressive yet realistic sceneries featuring figures, was an inspiration, along with photographer Darren Sylvester who captures photos resembling film stills.

Ideas behind the work …
My artwork focuses on disconnection from society and the loneliness that often accompanies it. Isolated, looking out features a lone figure on a street-view cityscape. The figure’s monochromatic facial expression is emotive as she looks out towards the viewers without connecting. The colour palette creates a stark contrast between her and the city behind her, saturated with colour and life. Even in a highly populated area, an individual can still feel alone. The miniature scale of my artworks invites the viewer to look closely at the artwork, to find something in the figure that may otherwise go unnoticed. Inspired by my own experiences with isolation and social anxiety, my hope is that my artwork will be relatable to other individuals who may suffer from social anxiety or loneliness.

Materials and processes …
I first digitally manipulated my reference photo in Photoshop to create a grey-scale face, while the background remained saturated with colour. Then I transferred an outline of the figure onto the dibond panel using tracing paper. I followed the conventional oil painting process of ‘fat over lean’ by first laying down a highly diluted layer of oil paints mixed with Art Spectrum No.1 Medium to ‘map out’ my composition and tones. I gradually began to add more oil paint, slowly building up the realistic depiction of a figure. The flawless complexion was made through the technique of dry brushing. Once the paint had dried, I furthered the realistic depiction by adding in the small detailing such as highlights and darker shadows.

Starting points and influences …
I was inspired by a collection of works by many international artists. Pinterest was a modern outlet of inspiration where I could source photographs, paintings and drawings that sparked ideas and concept development. Inspiration stemmed from my own daily emotions and experiences. I was able to draw emotions that I felt regularly in order to create my artwork. In a way, my folio was almost therapeutic to work on, as it is ultimately a portrayal of emotions garnered from my social anxiety.

Artist statement
Little Raccoon represents the qualities and quirks I find beautiful in males. With his childish fashion, he’s my love letter to nostalgia. I twisted my male portrait to explore ideas of effeminacy, using a pink and traditionally ‘feminine’ aesthetic to challenge the traditional masculine role. Using my Cintiq24HD, I drew and completed this piece with the programs Paint Tool SAI and Photoshop CS6. I was particularly inspired by crayons and Band-Aids to craft a fun and mischievous portrait.

Materials and processes …
To begin, my artwork was created and edited using Paint Tool SAI and Adobe Photoshop CS6 on my Cintiq24HD. The work began in Paint Tool SAI, where I either scanned in a graphite thumbnail sketch, or just jumped straight into digital work. I used Paint Tool SAI exclusively for the actual drawing and rendering process (since I don’t like Photoshop’s brush control). I built up a relatively detailed sketch of the portrait, and from there I would create a new layer on top for the clean line art. Next came the flat colours, working out the palette, rendering shadows block by block on their own layers. After my work was rendered, I transferred the file over to Photoshop, and corrected and enhanced the colours using tools Selective Colour, Curves and Levels, and extra layers set to Overlay or Soft Light with low opacities. After all the editing was complete, I saved the large file as a JPEG or PNG for canvas printing.

Favourite artist …
My favourite traditional artist is Gil Elvgren, a pin-up superstar during the golden age of America. His works are so lively and joyous. I particularly admire his use of colour and his rendering skills. It bewilders me how he created such vibrant and realistic skin with only a few oil paints and brushes. He uses colour in the same way I hope to; to create a mood of playfulness and allurement.

Artist statement
This artwork is an exploration of identity. It is a tribute to the traditional process of photography. Fashion photographers Arthur Elgort and Helmut Newton inspired my use of black and white film to replicate a classic and timeless style. I worked with analogue film cameras to take these photographs, later developing the film and prints in the darkroom, using dodging and burning techniques. I printed them on coarse fibre paper, then scanned and enlarged the prints for presentation to create a greater impact on viewers.

Ideas behind work …
Through this three-part series, my thematic focus of identity is explored through the media of analogue photography and portraiture. These portraits seek to investigate how identity is curated through methodology. My use of film, the dark room, natural lighting, a shallow depth of field, an eye-level angle and my interaction with the models combine to create a romanticised product. In an era where most if not all depictions of identity are manufactured, my methodology and selection of aesthetics highlight the complexity of identity and its perception.

Materials and processes …
I used a combination of my Nikon F65 and a Pentax K1000, which allowed me to fully utilise manual settings. My film of choice was Ilford HP5 Plus. After shooting, I developed the film myself, then printed test strips, contact sheets and prints using the enlarger and chemical process in the dark room. Final prints using fibre paper involved the use of dodging and burning techniques. After deciding I wanted large-scale prints, I scanned and digitally corrected the images using Photoshop to print with an inkjet printer.

Future plans …
I plan to study photography at university where I hope to develop my technical and conceptual skills. I would like to be in an environment that is solely dedicated to art, being surrounded by like-minded students and mentors who are committed to photography and all that it entails. I think art will be integral in my future; it always has been. I hope that photography becomes my profession and that I can move into commercial and editorial work, collaborating with companies, magazines and people.

