Ideas behind the work …

The work explores how cats present their feelings and emotions through body language and facial expressions, and the connections that cats can have with people, providing comfort and release from stress and anxiety without the need to talk. I found cats to be very entertaining and wanted this series to capture the full spectrum of emotion and expression cats are capable of. I’m hoping the viewer can find comfort by being reminded of their connections with their cats or other pets.

Starting points and influences …

My starting point and main influence was my cat Mr. Snuggles, who passed away at the start of the year. He was my soul mate, and I wanted to present to people that soul mates don’t just have to be people but can be animals, too. Martine Coppens, an artist who observes cats with love and fascination, is another influence for me. I wanted my final piece to convey the same sense of storytelling and emotion as Coppens’ paintings.

Sources of inspiration …

My four cats – Snuggles, Mittens, Cheeto and Honey – are big inspirations to me. Because I can get so close to them, I notice the details of their fur, eyes and noses. These details inspire me to paint and draw so I can present to others what I see, with the details they might be missing, not just in cats, but the world.

Materials and processes …

For the series of watercolour works, I knew I wanted to complete a number of A3 paintings, each with a different facial expression or body position. I was unsure of exactly how many works and which source images I would use. I decided that I didn’t want to copy or source images from the internet. Even though the images on the internet had more intense facial and body expressions, I felt that they weren’t real. I felt I had to make up a story for them and I didn’t want to do that. I wanted to make it more personal with images of cats I knew with their different personalities and emotions.

Interesting/challenging aspects of creating the work …

Watercolour was very different to working with pencil or acrylic paint. I loved learning that I can’t just cover or erase a mistake, it’s always there and very raw. I found the way I could utilise water to make to make the watercolour either richer or lighter in tone very interesting.

Ideas behind the work …   

Title of work: Designer sneaker (with crystals) (porcelain) 2021   

This piece looks at motifs and signifiers of luxury, using the medium of porcelain. The pattern samples the Blue Onion pattern from the18th century porcelain house Meissen, which is highly collectible and expensive. The work embodies the quality of beautiful uselessness in the fragility and immobility of ceramic – luxury in unblemished clay. This work also thinks about both the historical and current reliance of the Western luxury market on Asia with the pattern’s colonial sampling of Asian ceramics. In this way, this work looks at both contemporary and historical luxury contexts – blending them to create an inutile, beautiful object.  

Starting points and influences …  

The work grew from my interest in fashion and art history. I wanted to explore the contemporary luxury industry and its constant sampling of historical contexts, as well as the aspects we view as valuable and how these points of worth have changed.  

Sources of inspiration …  

Designer sneaker (with crystals) (porcelain) grew from symbols of luxury in both art and fashion contexts. looking at logo culture (‘logomania’) and imagery of western luxury significance – such as Jan De Vliegher’s messy paintings of European antiquities and Tiepolo’s The Banquet of Cleopatra. 

Materials and processes …  

The work is made of porcelain, which I hand-built and sculpted from portions of clay pieced together. Processes of joining, shaping, pushing, smoothing, prolonged/ controlled drying, reworking, sanding and refining. The work was fired twice: one bisque firing to set the shape, and one glaze firing to realize the glazes I hand painted on. The pattern was lightly drawn with pencil before painting with stoneware glaze.

Interesting/challenging aspects of creating the work … 

Scaling was challenging – I found it difficult to size the work to account for the shrinkage that occurs when working with a clay like this porcelain. It was also a challenge to access the materials and firing services I required during periods in and out of lockdown.

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Ideas behind the work …

Internal portrait explores the idea of revealing the true nature of the inner voice by making it visual. Embroidery patterns act as a physical representation of the individual’s inner voice.

Starting points and influences …

The inner-voice is not always evident, it is difficult to gain an accurate perception of each person’s unique inner voice. Exploring the idea of the inner voice was inspired by getting to know my friends. I gained insight into their inner nature through observing a vulnerable facial expression or the subtle messages they were expressing about themselves.

I also became interested in how these young people were wrestling with their inner voices right in the middle of an isolating pandemic experience.

Sources of inspiration …

• The artist Njideka Akunyili Crosby is an inspiration. Her large mixed media, domestic scenes expand the definition of portraiture.
• Crosby’s combination of vibrant colour, Nigerian patterning and Xerox transfers inspired me to attempt a modern approach to portraiture.
• The urban life of Northcote is another inspiration – my artworks feature figures wearing expressive streetwear and the unfinished effect reflects the entropy of the inner-city with peeling paint and collaged layers of posters.
• I also find inspiration through my cafe job where I am able to use interactions and observations of customers to drive the ideas and concepts for my work.

Materials and processes …

For Internal portrait, I embroidered an acrylic portrait with coloured thread, using a thimble and needle to poke holes in the thick paper prior to sewing in order to improve the efficiency of the process.

Interesting/challenging aspects of creating the work …

With a focus on portraiture, the most challenging aspect of my work was capturing the essence of each friend I painted, and myself in my self-portrait.

I was cautious that my portraits should be recognisable and realistic, to help communicate my concept of the hidden inner voice as a real, universal experience.

To evoke contemplation and an introspective mood in the viewer, my artworks needed to be relatable and personal.

Viewers could gain a sense of familiarity with each figure, their outer appearance paired with embroidery ‘thoughts’- the concealed nature of their inner voice.

Ideas behind the work …

The idea behind Spectrum was to translate human emotions and internalised feelings into a three-dimensional piece using colour and texture: to represent the interior on the exterior, the psychological on the physical body. The concept was to try and vocalise the feelings and associations we get with colours, such as the way big red sale signs create a sense of excitement and urgency, or how blue tones are often used in hospitals to promote feelings of calm.

Starting points and influences …

My main starting point was investigating colour theory and how it is used in advertising, television, and our everyday lives to manipulate the way in which we view the world. This led me to the late 20th century art movement Orphic Cubism, which explored the way colours interact with one another through the use of shape and colour.

Sources of inspiration …

• Hope Macaulay’s contemporary knitted garments. Her works helped me think outside the box about what I could knit and changed the outdated views I had towards knitting as an artform.
• Wassily Kandinsky, specifically his colour study with concentric circles.
• Sonia Delaunay’s Orphic Cubist oil paintings, but also her geometric fashion illustrations which inspired me to create my own.

Materials and processes …

For both the scarf and the pants I used a Fair Isle knitting technique with acrylic yarn. Fair Isle is a knitting technique in which you knit with two or more colours at once to create patterns and designs. I created the pattern from scratch and assembled my own knitting charts to follow. I knitted in both bulky and thin yarn to create contrast in the artworks, which required me to use a variety of different sized circular knitting needles.

Interesting/challenging aspects of creating the work …

The creation of the pants and the scarf was interesting and a learning experience. It was my first time creating my own pattern – using my own measurements and charts to create a piece, so every step of the process was a new development for me as a knitter. I was anxious throughout the entire process as I had no reference to guide me, but this also made experimenting and the design process much more exciting.

Ideas behind the work …

Spores of confidence is about growth of identity, self and confidence and finally feeling confident in my identity and body through the realisation of my being non-binary. The lockdown allowed me to analyse my subconscious and what brings me joy and comfort. In the work, the small characters each reflect a small part of my personality or express an emotion or human connection, despite being alien in nature. The mushrooms represent many things including the feeling of otherness, as they are not an animal and not really a plant and they are viewed both as something mystical and fairytale-esque and as a parasitic fungus.

Starting points and influences …

My starting point was the desire to experiment and expand my artistic library. I was inspired by the surrealist works of Leonora Carrington, the fantastical works of Omar Rayyan and various vibrant and expressive comics and webcomics.

Sources of inspiration …

My biggest inspirations are:

• Howl’s Moving Castle by Studio Ghibli – a beautiful film with a fluid and expressive animation style and a beautiful message with ‘found family’ dynamics. I aspire to be able to create such a vivid work.
• Headless Bliss by Chlove – a surreal webcomic exploring stories and storytelling through a fluid flowing textural art style explores queerness in a casual and normalised fashion.
• They Might Be Giants – an American band with strange surreal music. I listened to them with my dad as a kid, so their music was nostalgic and comforting, which led to inspiration.

Materials and processes …

I utilised Clip Studio Paint for the process. I loosely sketched the portrait in a bright colour and lowered its opacity so I could paint underneath, and began the painting process exclusively in monochrome. I did this so I could concentrate on the tones and form through rendering in a circular pattern. I used the thick paint gouache brush. Once the monochrome rendering of the face was complete, I created a clipping mask and a ‘colour’ layer effect to keep the tonal differences but change the colour. To create the mushrooms and characters I applied large blocks of flat colours.

Interesting/challenging aspects of creating the work …

I had never had much of an interest in realistic portraiture. I thought it was frustrating that people tend to idolise the skillsets of realist artists and value what they are able to create more than stylised or imaginative compositions. I realised this was also tied to how I viewed myself and my fear of portraying myself and realised I’d never be able to improve with that mindset. So, I ran headfirst into the process, learning as I went, tricking myself into enjoying it by also drawing my little characters.

Ideas behind the work …

Grounded is an installation that employs both hand building and wheel throwing techniques to communicate ideas of sensual engagement between the potter and the clay. This relationship is conveyed through the interlinking of coils, which also symbolically communicate the connections between people, reinforced by the cups and the ritual of sharing food and conversations.

Starting points and influences …

Because I was new to the artform of pottery and ceramics this year, my starting points included a lot of research and reading books about clay and techniques of creating, glazing and firing. I also attended an introductory wheel throwing workshop and a glazing class to learn how raw glaze materials can be mixed to form different effects.

I taught myself to centre the clay and developed my own technique for throwing, gradually learning how to trim pots and also the correct drying timeframes for leather hard and bone-dry clay.

Influences on my artwork came from clay books including Derek Wilson, Greg Daly and Eric Landon, for their curvaceous vessels and glazing techniques.

Sources of inspiration …

Bruce Riddell’s book Art in The Making questioning “Why do some people prefer circles to squares?” initiated thoughts about curvaceous forms, resulting in my exploration into wheel throwing clay with soft, gentle curves.

I was inspired by the material of clay, a natural material sourced from the ground, that conceptually holds the meaning of comfort and connection to the earth. This led me to explore other natural materials including feathers and horsehair.

Ri Van Veen is a ceramic raku artist who uses using techniques to create smoke reactions with glazes, in a tin bin chamber, inspiring my exploration into raku firing.

Materials and processes …

Both Grounded and Ranges close by communicate an intense connection to nature through the raku firing of the clay and the unpredictability of the process.

For Grounded I used raku clay, hand building coils and connecting them during the leather hard stage to create rings, and raku firing them using sawdust to colour the clay black. To interconnect the links into a large mat-like installation, I used organic twine. I used wheel throwing techniques to create the small curvaceous vessels, using speckle stoneware clay, with a limited, organic colour palette.

Interesting/challenging aspects of creating the work …

It was challenging to access and fit my artworks in the kiln for firing. The journey was difficult due to the large scale of my sculptures, however with multiple changes and rounds of firing, I fired without any breakages!

The most interesting part about my artwork process was the unpredictable nature of the raku firing, and not knowing the outcome until the tin bin smoke chamber lid was lifted, creating much excitement and suspense.

