Top Arts 2018

Ideas behind the work …
My work Drig is a projection piece that aims to evoke a feeling of calm. As an approaching grid animation is the central subject of this piece, I kept the title fairly simple and decided upon an anagram for the word grid.

Materials and processes …
For this piece, the initial grid animation was created using the grid effect in Adobe After Effects. The ‘turbulent displacement’ effect was then added on an adjustment layer, which transformed the grid away from its uniform shape. By using key frames on the ‘evolution’ setting of the ‘displacement effect’, the shape of the grid was made to change constantly over time. To capture the sound, a Roland Gaia synthesiser was recorded using a Scarlett 2i2 Digital Interface into Audacity. This sound was then added to the moving image in Adobe After Effects, where key frames were used on the ‘stereo mixer’ effect to pan the sound from the right speaker to the left in time with the image.

Inspirations …
A large source of inspiration for me is music. Throughout this year my theme was distortion, so I continually found myself listening to rock-and-roll bands with fuzzy guitars – in particular Fuzz, Orb, Motorhead and Oh Sees. Artists working in moving image also have inspired me, in particular, their techniques and how I shoot subject matter. Daniel Crooks, Danny Wild, Pipilotti Rist and Kai Neville all have inspired me throughout this year.

Starting points and influences …
Music was an initial starting point for Drig. The lyrics and synthesiser in the Ausumuteants song ‘Band of the future’ initially inspired the approaching grid animation, which I originally intended would match the songs intensity. However, after studying Pipilotti Rist, her work influenced me to slow down the animation and instead attempt to create a more meditative piece. This then allowed accompanying sound to be used to create a more immersive environment for the viewer.

Favourite artist …
Daniel Crooks is one of my favourite artists. In particular, I admire the way he alters the composition of a piece and in a sense challenges how we see space and time. His works Phantom Ride and Static No. 12 were significant influences for me this year. Kai Neville is also one of my favourite artists – I don’t think he knows how to make a bad film. I like the way he combines portraiture and landscapes with some of the best surfing going around.

Future plans …
Hopefully I will go to university to study sound production. I’d also like to continue filming and continue to be creative, whether it be through art or music. I think art will always play a role in my life. I feel art will always inspire music for me and music will always inspire art – they go hand in hand. Regardless of this, I’m sure experiencing and seeing art will always give me joy, too.

Ideas behind the work …
Both my works, What was and What is (make a change) are tied conceptually to each other. While the former depicts a representation of a healthy marine environment (the Great Barrier Reef in the past), the latter shows the drastic changes our oceans are experiencing in this day and age. This contrast between the two environments illustrates the impact humans are having on the natural world. In depicting a monochromatic scene, What is (make a change) illustrates the reef’s trajectory towards a bleached coral landscape, as well as the excessive quantities of plastic polluting the ocean.

Materials and processes …
Both works incorporate similar materials and processes. In the creation of What was, I used textile processes of crochet, embroidery and applique to create texture and depth. The work comprises all second-hand materials given to me by my great-grandmother and grandmother, including threads, fabric, beads and yarn. What is (make a change) uses the same processes but with all second-hand materials as well as found plastics and synthetic materials, so to not contribute to more plastic consumption.

Starting points and influences …
I am first and foremost inspired by my great-grandmother, who prompted my artistic exploration of textile work, as well as on a personal level from my relationship to her. The physical remnants of her practice – her leftover materials – were an important form of inspiration as they held sentimentality in their history. I found that sourcing my materials was the starting point of the works, as it sparked my imagination for what I could do with them. From collecting materials, I began to design a vague composition of a marine environment.

Favourite artist …
Again, I would conclude that my favourite textile artist is my great-grandmother, as she was somewhat of a pioneer in contemporary textile art. She focused her subject matter on abstracted life forms and depictions of microscopic pharmaceutical drugs. Frédérique Breuillé is another artist whom I gained inspiration from this year, particularly his attention to inclusive audience experience. He incorporates tactility into some of his works in order to engage and immerse audiences, including vision-impaired people. One of his works is to be presented on the ground and is made to be walked on for audiences to experience through touch. I found this to be inspiring in how his practice expanded my perception of the expanding ways people can experience art.

Future plans …
Next year I’m hoping to travel and work, while doing volunteer work on organic farms and with environmental organisations (such as Sea Shepherd). I expect to integrate art into my life, using creativity to promote my morals and for good causes. I don’t think I will pursue fine art as a career or study it in a tertiary institution, however, I have been looking into courses involving textile work and design.

Ideas behind the work …
My restoration of traditional biblical depictions of the Virgin Mary are replaced with the infamous Kim Kardashian, manipulated to depict Kim’s notorious rise to fame. My piece illuminates the similar way in which we idolise, glorify and follow the carefully constructed imagery of these equally iconic women. For example, images of the Virgin Mary were commissioned by the Church and painted by male Renaissance artists, whereas images of Kim are constructed and produced by the mass media. I believe images of religious icons and celebrities are constructs created to attract and guide followers. Essentially, my work emphasises society’s blind following of the Kardashians, and the comprehensive power we give them, which I feel discloses the notion that celebrities are the icons of a new religion.

Materials and processes …
My process involved superimposing Kim’s face onto famous Renaissance biblical works of art using a multitude of tools on Photoshop such as the selection tool, eraser and free transform to create new, realistic modern-day works. I utilised the process of colour grading to alter the colours of the original works. The image adjustment tools enabled me to emulate the highly manipulated and fabricated ideals of the Kardashians – I enhanced the colours to create artificially bright, eye-catching pieces. I then printed the appropriations onto decal paper and stretched it onto frames.

Starting points and influences …
During a visit to the Louvre I couldn’t help but notice a recurring theme among all of the paintings and sculptures, especially the portraits of women; the figures were all so perfectly proportioned, voluptuous with air-brushed skin, and not a blemish in sight. It made me realise that image manipulation is definitely not new and impossible standards of beauty have been around long before Photoshop, magazines and social media.

Favourite artist …
My favourite artist is Saint Hoax. He is a pseudonymous artist, satirist and socio-political activist from Syria. I really admire that at first glance his works seem solely comedic due to the bright colours and familiar celebrities he portrays, yet once you observe closer, you actually realise the deeper meanings can often be quite disturbing and always thought-provoking. I enjoy that his ‘poplitically’ incorrect statements can be appreciated and related to by all ages, serving as both a form of entertainment and even a motivator for the viewer to question, critique and challenge their place in the world.

Future plans …
In 2018 I plan to attend university to study fine art. I am really excited and eager to expand my capacity to question and think about the role of art in the world and how I can use this kind of knowledge to express myself and important issues to others.

Ideas behind the works…
Both pieces in just another day… were intended to encapsulate the pain and hardship of falling below your expectations. The concept for the work stems from the idea that a ‘good grade’ is subjective to each individual and school. To connect the work with my personal experience of disappointment upon receiving grades below that which I expected, I included both the collar and grade in the composition and I also worked with the colour palette, shape and application of paint and texture to create a foreboding mood. I wanted the meaning to be slightly ambiguous to the viewer in hopes they might relate to my experience, therefore the numbers are presented without the context of a grade. I also appear neither as girl nor boy and retained a very bleak palette. These factors construct a sense of a universal human response to disappointment.

Materials and processes …
I decided upon plywood as a base because I loved its fragility and the way it absorbed paint, giving it an almost living, breathing personality. I started with a charcoal outline followed by washes of watery acrylic paint to layer both the figure and the background. I built upon this with thicker coats of acrylic paint using brushes and rollers to build the larger background, and vigorously interchanged between washes and paints to intensify and complicate the layering. I tried to remain as natural as I could in the application of paint. I didn’t force a stroke to change after I laid it down, and I did not synthesise drips in particular places because, to me, they appear fake. Everything was to be natural and raw, symbolically representing how I was also unprepared to the stress of this year. I let each layer air dry before adding another to keep the aesthetic integrity of the numerous drips.

Favourite artist …
Formally, my favourite artist was be Claude Monet. I saw his 2013 exhibit at the NGV and was mesmerised by his use of colour and shape. For his Water Lily collection especially, it was like looking into a perfect dream. However, Ben Quilty has quickly become another favourite, both because of his personal history and work. I find him extraordinary in the way he simultaneously dehumanises and beautifies his subjects in grotesque ways, revealing and deconstructing the undercurrent of stigmas plaguing Australian society, such as war and death.

Future plans …
I’m planning to take a gap year to recover from Year 12 and possibly create collections to be exhibited locally. I don’t particularly intend to make money but to provoke thought and bring a community’s attention to the devastation of mental health.

Ideas behind the work …
Imprints portrays my theme of identity by emphasising the uniqueness of each subject and the mark they hope to leave on the world, through their installed fingerprint. From a distance, it reads as a group of hanging images that represent individual subjects as heads in a crowd. Their projected fingerprint silhouettes help add depth to the crowd and separate the visual symbolism from the cut-outs. The differences in scale also help represent differences in individual age and stage of life. When light is projected onto the suspended prints, shadows appear projected onto the wall behind the work, reminding the audience of the imprints we leave.

Materials and processes …
Imprints was made with large-scale photographs printed at a reduced opacity ranging between forty and sixty per cent. The image selected portrays a symbolic part of the identity of the subject in a subtle manner using natural softer tones. Each subject was also ink stamped to document his or her fingerprint, which was then scanned to be digitally manipulated in Adobe Illustrator. I traced these images and increased the threshold to create a black and white pattern of the fingerprint that was smooth in shape and had definitive lines. By projecting light onto the fingerprint cut-outs, I was able to create a second layer within my artwork.

Inspirations …
I’m inspired by such a wide range of influences – people, experiences, our personal differences and the unknown, though I’m particularly inspired by travel, different cultures and photography. While I’m motivated by photography to plan adventure and travel, it’s important for me to experience life and not just see the world through images.

Favourite artist …
I had the privilege of meeting my favourite artist this year, Melbourne’s Samantha Everton, who has heavily influenced my studio practice. I spent much time researching her work, as I was intrigued to discover how she was able to achieve such surreal effects within a single shot and with her limited use of post-production editing. I was also inspired by her ability to depict narratives within a single image. Her works have many layers that may not be obvious at first glance. I have always admired how she has successfully embedded personal elements of her life within each of her series of works, such as her culturally blended family and her experiences of motherhood.

Future plans …
I am hoping to study in the health sciences field, in particular midwifery. I have always had a desire to help others and feel that this would be a most rewarding career. I am also interested in the role that art can play in the recovery process and would potentially like to explore this further in the coming years. Art therapy is definitely an area I could delve into in the future.

Ideas behind the work …
The purpose of this work is to allow viewers to immerse themselves in a part of nature. By bringing natural elements into the gallery space, I hope that viewers will feel a strengthened connection to nature. The ears and hands in the work function to personify nature, in order to allow humans to consider it and its worth from another perspective. Primarily, the purpose of this is to represent the way nature listens and feels.

Materials and processes …
The branches that make up the ‘trees’ in this work are from a large dead tree up at my holiday house in the country (about thirty minutes from Bendigo). Using tree branches sourced from the property, I created the trees in my work by securing the branches in concrete-filled pots. These were then covered with chicken wire as a base for a papier-mâché finish. The papier-mâché is then covered by sand that I was lucky to get from ACCA from a Bik Van der Pol work, which explored different connections different people had to a sandstorm that occurred in Australia.

Inspirations …
I am interested in the work of Andy Goldsworthy as he uses only natural materials to create his ephemeral works. Another artist that I am strongly influenced by is Olga Ziemska, who makes works combining the human form and the earth. I am in awe of all works that are based on collaboration with nature. Two brilliant examples of this are Hubert Duprat’s work that enabled larvae to make cocoons from gold leaf and jewel materials. Also, Sigalit Landau once created a dress that he put in the Dead Sea and photographed every few months as it crystalised. I am inspired by how I feel in nature, how I feel when I walk through the bush. I am inspired by the connection the Indigenous peoples of Australia have to nature, a connection that Western society seems to have lost.

Future plans …
Next year I am going to take a gap year. I hope to keep creating artwork, both for myself, perhaps as a form of relaxation and therapy, but also for some extra income. I would like to continue to work with my hands, make clay candle holders, bowls and cups, which I would like to sell in art and design markets and online on Etsy.
I have plans to curate and host a gallery show on behalf of a man I met who is a refugee. I have begun planning it now, an exhibition with a few different artists, who will each be designated the story of a different asylum seeker. I hope that these works will raise awareness for the lived experience of refugees and in turn encourage people to stand up for refugee rights. I also hope the works may sell and the money could go towards funding organisations that support refugees and their rights.

Ideas behind the work …
Untitled #1 investigates the individual process of triggering emotions through grief and loss. I decided to encapsulate two portraits of one person with obvious different expressions to best represent the different stages involved with coping with an adversity as well as the journey of emotions experienced through this. Through the composition – which shows one person with two different reactions – I convey two entirely different mindsets to one situation to suggest that one’s reactions to confronting events are entirely unique to the individual. For Untitled #2, I have aimed to normalise the need to grieve openly. The figure’s expression of despair and despondency encompasses this, and the halo of gold leaf highlights that individuals should not hide their grief but instead express it to the world and seek comfort and reassurance.