Advice to future students …
Do your work consistently throughout the year; it’s beneficial for you and your performance to reflect upon your process and ideas. Annotate what you like and what you don’t like, most of all write about the mistakes you make, the hardships you face and what helped you to overcome them. In hindsight, this knowledge will help your future endeavours, as well as proving to yourself that you have learnt and progressed throughout the year. Your visual diary is the perfect outlet to express your approach and attitudes towards art.

Artist statement
Through the non-linear arrangement of photo-journalist-style photographs that I’d taken progressively throughout the year, entropy’s arrow explores the intersection between the duality of memory and how we document everyday experiences. The variety of people and landscapes featured in the images creates an indirect portrait of my own personal experiences, allowing the viewer to project their own experiences onto the artwork.

Ideas behind the work …
entropy’s arrow explores how we relate specific images and locations to particular memories in our lives, and how this intersects with the fallible nature of time. This work emerged after being inspired by a faulty 35mm point-and-shoot camera I found at an op shop at the beginning of the year, which I took images with throughout the year. What interested me about the camera was how it was stuck permanently on the panoramic setting, which adds black cinematic style panoramic bar frames on every image. Carrying my camera around with me served to reinvigorate the familiar of the everyday and document my life as though scenes of a fictional film. In a sense, this became an extended collaboration between my friends and me; over the course of the year they let me photograph and document our everyday activities together.

Materials and processes …
I used a 35mm point-and-shot camera that was stuck on a panoramic setting with lots of rolls of colour Kodak 400 ISO film throughout the year to take the images of my everyday experiences seen in the banner. I then used Photoshop to edit and arrange the images, which slowly progressed into the final ten-metre banner. I then had to split the edited digital banner into two separate banners to be printed. Once they were printed, I sewed the two banners together to make the final artwork.

Starting points …
The starting point in creating this artwork was when I found a faulty, discarded, $2, 35mm point-and-shoot camera at an op shop that was permanently stuck on panoramic mode, which added black bars to every image I took on it. The black bars reminded me of aspect ratio bars that you see in cinematic scenes, which inspired me to explore the boundaries of how cinematography intervenes with our experiences of the everyday and documentation of memories. The concepts of cinema were a natural progression from a series of trials I did exploring how mediums such as 16mm and Super 8 film can inspire feelings of nostalgia and romanticisation of one’s experiences.

Future plans …
I’m looking forward to furthering my art practice and pursuing a career in the arts when I begin studying fine art photography at VCA. Alongside studying fine arts, I’m excited to have more time to get involved with the experimental art film community in Melbourne. Whether or not one pursues a creative field professionally, thinking artistically can play a fundamental role one’s life in terms of thinking creatively and communicating with others.

Artist statement
The primary idea expressed though my work is the contrast between traditional and Westernised Japanese culture. The central role of ideal harmony in Japanese society is depicted via my subject matter, whether traditionally or contemporarily represented. As such, my studies of the Japanese language, and work by Japanese artists such as Yuko Shimizu and Kiyohiko Azuma, inspired me to create my illustration. I created my first illustration with fine-liner pens, using hatching, crosshatching and stippling techniques to replicate a manga-styled illustration and create tonal variation in the subject matter.

Ideas behind the work …
Maintaining the wa directly contrasts between traditional Japanese culture and the Westernised culture of Japan. In Japanese culture, the ideal state of ‘harmony’ (和 – pronounced ‘Wa’) suggests a peaceful unity and conformity within a society. This is a central ideal in Japan. I wanted to express the importance of maintaining harmony through the subtle transition between subject matter, despite the increasing Westernisation of Japan. The monochromatic nature of the drawing reciprocates qualities of Japanese manga, which is a primary aspect of modernised Japanese culture.

Materials and processes …
My illustration Maintaining the wa was created using an A2-sized Fabriano Accademia 200 gsm paper in a landscape orientation. Kuretake black fine-liners (0.05mm, 0.1mm and 0.3mm) were used to achieve ranging line weights to emphasise shape of subject matter and form of individuals. Gelly Roll high-pigment gel pens were also used to emphasise negative space through the subject matter. While creating the illustration, I focused on techniques of hatching and crosshatching to create tonal variation along with using the stippling technique to replicate a screen-tone effect common in manga-style illustrations. I also paid attention to line weights to incorporate proportion and depth throughout the composition.

Starting points and influences …
I am inspired by the varied creative processes and methods from different artists around the world. Conceptual artwork from video games and movies are also huge motivators, as the immense detail and intricacy of the works is something I aspire to. As an enthusiast of Japanese culture, I was naturally inspired by it, which shows through my artworks. I wanted to recreate the intricacies of traditional landscapes and urban streets of Japan. Having travelled to Japan and experienced the culture firsthand, I was inclined to depict the culture through my work. Artists such as Yuko Shimizu and Kiyohiko Azuma were a major inspiration to me as their manga-style work consolidated the direction I wanted to go.