Ideas behind the work …

Rusted sculptures are models of everyday objects recombined, to remove the original intention of the found objects and create new purposes. I focused specifically on the idea of unknown purpose: instead of telling the viewer the purpose of the objects,  they are encouraged to come to their own conclusions. To repurpose something is to peel back its existing layers to reach its foundation, and then make it into something it’s not. This process is illustrated through the coherency of the objects after they are coated and sealed in an new outer layer, unified in existence and function.

Starting points and influences …

I was on holiday looking through an op shop when I spotted a 20th century newspaper series called The Practical Engineer that consisted of information about mechanical parts and patents. The thing that struck me most was the drawings and diagrams of mechanisms that felt so uniform in their severe technicality but to me came across as something  unknown, as I didn’t understand what the diagrams were trying to depict at all.  I tried to think of what the possible use of each mechanism might be, which acted as a catalyst into my theme of Repurpose.

Sources of inspiration …

Robert Klippel’s sculptures are often created with found objects. In this sense, Klippel is giving these found objects a new purpose by including them. Robert Klippel’s, No. 329,1977, for example, has the possibility of differing interpretations. It could be a landscape of trees, perhaps a cityscape of skyscrapers, or even an industrial site with spires at alternating heights. It was this sort of unknown element that I wanted to add to my work.

Jon Eiseman helped to inspire the use of not only a form of metal but also the process of ageing metal to make objects look more worn.

Materials and processes …

I used Super Sculpey clay to mould the individual objects used in my four sculptures and baked each piece in the oven for fifteen minutes. Once they had cooled, using a mixture of super glue and hot glue, I joined the objects together, four per statue. Then, using a range of brushes, I applied three coats of iron metal coating before lightly spritzing the patina onto the still wet coating to begin the chemical reaction that would leave the metal with a rust like appearance. I then waited twenty-four hours for the reaction to complete and the paint to fully dry.

Interesting/challenging aspects of creating the work …

Working with a new type of clay (Super Sculpey) was probably the most interesting part of creating the work. It took time to get used to the feel of the clay and how it worked best. It took some trial and error, as well as some strategically placed wire to mould the clay around so it kept its shape until I could bake it. Previously I had been used to working with both heavier and lighter clays and this clay fell right in the middle.

Ideas behind the work …

Businessman explores the disharmony between the corporate and natural world, commenting on a capitalistic identity. Across seven minutes nine seconds, the camera follows a corporate man’s journey out of the ocean and across natural, urban and suburban locations. The overall idea behind my studio process was to explore the identities behind corporate greed, focusing on the exploiters and the exploited.

Starting points and influences …

Corporations butchering the environment are effectively what influenced me to make my art political. Events involving the destruction of nature and sacred land inspire me to portray the meaninglessness of certain ruthless, ambitious business decisions. The starting point for my artwork was just to be moved by the injustices I witnessed in the media, around me and at protests. It never fails to anger me or motivate me to make work, to make some sort of comment against greed.

Sources of inspiration …

• Some films I find inspiring for their surrealist aesthetics include Being John Malkovich, Fallen Angels and Trainspotting.
• When I was younger, I first became interested in activist art through political music, then photography and poetry from the 60s/70s counterculture movement.
• I follow an artist called Wilfrid Wood on Instagram, I really like his satirical portraits. Whenever I see a new piece, I’m inspired to start making something.

Materials and processes …

I brainstormed locations so I had a starting point to begin filming, but most of the time I would drive by somewhere I thought was interesting and then get out of the car to start videoing my dad. I would take lots of shots at different angles at each location, trying to capture interesting variations and what I liked about each landscape. I sought out an old TV because I wanted the glary screen to amplify the corporate man’s disharmony in his location.

Interesting/challenging aspects of creating the work …

The amount of time I had to spend at locations filming and then editing afterwards was my biggest challenge. It is easy to get tired of your work when you spend excessive amounts of time editing. Luckily, showing people excerpts from the film for the first time allowed me to recapture some of the initial excitement I had. Towards the end of my filming process COVID prevented me from reaching some of the locations I wanted to go to. The imposed 5km radius forced me to investigate and discover interesting sites in my neighbourhood.

Ideas behind the work …

My first artwork Bricks, bins & backstreets portrays a desperate attachment to people, places & memories through a literal depiction of large, crippled hands grasping onto an ordinary backstreet building. The concept reflects how something as mundane as a brick building hidden by narrow streets, can be held onto, sentimentally.

Starting points and influences …

I was heavily influenced by the graphic novels I’ve read in the past, particularly those filled with illustrative depictions of places close to the home of the author. With the ambition of creating my own work, I wanted to develop my own style and extend my skills; specifically in illustrating backgrounds. I started by looking at artists Jackie Ormes, Wes Anderson, and Edward Hopper, whose work fits aspects of the style I intended to develop.

Sources of inspiration …

I initially found my inspiration in the local architecture of rundown houses, shops and backstreets. I was inspired by more traditional artists for their themes, and modern-day artists for their materials and techniques. A scene that illustrates a story, such as in the works of Jackie Ormes, Wes Anderson, and Edward Hopper, is beautiful to me. Hopper’s compositions are so articulate, particularly his colour palettes and how he captures light.

Materials and processes …

• I sourced my own reference photos of local areas.
• Utilising an iPad Pro & Apple pencil, I placed images on a canvas in Procreate.
• I lightly traced the main shapes of each composition, drawing the line work into the sketch using a pencil brush for a textured, raw aesthetic.
• I used linework and black to contrast/create deep areas of shading, inspired by traditional illustrative comics, such as in Jackie Ormes’s work.
• I used a canvas-textured brush for colour.
• I refined the details and textures using the same brush as for the line work.
• I used a range of colourful overlays, using various textured brushes throughout the process.
• Finally, I added the recycled paper texture to each sky for a layer of detail in the blank areas for a multi-media effect.

Interesting/challenging aspects of creating the work …

• I found it exceedingly challenging to develop my style to meet my own standards of ‘good quality art.’
• It took an almost unnecessary amount of play, practice and stress to really nail it.
• I found that towards the end of the refinement stage, I was focusing too much on my own work rather than where I found my inspiration – in other artists.
• To challenge my art block, I skimmed through my favourite graphic novels, and looked back to the sources of inspiration at the beginning of my folio. This helped me to get back on track.

Ideas behind the work …

Both artworks explore the same themes surrounding identity and personal experiences. I wanted to create works that contain symbolic imagery and bright colours as a form of self-expression. Through both works, I have represented my personal life experiences and how these experiences shape who I am as an individual.

Starting points and influences …

The starting points were concepts and material exploration. The exploration of materials really helped me to figure out what I liked and disliked, and which techniques I could  see myself using in the final artwork process. During this process, I was heavily inspired by flat colour styles when experimenting with acrylics, as they achieved a bold and striking appearance.

Sources of inspiration …

One of my sources of inspiration was the art of Roy Lichtenstein, who uses thick black line and bright colours in his artworks. Through this, I was inspired to create a bold line art style in my own works. Artistic research was especially important at the beginning of my studio process – researching other artists helped me to generate concept ideas. I was also influenced by Salvador Dali. I like his use of surrealism and the way he depicted his themes through unique imagery.

Materials and processes …

The material I used for both final artworks was acrylic paint on a pasteboard surface. Acrylic is very opaque. In regard to my artistic process and the generation of my final concepts, I began by exploring compositions that I really liked and narrowed down the ones I liked the most in the potential direction stage. The concepts I chose in the end were the ones that best expressed the themes that I wanted to present.

Interesting/challenging aspects of creating the work …

One of the most challenging aspects of my studio process was choosing two colour palettes to best fit the concepts I had chosen for the two final artworks. I wanted colours that would be eye-catching and bright but also contrasting, as I also planned to explore complementary colour schemes.

I found it quite interesting to work on a pasteboard surface for both final artworks. I chose pasteboard as I wanted to use a smooth surface, unlike the texture of a typical canvas, having worked with similarly smooth surfaces (like paper) during my exploration process.

Ideas behind the work …

Cane chair explores my relationship with my auntie Annie, who has Rett Syndrome, and the impact of her disability on relationships with family. As I mature and become less dependent, Annie becomes more dependent on other people. Focusing on her form, the artwork exposes Annie’s vulnerability, capturing her continuous hand wringing gestures and her sense of isolation. The contrast between Annie’s bright clothing and the realistic portrayal of her hands and face, emphasise her solitude and fragility.

Starting points and influences …

Artist Lucila Zentner’s painting inspired my exploration of the overall theme of ‘Family’ and the conceptual theme of ‘Relationships’ and my passion for exploring the subject matter of Annie.

Another starting point and influence was the impact of the coronavirus lockdowns on the disability sector. For someone that cannot speak, like Annie, this would be frightening. I wanted to emphasise Annie’s vulnerability and express my affection for her in a way that does not use words.

Sources of inspiration …

• Artists: I was inspired by artist, Lucila Zentner and her depiction of Annie.
  I took inspiration from Toyin Ojih Odutola’s drawing using polychromatic, vivid, coloured pencils to create engaging artworks with rich, tonal gradation.
• Family/Relationships: another inspiration was family members and our relationships; I was inspired by Annie’s vulnerability due to her inability to communicate with family due to her disability.
• Galleries: visiting a range of public, commercial and other gallery spaces is very inspirational in providing exciting new art forms and ways to express yourself.

Materials and processes …

To begin, I took reference photos of Annie so that I could work from photographs.

To fuel my thoughts and artwork, I began by investigating the theme of ‘Relationships’. During the development stage, I improved my coloured pencil techniques, allowing me to further resolve my final artwork.

I used vibrant colour and graphite pencils on grey toned paper, as well as intricate rendering techniques, to create a highly saturated, realistic drawing of Annie, emphasing elements of her disability to capture her fragility in Cane chair.

Interesting/challenging aspects of creating the work …

The most challenging part of creating the artwork was realistically rending Annie’s facial features, specifically, capturing her engaging and expressive eyes. I wanted to emphasise that she uses her eyes as one of her main methods of communicating with family members who are sensitive to interpreting meaning, whereas a stranger may miss the intention and nuance of what appears to be a one-sided verbal interaction.

I found it interesting in creating Cane chair, that the vibrant pigmentation of Annie’s clothing contrasted with her hand wringing – specifically where her fingers cross over each other – and the detailed facial features and hair.

Ideas behind the work …

This piece communicates leaving childhood for an uncertain future. Reminiscent of a dollhouse, it conveys a feeling of nostalgia. By making the subject matter a derelict re-creation of my own bedroom, the piece becomes like a self-portrait, allowing the viewer to see into my own intimate space. It depicts a stage in my life that won’t be around forever. While my physical room won’t be abandoned, this moment in time will eventually be left behind, only existing as a memory.

Starting points and influences …

I’ve been interested in miniatures ever since I was a child. Seeing detailed scenes on a small scale was an experience that I enjoyed immensely, so focusing on microcosms for my studio art process felt like a great idea. I began with the idea of exploring dioramas. This brought on nostalgia and memories of my childhood dollhouses and kept me excited to continue exploring the topic further.