Materials and processes …
Untitled #1 is a watercolour painting on 300 gsm paper. To begin, I lightly sketched out the two portraits with grey lead pencil. Using a watercolour palette and sable brush I began blocking in the light areas of the face. As I progressed, I worked out that it was best to complete certain areas such as the eyes in one go so I could manipulate the paint while wet. After adding in all the details in the face, I used masking fluid and placed dots all over the backgrounded, then applied four layers of a dark wash over the entirety of the blank space, leaving it slightly lighter around the faces. For Untitled #2, I repeated the above processes, keeping to a blue monochromatic palette. However, once I had finished painting the face and applying an even darker wash over the background, I applied a circle of gold leaf, which turned out to be quite a testing process. I applied a layer of specialised gold-leaf glue, then using cotton gloves I carefully placed layers of gold leaf, which I gently went over with a soft brush until it was all smoothed out.

Starting points and influences …
I was heavily influenced by the people surrounding me who were, at the time, experiencing physical and mental trauma. I believe all of us have completely unique experiences. Therefore, I was inspired to create a ‘split portrait’, which involved painting two portraits of the same person reacting to the same event but with different reactions. By doing this I hoped to demonstrate that grief and despair are not textbook processes but a completely individual journey.

Future plans …
In 2018 I hope to undertake fine arts at Monash University. Within this I would like to major in painting and silver-smithing. I have spent my whole life painting and drawing. However, I want to now focus purely on my art and find an environment where my skills are challenged so that I can develop as an artist.

Ideas behind the work …
My artwork depicts scenes in which the time can be seen inconspicuously among everyday, mundane objects. The idea of this was to demonstrate the constant, often subliminal, presence time has in our lives, which I feel is integral to the functioning of our society.

Materials and processes …
I used oil paint on line-boards to create my artworks. I deliberately chose a time-consuming, traditional medium, tonal oil painting on linen, to contrast with the speed in which images can be created today using digital formats. At first glance, the artworks’ realistic style may suggest that the works are photographs rather than paintings. I ensured that the uneven texture of the linen could be seen in the finished works through my thin application of the oil paint, which allowed a juxtaposition between the realistic, modern subject matter and the traditional style of the oil paint.

Starting points and influences …
I am inspired by various artists, musicians and filmmakers, as well as my personal experiences and the people in my life. My idea initially developed after a visit to my grandparents’ house, the walls of which are decorated in collections of antique clocks. I found the ticking and simultaneous chiming of the clocks charming, but also confronting, as time essentially became unavoidable in this space. There is a certain contentment I find in being ignorant of the time, and I associate clocks and analogue numbers with deadlines and obligations. Personally, I have always struggled with managing time. I am often late to things and worry about time to an excessive extent.

Favourite artist …
My favourite artist is Jeremy Mann. I find his unique approach to painting distinguishes him from other artists as he employs various techniques in creating his paintings, which are usually done on wooden panels. Mann pays particular emphasis to light and tone by applying colour generously to his works, often wiping away areas of paint to produce a blurred, hazy aesthetic as seen throughout his cityscape paintings. Instead of directly copying a scene from his eyes, the monochromatic tones of these paintings suggest that Mann has taken a slightly expressionist approach in his use of colour, applying it more arbitrarily to evoke different moods.

Future plans …
In 2018 I want to undertake an arts degree and I feel I will definitely continue to be inspired by art outside of my studies – I find the creative process very rewarding and cathartic.

Ideas behind your work…
Lost portrays the state of losing oneself in the pursuit of materialism. The artwork questions why we as humans always strive to attain things for personal benefit or obsession. I used oils to capture the details of the face to show her unwillingness to get out of that state, or trap, as represented by the waters that draw her in further and further. The water seems to be calm yet violent, which represents how the girl is willingly comfortable in a clearly perilous situation.

Materials and processes …
I used Masonite board and oil paints for the work, as I felt that the nature of the Masonite board is very flexible and amazingly smooth to paint upon. I took a series of photographs of my friend in her pool and chose one that I thought best represented my concept. I used Photoshop to correct the colours to find the best combination and then painted them so I could create a surreal atmosphere.

Inspirations …
I am inspired by odd things, especially artworks where the meaning is extremely difficult to find. For example, dark and hollow backgrounds with strange subject matter, like the works of Gottfried Helnwein, or Francis Bacon. What I am most intrigued by in each of these types of artworks is the concept behind it, and the fact that they call out to the audience to probe into and try to find the message within them. That is also what I aspire to do in my own work.

Starting points and influences …
I observed the world around me and realised most in our society suffer from the same core problem – a dissatisfaction with their material possessions. Materialism and obsession became the key themes of my exploration. I chose to depict metaphoric imagery in this artwork, just like Gottfried Helnwein often does, so water became the world, and the girl became humankind. I also drew inspiration and was thus influenced by the works of John Evert Millais, especially Ophelia, so I suppose I felt drawn to the mysterious nature of girls floating in water from that.

Future plans …
My plan for 2018 is to study animation at RMIT University. The role of art will definitely be a major component of learning this course, as well as in my future career as an artist and animator. I value the artistic and conceptual practices behind creating an artwork and I believe this will be no different for creating animated films.

Ideas behind the work …
In making The Wonderland I wanted to explore and create different landscapes through the use of different fine-liners, focusing on the contrast and balance of the paper and marker. I have illustrated this artwork to tell a hidden story through the many different landscapes. I wanted to express that even though the artwork itself looks beautiful and interesting, the true meaning is hidden far beyond what we can see.

Materials and processes …
My chosen materials for creating The wonderland include fine-liners (0.05–0.8), HB pencil, eraser, thirty-centimetre ruler, paper, Faber Castel B-brush, PITT artist pen (1 and 5), Yoken permanent marker (Fine) and Fabiano Academia – Bianco texture (120gsm). The techniques I used were developed in a workshop I did with my multimedia teacher in Unit 3. As I wanted to create something that is something unique, I experimented with various techniques. I started with a basic outline of the image with a pencil and began tracing and filling in details with fine-liners from the top edges of the paper. The work took all semester to complete, right up until the due date. With the help of my father, we found a fitting frame for the work.

Starting points and influences …
The starting point of The wonderland was from when I discovered cross-hatching and dot art – these techniques have influenced the style of my work. Gradually, throughout experimentation in Unit 3, I began to find my own drawing techniques suited to the fine-liners. I particularly enjoyed experimenting with different cross-hatching methods, using the thinness and thickness of the lines and dots to create patterns.

Favourite artist …
My favourite artist is Kerby Rosanes, a fine-liner artist who shows and explores different creative ideas through different techniques to explain the hidden meaning and issues around the world through illustration. I admire her work because she also explains her art through the technique and different illustration skills used to represent her life journey, just like The wonderland.

Future plans …
My plan for 2018 is to study an advanced diploma in games and animation at AIE, RMIT or JMC.

Ideas behind the work …
The idea behind Women’s work is to create a juxtaposition within the visual language between the text and crocheted material. I re-contextualised a traditional ‘men at work’ construction sign in order to convey a feminist message, challenging gendered roles in the workforce as well as assumptions about stereotypical gender characteristics.

Materials and processes …
I decided to use crochet as it created a good juxtaposition between the industrial metal of construction signs and the hand-crafted soft wool of crochet, which is traditionally perceived as quite a feminine art form. I worked with bright yellow and black acrylic yarn and a 4mm crochet hook. To uphold traditions of the medium, I crocheted individual granny squares to assemble the blanket and crocheted the letters of the text using a slipstitch to join the squares into rows, and then join the rows together.

Inspirations …
I’m inspired by so many aspects of the visual and performance arts and by the women in my life. Living with my mum and my sister and going to an all-girls school, I am continuously surrounded by so many inspiring women. The strength and determination of these women inspire me to challenge injustices, either big or small, that women are confronted with in our patriarchal society. In the art and design world, I am inspired by the Melbourne-based typography group The Letterettes. I drew inspiration from both sources and used them to create my two finals that use text and typography to challenge gendered stereotypes.

Starting points and influences …
Typography is my passion and I’ve been creating typographic designs since 2013. I wanted to challenge masculine and feminine stereotypes through text and typography. I also went on to look for inspiration of artists who work with typography and whose distinctive styles where either particularly stereotypically masculine or feminine. I experimented with different styles of design, such as block and dark aesthetics for masculinity and bright and cursive aesthetics for femininity. This eventually became more conceptual as I developed my work further and experimented with all the materials that I proposed in my exploration proposal.

Favourite artist …
I admire so many different artists! It really depends on what art form or medium. But in relation to my work, my favourite artist is probably Del Kathryn Barton. I love her illustrative and decorative art style and I really admire that she’s unafraid to create images that explore her sexuality and depict uncensored fairy-tale-like scenarios. Women are often frowned upon when they are comfortable with their sexuality and femininity, and yet Del continues to produce artworks that she loves despite criticism.

Future plans …
I hope to go to RMIT to study a Bachelor of Communication Design in 2018. I want to continue to make art and work in typography as it has been my passion since Year 8. During this year I have taken an interest in the role of curators, exhibition designers and conservationists, so perhaps in the future I may consider studying in these areas.

Ideas behind the work …
New topographics of Australia (grid) explores the relationship between the natural world and the ever-expanding urbanisation of mankind through a depiction of the landscape. An important factor of this work was the presentation of my images in a square formatted grid derived from the words of Joe Deal, who said, ‘The landscape that is contained within the perfect symmetry of the square implies infinity’. In turn, this idea grew within me as I decided to give my photographs structural formation and square borders with the intent of provoking a questioning of the landscapes’ boundaries; are they merely confined in their grid or is the square a window to an infinite world of possibility?

Materials and processes …
The locations I photographed were researched, sourced and then explored by me during hours of photographing. In post-production editing using Photoshop, I converted my images to monochrome, individually adjusting them to best suit their attributes and highlights. I printed them on a very small scale and cut them out in order to make layouts of different grid concepts and formations. This was an efficient way of physically moving my photographs around and playing with different dynamics through trial, error and elimination.

Interesting and challenging aspects …
I found shooting in unknown locations to be of most interest as I lost myself within warehouses, car parks, reservoirs and rural highways. Using my camera’s lens to create images that encapsulate a whole place’s history, characteristics and personality was a difficult yet rewarding task. Moreover, pulling all these different landscapes together into a single functioning and coherent work proved immensely difficult, and I struggled to produce such a large-scale body of photographs that had a harmonious facade.

Inspirations …
This work is a representation of my own exploration of ‘new topographics’ within a contemporary Australian context; a theme inspired directly by a 1975 exhibition in America titled New Topographics: Photographs of a Man-Altered Landscape. This exhibition provided the basis of subject matter, stylistic approach and aesthetic qualities that fostered my own interpretation. However, I also turned away from the banal depictions of place from this exhibition and looked at artists who embraced the beauty of the natural world, such as Ansel Adams. I admire his ability to create a sense of deep spiritual communion between landscape and spectator, audience and photograph, and attempt to replicate such an effect within my own work.

Future plans …
In 2018 I plan to study journalism. I know that I will always have a relationship with photography throughout my life as I hope it will be a skill I can use to push my achievements in developing myself as an artist and a writer who can use her agency as a young woman through the camera’s lens.

Ideas behind the work …
This portrait of Phyllis Walker, a centenarian, was conceived through my understanding of how our society views people once they reach a certain age. Our society often looks down on its elders, belittling them for issues that come with ageing. I wanted to work against this notion by depicting Phyllis as not just old, but also strong and charismatic. To achieve this, I used subjective colours and the contemporary media of an iPad app to promote a new perspective. I also wanted to show that even though her body is confined to a wheelchair, her mind is no less active. She still retains her bubbly and joyous nature from her youth. The heavy use of pinks and blues convey this youthful nature.

Materials and processes …
As the work was initially digital, I used an iPad application called ProCreate to compose my artwork. Midway through creating the artwork, I bought an iPad Pro, as this new device allowed me to have more layers within the artwork. Previously I was limited to twenty-seven layers, but with the new device I had upwards of 200. This allowed me more creative freedom as I could now play around with more subjective colours. In addition to this, I also used the Apple Pencil to create finer details in the artwork. Within the app is a selection of brushes. I mainly used the ‘technical pen’ and ‘brush pen’. These brushes allowed me to draw fine lines and wide strokes respectively. I made use of the texture brushes that were available as well. I used the ‘Victorian’ brush for the clothing as it was similar to the pattern worn by the model. There was a lot of trial and error in creating the colour palette, but I eventually worked out the base colours, and derived other colours based off them.

Starting points and influences …
This was initially painted for the ‘Centenarian Portrait Project by Teenagers’ as part of ‘The 100; A Celebration of Melbourne’s Oldest Residents’. I soon realised that this project linked with my art folio and theme of childhood, so then decided to include it as a final. I was largely influenced by the personality of Phyllis Walker. The first time I met her I chatted with her and was pleasantly surprised to see that she had a very youthful spirit and liked to joke around. Because of this I didn’t want to depict her as being the stereotypical old person who frowns a lot. I see pinks and blues as being symbolic for youth, so I used them throughout the portrait to convey her bubbly and youthful nature. I wanted to convey her personality in the clearest way possible.

Future plans …
I am hoping to get into Swinburne University to do an animation course. My real passion comes from character design and how you can convey personality through the composition of a character, the way they are posed as well as clothing and facial expressions. With a degree in animation, I hope to create my own animated televised show one day, or work for a network. Art will always be in my life, and I hope to sell commissions online as a side income, this will simultaneously improve my skills and interpretation.