Sources of inspiration …

Sylvanian Families is a large source of inspiration. I owned many sets of it as a child and it was something I cherished due to its incredible detail and beautiful appearance. The Studio Ghibli film Arrietty also inspired me. It is a movie about a tiny girl living in the walls of a normal sized house, which is massive to her. Her house is miniature and incorporates plants and other found items to create the furnishings. Another artistic inspiration is Lori Nix and Kathleen Gerber, a duo who make incredibly detailed and surreal miniature scenes.

Materials and processes …

Creating a miniature uses a very wide range of different materials in order to make it look realistic. The base was made of cardboard, which was then covered in wood, paint and weathering effects. The carpet was made with fabric and then distressed with weathering effects and makeup powder. Balsa wood aided the construction of a few furniture items which were painted with ink and acrylic paint. Ready-mades helped clutter the space and they too were distressed with makeup powder and weathering effects.

Interesting/challenging aspects of creating the work …

It was difficult to find motivation to work during lockdown as it was a weird time for everyone. However, lockdowns also gave me more time during the day to work. I had minimal experience in creating a miniature, so I had to figure out the process as I went along, without any prior knowledge. This made it more challenging and time consuming but also more fun and exciting.

Ideas behind the work …

• In the piece Coffin I created a life-sized pine wood coffin filled with different symbolic elements of Tahara (Jewish burial rituals)
• Confronting the realities of what comes after death, I aimed to challenge viewers with the banality of where the physical body is left to lie. Although morbid, [the making of] this piece was a process of discovery of what happens to the body following death, and the Jewish rituals that follow.
• The concept that we return to the earth, in the same way that we came into being.
• Exploring natural materials, such as dirt, leaves, clay, wood: natural elements were an inspiration in the creation of Coffin.

Starting points and influences …

My major inspirations are two artworks created by artist Ron Mueck: A girl, 2006 and Dead Dad,1997, which instigated my interest in sculpture. I feel that the world tends to quash us, till our very last day. I wanted to create a similar narrative to Mueck but depicting Jewish aspects of the end of the life.

Found objects were also an inspiration.   Drawing on Duchamp’s revolutionary Bicycle wheel, 1951 [first made in 1913]. Duchamp opened the door to new concepts of the nature of art. He inspired me to explore assembling objects which already have a history to form a new and different meaning, therefore changing the perception of the objects themselves.

Sources of inspiration …

• art galleries – particularly interactive works/spaces
• theatre – the art of acting on stage
• film with a strong aesthetic (the French film Amélie (2001), for example)

Materials and processes …

I began with a rough sketch of what the coffin could look like before sourcing and compiling the materials. I worked with diverse materials and textures such as hair, natural raw materials, smooth vs rough textures, liquids, foam and mould, as I explored different ideas. Geometric, structural and symmetrical forms appealed to me. For example, I found a small, dark wooden box in an op shop whilst on the hunt for objects, which immediately reminded me of a coffin.

Interesting/challenging aspects of creating the work …

The whole process of defining a theme and having to stick with it for the entirety of the year was a challenge and being confined to specific criteria quashed the natural flow of my artistic practice. Although this was an unprecedented year, my artwork Coffin came about during the lockdowns and provided a source of therapy through those long and difficult months.

Ideas behind the work …

Overgrowth is an empowered self-portrait that represents my mental progress in the past two years, capturing the progression of self-realisation. In the painting, I am engulfed in flowers that from seedlings, begin to bloom larger as they climb higher on the body, until eventually, the petals around my shoulders start peeling, flying into the horizon. This signifies the renewal I felt after 2020 was over and I conquered a negative mindset, finally starting to disregard what others think, prioritising my mental wellbeing and learning many life lessons.

Starting points and influences …

I wished to show a visualisation of growth within myself, hoping that others view the artwork and feel empowered to also flourish into their own unique identity. I realised that growth and learning one’s self-worth comes naturally with time, like how plants take time to bloom.

Sources of inspiration …

• The beauty of self-love inspires my work, specifically the energy that confident people exude. Musicians and people like Beyonce, Lizzo and Rihanna carry powerful energy that I attempt to translate into my artworks and my everyday life.
• Artist James Jean inspired the psychedelic aesthetic quality and subject matter of my work. Specifically, his artwork Eden (2020) illustrates the movement of fruit blooming from a tree, as well as human faces emerging from flower petals, intertwining the lines between human and biomatter.
• Petra Collin’s use of contrast between cool and warm tones in her photographs to emphasise her view of feminism.

Materials and processes …

Using a reference photograph of myself in the same pose, I went from small thumbnail sketches, and potential directions, to finally feeling confident to utilise larger paper.

I started painting the face with countless watercolour layers; utilising a wet-on-wet technique.

I mostly used a small round brush as it could vary in stroke sizes, allowing me to create the bold red outlines that I learnt from studies of James Jean’s artwork ‘Eden.’

Gouache was used for the flying petals to be opaque enough to paint over the pre-existing watercolour layers.

Interesting/challenging aspects of creating the work …

The most challenging part about creating this artwork was ironically the self-doubt holding me back. At points I felt no motivation to continue the piece as the colour palette did not go to plan, and staring at a piece for hours on end will generate doubt, and picking apart  small flaws.

To overcome this, I asked myself ‘why am I making an artwork regarding self-love when I am doubting myself throughout the entire process?’ It was counterintuitive, therefore I learnt to confidently persevere through the awkward stages of the painting and to not overthink.

Ideas behind the work …

Greed represents the ignorance of the 21st century and our blatant disregard for the poverty and suffering in third world countries in relation to fast fashion. It also shows today’s immoral society supporting unethical companies that earn millions yet don’t pay workers living wages. Greed displays how sweatshop workers are robbed of fulfilling lives due to the thoughtlessness of our wealthy materialist society. Through my guilt about the ongoing cycle and support of fast fashion, I aimed to create a disturbing piece representing each aspect of the abuse and disrespect workers face, juxtaposed with scenes of wealth, emphasising our inconsiderate behaviours.

Starting points and influences …

I wanted to create an impactful piece about poverty and how this severe issue is hidden in society. I began by researching poverty, focusing on food and water scarcity, but felt my art wasn’t powerful enough. I wanted to connect my art to the audience and for it to be relevant to Australia. I knew a little about fast fashion, so I researched the topic further and found how much bigger the issue is than it appears. I aimed to bring attention to the problem by showing the dark cycle of abuse, child labour, and sexism behind fast fashion’s bright, saturated advertising.

Sources of inspiration …

• Richard Mosse’s Incoming, 2017 inspires me due to his raw and honest depiction of the issue and his ability to evoke a sense of discomfort.
• The VET fashion and design course I took in Years 10 and 11 was where I first learnt about fast fashion and its effects on the environment and developing countries, inspiring my passion for change.
• Deeper research into the topic using websites broadened my knowledge and ideas, increasing my motivation and interest.

Materials and processes …

Greed is a large-scale linocut printed in black ink on calico. The use of fabric aligns with the theme of fashion consumption. I chose the linocut printing technique as it is bold, which evokes a sense of urgency.

The composition of this piece is a collage allowing for different aspects of fast fashion and poverty to be displayed and contrasted.

Each aspect of the linocut was initially a drawing. To transfer the drawings on the lino, I scanned the drawings, digitally created a collage and printed it onto an overhead projector sheet, which I projected onto the lino to trace.

Interesting/challenging aspects of creating the work …

At the beginning of the art process, I faced artist’s block; I didn’t feel confident with my work and couldn’t move forward. I found I was focusing too much on the end result, even though I had barely begun. I had to re evaluate. I knew my theme – poverty – but needed to focus on a specific topic I felt passionate about, so I went back to exploration. Once doing new research, I gained confidence and let my ideas flow.

Ideas behind the work …

Self portrait 18

• Being a stranger
• Feelings of loneliness
• Colour theory – darker background accentuates highlights

Starting points and influences …

I saw a picture of me that  I liked and I drew it. It was popular with viewers, so it became a final artwork. My teacher told me that it should be a final piece.

Sources of inspiration …

• Art/artists: Holly Warburton (@hollywarbs on Instagram)
• Fashion/clothes
• Film/movies: Bojack Horseman (2014-2020),Gattaca (1997),Shrek 2 (2004)

Materials and processes …

• Step 1: grey lead pencil sketch from photo reference
• Step 2: gouache painting – darker areas first then lighter
• Step 3: coloured pencils (brown and black) for finishing touches – outlines, shadows, lines
• Step 4: take photo (initially for digital folio)
• Step 5: used I Artbook ‘pastel on canvas’ brush to remove annotations in picture

Interesting/challenging aspects of creating the work …

Interesting:

• bold, blue hair
• the scarf, looks soft
• asymmetric balance/focus

Challenging:

• trusting the process
• time, focus

Ideas behind the work …

The title of my artwork is $12,594.40, which is the average amount women get paid less than men in Australia. The coins placed on and around the table total $12,594.40. My artwork explores the issue of the gender pay gap. Amongst the coins are objects that signify the factors that contribute to the gender pay gap, including kitchen utensils and cleaning supplies. These reference the unconscious and conscious biases that contribute to the differences in pay including outdated expectations that women should be responsible for household duties.

Starting points and influences …

I took artistic inspiration from Doris Salcedo and her artwork Noviembre 6 y 7, which represents the 1985  siege of Palace of Justice in Bogotá, Colombia with 280 chairs to represent the 280 deaths in the siege. This artwork inspired me to create a piece that has real life meaning and is representative of an important issue. Hence making exactly $12,594.40 worth of coins to emphasise the extent of the difference that women, on average, earn less than men per year.

Sources of inspiration …

The NGV Top Arts website. Before the year started and during the exploration of ideas for my theme, I looked at all the profiles from many years back to see the artworks and read about different themes and artist inspirations from students. This inspired my theme and encouraged my artworks.

My classmates. I had never experimented with resin before, but some of my friends were using it in their exploration of their own pieces and I decided to try. We would all talk about our ideas and artworks collaboratively and bounce ideas off each other and give feedback to one another, which I found inspiring and encouraging.

Artist inspirations: Doris Salcedo, Jean (Hans) Arp, Wassily Kandinsky

Materials and processes …

To create the coins, I made fifteen Pinkysil moulds, each with the cast of 100 coins. I poured resin into the moulds to create a positive cast of real coins. To create the realistic colour of the coins, I painted the Pinkysil moulds for the one and two dollar coins with a thin layer of gold pigmented powder and then poured resin with more gold pigmented powder into the moulds. For the silver coins I first poured resin with gold pigmented powder into the moulds and then painted them with a thin layer of silver acrylic spray paint. Using the gold pigment powder in the resin produced a slight gold undertone that resembled real coins better.

Interesting/challenging aspects of creating the work …

It was challenging that throughout the year we were in and out of COVID-19 lockdowns, and I had to constantly bring things to and from school. This meant if I left something at school, I wouldn’t know how long it would be until I could get it back. The lockdowns also meant I would not converse as much as I usually would with my classmates about my artwork, and therefore we weren’t able to benefit from the conversations we would normally have about our artworks every day.

Ideas behind the work …

The little things is a coloured pencil drawing on Canaletto watercolour paper, depicting a view from a first person perspective to transport the viewer into the moment and allow them to connect to the work. I wanted to comment on the global impact of COVID and our ability to enjoy the finer nuances of life. I explored the importance of noticing the little things in life that bring  joy, especially in the time of the pandemic when so many happy moments have been stolen.

One of the moments that brings me most peace and happiness is when I am with my dog at the beach, and the serene moment when the water rushes over my feet. The work depicts my feet, my dog Lulu’s paws and a facemask partially submerged in water. The freedom to walk through the water and throw a stick for my dog was taken away during the pandemic when lockdowns began. To acknowledge this, the face mask floating near my feet represents the ever-present burden of COVID on our lives (and the environmental impact of these masks being discarded). The turbulence and movement of the water, rhythmic and shifting, symbolises the upheaval in our lives and the inability to do many little things that we’d taken for granted, ultimately causing emotional and mental turmoil.  A green sea typically signifies a menacing sea – it is  associated with rips and treacherous water. Green also captures the alluring shades of water when the sun shines through to reveal hundreds of deep blue and green tints.

Therefore, my work aims to capture both the beauty and danger present in life at the moment – it is mimetic of the danger surrounding us (COVID) yet also acts as a reminder for the invigorating sensation of water flowing over our feet,  prompting the audience to relish in the prospect of reclaiming such joyous moments.

Starting points and influences …

To begin with, I wanted to explore the importance of noticing the little things in life that bring us joy, especially in this COVID time when so many happy moments have been stolen.

I was inspired by the works of Shin Young An, a contemporary hyper-realistic painter who captures the mundane activities of daily life whilst commenting on the larger issues happening in the world

I also wanted to comment on a global issue by capturing how COVID has globally impacted our ability to enjoy the finer nuances of life.

Sources of inspiration …

I am inspired by the little things in life that we don’t necessarily notice every day: being with my dog at the beach, walking through the ocean water, throwing a stick for my dog and the beauty and loss of these moments.

Materials and processes …

I used Prismacolor pencil on Canaletto watercolour paper for my final piece.

My process included photographing my feet and my dog’s paws in my bathtub (lockdown restricted me from visiting the beach and the Yarra River was too murky for the desired effect). Once I was happy with my composition, I sketched the work onto paper and slowly built up the layers of colour, first working on the feet, paws and face mask and then adding in the water.

Interesting/challenging aspects of creating the work …

Depicting water was extremely challenging but also incredibly beautiful – the way light reacts with the water and bends or warps the objects beneath the surface was interesting to capture. As water has no solid colour, it was a fine balance trying to capture the subtle variations in the water tones without overwhelming the work.

Ideas behind the work …

My work titled Green and purple alien swamp explores a possible alien world, with flora, fauna, and people that are entirely different from us. In the middle is an alien person,  deliberately unlike any of the aliens in pop-media. This is to get people thinking about the ways in which aliens might look nothing like we expect.

Starting points and influences …

The main starting point for this artwork was that I really, really wanted to design some aliens. I developed this into the idea of a jungle swamp on a different planet, with wildlife influenced by both prehistoric and modern animals.

Sources of inspiration …

One of my major inspirations for the creatures in this piece was vintage depictions of dinosaurs – mid 20th century pictures of marsh-dwelling diplodocus, for example – with the aesthetic of a giant creature in a tropical swamp. Another was the fantastic sci-fi art of Alex Ries and the games he worked on, like Subnautica: Below Zero. The main inspiration for the bioluminescent plants came from James Cameron’s Avatar, as did some of the inspiration for the creatures.

Materials and processes …

For my final piece I used Ibis Paint X on my iPad Pro 2 with an Apple stylus. I did a lot of sketching on paper in my portfolio with a mechanical pencil. I used the usual digital art processes – a sketch, line art, colours, and then shading in multiple layers to develop my initial ideas.

Interesting/challenging aspects of creating the work …

One interesting thing that I explored while making my work was the evolution of plants. I did a lot of research and I think that due to similar factors in plant evolution on different planets, alien plants would probably look similar to ours. This is reflected in the drawing. Researching plants was certainly fascinating, but since I had not yet drawn plants in my current art style, and I ran out of time to do so, figuring out how to draw them on the fly was quite challenging.

Ideas behind the work …

My piece titled Chrysalis encapsulates the richness and subtle hues evident throughout nature and reflects the feelings of whimsy and peace nature can inspire.

The title is inspired by the stage in which a caterpillar transforms into a butterfly, reflected through the egg/cocoon shape of the chair, and how it may encompass the viewer.

In this way, the piece inverts both expanse and containment as a way of expressing transformation through stages of life, or in response to shifting circumstances such as experienced during the COVID pandemic.

Starting points and influences …

I was admitted to hospital for three weeks at the beginning of 2021, during which time I was not permitted even to stand. Confined to my bed, a nurse introduced me to crochet. After being deprived of the simple pleasure of movement and of being outdoors, I was inspired to create a piece that would evoke a sense of expanse, even under the conditions of confinement. After learning how to crochet, I became interested in further ways of manipulating yarn or similar materials. Employing different techniques helped me create layers and textures to better reflect the complexity of the natural world.

Sources of inspiration …

My main inspiration for this piece came from Alexandra Kehayoglou and her manner of creating landscapes using textiles. Viewing her piece Santa Cruz River, 2017 at the NGV left me mesmerised by the scale and by the tactile and invitingly interactive nature of the work.

To this idea of landscape, I added the possibility of the hidden as inspired by fairytales, such as Märchen der Gebrüder Grimm, and the whimsical elements within it.

A third inspiration came from scientific examples of moss and natural components and how these grow and bind together forming distinct shapes.

Materials and processes …

The nature of the project demanded a wide variety of materials and techniques to give the impression of complexity. Crocheting both yarn and embroidery thread helped create different textures. Embroidery thread allowed me to incorporate glass beads into the crochet process. This became part of the base material used in the main process of weaving. Though layering the yarn and tying knots I was able to achieve a thick ‘patch’ which I would tie into the chair with more yarn. Further materials and techniques included pom-pom making, French knitting, felting, stuffing, hot glue, packing foam, lace, wire, and buttons.

Interesting/challenging aspects of creating the work …

My main challenge lay in staying confident that I could create a piece that did indeed communicate the ideas and concepts I had envisioned. Ignoring my doubts, I endeavoured to make a work that I could identify with before worrying about what others thought. Through the process of creating Chrysalis, my connection to the work grew and this resulted in an individual technique that I find really interesting because it produces an enormous complexity of shape, texture and colour from the simplest of materials: thread and yarn.

Ideas behind the work …

Consolation reflects the complex emotions and tensions which are present in daily life and relationships impacted by mental illness. The piece articulates discomfort and anxiety, mainly through eye contact and posture, set against the backdrop of domestic necessity. The nature of domestic work itself is a welcome return to the norm, emphasising resolution following tragedy.

Starting points and influences …

The artwork, as with most other concepts in my folio, began with a desire to reflect an aspect of my relationship with my mother. In search of what this was, I collected inspiration centered around scenes that depicted character through environment. I was particularly drawn to The Bar by John Brack, and this set the precedent for the kind of representation wanted to paint; expressive though attractively enigmatic, with a story to tell.

Sources of inspiration …

I’m inspired by artists depicting interpersonal relationships, ranging from the more abstract such as Cecily Brown, to the more concretely figurative such as Bo Bartlett. I’m also heavily influenced by culturally significant narratives, those in popular literature, philosophy, religion. I think I’m generally just inspired by people – the way they interact with one another and the moments they share, informed by complex tensions and emotions. These are central to the art I feel inspired to make.

Materials and processes …

I used only oil paint in the construction of the painting, referencing a traditional process, which included underpainting as well as the use of linseed oil as a thinning agent. The painting process was incredibly demanding on my time, and I was lucky to have done it in a lockdown, as often I would need to be in front of the canvas all day in order to work the paint before it dried.

Interesting/challenging aspects of creating the work …

Because the subject matter I worked on throughout the year was highly personal and held a great deal of pain and strong emotion, there were certain points at which my folio and artwork became a bit overwhelming. At these points I experienced a great deal of emotional fatigue and anxiety. These responses, though, were integral to catharsis and it was this immersion in my artwork which ultimately helped me to slowly unpack and examine my thoughts and feelings as well as my relationship with my mother,  mending some burnt bridges along the way.

Ideas behind the work …

Exploring the night market reflects on fond feelings towards my childhood growing up in Malaysia. This painting is essentially a love letter to the feeling of “home” and wistful memories of cherished time with my grandparents. Surrounded by other families, jovially walking around a pasar malam (night market); children pointing out snacks they want, parents haggling with the hawkers in the market stalls, street food and local fruits: they all represent an ordinary yet special part of my life.

Starting points and influences …

My starting point was to look back at my old photos and think back to what made up my childhood. Exploring this gave me many ideas of what I wanted to depict as subject matter. I wished to combine this with inspiration from artists such as Mateusz Urbanowicz, who uses watercolour and pen to create detailed illustrations that evoke a calming sense of welcoming nostalgia.

Sources of inspiration …

• Films by Studio Ghibli, especially the movie Spirited Away, which had such a huge influence on my childhood.
• Elderly aunties and uncles who have been cooking street food in Malaysia for years. When I’ve gone back to my hometown, the delicious food has always been the trigger for some of my most favourite memories.
• Music that still has the power to tell a story even without words.
• Danse Macabre by Camille Saint-Saëns, The Lark Ascending by Ralph Vaughan Williams and Great Fairy Fountain by Koji Kondo.

Materials and processes …

The medium for this artwork was watercolour and Pigma pen on cold-pressed watercolor paper. I focused on using the two to create an illustration similar to what you see in children’s storybooks. One technique I used was to build light washes of cool blues and warm pinks to create a base, this ensured that I had a unifying colour palette and a dynamic use of both warm and cool tones.

Interesting/challenging aspects of creating the work …

An interesting part about my artwork was creating so many different characters and planning out their expressions and interactions. A challenge was establishing a composition and perspective that could include all kinds of markets and people.

Ideas behind the work …

The Australian landscape is messy and random; the trees are twisted, the bark hangs droopily and the earth is littered with crackling leaves and old branches. I’ve aimed to capture the chaos and complexity of the land, conveying optimism with hilltop views filled with vibrant blues and subtle yellows. However, some of my underlying themes tend to be melancholic, introducing thick bushland where light is dull and the environment seems eerily lonely. The colours are dull and contrast is slight; however, with this dullness, comes great complexity of colour – akin to life itself.

Starting points and influences …

I tapped into my feelings while painting to link emotion to the subject matter I wanted to portray. I used original source material from my experiences in rural Australia – where I’ve lived pretty much my entire life – to capture the unique character of Australia’s natural landscapes.

Sources of inspiration …

• Mostly art from the Romantic period, featuring ideas of solitude and an emphasis on the sublimity of nature.
• I studied Wordsworth, so my work draws on the themes of his poetry.
• The unique Australian landscape, as experienced through my various family road trips into rural Victoria, the photos of which are basis for my paintings.

Materials and processes …

Oil paint on canvas was the main medium. I used lean medium in conjunction with oil painting.

Techniques included scratching and sketching onto the canvas, establishing tone before I applied colour.

I used a variety of brush sizes and different ways of painting, such as thick lines, splotches of pigment and straight lines of a single colour. I used small brushes for final touches which added charm to the works.