Ideas behind the work …
Grandma two is one of a series of works about my two grandmothers. This work is of my mum’s mother who lives in Melbourne. The linocut is an accurate figurative depiction of this important woman in my life, but at the same time exaggerates a sense of concern and caution within her. It shows her as watchful and attentive, calm and gentle. The mixture of mark-making techniques amplify her facial contours and the folds of fabric of her clothes and unexpectedly hint at my grandmother’s New Zealand origins. The work uses pure lines and marks to explore the many subtle and much-loved qualities and characteristics of my grandmother.

Materials and processes …
In this series I employed the rewarding authentic linocut process. Initially, I transferred my design to the linoleum block via the use of graphite tracing. The cutting stage implemented U- and V-shaped tools, specifically the six variations of the Speedball utensil. Once the cutting was complete, I washed the block to ensure tiny linoleum bits would not interfere with the printing process. To transfer the water based Derivan ink to the linoleum block, I used a roller to spread the ink generously and evenly. To transfer this ink to the paper, I aligned the linoleum block with the paper and ran it through the printing press. I used A2 200 gsm Arches paper for the prints.

Inspirations …
About halfway through 2017, I joined Linocut Friends, which is a Facebook group devoted to sharing, exploring and discussing the endless possibilities of the linocut possess. This proved extremely helpful as I encountered artists who are not heavily involved with the commercial scene and did not feature on a typical Google search when conducting my research.

Starting points and influences …
Throughout the course of the year, I studied two artists in depth: Carri Skoczek and Theresa Martin. These two artists specialise in printmaking and have a fixed focus on portraiture. Skoczek mostly influenced the way in which I developed my mark-making techniques – I use different variations of curved, straight, relaxed and sharp cuts to highlight the differences between subject matter. Martin, on the other hand, inspired the colour combinations I used in the reduction process. In her works, she builds up layers of analogous colours, always starting from the lightest and finishing with a black layer. Based on the techniques of these two artists, I was able to simulate texture and build up form by implying depth in the compositions.

Future plans …
In 2018 I will complete Year 12 and plan to undertake another folio subject, Visual Communication and Design. Completing Studio Arts has provided me with a thorough foundation and I appreciate the skills I have acquired and hope to integrate them into my future works. In terms of the future, I would hope that I continue my passion by making linocut prints. Further, I think having done Studio Arts has opened my eyes to the art world and its beauty.

Ideas behind the work …
For Equilibria – Phenomena I wanted to convey that the negatives and positives in life balance each other out. This has provided the conceptual foundation for this artwork, culminating in the beauty and necessity of imperfection and the beautiful, ambivalent perfection it ultimately creates.

Materials and processes …
I used porcelain (JB 1), an iron oxide, reinforced twine and dampened willow charcoal to create the main forms and surface treatments of my work. Firstly, I used a ceramic press to generate lengths of porcelain of similar thickness. I then created the cylindrical forms, using a rubber kidney tool to smooth the joinery. I waited until they were leather hard and inserted a potters’ needle to create the holes for the twine. I then bisque-fired the cylinders at 1000°C. The iron oxide was applied using a wash-back technique to emphasise the imperfections, before a final high firing at 1280°C. I then began to thread the twine through the holes to join the cylinders, using a fine needle to fit through the holes. I threaded the joined cylinders onto a metal pole and applied the dampened willow charcoal to create a balance between the warmth of the iron oxide and the contrasting cool grey tones.

Interesting and challenging aspects …
The most interesting and challenging aspects of creating the artwork were derived from my own expectations that I had for the artwork, which were consistently reconstructed! For example, initially I had intended to have a monotonous application of the oxides, using a black iron oxide to create a contrast between the purity of the porcelain and the imperfection of the oxide wash. However, due to the nature of the oxides, a reddish colour was produced on the final piece that was then offset by the greys of the charcoal wash. Despite this differing from my preconceived idea, I found that the change of my expectations often resulted in an even better outcome.

Starting points and influences …
My own experiences provided a starting point for my theme, as I became quite passionate about the equilibrium of experiences both positive and negative. I find this is generally rejected by the individual as we fight to recall and remember only the positivity in our lives, despite the heavily influential and integral nature of challenging experiences. I admire the practices of many different artists who convey important messages and provoke emotions and feeling that are otherwise inaccessible. However, Ah Xian would be the artist who has had the most impact on my own studio practice. The juxtaposition between fragility and strength conveyed in his artworks, as well as their evident connection to place, are aspects that I too hope to achieve through my artistic practice.

Future plans …
Art will always play an integral part in my life as it provides a vehicle for self-expression that is difficult to replicate. Next year, I hope to begin a Bachelor of Fine Art degree to broaden my artistic awareness both practically and conceptually, and eventually become a practising ceramicist.

Ideas behind the work …
Staring figures depicts a room full of educated professionals sitting around a table. In slow motion, each person turns to look directly into the camera. The figures all look directly at the viewer, with a range of expressions – mocking, expecting and judging, for example. The work explores a confrontation with our almost universal fear of social ridicule and humiliation.

Materials, processes and challenges …
For the work, I used slow-motion video shot at 1000 frames per second and played back at twenty-four frames per second. Lighting an indoor scene at this frame rate is challenging due to the alternating current of our lights, which are constantly turning on and off fifty times a second and in slow motion comes out as a jarring flash. This meant I couldn’t use conventional lights when lighting the scene – I had to use natural light or battery-powered LED lights.

Inspirations …
Movies. It’s rare but sometimes a movie will change my whole mental state and outlook on life. I think movies are an effective way to communicate philosophical concepts in a more meaningful format than a philosophical essay. The last movie that really blew me away was Apocalypse Now.

Starting points and influences …
I interviewed friends and family about their memories of a time when they felt they had been truly free. I think one of the key themes in those conversations was being free from anxiety surrounding social judgement and ridicule.
I came up with the concept for the video when I was experimenting with slow-motion video on the tram and someone looked at me briefly while I was filming. When I played it back I could see them looking directly at me and despite how innocent it was, there was something terrifying about their gaze.

Future plans …
I hope to go into the film industry. I think both art and film have the potential to change people’s outlook on life for the better and make them happier people in general.

Ideas behind the work …
My sculpture illustrates my interest in expressing my theme: point(s) of contact. My work re-contextualises a common household object, the extension cord, and emphasises its first connection with the ground. In the work, I have frozen this object at a point that isn’t commonly viewed by the naked eye, at least not for very long. Cord’s form evokes moments, like Neil Armstrong’s first step on the moon, or Anna Pavlova’s graceful ballet step on a dance floor. In part, this piece is more prominently a visual metaphor that contemplates connections between opposing states: the solid and the malleable, the tangible and the intangible, the temporary and the permanent, the contemporary and the archaic, etc.

Materials and processes …
The cord in my work is created from a steel rod, which I bent into shape over a sawhorse. I had to use my whole body to manipulate this rod, continually adjusting my stance to maintain a steady balance between it and me. Like a dance, I worked this robust material into shape, attempting to imitate a still image of the buoyant extension lead. I sculpted the plugs out of oven-bake clay and used many different tools and surfaces to make them as authentic as possible. I then extracted the prongs from a real plug and put them in my newly constructed clay plugs. I painted the cord with enamel paint, which has very rubbery finish – first an undercoat of Gloss White and then a top-coat of Cream. The base is made from laminated bamboo because it resembles a wooden floor. A neutral colour palette and wooden base give the sculpture a certain authenticity that evokes the illusion of weightlessness.

Inspirations …
As well as being an artist, I am a filmmaker and a musician so I am very inspired by a variety of different sources. While I aim to portray a message in all my works, I also like to keep my pieces ambiguous so that viewers can draw their own meanings. I am heavily inspired by the Dadaists, especially Jean Arp, Joan Miro, Marcel Duchamp and Man Ray.

Favourite artist …
My favourite artist is Roman Signer, a Swiss visual artist who works with sculpture, installations, photography and videography. His works reflect a lot of what is featured in the Dada movement, particularly its rejection of traditional aesthetic. I love how Signer’s work is about capturing a particular moment.

Future plans …
In 2018 I will be completing Year 12. I find art is a way of expressing my emotions and it works by enabling me to transform them into something physical and everlasting. This is an invaluable source of escape. By being able to visually represent an emotion or an anecdote, my art becomes a tactile thing that I can gain an opinion on from outside sources. I can then take these opinions into consideration when constructing my next work or working on my own development. Art works as a stabiliser for me and therefore I will never be without it.

Ideas behind the work …
The set of five giant babushka dolls was intended to be a sort of visual representation of the evolution of my character, and the things that I felt most passionate about. In Doll 1, for example, I explore myself at the core. It is a very simple design of the basic doll form, covered in gold leaf, with a small panel removed to reveal a partial face beneath. The idea behind it is that my inner self is encased within layers. Here, I am plain and stripped of any interests or passions, things that might shield or alter the true nature of my being. I think many people could relate to this, as a seemingly fragile spirit, encased and altered by all these other aspects of the ‘self’. My work does not attempt to depreciate this, but rather embrace the complexity and many aspects of human personality.

Materials and processes …
Each of the dolls I created is made from a combination of plaster bandage, papier-mâché, acrylic paints, gold leaf and various other objects. I moulded this doll around a small domed light and sheets of stiff plastic fastened together in order to create the desired unique shape. I then proceeded to cover this with layers of plaster bandage and papier-mâché before removing the inner scaffold. I cut a rectangular panel before covering the whole thing in gold leaf. As the finishing touch, I used a mannequin head to cast a mask and then set it into the doll, and voila!

Starting points and influences …
I began this line of work for my final, originally inspired by seeing giant or life-size puppets, marionettes, and eventually, babushka dolls the size of buildings, displayed as part of an exhibition in Russia. Through my previous travels I found the possible symbolic meaning that the babushka/matryoshka dolls were able to accommodate, fitting perfectly with my focus on the ‘self’, self-expression and growth. Instead of depicting families as they were designed to do, I adapted it to better work as a single being, stretched out into multiple layers of meaning.

Future plans …
In 2018, I will be furiously working to achieve my ATAR. I took on Year 12 Art in Year 11, and sadly, I do not have an art class next year. Nonetheless, I will continue with it beyond school. Art is my reprieve from the real world, and when I have the time I hope to incorporate it back into my life during the upcoming school year.

Ideas behind the work …
Suburban landscape investigates the concepts of perception and reality. The didactic forms and loud contrasting colours provided by the materials help to reflect an idea of a child’s building blocks but also of a bustling suburbia. The strength and sturdy aesthetic of the white raku clay help to amplify the idea of buildings. Through this, the sculpture aims to explore naive perceptions of perfection within the space and structures, revealing the flaws intrinsic in space.

Materials and processes …
The primary materials of the work are white raku clay and acrylic spray-paint. I made each block by first moulding the cube, which I did through creating a pinch pot and then pressing in the six sides. The clay was then left to completely dry, then the blocks were sanded down, and once smooth, they were fired at 1000°C, then wrapped in masking tape, leaving two opposite sides of each uncovered. To coat each piece, I sprayed each block with a single flat colour on each side not covered by masking tape and used paper cut-outs as stencils for the patterning. Once the two sides were dry, the process was repeated until all sides were covered.

Inspirations …
Artists and galleries mostly inspire me, however, I also find inspiration from ideas found in English literature. Literature and the ideas explored by feminist and postmodernist writers inspire me as I am then able to translate particular ideas of my own into my art and better understand the work of others.

Favourite artist …
My favourite artist is Ben Quilty – I admire his ideas and the texture and colours of his work. His thick application of paint, which creates a certain density that makes it seem as though it will leap off the canvas, excites and inspires me to make my own textural explorations. His ideas on masculine vulnerability and violence within Australian culture are really interesting topics that I had not previously thought about myself, and I enjoy watching it being played out in his work.

Future plans …
Art will play a big role in my life next year as I plan to study fine art at university. My plan to go straight into study is largely related to the satisfaction and enjoyment I have received from it during my final school years. While I have no idea where the course will take me, I am currently looking towards a career as a practising artist.

Ideas behind the work …
The title of my work Pride was greatly inspired by the ‘Vote Yes’ campaign that was running while I was completing my work. While homophobia has divided Australians, the stride to equality draws near as people from all walks of life join together to support the rights of the LGBTQI+ community. Pride follows the journey of a transitioning male and I wanted to encapsulate, in an intimate manner, the vulnerability that comes with such an important milestone.

Materials and processes …
My choice of using scraperboard was based on its initial appearance as a simple monotone slate of black, while containing the potential to yield full spectrum of greyscale colours. The action of physically bringing the subject out from the black background is one that ties in with the idea of new beginnings. I used both a scratching needle as well as a scalpel to vary the width of each scratch, as the differing characteristic of each line was what allowed the work to be so dynamic.

Inspirations …
I often find inspiration in the most unlikely places at the most unexpected times, often wandering by myself. Whether I am wandering the laneways of Melbourne, or discovering quirky shops and secret tunnels, the breath of fresh air always brings with it a little bit of inspiration from all around. Another common source of inspiration tends to be the spirits of passionate people. Inspired often by their tales of bravery, strength and resilience, I find myself drawn to the stories of different people. Often through my art, I attempt to dissect the meaning behind events and try to tell other people’s stories to not only pay homage to them, but to inspire others just as it has inspired me.