I also used my painting knife in some paintings to create a unique sharp edge of pigment. This was especially useful when painting bodies of water .

Interesting/challenging aspects of creating the work …

I found it interesting that I could recreate a scene in paint while imbuing it with my own emotions and ideas. I was intrigued with light and colour, along with symbolism and finding ways to tie the threads together to incorporate aspects of my personal experiences and feelings, while staying subtle on the artistic and visual surface level.

I found it a challenge to mix different colours that fitted into my overall colour scheme. This was due to my inherent interest in creating dynamic pieces which have focal points, but also invite viewers’ eyes to meander around the piece to pick up on other details.

Ideas behind the work …

In your world represents the notion of conforming in society as a means of belonging. The composition is heavily inspired by James Abbott McNeill Whistler’s Symphony in flesh colour and pink: portrait of Mrs. Frances Leyland. The imitation of a European painting, and the insertion of my form as a young woman of colour, is representative of aligning behaviour and language to the standards of dominant western culture. The blue colour scheme is a nod to the melancholic nature of cultural identity lost through this process.

Starting points and influences …

In the initial stages of my study, I wanted to explore my identity, in particular my cultural identity. However, upon realising how foreign my Vietnamese heritage was in my life, my focus shifted to the notion of conformity and the impacts of the western world. This led me to investigate western art and the works of Whistler.

Sources of inspiration …

Symphony in flesh colour and pink: portrait of Mrs. Frances Leyland. (1873) and the monochromatic colour scheme of Picasso’s Blue Period;

Literature in the way that it allows me to capture fictional scenes and aspects and think outside the ordinary to visualise my ideas;

Visiting the NGV and viewing the different depictions and portraiture of women across time.

Materials and processes …

The painting was made using oil paint on canvas. After sketching out the composition, I applied a thin layer of oil paint, mixed with a lean medium, which I then built upon with layers of paint. From solid blocks of colour, I created form by utilising varying darker and lighter tones. I used a range of brushes: small brushes allowed me to render intricate detail like the face and small creases of the dress, while a large fluffy brush allowed me to reduce the harsh brush strokes in the background, creating a smooth transition of colour.

Interesting/challenging aspects of creating the work …

It was challenging to find motivation to start and continue the painting as it was quite tiring to paint for long hours. It was also quite intimidating as it was my first time painting a large-scale artwork. To motivate myself, I would listen to true crime documentaries and various podcasts to make the painting process more comfortable.

Ideas behind the work …

A party in the closet challenges heterosexual ‘normative’ masculine behaviours. The three male figures leave an open closet, representing a hiding place for feminine and queer attributes. The men are clothed in dresses and high heels showing vulnerability and celebrating gender inclusion. They are breaking free from masculine gender norms and embracing femininity, expressing themselves freely without discrimination. Inspired by the pandemic, the organic green shapes visually represent a transmissible virus, symbolising the negative traits of men that are more deadly than COVID-19. This ‘virus’ of man consists of violence, aggression, ego, power, greed and superiority. This virus must be overcome to allow all men to comfortably express their femininity.

Starting points and influences …

I have been influenced by former Belmont High School students Jebediah Costin and Luca Feldman (Top Arts finalists). I am influenced by their abstract and expressionistic styles, prolific art practice and large-scale paintings. Abstract Expressionists from New York such as Willem De Kooning influenced my emotive, gestural approach in creating the stormy array of femininity as a background of my painting. The naïve figures in the foreground which began as conceptual sketches of males and stereotypical masculine objects, were inspired by contemporary First Nations artist Vincent Namatjira.

Sources of inspiration …

Grayson Perry is a heterosexual transvestite male artist who focuses on the theme of masculinity. I admire Perry’s ability to challenge gender norms through his cross dressing. Throughout his art practice, he critiques the actions of men, while acknowledging his own negative masculine traits. His book The Descent of Man explores the faults and functions of man, what is wrong with contemporary masculinity and what needs to be improved. After reading this book, I developed my concepts on what must be changed for a successful form of masculinity to exist.

Ben Quilty’s artworks, such as his series of paintings of crashed cars and war (After Afghanistan), which explore the catastrophic results of toxic masculinity,  Quilty’s car paintings refer to the ‘initiation stage’ of boys becoming men and the reckless behaviours that often follow. As I am currently ‘coming of age’, I have been impacted by some of the extreme effects of negative masculine behaviours. This includes bullying, risk taking, and regretfully, the suicides of high school aged males that have occurred in the Geelong region over the past two years.

Film has also been a major source of inspiration. Throughout lockdowns, films such Priscilla Queen of the Desert, Fight Club, Romper Stomper and Taxi Driver inspired me conceptually. They allowed for a deeper analysis of masculinity. For example, in Fight Club the men objectify and degrade Marla the female lead. The film also shows men enjoying and celebrating violence as a way to cope with emotional distress.

Materials and processes …

The construction of the triptych was laborious, given the scale of this painting. The three canvases were handmade, stretched and primed by myself. A thick, wide brush was used to apply tones of purple acrylic paint in an expressive and intuitive manner. For the closet, working from a conceptual sketch, I created several transparent tones of brown, mixing oil paint with turpentine to thin the paint, allowing bleeding and dripping. Utilising my own drawing technique, I painted the figures in with flat colours, defining their shape with a thin brush and black oil paint. Using a reductive technique, I etched into the wet paint with an etching scribe to reveal glimpses of the layer below. By placing multiple colours on a single brush, I was able to thickly spread the oil paint to create organic green shapes that varied in tone to depict the virus of toxic masculinity.

Interesting/challenging aspects of creating the work …

Working on a large-scale canvas was an interesting and challenging experience. Due to the work’s enormity, I had to move my studio into an undercover outdoor area of my home. This brought many weather driven challenges, requiring improvised tarps and protection methods. I had to use ladders and stools to reach the top of the canvas which forced me to paint at unusual angles. Working with oil paints outside in the middle of winter caused challenges as the paint took longer to dry and restricted what I could work on.

Ideas behind the work …

For my Unattainable series I explored ‘Repression’ as a theme, presenting my internal emotions and the false external expressions I use to hide those true feelings. By distorting the subject using materials such as water and cling wrap, I convey the overwhelming feelings of drowning and suffocating.

Starting points and influences …

The starting point of my work came from my own initial state when I felt detached from my own emotions and had adapted to hide internal self with a false exterior.

I was influenced by both my own experience of repression as well as that of close family members. I also took the view of an outsider, looking on.

Sources of inspiration …

I am inspired by the environments I immerse myself in and the different senses I feel within them. I am able to put colours, textures and aesthetics to these feelings and create a visual for these experiences.

Books are a big inspiration – they inspire imagination, imagery and links to bigger themes.

I am constantly inspired by other artists, the way they present themselves and their views, their diverse styles and aesthetics.

Materials and processes …

I used a range of graphite pencils from 2H through to 8B. I used grid drawing and techniques of layering and shading.

Interesting/challenging aspects of creating the work …

Creating this series became a process of healing, something that helped me confront my feelings and also at times served as a distraction. I hadn’t expected to have this outcome through the process, however it was very intimate and personal which created this artist/artwork relationship.

Ideas behind the work …

The weight of your world explores how personal perception and self-identity is influenced by external factors, such as family, media and wider society. As a young woman, I am grounded by the words of my parents and school rules, such that I have not truly understood myself. Often fearing rejection, I prefer to stay caged in these expectations. The plethora of hands serve as a metaphor for this notion. The dark background is symbolic of the personal struggle and the play of light on a selective number of hands, mirror how these guidelines can be a forced normality.

Starting points and influences …

In the initial stages of my study, I explored the role of women within society and the expectations and critiques that shape their behaviour. However, as the year progressed, I realised that I wanted to examine my own identity as a young woman and how these notions applied to my own life. My artwork conceptually evolved into a self-portrait.

Sources of inspiration …

I am inspired by: the play of light and high saturation of colour from the works of artist Caravaggio, along with the repetitive depiction of hands by Artist Giovanni Gasparro; literature in the way that it allows me to capture fictional scenes and aspects – this visual liberty allows me to think outside the ordinary and visualise my ideas; visiting the NGV and viewing the different depictions and portraiture of women through time.

Materials and processes …

The painting was made using oil paint on canvas.  I began by photographing my form and hands and edited the images on Procreate to create a suitable reference photo to sketch onto the canvas. I began my painting by applying an initial layer of oil paint to build upon. I utilised several brushes: small brushes allowed me to render intricate detail, while a large fluffy brush enabled me to reduce the harsh brush strokes to create a smooth transition of colour.

Interesting/challenging aspects of creating the work …

It was challenging to find motivation to start and continue the painting The weight of your world during the lockdowns. It was quite tiring to paint for long hours. To motivate myself, I would listen to true crime documentaries and various podcasts to make the painting process more comfortable.

Ideas behind the work …

Present: Domesticity considers how the everyday spaces we occupy tell the stories of our daily lives. Intertwining my personal connection to the natural environment and to the domestic spaces my family and I inhabit, I portrayed both the physical and intangible structures of my family home, representing the stories I attach to it. The role domestic spaces play in our lives is more noticeable than ever after the past few months of lockdowns. These spaces communicate both personal stories and societal changes, creating a revealing a snapshot of this current moment in history.

Starting points and influences …

• Interest in architecture as a form of storytelling and communication and modern domestic spaces seen through a personal lens.
• The domestic and still life paintings of artists Patricia Lynch and Margaret Olley, which capture the impact of human presence on personal domestic spaces.
• Artist Yann Erasmus’ biro drawings of everyday, meaningful objects.
• A fusion of Potential Directions ‘Homeland’ and ‘Vegie Garden,’ which provided the basis for my final work.

Sources of inspiration …

• The dynamism of the Australian environment, especially the ambience of grassland and bush landscapes.
• An eco-dyeing technique using native plants on organic papers or fabric, as taught to me by grandmother and as used by artist Katie West.
• Traditional storytelling such as fairy tales, epic poetry, spoken word tales and other fantastical or supernatural stories.

Materials and processes …

Starting with plants sourced from both my grandparents’ homes, I used an eco-dye steaming technique on 300gsm watercolour paper to produce the organic patterning and colour in the background of my final work. Using reference photos of ten rooms of my family home, I used a simple black biro and ruler to draw each room’s structure, before adding in further detail through gradual shading and blending of the biro lines with the mid-tones created in the eco-dye background.

Interesting/challenging aspects of creating the work …

I really loved the beautiful unpredictability of the eco-dyeing, and the joy of opening up the steamed parcel to see how my design had turned out. It was never what I expected, but often so much more mesmerising. I had to be careful when drawing with the biro over it the dyed paper, as the water stress on the paper made it more susceptible to tearing or shedding. Another challenge was trying to balance the amount of biro on the paper to preserve the background design, whilst still creating a sense of each room’s dimension and structure.

Ideas behind the work …

Adulthood’s Remorse is based upon my own experience in growing up. It illustrates how loss and change imbricate with one’s coming of age, emphasising how the metamorphosis to maturity does not only herald a necessary growth, but also the subsequent abandonment (or ‘death’) of childhood’s bliss.