Starting points and influences …
To be perfectly honest, I arrived at this portrait through a series of happy accidents. Initially, I would have stated that portraiture was the weakest aspect of my artistic abilities. Determined to change this, through many explorations of white and black, I arrived at the medium of scraperboard and found that it offered the perfect amount of clarity and freedom. As the model was a friend of mine, his transition story greatly inspired me and taught me a lot about acceptance and courage. After photographing him as reference for creating this piece, I was deeply moved by the raw emotions he expressed and it was this that inspired me to do a portrait of him. Nothing is more potent and honest than a moment of spontaneity.

Future plans …
I plan to pursue further education at university, potentially overseas. I have always felt a desire to travel to seek the unknown, to learn and to understand, and I have no doubt that art will play a crucial part in my journey to understanding myself.

Ideas behind the work …
The images from Aerial landscapes were taken from a bird’s-eye viewpoint and explore the breakdown of organic and geometrical shapes though the uses of symmetrical and asymmetrical balance. I wanted to take a series of aerial images focusing on how places can be seen from different points of view. The images highlight the design elements of symmetry and geometrical shapes and function to create a new eerie aesthetic viewed from above.

Materials and processes …
I used a drone to access unreachable heights where someone cannot usual get to. Using the camera on the drone, I flew around looking at how I could play with symmetry and shapes, and when I found something interesting, I captured it. Using my iPhone and the remote control, I was able to see and control the drone in the sky.

Starting points and influences …
My starting point was researching places that people love to visit such as tourist attractions and things we see every day that we never really consider. These places became influences as I thought endlessly on how I could manipulate the space to create something stunning and captivating. I wanted to manipulate these familiar places to create a new aesthetic on how my viewers would perceive them. This motivated me to attempt and try new things, like using a glass ball to invert a space and using a drone to take pictures from where people cannot easily access, in height or even commercial areas not open to the public, such as the docks.

Favourite artist …
One of my favourite artists is Alex MacLean, an American photographer born in 1947. MacLean is best known for his aerial photographs from aircrafts such as helicopters. His images portray the evolution of land forms from agricultural patterns to city streets, capturing the way human inventions revolutionise our world. His work has similarities to mine as he captured architecture and land forms from a view that is generally unseen. I admire his work as it shows the capabilities of how objects can be manipulated when being viewed from different angles, especially from above. At the time he took his photographs, helicopters were extremely inaccessible due to affordability. In a similar way, I used a drone to achieve a viewpoint of an image that people cannot usually reach due to accessibility.

Future plans …
In 2018 I am looking at undertaking a design and business degree at Monash University as I love to create and make things. I also want to travel the world with my Nikon camera, creating more imagery for people to admire, and having a bit of time to let loose, away from the stress of school.

Ideas behind the work …
Uniformity is the state of identical correspondence, and in the context of my work this theme relates to the overall similarity and lack of variation that is evident in everyday life. The consistent likeness of each bin is symbolic of the alarming deterioration of original thought and genuine action of individuals in society today and furthermore their similarity to the constructed uniformities of society. Such uniformity includes the subconscious adherence of every household putting their bin out on the same day every week and then repeating this process some fifty-two times a year. Alongside the symbolic physical uniformity, these bins represent the oppressed individuality that is present in all of us as we disguise our distinctions with more socially accepted facades. This is evident as the context of each bin is drastically unique and different, however, such variance is shielded by bland, mediocre frontage.

Materials and process…
For Uniformity I used acrylic paint on a birch-wood panel. I began by drawing the basic outline of the bins with a few details and then blocked them in with solid green acrylic. I then gave the bins more form by adding different tones to them, including shadows and highlights. To depict the bins as realistically as possible, I used the technique of dry brushing to gradually blend each tone together in a seamless manner.

Interesting and challenging aspects …
The most challenging aspect of creating my final artworks was overcoming the fear of the blank canvas and mustering up the confidence to start painting. Once I stopped dwelling on making every detail perfect, the process came much more naturally. The most interesting and rewarding part of the process was watching the bins become more and more recognisable and realistic as I went back to add finer details such as sharpening up shadows and highlights.

Starting points and influences …
Aesthetically, I was influenced by the work of artist Jeffrey Smart as I wanted to develop a style that mimicked his geometric, modern style. Smart’s interest in urban landscapes led me to the exploration of similar environments such as industrial estates. Through rigorous research and exploration into the different subject matter of such environments, I was drawn to the physical uniformity of things such as roller doors. This obsession then forced me to view the relationship between these uniform constructs and the people who make them, work in them and visit them. This, in turn, lead me to branch out and look at the uniformities in society that we often don’t even realise, hence my attraction to the wheelie bins.

Future plans …
In 2018 I am studying fine art at RMIT majoring in drawing and painting. I hope that through this course I will get a job using the skills I have learnt as an artist and also continue to make art for both myself and to sell.

Ideas behind the work …
For Fabrication I have painted a very closely cropped portrait of the same face, featuring skin-toned cotton thread stitched over the planes of the face. Through creating obtrusively close portraits, I wanted to communicate a feeling of an intrusion of intimacy. This, coupled with the thread over the surfaces of the face, metaphorically suggests a sense of fabrication of one’s identity. I wanted to convey the idea that one’s identity is strongly influenced by external factors, whether or not we are aware of those.

Materials and processes …
Fabrication involved the process of taking multiple photos of a model, my sister, and experimenting with the lighting in that environment to create an appropriate amount of shadow. I then chose three different photos and edited them using Apple’s iPhoto by cropping them to suit the square canvases I had bought and adjusted the light levels. I made faint outlines on the pre-primed canvases of the subject using oil paint diluted with turpentine for a light layer. Consequential layers involved oil paint mixed with heavier mediums. The last layer involved creating more dimension through using diluted white where light would fall softly on the subject. Colours were mixed from red, blue, yellow, black, white and ochre paints, and cotton embroidery thread was later added in similar colours simply using a short, sharp needle.

Inspirations…
I derive a lot of inspiration from Pinterest as it’s good for identifying current trends in art. The trends in the art world, including fashion and music, greatly influence my mood and inspire ideas, enabling me to take new directions. For example, Vogue’s photography and artistic edge inspires my desire to create. I still retain inspiration from classical and Renaissance artists such as Michelangelo and Caravaggio, as well as from Classical and Romantic composers such as Chopin and Liszt. I play piano and regularly listen to certain pieces that connect with me in a way that allows me to unwind and develop my artistic ideas.

Favourite artist …
I admire Meghan Howland for her beautiful oil paintings as each carries a distinct, powerful and emotional message. Her portraits are realistic, but also creatively surreal, which is a talent that I would like to be able to develop for myself; to portray subject matter directly from my imagination in a true-to-life fashion.

Future plans …
My plans for 2018 are to continue my education at university and possible pursue journalism. I do not have a definitive idea of what type of career I want, but I know that art will, at the very least, be a hobby of mine that I can return to at any time.

Ideas behind the work …
Geometry of a burnt land is my abstract interpretation of burning sugarcane fields. Sugarcane fields are burnt prior to harvest in order to remove excess foliage, so that the cane can be easily removed. This work is a topographical view in which I explore the historical aspects of agriculture within Australia, in particular the sugarcane industry. To create the industrial, historical and rustic aesthetic, I used vintage sugarcane bags sewn together.

Materials and processes …
This work incorporated a range of materials such as vintage hessian, chalk, acrylic paint, cotton yarn, wool, thread and timber. The hessian fabric used in this piece was sourced from an upholsterer in NSW, who happened to have the pieces in storage. Once I had viewed the fabric, I did some research and discovered that pieces of fabric originate from the Colonial Sugar Refinery that used to exist in Pyrmont, Sydney, and dated back to approximately the 1920s. My hessian tapestry piece was created by hand-sewing eight segments of hessian fabric together using a thick sewing yarn. Acrylic paint was used to create the blocks of black and white as well as chalk for the finer blocks and shapes. The majority of the stitching on the work was done by hand.

Interesting and challenging aspects …
The most challenging aspect of creating my work was sourcing the vintage materials. From the very beginning, I had envisioned incorporating antique materials and using them in a contemporary way, though I found it very difficult to obtain vintage Australian sugarcane bags. As I wanted to source a very rare material, it took a considerable amount of time and effort. I also found it interesting that the way in which I worked with my materials was entirely different from normal because of the fact that the sugarcane bags were from the 1920s. When creating the work I had a lot of respect for my materials and treated them very carefully, as I could not simply start again or replace them if a fault was made.

Future plans …
My plan for 2018 is to attend university to study either interior or graphic design. I am also currently in the process of establishing my own business that will produce a range of homewares and ethical clothing. For me, art will always play a role in my life, whether it be as a hobby or as a business tool. I certainly intend on applying my artistic abilities to my business venture, and would also like to create another body of work centred on agricultural Australia.

Ideas behind the work …
The human effect explores the destructive effects chemicals and toxic materials have on nature. The texture of the expanding foam and resin helps the viewer make the realisation that everyday household chemicals contribute to the destruction of nature.

Materials and processes …
This work was made with various layers of spray expanding foam (as a base) and polyurethane-pouring expanding foam for the dripping foam effect. After the foam layers were made, I then used enamel spray-paint to add colour, as well as pouring opaque resin over parts of the foam to show a chemical sludge effect. I also incorporated black royal-icing mushrooms to link the chemical effects to the destruction of nature.

Challenges …
The most challenging aspect of creating my works was that some of my processes included chemical reactions such as two-part expanding foam, for which I couldn’t predict the final result of the expanded foam reaction. However, by working in small layers at a time I was able to better plan the composition and shape of my piece.

Inspirations …
My main source of inspiration is Anna Teresa Barboza’s embroidered landscapes, which are incredibly detailed and depict nature’s beauty in a similar way to how I explored my concept. Her most inspirational series of works for me is the Suspension and Wearing the Instant series, which focus on ‘the transformation of nature and our lack of relation towards it’, depicting natural root systems through hand work. I particularly find it interesting the way she uses these natural techniques as a suggestion for how we can reconnect with nature.
I am particularly fascinated by the way David Attenborough depicts nature’s beauty through his inspiring and breathtaking documentaries and at the same time informs viewers about the current human impacts on nature.

Starting points for the work …
I am fascinated by nature’s ability to constantly change, grow and transform into diverse and beautiful structures. Through exploring aspects of nature that show growth, preciousness and beauty, I intended to create pieces that not only show the beauty in nature but also encourage viewers to reconnect with nature and realise its importance in our everyday lives. I also explored ways to depict the destructive effects man-made materials and chemicals have on nature and raise awareness of our responsibility to preserve it.

Future plans …
My plans for 2018 are to study graphic design and further develop my design and art style. In the future, art will continue to play a role in my life, as I hope to continue creating new artworks. I hope to continue to develop and create pieces and take photographs of nature and my travels.

Ideas behind the work …
In my work titled Incarceration, my subject can be seen stretching out desperately, appearing pained and restricted as they attempt to break free from the fabric that constrains them. In portraying this, I seek to convey the inexorable feeling of confinement we sometimes feel within ourselves. My desperate, ensnared subject communicates the embodiment of this intense, all-consuming internal feeling. I aimed to explore the theme of humanity, conveying the multiple emotions and characteristics we feel as humans.

Materials and processes …
I first came up with this concept during SAT 1. I then discussed the possibility of evolving the concept into a final artwork during the potential direction stage. At the beginning of SAT 2, I decided it would continue with the concept as a final. This process began with location scouting. This involved online research into various industrial-appearing buildings that I would be able to hire for my shoot. I ended up booking a studio in Footscray for the following month. This gave me time to organise all my materials and equipment, create photo plans, and confirm a model for the shoot. As I had already completed a shoot similar during SAT 1, I was able to reuse the same piece of material I created in order to bind my subject. Initially I had intended to use a blend of ambient and artificial lighting in order to create an even and diffused lighting sequence. However, on shoot day I found that the natural lighting present in the studio had already ensured the high-key lighting I was aiming to create. I began editing straight after the shoot and spent many weeks perfecting the images.

Inspirations …
I was inspired by artists such as Bill Henson, Beth Kirby, Abdul Abdullah and Gregory Crewdson. I was inspired by most films I watched during the course of my studies, drawing inspiration from their cinematography and visual brilliance! In particular, I really enjoyed the moody aesthetic of Wuthering Heights, created through dark colours and subdued tones.

Starting points and influences …
I was mostly inspired by the Baroque period and how easily drama can be created through movement. I found that Baroque sculptures can be so impactful just in themselves, therefore not requiring an extravagant background. Hence my decision to also incorporate minimalistic and contemporary style in my work. From this I decided I wanted to create a work that was simple, interesting and yet capable of depicting meaning.

Future plans …
In the future, I hope to incorporate my love for art and media into my life and career. Specifically, I would like to continue with photography, potentially hosting my own local exhibitions that showcase my own as well as other emerging artists’ work in my hometown of Bendigo.

Ideas behind the work …
The Materialistic Fantasy series seeks to critique our modern contemporary materialistic and consumerist culture. The fabric represents the shallowness of consumerism and the notion of superficial mindsets conjured up by fantasies constructed by advertisements. The obsessive desire to obtain a respectable ‘status’ through the constant fixation on material objects is deeply entrenched in our culture. The choice of photography rests not only in my interest in developing a realistic body of work, but also in mimicking the psychology of and elements typically seen in advertisements. In doing so, I aim to visually relate to these ‘weapons’ that are instrumental in constructing our consumerist culture. Advertisements are usually based on realistic photographs yet manipulated in a way to depict ‘perfection’, and I feel this works to draw out and manipulate our desires. Through my work, and by constructing an ‘unachievable’ fantasy, I hope to bring to light the purpose of digital manipulation in this day and age.

Materials and processes …
I bought a variety of different fabrics, ranging from printed cotton to velvet and satin. I transformed one of the classrooms at my school by using bulldog clips and attaching the fabric onto a large square bookshelf, serving as the backdrop. I used models and draped them in fabrics in varying manners. I also had to consider the colour coordination of the photographs, and some photos possess camouflage qualities, so I had to make sure the fabrics matched for those. Some photos I treated as contemporary still-life works by using a range of props, such as skulls and chairs. After carefully considering the spatial arrangement of the props, I captured each photo using my camera and a tripod. I also used a variety of lighting conditions including natural light from the window, no light and lightbulbs from the ceiling. The set up was quite basic overall as I just used the materials at hand without any professional lighting equipment. I then manipulated the photos on Adobe Photoshop and narrowed down the selection using Adobe Bridge.

Favourite artist …
Caravaggio is my favourite artist, mainly due to his signature play with chiaroscuro and tenebrism. His dramatic lighting, alongside traditional aesthetics, sparked my interests in exploring the duality of light and dark in Unit 3. His style embodies a degree of mystery and heightens the shock factor and three-dimensionality of his pieces.

Future plans …
I hope to study a Bachelor of Arts, majoring in art history and psychology. I know that art will continue to play an integral role in my life as I love to paint and take photos leisurely, as well as regularly visiting exhibitions at the NGV. Reading about different artists and their concepts further serves to heighten my varying ways of thinking and perceptions of the world around me.

Ideas behind the work …
This artwork depicts my family trekking towards a collection of shrines along the Everest base camp trek in remembrance of mountaineers who have passed away while attempting to summit Everest. The large scale of the artwork immerses viewers in the painting and makes them feel as though they are trekking along the track themselves. Nepalese spirituality and the Sherpa people’s connection to the land is reflected through the painting. The accompanying Tibetan prayer flags connect to an integral aspect of Nepal’s spiritual culture; prayer flags are traditionally hung in various locations high in the sky to promote peace, compassion, strength and wisdom. The five colours are symbolic of the five elements (yellow–earth, green–water, red–fire, white–air/wind and blue–sky), and together they illustrate that harmony in the universe can be achieved through a balance of these five elements. Each of the five elements is typified through a landscape painting that I believe depicts the element most prominently, and the colours of the flags corresponds to the meaning of the painting that follows.

Materials and processes …
A main focus in this artwork was the element of colour, specifically illustrated though the shades of blue in the sky and mountains, and the shades of brown in the foreground. I used vibrant colours and incorporated strong chiaroscuro into the mountain ridges and the rocks on the ground to assist in creating form and depth to the artwork, and dry brush for texture in the foreground. For Tibetan prayer flags I selected five photographs that I had taken in Nepal that best portrayed each of the five elements, and placed coloured squares of cotton accordingly with each image. As Tibetan prayer flags are traditionally exposed to the extreme elements of the Himalayas, I wanted to create an organic and weathered aesthetic.

Favourite artist …
One of my favourite artists is Jamie Hageman, a British and self-taught mountain landscape artist who was raised in the Scottish highlands and became fascinated with mountains at a young age. Hageman’s artworks are breathtaking and I’m inspired by the way he captures the light and shadow on mountains, which he renders extremely realistically.

Future plans …
I hope to start studying at university next year, though art will continue to play a major role in my life. I am often inspired to create artworks depicting the various places I have visited on holiday, and as I hope to travel in the future, I’m excited about the artworks I will create from places all around the world.

Ideas behind the work …
Community is a fashion-based representation that investigates the way in which myths have been celebrated by societies in ancient times. For the work, I explored faces as a representation of how societies were brought together by myths as they explained the unexplainable.

Materials and processes …
I explored different ways of manipulating faces onto mediums such as silk and acetate. For my final work, I chose to refine the repetition of embroidered faces, for which I used black thread on clear acrylic to embody a raw and contemporary aesthetic. The detailed yet abstract faces are ‘drawn’ onto the acrylic in a freehand manner using a sewing machine and I was able to create tone by condensing stiches in certain areas. Each face is unique and represents an individual in a community.
In potential 3, I designed an A-line dress that guided the outcome of my final piece. My biggest mistake was that I started off without using a pattern, intending to tile every piece and somehow bring it all together. I started this approach with the skirt, but then had to refer to a pattern I had at home. After this the panels were attached and fitted to the mannequin to produce a minimalistic and contemporary A-line dress. I constantly had to unpick my sewing to put it on the mannequin as there was no back or side fastening to get the piece on and off the mannequin.

Inspirations …
I’m inspired by designers such as Hu Sheguang, Iris Van Herpen and Guo Pei. They push boundaries of the fashion and design sphere, creating detailed and amazing collections. I am also inspired by my own friends, for they create such beautiful pieces with new concepts that drive me to find strange new sources of inspiration of my own.

Starting points and influences …
My potential direction 3 in my folio was an amalgamation of different ways to represent faces in fashion. From folding silk, to embroidering and painting faces onto plastic, I arrived at the idea of working with tiled plastic. My teacher then recommended I produce a final piece in the form of a garment based on this embroidered-face concept. It was a relatively straightforward and simple process that stemmed from a bit of fun in my folio.

Future plans …
I have applied for universities such as RMIT and Box Hill for fashion design courses. I think studying Studio Arts has given me a broader general knowledge and a deeper appreciation for the colours, textures, sounds, and diversity of my surroundings. Almost everything I see can inspire a fashion collection – everything I look at has the potential to become art!

Ideas behind the work …
Guido is a depiction of my father, whom I chose as the subject for his sharp and intimidating appearance at first glance. I wanted to portray this through the work’s size, subject matter and chiaroscuro style. To me, this work is a tribute to everything my father has done for me in regards to supporting me and believing in me when it comes to my art. I believe this artwork displays how the form of our faces and our facial expressions are used to connect with people.

Materials and processes …
I started by photographing my subject with my camera, then, using the image as reference, I projected it onto the paper to create rough outlines to ensure the work was proportional. I used the photo for further reference for the close details and shading. I predominantly used graphite for the image, but later included soft pastel as the graphite was too reflective and did not give the matte effect I wanted. I trialled this is my folio before applying this technique to my work. I also used fixative and paper as a blending technique.

Inspirations …
I am inspired by philosophical ideas about the human condition – I am fascinated by people. That is why I decided to explore this topic, though I’ve always been inspired by faces. I am also inspired by music, particularly indie rock music. I also gather inspiration from people-watching, I like to take note of the diversity of people’s appearance. I was inspired to create after visiting Germany, where I fell in love with the place and people. Seeing a different culture only further pushed me to study portraiture and people as subjects in more depth.

Favourite artist …
Chuck Close, I admire his talent and his approach to art. My favourite quote of his: ‘A face is a road map of someone’s life. Without any need to amplify that or draw attention to it, there’s a great deal that’s communicated about who this person is and what their life experiences have been.’

Future plans …
In 2018 I will be finishing my VCE, but when I complete my schooling I would love to continue doing art. Whether that be in a workplace environment or at home in my spare time, I know I will never give up making art as it is one of my greatest passions and I have a desire to continue creating and improving as I feel it is something I was born to do.

Ideas behind the work …
My installation is a visual representation of myself and my experience. I use sound, light, and imagery to replicate the vibrancy and electricity of a sports stadium, creating a hypnotic sensation that allows each viewer to experience and engage with the raw emotion of human behaviour in a stadium atmosphere.

Materials and processes …
The front of the stadium, where the seats are situated, was made from more than 100 balsa-wood strips. The rear end of the stadium, which contains supports for each of the three tiers, was cut from foam core, a firm but lightweight material. I designed the rear supports to firmly hold each tier into place, on the exact angle that I wanted. As the stadium would contain exactly 8531 seats, I prepared rows of multiple seats to stick down in order to save time. The process of laser cutting the seats and sticking them down took more than eighty hours.

Inspirations …
I’ve always been drawn to the fine details of models, especially the model of Paris displayed on the floor of the Musée d’Orsay, the models displayed beneath the Sagrada Familia in Barcelona and the model of Carcassone, a medieval fortress in France. My love for AFL as a child inspired me to develop a love for stadiums. I have always been obsessed with the mechanics of garage doors, trains and trams, and always loved stacking, building and drawing structures as a young child.

Starting points and influences …
I wanted to create a work that allowed my viewer to engage and immerse themselves in and to experience the electricity and vibrancy of a sporting event. I wanted them to hear the sounds of the crowd and to feel their excitement and energy. It was this shift away from the concept of a mere ‘model’ that led me to incorporate a series of light projections, videos and sounds, all of which were to create a dynamic and almost hypnotic sensation that my viewer was taking part in my thinking, my excitement and my passion.

Favourite artist …
My favourite artist is Zaha Hadid as she adopts a visionary architectural painting and design style, symbolising progress and engineering excellence. I admire her belief that architecture has the power to effect social change and I love the organic aesthetic quality of her work – she deeply engages with the landscape and environment.

Future plans …
In 2018 I plan to go to Monash University and study commerce/arts. I also plan to travel overseas in the next few years where I plan to visit many amazing art galleries throughout Europe. As an art student I believe I have been influenced to think in a more creative way and see things differently from how others may interpret the world, a skill that I know will help me throughout life.

Ideas behind the work…
For The journey I wanted to explore the relationship between an old van and a modern man. The idea of a ‘journey’ reflects the stories the van has to offer, considering its age. I wanted to highlight the harsh circumstances the van has been put through since its conception in the late twentieth century. Inspired by Jeff Wall’s low-key colour palette, I wanted to create a dramatic narrative that is driven by the sombre tone of the piece, which complements the minimal clothing of the subject.

Materials and processes …
I believe that my final artworks are a pure representation of human emotions through photography. The first final features a wedding, creating a sense of happiness and joy, contrasting with my other two finals, which have a more moody and sombre feel. Each image has an array of feelings based on the subject’s reaction to the environment they are a part of. This was enhanced by using close-up angles, which places a stronger emphasis to the expressions of the subjects. As well as conveying a sense of emotion, all of my finals share a similar colour palette, with strong green values creating a vibrant and dramatic feel. These images were all taken on a DSLR, which creates a sharp, clean and less noisy look compared to 35mm film.

Challenges …
I found getting the right light the most difficult aspect of my work. As photography is the capturing of light, I wanted the lighting to be perfect for my images to look how I wanted. For example, by shooting at sunset/sunrise, the sky has a warm subtle orange glow, which creates a more uplifting and positive aesthetic.

Inspirations …
I am inspired by anything natural. In my work, I always try to maintain a candid approach to photography. This idea of being natural and not falling into a trap of becoming someone else is done rarely throughout most industries. In the music industry, the raw lyrics of New York rap group Flatbush Zombies have inspired me to create challenging content. The group members express themselves in such a way that they convince their listeners to challenge the popular view, and to develop their own sense of identity. This sense of identity that the group attempts to bring out in people was an idea I tried to show through the lives of my subjects in my work. The group covers a wide range of controversial topics from psychedelics to political views, which is somewhat apparent in my own work.

Future plans …
I am planning to work with small local bands and work my way up through the Melbourne music scene through various media outlets. I plan to study some element of art/design next year, though I’m yet to come to a final decision.

Ideas behind the work …
Hyrbidentity is a flag that consists of the layering of characteristics from the Australian flag (Union Jack and Southern Cross stars) over the top of the South African flag. By doing this I was able to make a visual unity of my dual cultural identity, which is the main concept behind this work. I wanted to combine both flags into one to emphasise my combined identity and the many components that form my life, while the large scale of the flag was able to add a sense of power to my artwork.

Materials and processes …
The work has been created through the use of several different tones of blue denim. Precise measuring and cutting of the fabric were conducted to ensure that each piece of the flag would fit perfectly to form an organised composition. I used a zig-zag stitch on the sewing machine when sewing each piece of the flag on, as this is the strongest stitch and was able to hold each piece firmly in place.

Inspirations …
I draw inspiration from a wide range of things and am always looking to expand my creative thinking and develop new and innovative concepts and ideas. I really value being able to wear what I wear to form my individual identity. I see fashion as a way someone expresses themselves and I wanted to use this as a basis for creating my artworks. I have also drawn inspiration from Carlton Yaito, an artist who uses found items of denim clothing as a canvas to depict Ancient Greek figures. Yaito’s work was a source of inspiration for my work, particularly the detailed distressed path leading to the middle of the denim jacket, used by him to create positive and negative space within his works of art.

Favourite artist …
My favourite artist is Kendrick Lamar. I admire his confident and unique use of lyrical composition to express his identity and ideas and beliefs. I always strive to be myself and be confident when creating art. Lamar raps about topics that not many artists talk about when making music for that community: power, pain, hope and mental illness. The way Lamar approaches life in his humble way is how I intend to approach mine. I like to think my artwork reflects a strong communication of ideas similar to the way Lamar thinks strongly towards his music.

Future plans …
Throughout 2018 I will be completing Year 12 and will be looking to further develop my art-making, fashion and style through urban culture and streetwear. I plan to study graphic design at university to learn to produce graphics such as logos and other things for clients. I also see myself designing for a clothing company of my own in the future. I’d also like to develop my photography skills in order to capture significant moments throughout my life.