The idea of the artwork is to spark an acute sense of remorse and melancholy in viewers for what they have given up in the name of adulthood, encouraging them to ponder its meaning and reflect upon their own transition from childhood.

Starting points and influences …

2021 was the year I started my final year at high school, turned eighteen and became a legal adult. With the inevitability of adulthood looming, my childhood was reaching its expiration date.

Childhood was the overarching truth of my life; it was all I had known. The idea of leaving it behind compelled me to reflect, and steal one last look behind me before taking the leap forward, through the means of this artwork.

Sources of inspiration …

To be completely honest, this year it was hard to feel inspired. However, I found listening to music with evocative lyrics helped combat this inertia. Playlists on Spotify allowed me to translate the aesthetic of songs into my own art, sometimes using a lyric as a basis to form work. I’m also inspired by artworks with technical skill and emotional depth, like Caravaggio’s paintings. They are intense and impact the audience through the use of chiaroscuro and hyper-realism.

Holly Warburton uses colour to build vividly emotional pieces, and I’m inspired by her ability to create wholly immersive scenes with her art.

Materials and processes …

I used an etching needle and black scratchboard for my artwork.

Using a fine point, I scratched through the black coating to reveal the bright white of the board underneath. With small, thin strokes and a mix of cross-hatching and scribbles I created an accurate tonal depiction of my subject matter, that achieved the desired hyper-realism when seen at a distance.

Interesting/challenging aspects of creating the work …

• Concentrating on my own feelings, this piece is an extension of myself before it is anything else.
• It was (and still is) difficult for me to be candid about my feelings in this artwork for others to judge. But for this, this artwork has been the most important one I’ve ever created.
• I find it interesting that because I allowed myself to be transparent, the artwork became much more than a part of my folio or a candidate for a competition. It became a snapshot of who I am in this transitory period; a tangible turning point for my growth as a person.

Ideas behind the work …   

Designer sneaker (floral, silk) explores ideas of luxury and value. I have sampled a 1700’s pattern from Marie Antoinette’s fabric swatch book and applied it to a contemporary designer sneaker.   

This object references the form of a Gucci Flashtrek sneaker – a contemporary shoe designed by Alessandro Michele with an almost rococo sensibility in its decoration and exaggerated form – to bridge these two contexts (historical and contemporary). The work explores the relevance of art and fashion history to the contemporary luxury industry using Marie Antoinette, a figure of excess, as a symbol for impossible beauty.   

Starting points and influences …  

The work grew from my interest in fashion and art history. I wanted to explore the contemporary luxury industry and its constant sampling of historical contexts, as well as the aspects we view as valuable and how these points of worth have changed.  

Sources of inspiration …  

I have based my work on a quote from Thorstein Veblen’s 1894 text, The economic theory of women’s dress, that defines luxury items as objects of ‘expensiveness, novelty and ineptitude’. Designer sneaker (floral, silk) is an object of inutile beauty. 

In the research/inspiration/development stage I studied works by both historic and contemporary artists/designers – such as Andy Dixon’s reworking of old masters and vivid depictions of antiques or ostentatious designer clothes, and Milena Canonero’s anachronistic figuring of Versailles court fashions in Sofia Coppola’s Marie Antoinette (2006).  

Interesting/challenging aspects of creating the work …  

I enjoyed having a structure to explore my ideas in. While working with the requirements of VCE posed a challenge to my at-home work practices, I found the experience was ultimately rewarding and positioned me to think differently.  

Ideas behind the work …

Breeze shows the importance of conserving nature by demonstrating the beauty of nature’s organic movement. It displays the impact of human expansion and destruction of the natural world, on nature’s ability to move freely. This is shown through choreography by juxtaposing beautiful and organic dance with harsh, stifled movement. I intended to create a winsome aesthetic and evoke awe in the beauty of the performance, convincing the viewer that we cannot afford to lose this beauty and must change our behaviour.

Starting points and influences …

During the summer holidays I spent time at the beach where I came up with my theme of ‘movement in nature’. I watched several documentaries about migration, coral reefs, pollution and oceans to inform my theme. To find interesting silhouettes and garments which moved well I watched fashion shows: Iris Van Herpen, Channel, Ralph and Russo, and Versace .

I found interesting artists like Nick Cave, Sarah Zapata, Gerwyn Davies and Bertjan Pot, who all have unique and interesting studio practices. I was also inspired by fun and winsome puppetry like the Muppets, on Sesame Street and Yo Gabba Gabba.

Sources of inspiration …

Performing and dancing, fashion, and nature were my primary sources of inspiration. I took my knowledge and passion in these fields and converted them into art. I wanted to display positive messaging through my passion for dance and fashion, creating a whimsical and unique artwork which mimics my utter awe of nature through performance. All my potential directions and artworks contain environmental messaging to suggest the importance of conservation.

Materials and processes …

I used recycled and found fabrics throughout the year, but for Breeze I used yarn bundles and scraps that I could get from op shops or people who didn’t want them any more. I sewed tracks of natural and synthetic fibres in an ombre pattern – from blue and grey tones to light green and yellow –  onto a pattern drafted oversized cotton drill jacket with a dusty green lining. This created fascinating movement when the garment moved.

I used a contemporary choreography style  inspired by animal movement, breeze through trees and grass or currents through seaweed. The work was informed by balletic and interpretive dance influences.

Interesting/challenging aspects of creating the work …

I found it very challenging to stay inspired or happy with all the work I was creating. Often, I would have a really strong concept which I wanted to work on, so I lost momentum with the other artworks I had to create. I found it very hard to balance all of my commitments and workloads with my folio. It was very hard to produce my large scale works within the constraints of my home. Unlike other mediums, performance is difficult in limited space and textiles are hard with limited resources.

Ideas behind the work …

Accessing the creative unconscious – final 2 was created using a drawing machine that produces its work on its own through gravity and human intervention.

Starting points and influences …

This final project was inspired by my younger self. I always made rubber band guns, bow and arrows, blow guns and other things with scrap wood and other junk parts found in the hard rubbish. This part of myself influenced me to create a machine that would freely create its own artwork through junk parts and scrap pieces of wood.

Sources of inspiration …

Influences – my mum (an artist with a group called Slow Art Collective), my childhood, junk – things found in hard rubbish.

Materials and processes …

I used two-by-four timber to create a frame and attach a wheel in the centre. Then I attached a fan to a pipe and used this to harness energy from running water to turn the pipe which then was able to turn the wheel.

The wheel had pieces of string attached to bottles that would drip paint onto paper.

The turning of the wheel would create a picture. No two pictures would be the same, as external elements such as wind would influence the movement of the bottles and thus the drips and patterns on paper.

Interesting/challenging aspects of creating the work …

I faced many challenges, like how I was going to create this machine through materials found at home.

I was originally thinking of using wind as a power source to turn the wheel. However, I quickly learned that would not be possible as the wheel was too heavy.

Ideas behind the work …

An attempt at self analysis comments on the three-way relationship between society, one’s insecurities and oneself, in which the audience plays the role of society. It has an uneasy aesthetic, taking place in a private moment of self-analysis.

Starting points and influences …

I have focused on a broad range of aspects relating to ‘Perception.’ This includes perception of oneself and includes how one’s world view may be skewed by both internal and external factors.

I became fascinated with the idea of perception upon reading an article about the philosophical understandings of Maurice Merleau-Ponty.

For Merleau-Ponty, individually perceived and contextual aspects of a reality cannot be removed from the account of the sensory.

Sensing is a “living communication with the world that makes it present to us as the familiar place of our life.” I also drew from my experience with mental illness, more specifically, the mental and social isolation I experienced in lockdown.

Sources of inspiration …

• Egon Schiele (raw self-analysis and gritty portrayal of self).
• Hiatus Kaiyote (Australian R&B band). Their unconventional lyricism revolving around obscure references to nature.
• Poetry, more specifically, the works of Sylvia Plath and her struggle with womanhood.

Materials and processes …

I applied techniques such as gradually layering colour and heavily burnishing to create an almost metallic effect.

After completing this stage, I decided that the drawing lacked definition. I used acrylic paint to block in highlights and create more depth, as well as using small linear brush strokes on both shirts to create more contrast between textures. I also used acrylic paint to block in the background shadows, as I felt that this would ground the subjects more effectively. I then further refined my brushwork on the hair of both subjects, using wispy strokes on the rabbit’s hairs to suggest a sort of ghostliness or omniscience rather than appearing as completely tangible.

Interesting/challenging aspects of creating the work …

I decided to push myself with the scale of these artworks. As someone who mostly creates lots of smaller artworks as opposed to spending hours and hours on larger artworks, creating larger scale artworks with such detail was a challenge for sure. But, after finishing my final artworks, I felt proud of what I had accomplished.

Ideas behind the work …

Title of work: Objects no. 2, 11, 7, 10, 3, 14, 20  

This work speaks to ideas of form, deconstruction and reconstruction, assemblage, decay and erosion (burial and breaking, potential for breaking-delicacy), silhouette, lightness (physical and visual), colour (contrasts, balance, nostalgia, potential), decoration-finding new methods of decoration through denying function, balance, honesty of material and of process, serendipity, self-reference, scale-the miniature, the intimate and the cosmic. Thinking about ceramic processes – and creative processes on both a personal and larger scale – trying to connect the artwork to its space of creation, and history of creation. Documenting these processes visually, texturally-traces of hands and fingerprints, sanding process rendered in charcoal.

Starting points and influences …  

This work holds my attempt to continue conversations with my grandfather. It is a response to his words, his work and his skills – through our shared artistic practices and thoughts – an interest I found when studying his works (organic spatial/ architectural miniatures). It also considers the processes of art on micro and macro scales – studying the connection of an artwork to its process and space of creation, the memory or remnants of these in a work finally presented. 

Sources of inspiration …  

• Thinking about architecture as both a personal reference (through my grandfather’s practice) and a medium for reflection – Frank Lloyd Wright’s mournful Southern Californian houses, Corbusier’s brutalist sense of material and imbuing of place.   
• The idea of a collection: looking at my favourite designers, like Prada, Margiela,  deconstructing and interpreting classic shapes/forms/objects, and the power of the singular and the collective…their attempts to decode or rethink decoration. Martin Margiela’s material exploration and acknowledgement of process/honouring of imperfection. 
• Influenced by Giorgio Morandi – I have tried to draw a sense of equivalence between each work – trying to place them in positions that grant equal presence, weight and reflection – each piece feels equally observed.  

Materials and processes …  

I worked in clay and plaster, with bright white porcelain and duller stoneware, using an array of ceramic and sculptural techniques and surface/material treatments: wheel throwing, hand-building, cutting, pushing, carving, bisque and glaze firing, sanding, burying for extended periods, brushing, pouring, soaking and drying, fixing.  

Interesting/challenging aspects of creating the work …   

I enjoyed having a structure to explore my ideas in – and whilst working with the requirements of VCE posed a challenge to my at-home work practices, I found the experience was ultimately rewarding and positioned me to think differently.  

VCE Studio Arts
Lauriston Girls’ School, Armadale

Ideas behind the work …

Ranges close by communicates a connection to nature through the inherent characteristics of the raku firing process which, with its unpredictable results, walks a fine line between control and chaos, making it an effective metaphor for the chaos and order found in nature. The technique of burning carbonous materials to create smoke and carbon trails in the shape of feathers, horsehair lines and speckles of granulated sugar effectivelys convey the natural landscape and my affinity with nature.