Ideas behind the work …
For Window with layered reflections I wanted to reveal the interesting and complex compositions that reflections create due to the way they distort and abstract the view. I drew the work from a photo of a window at school. I was really interested in the complex composition created by the layers of reflections and windows, especially the curved reflection of the window and the grid created by the windows in the background. I also wanted to highlight the contrast between the natural lines of the tree and the more regular shapes of the man-made building, as I feel this reflects the interaction and coexistence of architecture and nature. I wanted to call people’s attentions to small details in the everyday world, such as these interesting reflections, as I find joy in noticing these little details and I think it is important to pay attention to the world around you and appreciate it.

Materials and processes …
I enjoyed the challenge of finding different patterns and using different thicknesses of fine-liner to capture the various tones and textures in my photograph. I used a lot of very fine fine-liners in this work as I discovered I really liked the delicacy of the lines and patterns I could create. I also wanted to explore the patterns and textures I could create with fine-liner drawing and the challenge of translating a photograph into lines and textures, as I feel that this process demonstrates the beauty of abstract lines and patterns as well as the world around us.

Favourite artist …
I think perhaps my favourite artist that I have explored this year is Mark Strizic, as I admire the way he used his photography to capture the changing culture of Melbourne in the 1950s and ’60s and the way this is reflected in changes in the built environment. He used his photography to mourn the loss of the old architecture but at the same time celebrate the modern buildings that took its place, as well as capturing the lives of Melbourne’s inhabitants. He also produced beautiful photographs and I particularly admire his use of light and the way he prompts the viewer to consider ordinary scenes they normally would not notice.

Future plans …
In 2018 I plan to study a combination of visual art and literature, and probably some other Arts subjects, as these are the subjects I have enjoyed most at school and wish to pursue further. I think that art will always play an important role in my life, as I have always enjoyed making art since I was a small child and I cannot imagine a time when I would not wish to continue with my art.

Ideas behind the work …
The key idea of this series is to capture the audience’s attention through the intense contrast and manipulation of low-key lighting that highlights the unique detail of the model’s face. While these photographs are close-up shots, the model’s identity remains concealed and hidden through the darkness of the shadows, adding a level of mystery and ambiguity.

Materials and processes …
Throughout the process of creating my work, I was really interested in learning about the ways you can manipulate lighting to develop a particular aesthetic or mood. I really loved the editing process within Adobe Photoshop as I was always discovering new techniques and tools that allowed me to further develop the composition of my work. Learning more about iconic artists such as Ansel Adams, Irving Penn and Robert Mapplethorpe inspired my creativity within my studio process and also allowed me to discover new techniques.

Inspirations …
I am largely inspired by black and white photography, which I find to be beautifully intimate and elegant while also bold and intriguing. I am also really inspired when I visit art galleries. Whether the gallery is artist-run or a huge public gallery, I find that being surrounded by creative pieces of art inspires me to continue learning and expressing creative practices, such as photography. Visiting galleries also allows me to delve into the work of art to try and interpret the message that the artist intends to convey, which I find inspires my thought processes.

Starting points and influences …
A starting point for my artwork was experimenting with artificial light sources on a model’s face. This first trial shoot allowed me to see what did and did not work in my process. I discovered new camera techniques such as changing the ISO sensitivity and aperture to suit the amount of light that I was using. As I was influenced by black and white photography to choose the theme light and contrast, editing my digital photographs to greyscale was another starting point for my artwork.

Ideas behind the work …
Together is a piece made of 144 miniature porcelain faces, displaying a variety of expressions, and being of different ethnicities. Highlighting the beauty of the individual, it aims to celebrate difference among people by the evenly spread faces. I specifically wanted to emphasise the emotions portrayed on the faces through the use of underglazes, making the faces pop with colour.

Materials and processes …
By moulding Southern Ice porcelain with a simple skewer and my hands, I created detailed little faces, which were then bisque-fired in a kiln. Afterwards, they were painted with a variety of underglazes, giving them colour and life. Touches of gloss glaze were also added to highlight certain features such as the eyes or mouths.

Inspirations …
I was extremely inspired by a Hong Kong–based artist, Johnson Tsang, who creates beautiful, emotive faces out of porcelain. His ability to capture expression and create meaningful anthropomorphic clay pieces inspired me to work with the medium.

Starting points and influences …
My personal interest of observing the people around me led to my decision to base my theme on expression and emotion. Coming from a multicultural family, I also wanted to explore diversity of race and appearance. With a Chinese background, I have always appreciated the delicacy of porcelain, which led me to experiment with several types of clays in order to achieve my ideal medium.

Favourite artist …
This year I visited the Hamilton Art Gallery’s exhibition of works by Ah Xian and learnt about the mastery of his avant-garde techniques. I admire his resilience in his journey of coming to Australia, and find his stunning porcelain bust casts particularly interesting. When I visited his exhibition, the porcelain busts gave a feeling of calm and serenity as they sat, eyes closed, in their glass casing – it was breathtaking.

Future plans …
In 2018 I will be starting Year 12 and although it will be a busy year, I believe my passion for art will play an essential role in keeping a healthy balance of hobbies and study. While I am still unsure of my future plans, I know I will continue to practise art, whether it be through casual drawing or even undertaking an art course. `

Ideas behind the work …
By reflecting on the intentions, impacts and effects of my actions as a human being, I widen my perspective on how my actions as a consumer contribute to environmental and humanitarian problems on a global scale. My work is a holistic embodiment of the detrimental effects of new-materialism on humans, the environment and animals. Sourcing materials second-hand and exposing major fast-fashion brands in the decorative pattern hopefully inspires others to make conscious choices to combat ingrained consumerism and the wastefulness of our society.

Materials and processes …
Exploring materialism through research has become the driving force of my conceptual ideas throughout my practice. Through this, I discovered the enormous impacts our materialistic practices have on the environment and its living beings. Thus it was intrinsic that the materials I used in Our clothing. A problem. aligned with my desire to limit my own consumption practice in order to not contradict my anti-materialistic beliefs. Purchasing the jacket, mannequin and other materials second-hand, as well as limiting the amount of paint I used, allowed me to emphasise the importance of recycling and reusing in order to combat the prevalent notions of materialism in today’s society.

Inspirations …
My artwork is largely fuelled by research. I see art as a means to enlighten viewers by inspiring change or thoughtful reflection within them. Additionally, Sylvia Sleigh, a feminist artist from the 1970s, is a huge inspiration for me. Conceptually, she challenged traditional portrayals of women in art where they were, and still are often, subjected to objectification. Sleigh positioned her male friends in poses like the odalisque yet painted them with dignity. I similarly wanted to paint with purpose and use my art as a form of activism. Sleigh’s realistic style of portraiture and beautiful colourist abilities inspired me to utilise a large colour palette and employ acute attention to texture and tone to create realistic form.

Starting points and influences …
I wanted to use my art as a means to bring about conversation surrounding major issues of neo-materialism and shed light on the detrimental effects it is having on individuals and communities. To effectively share this, I dove into exploring materialism through research, and in turn research became the driving force of my conceptual ideas throughout my practice.

Future plans …
I hope to continue studying fine art next year as I want to enrich and mature my practice in terms of conceptual ideas and use of materials. I’m excited to embrace a more fluid way of creating through intuition and trial and error, rather than structured planning. I know art will always have a place in my life whether it be as a practising artist or working somewhere else in the industry. It’s important for me to keep creating art in our male-dominated art world and I’d like to show that women artists can be just as successful.

Ideas behind the work …
A fluid narrative is underpinned by my ardent fascination with traditional portraiture. I wanted to extend beyond creating a conventional portrait and ‘preserve’ the entire essence of an individual in an even more realistic, indelible manner. This meant representing the tangible form, while using other methods to capture the ‘soul’ and facets of personality that render a person unique.

Materials and processes …
The rich black in the drawings is also achieved with a versatile material called artgraf, water-soluble charcoal that is forgiving yet intensely pigmented. In other final works, my drawings have been printed onto transparency film and pressed onto mirrors with white paint so they retain the rich blackness of the ink without compromising the crucial contrast a white background provides.

Starting points and influences …
My starting points often came from the moments I least expected them to. For example, my idea to use mirrors came from watching my fishpond cast shimmering reflections onto a wall. On the other hand, the overarching idea of preservation came from a Tutankhamun artefact exhibition I attended many years ago that remains an ingrained memory. Furthermore, I began questioning the distinction between our intangible essence and corporeal form upon attending a philosophy lecture in Year 11. It’s curious to see how different ideas synergistically combine.
I must also acknowledge the influence of my upbringing and culture upon my work. I’ve been brought up influenced by a religion that believes in reincarnation and the cyclic nature of life. So while it may have been somewhat subconscious, the poise of the figure in the warmer paintings harbours these religious undertones. The supine position is one we associate with birth, repose, with sleep and with death; it’s a position at which we are most vulnerable and undoubtedly open, during both the beginning and the end of our lives. Indeed, to me, it seemed the most fitting position for my subject matter when creating a raw, honest portrait.

Future plans …
I hope my work captures my ardour for both the fields of science and art, for I seek to pursue a career that can integrate these two realms in the future. From both a scientific and artistic lens, I’ve always loved anatomy, which explains my adoration for portraiture and traditional explorations of the human form. It’s hard to know what 2018 will bring, so I’ll embrace whatever comes my way. But what I do know, is that you don’t need to pursue an artistic career to have art surround your practice in the real world. Instead, creativity can become a way of thinking. Art can be a mode of expression no matter what you do.

Ideas behind the work …
Busy street scene is based on the idea of crowds – I am fascinated by the different kinds of people I could come across and how tiny I become within them. However, the fast-paced energy of crowd masses allowed me to take different photographs that I would use for my final work. I photographed people when they actually paused in this situation, like when a subject stopped in front of a traffic light, for example. I wanted to show how lucky some people are to live in a slower place.

Materials and processes …
The work is made up of a wooden beam that supports the hanging wire figures, and the photograph of the crowd is printed on the photographic paper hung behind. I took the photograph when I was in Hong Kong on holiday. I extracted random human figures in the image – I printed their images in various sizes and outlined the figures with the wire and pliers.

Inspirations …
Everything in my daily life inspires me, since there is also something new to discover each day. I cannot specifically tell you what they are, but I can still talk about the very few artists that I was inspired by. However, Andrew Samarin and Sushant Rane are important influences for me. Even though they are not that famous, I am continually impressed by the time they spend on refining their drawing skills and style.

Starting points and influences …
There was no particular starting point for this general topic of everyday life, it just suddenly appeared in my mind. I thought it would be easy, but in fact, the idea is so abstract and difficult to present as a visual work. However, it was the interactions we have in class with my teacher and classmates that triggered me to make the figures using wire.

Favourite artist …
I do not really have a favourite artist, since there are just too many to pick from. They all have a different kind of style, techniques, brushworks, and themes. However, this year I really got into Katsushika Hokusai, whose exhibition I saw at the NGV. I admire his skills and his ability to create incredibly detailed prints. Though his works may look simple, it was their sharpness that took my breath away.

Future plans …
My only plan in 2018 is to study a design course at university. While art has been with me since the very beginning of my life, it will continue to be somewhere in my life in the future since I don’t think I could live without it.

Ideas behind the work …
In recent times, images have emerged from cities such as Aleppo and Damascus in Syria which, as a result of combat, have been turned from flourishing, vibrant cities into ghost towns of rubble and debris. In my work, I hoped to exemplify this by presenting the subject, Nujeen Mustafa, who is from Aleppo, in a ghost-like, haunting portrait, emerging from broken plaster and brick rubble reminiscent of her home town to reinforce the effect of war on humanity. By using unconventional materials such as bricks, plaster and mortar, which are usually only used in construction, I hoped to replicate the effects of rubble and ruins that are often broadcast on the news but happen to be quickly forgotten. Nujeen Mustafa was born with cerebral palsy and spent most of her life confined to her family’s Aleppo apartment because of her wheelchair. When pro-Assad forces intensified their campaign, Nujeen was forced to make the 5600-kilometre journey to Germany. In my artwork, I hoped not only to capture Nujeen’s plight, but also the struggle faced by hundreds of thousands globally.
The text seen in the piece is the Arabic word ‘ تنتمي ‘ which means ‘belong’. Through presenting this text in culmination with depicting the debris of plaster and brick, I wished to represent not only the devastating physical effect of war on infrastructure, but also the human consequences of conflict that are often lost in detached media reports. According to the United Nations Refugee Agency, there are currently 65.6 million people worldwide who have been forcibly displaced from their homes and from the lives they had built for themselves.

Materials and processes …
To make this piece I used a wooden frame in which I created the brick wall with mortar. Once the mortar had set, I then used plaster to cover the surface of the wall. I used Photoshop to generate my stencil design, implementing techniques I used in my Unit 3 artwork. I then traced it onto the surface of the dried plaster and used chisel tools and a hammer to carve away the negative space in the plaster to reveal the brick beneath it. Lastly, I painted the wooden frame white and sanded it back to give the piece a weathered look.

Favourite artist …
I don’t think I can decide between Ai Wei Wei and Banksy, simply because they make art that causes the viewer to question their own impact upon the world and often draws attention to current issues. Both of these artists are inventive in their art-making and use of materials and techniques.

Future plans …
In 2018 I plan to study a global studies or arts degree at university and then eventually also study law, as I am very passionate about social justice. My dream job would be to work for an organisation such as UNICEF or UNHCR. I think art will always play an important role in my life, as I have always been a creative person and I am always the happiest when I am making art.