Starting points and influences …

Because I was new to the artform of pottery and ceramics this year, my starting points included a lot of research and reading books about clay and techniques of creating, glazing and firing. I also attended an introductory wheel throwing workshop and a glazing class to learn how raw glaze materials can be mixed to form different effects.

I taught myself to centre the clay and developed my own technique for throwing, gradually learning how to trim pots and also the correct drying time frames for leather hard and bone-dry clay.

Influences on my artwork came from clay books including Derek Wilson, Greg Daly and Eric Landon, for their curvaceous vessels and glazing techniques.

Sources of inspiration …

Bruce Riddell’s book Art in The Making questioning “Why do some people prefer circles to squares?’ initiated thoughts about curvaceous forms, resulting in my exploration into wheel throwing clay with soft, gentle curves.

I was inspired by the material of clay, a natural material sourced from the ground, that conceptually holds the meaning of comfort and connection to the earth. This inspired me to explore natural materials including feathers and horsehair, embracing a connection to nature.

Ri Van Veen is a ceramic raku artist who uses techniques to create smoke reactions with glazes in a tin bin chamber, inspiring my exploration into raku firing.

Materials and processes …

The process for both Grounded and Ranges close by was to communicate the intense connection to nature through raku firing and the unpredictability of the firing process.

In Ranges close by, I used raku clay due to its ability to withstand the dramatic temperature changes during the raku firing process, wheel throwing vessels of varying heights to achieve a flowing mountainous ridge-line of pots.

Once the pots reached 800 degrees Celsius, I applied feathers, horsehair and sugar granules by hand to create carbonous trails.

Interesting/challenging aspects of creating the work …

It was challenging to access and fit my artworks in the kiln for firing. The journey was difficult due to the large scale of my sculptures, however with multiple changes and rounds of firing, I fired without any breakages!

The most interesting part about my artwork process was the unpredictable nature of the raku firing, not knowing the outcome until the tin bin smoke chamber lid was lifted, creating such excitement and suspense.

Ideas behind the work …

Their life and death shows a human-like creature beside a decayed skeleton version of itself, representing its life and death. I worked to create sculptures that look almost human and convey the uncanny, with the intent of manipulating emotion in the viewer. The creatures are both vulnerable and disturbing – the use of materials realistically replicates the texture of human skin and hair. I wished to depict life and death alongside each other in the sculptures of a creature that we can almost relate to, but not quite.

Starting points and influences …

Directly influenced by Patricia Piccinini, I wanted to replicate her style in a personal way to create my own creatures using the same materials and processes to acquire a realistic result. I was inspired by the way she uses human-like creatures to convey a disturbing but vulnerable state in her works. I was also influenced by Gerard Geer who uses real animal bones to assemble his own mythical scenes depicting small skeletons of imaginary creatures. Drawing on these influences, I manipulated their techniques for my own works.

Sources of inspiration …

• I am fascinated with horror and with disturbing my audience in a similar way to the artist Junji Ito, whose ink-drawn manga depict deformed humans and grotesque scenes.
• Puppet Combo, a horror-game design artist whose PlayStation-style games depict eerie environments with disturbing antagonists out to kill the player, has inspired my use of interactive art forms.
• Growing up, I had a deep fear of the dark, terrified that creatures were hiding where I could not see them. I have outgrown this fear, but I’m inspired to give form to these creatures so I can see what I once was afraid of.

Materials and processes …

In Their life and death, I wanted to replicate hyper-realistic textures made by using certain materials. I used cast silicone to create the life-like creature. It was enhanced by punching human hair into its flesh, colouring it using pigmented powders and applying resin to places which appear wet.

For the skeleton, I used wire and foil to create the structure which was then covered in air-dry clay to replicate bone texture. This was then ‘dirtied’ by using brown powders to make it look more realistic.

Interesting/challenging aspects of creating the work …

Because of COVID, and the access to school/ help from teachers/ materials, I had difficulty in casting and creating the silicone creature. I had many failed attempts in casting the silicone and became stressed because of due dates and quality of work. Despite all of this, I pulled through and managed to create exactly what I had dreamed of creating. I surprised myself with the skill and the results of my work – its realism and the disquiet it evoked in all who viewed it.

Ideas behind the work …

My animation Self-proclaimed  identifies the challenges that people face in their mental health. During the pandemic, most people have faced their own inner demons in isolation and quarantine. I wanted to express the clash between the need to reach out, and our inability to connect with others on such sensitive topics. I hope to open up a conversation about something that is otherwise hard to talk about.

Starting points and influences …

My choice to make an animation was made very early in the year. I’ve always admired the cartoons from my childhood, as well as more recent movies like Spiderman: Into the Spider Verse which blend a still comic book style with the motion of an animation. I knew I wanted to make a short, animated video. As for the message of my work, I was highly influenced by The School of Life’s video Our Need for Connection which revealed to me Ferdinand Hodler’s painting The Disappointed Souls. The image of the men united in their own sorrow, yet unable to see each other was the first spark of inspiration for my work.

Sources of inspiration …

Music has always been a big part of my life, both as a singer and as a listener. I’m  inspired by the expressive nature of jazz.  Rachel Kim’s third-year animation Diamond Jack bridged the two worlds of animation and music for me. My biggest role model for art has always been Litarnes. Their work features moody contrasting colours and highly expressive subjects. The first artist I was ever inspired by was Vincent Van Gogh. His work immersed me in the world of post-impressionism and its beauty.

Materials and processes …

From the start of my development process, I was set on a digital medium. Sketches and practice animations were created in Procreate using an iPad and Apple pencil. Digital drawing has always been one of my more familiar and comfortable methods of drawing.

Interesting/challenging aspects of creating the work …

While I anticipated the huge amount of effort that goes into creating an animation, actually doing it made me realise just how much goes into animation projects. I finished this work with an even greater appreciation of the small animators in the art community and the dedication and hard work that goes into their projects. Time management and procrastination were my worst enemy.

Ideas behind the work …

In School picture day I wanted to explore some of the insecurities that I had experienced, using the concept of a school photo, with each insecurity being represented in an exaggerated and grotesque way while still finding the beauty within it.

Starting points and influences …

I was influenced heavily by the works of Egon Schiele due to his stylisation of the human form.

Sources of inspiration …

• The works of Stephen King (literature)
• Francis Bacon (artist)
• Tillie Walden (comic book artist)

Materials and processes …

Watercolour wash over a pencil sketch gone over with coloured pencils and an ink pen.

Interesting/challenging aspects of creating the work …

I found it challenging to begin initially. The process of creating three separate illustrations as well as a mini comic felt very daunting, especially during a pandemic when it was hard to get a lot of feedback from my teacher. However, I found the process of designing each character to be very interesting and helpful when it came to consolidating my ideas and themes.

Ideas behind the work …

Nostalgia is denial is a physical and symbolic representation of ‘Golden Age Thinking’ which is defined in the film Midnight in Paris (a source of inspiration) as “the erroneous notion that a different time period is better than the one one’s living in.” Within my artwork, I have depicted a chaotic and spirited aesthetic, reflecting the insatiable yearning I and many others have for the past. This is further complemented by the corset, a symbol of past – historical underwear. In depicting semi abstract faces that appear melancholic, it reflects how romanticising the past and partaking in historical nostalgia denies us the possibilities of the present, hence Nostalgia is denial.

Starting points and influences …

• The film Midnight in Paris written and directed by Woody Allen. The film revolves around a writer named Gill who time travels every night to 1920s Paris. His obsession with the past and his ability to experience it allows him to understand that romanticising the past is denying him his present. He ultimately comes to realise that escaping to a different past is not the solution. Instead, one should embrace what the present has to offer.
• The current trend of corsets: how they have come back into style and are now worn as outer garment tops, when in the past they were undergarments that restricted women.
• The children’s picture book Katie and the Waterlily Pond: A Magical Journey Through Five Monet Masterpieces, written and illustrated by James Mayhew. The book features a young girl, Katie, who steps into Monet paintings and explores artworks by Monet. This book encapsulates how literature, film and art can allow us to delve into a world of imagination.
• My own travelling, through which I have been lucky enough to view the works of Monet, Picasso, Van Gogh and Matisse, who inspired much of my work. My fascination with Picasso and Matisse and my love of the modernist era played a significant role in my early research.

Sources of inspiration …

• Literature: The Great Gatsby and the idyllic world that F Scott Fitzgerald created has always inspired me. I am fascinated by the ideal and false promise of the American Dream and the main character, Jay Gatsby’s obsession with reclaiming the past. The Art Deco and lavish imagery in the novel inspired my use of gold and the vibrance and symmetry in my work.
• Moschino’s, Spring 2020 ready-to-wear collection was inspired by the works of Pablo Picasso. The collection paid homage to Picasso’s cubist techniques and semi abstract works by digitally printing his artworks onto three-dimensional textile forms. I was inspired by how Jeremy Scott (creative director) reflected Picasso’s famous and iconic artworks on textiles; blurring the boundaries between art and fashion.
• I was ultimately inspired by the idea of escapism – how certain period dramas, video games, historical re enactments and Renaissance fairs allow humans to experience the past. This lead me down a rabbit hole of research into how people, like myself, consider themselves ‘born in the wrong decade’.

Materials and processes …

• Calico
• Boning material (cable ties)
• Sewing machine (Brother J14 sewing machine)
• Fabric paint (Jacquard Lumiere)

Interesting/challenging aspects of creating the work …

Having to teach myself how to sew by following YouTube tutorials and modifying patterns I bought online. I found this very tedious. Learning how to use a machine brought on its own challenges.

In a way, being in lockdown/quarantine was helpful to me, as I was able to spend long periods at a time sewing and practicing my stitching techniques.

Trying to figure out and plan how I was going to reflect my theme of escapism in textile form was also something I found challenging. I knew the physical symbol of a corset was an obvious representation of the past, but I had to experiment with how I could convey that historical nostalgia is negative and dangerous. This led me to trial different painting techniques to portray my semi abstract faces. I found initially painting in a semi abstract and cubist style challenging.

Ideas behind the work …  

Home sick discusses bonds between people and their disconnection in these unprecedented times.  The prevalence of COVID-19 inspired me to visually depict the distancing of these bonds, highlighted in the differing eye gazes and individual manners.  Representative of different family views and attitudes in times of crisis and solitude – longing or acceptance – the expressions on my subjects remain ambivalent in order to reflect limited knowledge during these past years. Is it happiness or insanity, hope or surrender? 

Starting points and influences … 

I began brainstorming ideas and themes that had a broad variety of roads I could follow. I landed on ‘Bonds’, using my siblings as a subject, as I suspected we would be home schooled for most of the year again. As I began trialling media and taking reference photos, the photos that highlighted distance and untraditional displays of sibling relationships really interested me. I began thinking about how this interest could develop into something more, when I landed on exactly why I was photographing them in the first place: COVID.  