Ideas behind the work …
Plates is a work that represents the ritual of eating. Throughout my studio process, I identified many rituals and processes that provide structure and familiarity to our everyday lives – eating was one of these. I was fascinated by the aesthetics of the before, during and after moments of consuming food. What was left behind after eating was most intriguing to me as it clearly showed the evidence that a ritual has been performed. The process of photographing what was left after every meal became a ritual in itself – for three weeks and with seventy-two shots, I created documentation of my eating rituals.

Materials and processes …
To create Plates I started photographing the remains of each meal I had with my digital camera and arranged them into the grid using Photoshop. I had the lightbox frame made by a framer and I glued in strip LED lights. I painted the inside white to maximise light and the outside black for aesthetics. At this stage I got my grid of photos printed onto duratran film and, using double-sided tape, attached this to the front of the lightbox.

Interesting and challenging aspects …
When creating Plates I found it interesting how the actual process of photographing the plates became a new ritual of its own. This was challenging at first as I had to break the habit of putting away and cleaning my plate. The commitment to the full seventy-two photos was also a challenge.

Inspirations …
I have been dancing since I was four and have always been inspired by the sensory experience from dance shows and also the anatomy and physical expression of bodies on stage. As humans, we communicate with our bodies, voice and facial expression, as well as through ritual. We fill our lives with objects that aid us in this expression and our rituals. I am inspired by everyday people and life around me. I love the unique differences between people and their interactions, and feel compelled to show this through my art.

Future plans …
Art has and always will play a big part in my life. I will be continuing my career as a photographer part-time in 2018 as I intend to study full-time dance and musical theatre at Transit Dance.

Ideas behind the work …
My initial investigation explored suburbia and gardening as a modern-day representation of mankind’s relationship with nature. The garden and the lawn have so often become a symbol of status and social ranking and as such, I wanted to question whether our proclaimed regard for nature is really one derived from a true affection or merely an egocentric aspiration. The painted figures – only being older men in rather unflattering attire and positions – seek to strip the power and sophistication associated with the older man, to relay their effete and dullness. The garden hoses became somewhat symbolic, furthering a commentary on masculinity in its imperious mentality, and alluding to an animalistic means of territorial assertion.

Materials and processes …
The work only consists of watercolour paint and paper, and began with very light pencil sketches of the figures. I used reference photos for most of the figures, however, I was always changing their clothing colours to balance the work and manipulating their appearance and age. I painted the work very methodically, working on one figure at a time before moving onto the next. Before painting the hoses, I used green string to visualise the qualities of a hose and find where to make the final line.

Inspirations …
The work largely stemmed from my attempt to capture an element of suburbia, as I was very inspired by the suburban environment that surrounded me. The aspects of suburbia’s often excessive self-indulgence and obsessive preservation of a material facade inspired me to recognise the skewed aesthetics of the modern-day Australian lifestyle. Films such as Tim Burton’s Edward Scissorhands beautifully capture elements of suburbia and the lives lived within it. Equally, Australian painter Robyn Sweaney really inspired me with her capturing of Australian suburbia, with the ever-drying front lawn.

Starting points and influences …
Early on, I realised that while the work was to be about gardening and suburbia, I wanted it to be figurative. As such, I began searching and collating images of people gardening, and coincidentally I discovered that these images were mainly of older men, and this realisation prompted me to align the figures in my work with this commonality.

Future plans …
I plan to go to university next year and study either textile design or fine art. Art has always been a major influence in my life, and as I continue to recognise its influence, I believe I will continue to cherish art. Art, while being an integral part of our culture, also allows me to reflect on a personal level and it continues to teach me things about myself and the world around me.

Ideas behind the work …
Plastic guns explores how the adult world has such a large influence on children and their innocence. In the work, I show a child holding a plastic gun against his teddy bear to symbolise the darkness of the adult world – a place where guns are used and can destroy childhood innocence and purity. The torn aesthetic of the photograph is representative of the decaying innocence of the children in the photograph, as they slowly make the transition from childhood to the adult world.

Materials and processes …
I used a digital camera to shoot the photograph while using a tripod to hold the camera steady. I used Photoshop to edit the photograph. To create the torn and creased effect, I carried a printout of the photograph with me for a day and let it damage in my pocket, then I scanned it and edited it onto the original photograph in Photoshop, which this assisted further in developing the decaying aesthetic.

Interesting and challenging aspects …
When scouting for locations to use as the backdrop for my works, I found some of the places I came across to be very interesting; I came across homeless shelters, rubbish yards and abandoned stations and houses that were all on the outer rim of society. The most challenging part of my journey was finding an interesting way to present my photographs to ensure the presentation complemented the story being told in the artwork. Due to this, I did a lot of experimentation with printing and presentation materials as I wanted to ensure the presentation played a role in the storytelling.

Favourite artist …
My favourite artist is Mary Ellen Mark whose work consists of black and white film photographs of society’s outcasts. The documentary style of her photographs makes them extremely captivating. The audience is able to connect with her subjects as they are not posed in an unconventional manner and have a realistic quality.

Future plans …
I plan to take the year off and do a lot of travelling with my savings – I want to see the world and experience new things. While overseas, I plan to continue my photography journey as I’ve just bought a film camera, which I am going to use to document my travels. In 2019 I plan to do a Bachelor of Fine Art and major in analogue photography.

Ideas behind the work…
The five interior pieces of Home sweet home explore the ideas of creating a quirky and cosy depiction of everyday scenes and settings. I intended to create an intimate and personal feeling within the works. This is evident with the choice of a bedroom, living room etc., as the viewer, holding the composition in one hand and peering into someone’s house, imagines themselves in it. The five exterior pieces explore the idea of creating an inviting and welcoming atmosphere, bringing vibrancy and a fun energy to an outdoor setting. I hope these settings will allow the viewer to imagine the type of person who may live there.

Materials and processes…
I used a vast range of materials such as magazines, thread, glossy, matte and patterned paper and textile material. Sourcing only what I could find around me, I spent time searching through magazines and collecting different types of paper. I used different materials to draw emphasis to the significance of texture, using it to contribute to the intricate details and evoke different emotions from the viewer. I began with a light sketch on a separate piece of paper then transferred it onto cartridge paper with drawn measurements. I compiled my inspiration for the sketches from furniture in magazines, images from Pinterest and my own house. I started with the base or background, and then broke down the composition, working in sections and adding the intricate details at the end. I mainly used a clear, quick grip adhesive as it provided a strong, secure and quick drying process.

Starting points and influences…
I feel the influences of my artworks stemmed from when I was younger. My parents would take me to open display homes and décor shops and we would collect heaps of brochures and magazines. Another main influence is my interest and passion for arts and crafts. I love making cards and jewelry and it is a part of my everyday life. I believe my experience with arts and crafts has been intertwined with my choice of using paper collage.

Favourite artist…
One of my favourite artists is Guy Yanai who creates oil on linen compositions depicting scenes from everyday life, film stills, still life, buildings and houses. I admire Yanai’s ability to take an ordinary object or scene and use colour to create a vibrant, exciting and simple yet sophisticated depiction. His controlled painting technique of meticulously applied strokes of colour and repetitive use of geometric shapes creates a pixelated, piece-by-piece appearance, almost like a collage. I admire the simplicity of his background colours and techniques which draws attention to the focal points. He creates a quirky and playful appeal to simple scenes using solid, bold colour palettes.

Future plans…
I am leaving my options open for 2018, however, I would like to attend university at either RMIT or Swinburne University and perhaps undertake a course, such as Bachelor of Communication Design. I would also hope to kick-start a jewelry and arts and crafts business with one of my friends. I believe art will continue to play a role in my everyday life and how I perceive the world. It makes me happy and motivated. I want to continue collaging and see where my love for it could take me, exploring all the creative, contemporary and innovative ways I can use my passion.

Ideas behind the work …
This knee-length, eye-catching, layered and pleated cocktail dress communicates the shape and outer formation of two notable architectural buildings, the Clyde Auditorium in Glasgow and the Henderson’s Waves in Singapore. Both are complex buildings and feature intricate design elements reminiscent of accordion pleats. The layered structure of these buildings provided me with the concept of using thick accordion pleats as the basis of my artwork’s design.

Materials and processes …
I used accordion-style, commercially pleated, satin deluxe fabric in gold, silver, bronze, fog and white. This is to represent the two buildings by which the artworks were inspired. Other materials used in the textile process include elastic, cotton fabric (for the under layer), thread and pins. I used a conventional sewing machine for hems and French seams. For the commercial pleating technique, the fabric layers were pressed into a cardboard mould and placed over a steamer for six hours.

Starting points and influences …
After deciding on the theme of architectural buildings, I realised there were so many concepts to explore and techniques to experiment with in order to express architecture in my work. Throughout the holidays I googled fashion styles to explore the new arrivals and I was struck by a very colourful and architectural-looking outfit from Australian fashion brand Romance Was Born. It made me realise that pleating and architecture correspond quite well, so I made the decision then and there for my theme: pleating inspired by architectural designs.

Favourite artist …
My favourite artist is Ruby Pilven, a Ballarat ceramic artist who creates brilliantly coloured porcelain ceramics. She draws on her printmaking background for her jewellery and ceramics work by creating layers of colour and pattern. Her work is a contemporary twist on the Japanese technique called Nerikomi, the process of hand-building with coloured clay. Pilven’s ceramics are unabashed neo-chintz that references contemporary style and culture. It is audacious in its bold yet muted pastel colour patterns, striking in its metallic 12-carat-gold highlights and distinctive in its structure and form.

Future plans …
I plan to balance my life in 2018 with study, part-time work, social/travel experiences and creativity. In the future, I hope that I will be driven by creativity and my imagination. I would like to be part of a workforce that encapsulates creativity in the everyday. While unsure, I am interested in working in the fashion industry, perhaps working in marketing or graphic design.

Ideas behind the work …
The stylistic qualities of my works are influenced by ideas surrounding the ignorance and greed towards the micro and macro measures of the environment. The obtrusive nature and aesthetic qualities of the work stimulates all viewers’ impulse to touch and interact with the various textures presented. This, alongside my choice of psychedelic, unmissable hues, grasps the immediate attention of the viewer and places the responsibility of the destruction of the micro and macro on individual members of society. The subject matter of microbiota being magnified on a considerable scale distinguishes the overall theme for my folio: micro vs macro.

Materials and processes …
The main materials in my works are calico, fluid acrylic, wool, polyester fill and faux fur. After stretching canvases with calico material, I applied water to the fabric and fluid acrylic to the canvas, allowing colours to merge and interact freely with each other. Additionally, I hand-sewed faux fur and calico patches onto the frame while stuffing them to become swelling masses. Finally, I stapled strings onto the back of these works so that they could be hung.

Interests and inspirations …
I was extremely interested in researching cells and micro life for my folio. My favourite part of creating my work was exploring the vast array of intriguing specimens under microscopes. I also thoroughly enjoyed testing various mediums in the process of making my works. I was particularly inspired by the ideas and aesthetic qualities of John Olsen’s work, which encompass elements of micro and macro. My religious beliefs and personal morals lead me to look at cells and microbiota.

Future plans …
My university preferences are to study nursing, science and art teaching. Whether I go on to teach art or not won’t alter the role it plays in my life. I find a sense of calm among works of art in both large and small galleries; it is the place I continuously retreat to during busy times of my life – I will always have it as my ‘happy place’.

Ideas behind the work …
The Essence of Time is a series that really captures the idea that change is continuous – the things we hold special to us can tarnish over time with constant use in our everyday lives. I’ve used my nanna’s tea cup to represent this idea, but it can also serve as symbol of the ‘self’. God designed each one of us with intricate detail and design, however, we won’t stay in pristine condition forever on this Earth as we will start to show cracks and break down.

Materials and processes …
These prints took a lot of time because of the extensive number of steps required for acid etchings. I had planned out each artwork after taking a range of my own photographs and editing them slightly along the way to create my three compositions. Each of the prints carries different levels of symbolism and each of them shows intricate detail in the folds of the fabric and the engravings on the tea cups. Doing several layers of aquatint allowed for soft shadows that imply that the objects are resting on some sort of table surface without actually seeing any harsh lines.

Interesting aspects …
The thing I found the most interesting was experimenting with different techniques using the etching acid throughout the printing stages. My teacher told me to try things that I had never considered before and I was enlightened by what I could create! I pushed past my comfort zone and amazed myself with what my works ended up looking like.

Favourite artist …
I am inspired by many people and admire many artists’ work. Julie Dowling particularly comes to mind because she explores concepts that are really close to her heart and family heritage. While I don’t necessarily have one favourite artist, I’m very much inspired by the Top Arts artists because of their intense ideas and elaborate imagery. It’s truly amazing!

Future plans …
Next year the plan is to go to Ballarat to study a double degree with a Bachelor of Visual Arts/Education at Federation University. I want to be able to work in a job where I can thrive and empower people with art, allowing them to enhance their lives with something refreshing and practical.

Ideas behind the work …
Quartet is a series of four, digitally coloured, fine-liner drawings of an anthropomorphised alien band, each playing human-like instruments that suit their different features – the bands singer, for example, has multiple mouths and microphones. I tried to render this unity between aliens and humans through creating a certain aesthetic, predominantly through the balance of forms and bold colours that reflect on the happy, light mood of the piece.

Materials and processes …
When creating Quartet I used a 2H pencil to sketch out several concept designs that led to the four final drawings. I then outlined these with fine-liner before scanning the drawings onto the computer, where I used Photoshop to edit and colour the drawings. From there, the final images were printed and mounted onto foam boards.

Inspirations …
The things and people I surrounded myself with – like my family, friends, dogs, cats and turtles, skateboarding, clothing, bikes, food, music (Mont Garson’s album Plantasia in particular), movies, cat videos, warm weather and my backyard – are all examples of my everyday inspirations. Post-impressionism and cubism inspire me greatly, particularly the works of artists such as Picasso, Leger, Matisse and Van Gogh. Furthermore, my 2015 school art trip to the USA, where we visited numerous galleries, including the Guggenheim and MOMA, continues to inspire me to this day.

Future plans …
I’m going to take a break from school to allow myself to travel and continue my art. I’d also like to continue exploring new mediums and develop a more extensive folio that will help me pursue fine arts at university in 2019. I can’t imagine my passion for creating and enjoying art ever subsiding – it will always play a major part in my life.

Ideas behind the work …
Vanitas (or the meaning of life is food) references the classical ‘vanitas’ style of painting. Historically, vanitas paintings functioned as warnings that you should not be concerned about the wealth and possessions you accumulate in this world as you can’t take them with you when you die. They often depicted objects that had a symbolic meaning, for example, a skull as a symbol of death, a shell as a symbol of birth or books to represent knowledge. My work is about both the futility of a search for reason and a vast reduction of all philosophies on the afterlife – sweepingly mocking philosophy, religion and high art for millennia of dedication to a vain examination of life and reality.

Materials and processes …
The work evolved from sketches that I modelled and rendered in Blender (a 3D modelling, texturing, lighting and rendering all-in-one program) and then retouched in Adobe Photoshop. The image obviously invokes a painterly quality and, in conjunction with the use of a strong sepia-tinted palette, the image maintains a consistent style with classical works.

Challenges …
The process of developing the models and scene digitally took about eighteen hours in total. The most difficult element of actually producing it was remaining true to the original vanitas style, and I considered adding a grunge effect or a painterly effect to enforce the style but aimed for perfection in the raw image so as to preserve the image as an idea rather than a pretty painting.

Inspirations …
Dutch vanitas paintings of the sixteenth and seventeenth centuries have been a strong influence on the style and meanings of my work, but the message itself identifies with nihilist and atheist movements. My own inspiration for the concept stems more from the style of Australian impressionism, which is rooted in my own love of Australian country, and I feel my folio speaks to this passion for nature and the trees that populate Australia.

Future plans …
Next year I would like to study communication design. Obviously, as a visual designer, art is an important part of work from day to day, and I anticipate being able to integrate beautiful things into work and my life. I intend to continue practising art and developing my painting skills so that I can emulate the intoxicating work of Frederick McCubbin.

Ideas behind the work …
Self-obsession has been identified as a contemporary phenomenon. The mass media often portrays my generation as over-indulged, superficial narcissists and the ‘selfie’ is commonly seen as the embodiment of such vanity. Through my work this year, I strived to create a positive visual counterpoint to this negative and dismissive notion. As social media plays such an important part in my life, I looked to its various platforms for visual and symbolic inspiration. My sculptural work titled Quiet chaos thus consists of thirty-two white ceramic phones arranged in an ordered grid pattern. Projected over this is a real-time worldwide map of Twitter activity. The constant and rapidly changing numbers represent the instantaneous and momentary nature of social media and the constantly evolving online world. As another sensory layer, I included a soundscape of bird noises. This invites a direct comparison between the natural world and the online world while also drawing the viewer into the work as an immersive experience.

Materials and processes …
To create this multimedia work, I used the medium of ceramics as well as elements of light and sound. I created the thirty-two slip-cast ceramic phones using a plaster mould. I glazed and added acrylic details to each to create an array of minimal white ceramic iPhones. I then sourced an online Twitter map that tracks real-time Twitter activity from around the world and projected it over the top of the white phones that are arranged in a relief grid pattern. To complement this, I composed the soundscape using a royalty-free series of bird noises.

Starting points and influences …
The major influence upon my art was social media. Social media has, in recent times, had a huge impact on popular culture and enables the bringing together of people and cultures on a worldwide and instantaneous level. In my work, I wanted to portray a truthful and positive depiction of social media as I feel that it is only ever talked about as being negative or damaging rather than for its benefits. Social media also inspired me as I felt that it acts as a good analogy for contemporary society; being a fast-paced and rapidly changing time of growth, new ideas and progression.

Future plans …
I am hopefully going to be studying fashion at RMIT next year. I look forward to learning more about all facets of what it takes to become a designer who creates and produces clothing that people can wear and use to express themselves. My interest in art will definitely play a huge role in my future as there are strong parallels that can be drawn between fashion and art. I feel that art will aid me in my future as it will help me to be broad-minded and creative when studying fashion.

Ideas behind the work …
My individual objective was to express the concept of cleansing through the art form of underwater photography and portraiture. I used a model and studio lighting to explore movement in an underwater setting. The soft shadows and serene setting allowed the movement of the subject and the chiffon to be the focal point and highlight the transformational aspect of psychological cleansing.

Materials and processes …
I used a Nikon AW1 underwater camera for the work, which I found to be a compromise to the quality of focus, yet this did result in an ethereal quality that I could only have achieved with this type of camera. I explored a variety of props such as chiffon and makeup to enhance the aesthetic qualities of the work, in particular, the sense of movement and texture.

Starting points and influences …
I began my exploration through a self-reflection, which led me to explore my heritage and the role that ritual has to play in it. This was inspired by Beyonce’s ‘Lemonade’ film clip where she focuses on her heritage and family traditions and how that has made her who she is today. As my religion is Judaism, I wanted to begin investigating how I might consider implementing that in my work. I am particularly drawn to the Jewish ritual of Mikvah and how, in a sense, it is a physical purification ritual. I decided to take this on and introduce this with my admiration of Harry Fayt’s work by exploring underwater photography, with subtle hints of the Jewish ritual of Mikvah. I began my research of materials by selecting white chiffon, which connects to a bride’s veil, and how the Mikvah occurs before marriage so it is a highly transformational ritual.

Favourite artist …
My favourite artist is Belgium photographer Harry Fayt, who was one of the main sources of inspiration for my Studio Arts exploration. Fayt’s use of materials and equipment includes a canon 5D with an underwater plastic casing in the capturing of his photographs. After much debate with my exploration, I contacted Fayt to seek advice regarding cameras and then implemented the Nikon AW1 underwater camera, rather than using the casing due to budgetary constraints. Fayt’s technique of shooting underwater with props such as chiffon inspired me to investigate the reflective quality of the fabric in the water from different perspectives and when in different positions. This was explored through my art process and the chiffon’s fluidity when photographed underwater.

Future plans …
In 2018, I plan to start my first year of university at RMIT or Photography Studies College and study both commercial and artistic photography. In the long run, it would be my dream to continue with my photography and eventually progress to the fashion photography field.

Ideas behind the work …
For Sucked in I captured a symmetrical and somewhat mesmerising trail of glowing green light that twists its way through a dark and lonesome stormwater drain. In this artwork, I wanted to create an abstract, dream-like look that would leave viewers captivated and intrigued by the flawless light trail. And, for Drain dreams, I captured a trail of light that coils its way through the entrance to a colourful stormwater drain full of graffiti. The many vibrant colours and abundance of shapes and lines together help to create a surreal and somewhat magical-looking drain entrance, which I hope will greatly impress viewers.

Materials and processes …
For Sucked in I set up my mirrorless camera on a tripod inside a local stormwater drain. I then set the shutter speed to forty seconds while I ran and spun around my torch that is covered in a green silk to give off a sinister green light. As the photoshoot went on, I increased the exposure and shutter speed to suit the lighting and time for me to run fifty metres down into the drain to create the spiral light trail. Similarly, for Drain dreams, I set up my mirrorless camera on a tripod but outside the entrance to a stormwater drain in Northcote. I then set the shutter speed to twenty seconds while I ran up to the drain and spun around my torch to light up the inside of the colourful drain that is covered in graffiti. As the photoshoot went on, I increased the aperture and shutter speed to suit the lighting of the setting and to ensure every detail of the photograph was in focus.

Starting points and influences …
I have always enjoyed photography, and since being introduced to the underground world of stormwater drains beneath Melbourne at the beginning of this year, I have become particularly inspired to photograph them. I love exploring these drains and immersing myself in them, and I thought that the photography of stormwater drains would specifically be a challenge and would intrigue viewers. The artist Jaz Lees, who goes by the name of ‘Jaz.art’ on Instagram, greatly influenced my photography within the stormwater drains. He posts incredible pictures on his Instagram account and employs ‘light trail’, or ‘long exposure’, photography in many of his photos. This is what initially influenced me to create my own colourful and vibrant light-trail photographs within the many drains that I explore.

Future plans …
Next year I would like to undertake a Bachelor of Design course at Swinburne University and major in photo media. I love to experiment with different forms and mediums of art, graphite and fine-liner sketching, as well as digital photography. Ever since a young age, I have only ever seen myself working in the field of visual arts and don’t have any other plans for my life!

Ideas behind the work …
Both works explore the relationship between attraction and repulsion but in different ways. The sculptural work, Sugar candy mountain, predominantly focused on the human senses: sight and touch. I wanted to capture a sense of child-like allure to the work and did this by focusing on my use of psychedelic colours and texture and refining the organic form. I worked with a range of craft materials to create naturalistic elements such as flowers, mould, mushrooms and leaves that carried a kitsch aesthetic. Once layered excessively together, the various textures, shapes and forms portray an alluring utopia, yet once the viewer is up close, the excessive textures and colours serve to provoke a sense of disturbance and repulsion. Moreover, Melted candy extends upon the relationship between attraction and repulsion. A child-like allure is captured through the fusion of sculptural elements reminiscent of toddler toys and a traditional painterly composition positions viewers to simultaneously experience both attraction and repulsion to the work.

Materials and techniques …
Emphasis on painterly application and layering were key techniques across both works. Sugar candy mountain was constructed through layering expanding foam on a base created from a combination of foam, plaster and scrunched paper. Tapered forms created with plaster enhanced a ‘mountain-like’ silhouette to the work. The highly tactile surface of Sugar candy mountain resulted from an accumulation of layers of objects and textures collaged onto the surface. I created pompoms out of synthetic wool and string as well as tassels, ceramic mushrooms, paper flowers and leaves, all of which imbued a naturalistic and fantastical aesthetic to the work. Moreover, Melted candy was created through a more traditional painterly process. Canvas boards cut into fluid organic shapes were spray-painted using long sweeping motions to achieve a smooth gradient effect. I worked in layers, often layering smaller brushstrokes in flat opaque colours over large swirling brushstrokes. The kinetic elements of this work were creating with sculpted clay. I used the coiling technique to create small rounded hoops and rings.

Favourite artist …
I am inspired by so many artists, predominately artists whose work is characterised by vibrant colours. I love Tanya Schultz’s whimsical sculptures, which are rich in candy-hued colour and alluring textures, yet underneath they serve as a serious critique on consumerist culture. It is this paradoxical relationship that really fascinates me. Additionally, Schultz’s ability to create captivating and wonderfully whimsical sculptures out of crafty materials such as sugar and found objects provided a direction for my own sculptural practice. I also love Yago Hortal’s use of colour within his gesturally captivating paintings. The dynamic vitality he creates through the juxtaposition of smooth colour gradients and wild bold brushstrokes is truly inspiring.

Future plans …
My plan for 2018 is to study a double degree in communication design and business at Monash University. Art will always influence the many facets of my life and I hope to explore the visual language I have developed during studying VCE Studio Arts and Art in different ways, such as through graphic design.

Ideas behind the work …
The Acrobatic series is an experimental photo series that explores concepts of connection, physics and surrealism. In Rope 1, I reference Rene Magritte’s The lovers and depict two acrobats hanging by a rope with a cloth covering their facial features. Rope 2 continues this investigation into surrealism and confusion – it shows a rope in a horizontal state from which an acrobat hangs off by its side to build upon the distortion of reality. Wheel 3 takes a different approach to the other works, as a wheel is featured instead of a rope. In this work, the use of repetition is highly contested and has been deliberately used to build a sense of confusion for the viewer.

Materials and processes …
I used Adobe Photoshop as the main tool for creating the works. I started off by capturing images using my Nikon D3300 camera with a 18–55mm lens to capture the subjects. During this process, I ensured that every time I took a photo the sun would be directly behind the camera to avoid inconsistent lighting and the chance for flares to appear. In addition, I used a fast shutter speed to avoid motion blur, making the editing process of removing the subjects from the images more efficient. Once I had merged my images with the pen tool, I used the burn tool to adjust the lighting of particular subjects and the feather tool to fix inconsistent cuts from previous photographs.

Starting points and influences …
Throughout the course of the year, I looked in depth behind Rene Magritte and Sarolta Bán. With Rene Magritte, I was influenced by the subjects he used and the logistics behind the reasons for his works. On the other hand, Sarolta Bán influenced me to use the pen tool to remove subjects from photographs and play with the camera’s raw filter function, which was used to adjust the colours and brightness involved within the compositions.

Future plans …
Next year I intend to start off with a degree in architecture and see what happens. My second preference is to do a degree in photography where I will be able to continue working with photographic manipulation, but also to hopefully continue my career as an artist.