Sources of inspiration … 

• Wes Anderson – his film direction is eccentric and beautiful, each moment encapsulated in colour. If I pause any scene, it is an artwork itself, telling a story simply in a frame.  
• Family – being in a family of eight means nonstop sound and large personalities, which I am inspired to capture through my art.  
• Jon Stich – one of my favourite gouache artists, who inspired my techniques and use of colour to surround a subject. His artworks give so much to the eye, discovering more the longer you look, allowing you to form your own story. 

Materials and processes … 

• I tested oil pastel and moved onto gouache as my chosen medium. 
• I always added at least one layer of gesso to my board in order to get the most opacity from my paint. 
• I did my preliminary sketches with pencil, using a photo reference. 
• I under-painted in red. 
• I mixed colours and began painting in segments. 
• I did my trial works on flat boards but did my final on a wooden board with raised edges. 

Interesting/challenging aspects of creating the work …  

The most challenging part was choosing the photo I would use as the reference to my final. So many of the ones I took would have also fitted my ideas well.  

Ideas behind the work …

Can’t catch me portrays the fear of being unable to progress past the things holding you back, as well as being unable to escape other people’s conception of you. This links strongly to my experience with ADHD, feeling trapped behind a kind of mental barrier.

Starting points and influences …

I have focused on a broad range of aspects relating to “Perception,” including perception of oneself. This includes how one’s world view may be skewed by both internal and external factors. I became fascinated with the idea of perception upon reading an article describing the ideas of Maurice Merleau-Ponty.

For Merleau-Ponty, individually perceived and contextual aspects of a reality cannot be removed from the account of the sensory. Sensing is a “living communication with the world that makes it present to us as the familiar place of our life.” I also drew form my experience with mental illness, more specifically, the mental and social isolation I experienced in lockdown.

Sources of inspiration …

• Egon Schiele (raw self-analysis and gritty portrayal of self).
• Hiatus Kaiyote (Australian R&B band). Their unconventional lyricism revolving around obscure references to nature.
• Poetry, more specifically, the works of Sylvia Plath and her struggle with womanhood.

Materials and processes …

I chose to embrace the grain of the timber as a unique textural feature, staining it with a weak green wash to represent the anxiety which comes with the aforementioned process of connecting with self. I then rendered the rabbit skeleton, using a cloth to partially lift colour in order to create a bone-like texture. I was able to implement my understanding of oil painting (more specifically skin rendering techniques) in creating both the face of the subject and the hand reaching down from the top of the frame. The crimson border around both elements brings them forward, establishing them as the main points of focus. The weeping line surrounding the main subject is representative of the skin, tying the dynamic of the artwork together and establishing the purpose of the hand.

Interesting/challenging aspects of creating the work …

I decided to push myself with the scale of these artworks. As someone who mostly creates lots of smaller artworks as opposed to spending hours and hours on larger artworks, creating larger scale artworks with such detail was a challenge for sure. But, after finishing my final artworks, I felt proud of what I had accomplished.

Ideas behind the work …

Soteria’s garden is a celebration of the natural environment as a safe haven that promotes literal and personal growth for plants, animals and humans according to their interactions with it.

My idea stemmed from an appreciation of organic beauty and developed into an acknowledgement of the interconnection between human influence and nature, and the mutual benefit of the relationship between the two.

The concept of specific botanical loci as sanctuary from physical or cerebral danger is the overarching theme, acknowledging my own heartfelt connection to a genuine and beautiful place of safety.

Starting points and influences …

• Brainstorming: all ideas were planned and explored in depth on a conceptual level to get a holistic grasp on the concept.
• Reflection: regular analysis of what I liked, disliked and understood helped me to guide the creation of this work as a personal connection and not a ‘school project’ to complete by a deadline.
• Year 12 experiences: my own unfolding experiences throughout 2021 guided the creation of this artwork as I literally engaged with the idea of sanctuary to manage the stressors around me.
• Nature: the subject of my work, was imbued in the materials and process when creating this work to interlink my ideas.

Sources of inspiration …

• Bill Henson (Untitled #4, 2005-06)–inspired the sense of contentment and quiet confidence and the sublime aesthetic.
• Caspar David Friedrich (Dreamer (Ruins of the Oybin Monastery), 1835)– inspired the tenebristic atmosphere and sfumato technique from the soft lighting and the stillness of a natural landscape frozen in time.
• Gothic architecture (e.g., Notre Dame Cathedral, arched windows, high ceilings etc.) inspired the idea of respectful grandiosity, the vast sense of scale (parallel to nature), and the connection to medieval religious sanctuary.

Materials and processes …

The printing process – This process was very involved and while I loved interacting with the work and learning the photogravure process, it had a lot of room for error which resulted in several unsuccessful prints, each taking approximately 2 hours to produce, which made it a challenge to resolve my work.

Burn outs – I struggled a lot this year with emotional burnouts and difficulty applying myself to the work (which was ironic considering my concept was about protecting myself from this). Allowing myself time to rest helped me overcome this challenge and engage deeply with my ideas.

Ideas behind the work …

Water’s journey depicts the path of a local creek that carves its way through a native park near my house, which became my daily antidote to lockdown. To me, the creek represents something broader than the isolation experienced during lockdown. Reflecting on my own childhood memories of this environment, my work depicts a palimpsest of imagery that collates the geography, flora and fauna that this ecosystem is comprised of. I used traditional watercolour and observational drawing using a range of materials and techniques derived from the site. This included topographical mapping, bark rubbing, eco-prints from gathered leaves and mud taken from the creek.

Starting points and influences …

I aimed to explore the concept of a journey compromising a sequence of unfolding events and how to express multiple occurrences within a single artwork.

I also sought to convey the emotion that I associated with the subject matter of my work. I was influenced by the work of artists that layer imagery and differing materials such as John Wolseley, Jean-Michel Basquiat, and Imants Tillers.

Sources of inspiration …

I am constantly inspired by nature and the people around me. The confinement and isolation of Covid lockdowns drew me to the beauty and depth of the natural environment as a solace to the isolation.

Major influences throughout the year have been John Wolseley, Ben Quilty, Jean-Michel Basquiat, Imants Tillers, Mike Parr, Georg Baselitz, and Emily Kame Kngwarreye. I am inspired by the life of Emily Kame Kngwarreye and the intensity of emotion conveyed through the gestural mark making of her art. I love how these artists use lines, colour and tone to evoke an emotional response in the viewer, which I aimed to emulate in my work. Additionally, I find inspiration by regularly going to galleries, as I love to explore varying art styles and opening my mind to creative possibilities.

Materials and processes …

I sought to use materials and process relevant to the subject matter of each journey. In my artwork, I used a range of mixed media including charcoal, pencil, ink, watercolour, acrylic. My work involved creating a series of images that represent the subject matter and collating these in a way that represented the emotion of each journey.

This included arranging my drawings by their tonal and textural intensity. Relevant to each artwork, varied materials were utilised, such as plaster, bark rubbings, topographical mapping, mud gathered from the site of the subject matter and leaf eco-prints.

Interesting/challenging aspects of creating the work …

Ironically, lockdown was the biggest challenge but ultimately a defining aspect of my work. The lockdown influenced the subject matter, emotion, and process of each artwork. To create a studio at home, I set up five trestle tables in the living room and two in the garage.

Within my work, the process of printing with leaves required me to research ways of preserving the leaves prior to heading into winter. I was surprised to find that by soaking leaves in corn syrup, they remained supple and held their colour, which allowed me to use them in my artwork.

Ideas behind the work …

It’s alive! is a 3D representation of nightmares, phobias and horror elements, to evoke a feeling of discomfort. Inspired by my love for psychological horror, slasher, and thriller films, my idea was to bring a surreal scene to life and prompt viewers to turn away in disgust… but still be intrigued by the story portrayed. I wanted the audience to ask, ‘what is going on?’ and answer with ‘It’s alive!’ – the exclamation often used in classic horror movies. The audience’s reaction to the gory details adds to the sense of unease.

Starting points and influences …

I started by making a survey to discover what people were afraid of. I found that insects, blood, and injuries were common phobias.

I wanted to explore how to evoke discomfort across a wide audience.

Karen Main, a major influence of mine, inspired me to utilise paper and air-dry clay to create 3 dimensional forms to bring these phobias to life.

Sources of inspiration …

• Karen Main / @dogzillalives and her use of polymer clay to create flesh-like creatures.
• The feelings of disgust and fear when exposed to insects (entomophobia), blood (hemophobia) or the sight of irregular patterns or clusters of small holes or bumps (trypophobia) ..or other
• Horror films such as the Saw franchise, Alien franchise, and Midsommar, contributed to the ‘nightmare’ element of my piece, such as the bloody tentacles bursting through the flesh base, and the abandoned bathroom.

Materials and processes …

I utilised a wooden board and wire mesh to create the form of the skin base and tentacles. I wrapped the wire and board with plaster bandage as a base to smoothly apply paper clay. Bursting through the cardboard box are tentacles made of wire, foil and paper clay, covered in a blood formula of red acrylic paint and gloss varnish. I created bruises with soft pastel and used air-dry clay for teeth and maggots. To age the walls, I used scissors to scrape and tear into the glued paper to create cracking and peeling walls and dripped brown and grey watercolour with a fine brush for water stains.

Interesting/challenging aspects of creating the work …

The most interesting part of my work was my extensive research in order to include as much detail as possible in my sculpture. This included internet searches of bloody and gory injuries, videos of squirming maggots, using my hand to cover the screen as I scrolled through images related to trypophobia. I spent hours individually gluing small pieces of my hair to create a hairy texture on the flesh base.

Ideas behind the work …

All that we cannot see explores the ‘inner voice’. The work is focused on the concept of ‘reflection’  and how the inner voice is expressed through physical appearance – facial expression, body language and carefully curated hairstyles, jewellery and clothing. This piece plays with the idea of concealed individuality and how easily our perception of people is flawed.

Starting points and influences …

• Exploring portraiture fuelled my interest, and my friends were the most influential source for these artworks.
• The idea of exploring the inner voice was inspired by getting to know my friends.
• I gained new insights into their inner selves through observing a vulnerable facial expression or messages they were expressing about themselves.
• The inner voice is not always evident, it is difficult to gain an accurate perception of each person’s unique inner-voice.
• I also became interested in how these young people were wrestling with their inner voices right in the middle of an isolating pandemic experience.

Sources of inspiration …

The artist Njideka Akunyili Crosby is an inspiration. Her large mixed media, domestic scenes expand the definition of portraiture.

Crosby’s combination of vibrant colour, Nigerian patterning and Xerox transfers inspired me to attempt a modern approach to portraiture.

The urban life of Northcote is another inspiration – my artworks feature figures wearing expressive streetwear and the unfinished effect reflects the entropy of the inner-city with peeling paint and collaged layers of posters.

I also find inspiration through my cafe job, where I am able to use interactions and observations of customers to drive the ideas and concepts for my work.

Materials and processes …

For my artwork All that we cannot see, I established a distinct process with acrylic paints.

Completing certain sections of the portraits in a realistic style while leaving some areas raw and unpainted, encourages viewers to compensate for the incomplete sections, communicating the idea of how our inner voice can be misperceived.

Interesting/challenging aspects of creating the work …

The most challenging aspect of my work was capturing the essence of each friend I painted and myself in my own self-portrait.

To promote contemplation and evoke an introspective mood in the viewer, my artworks needed to be relatable and personal. I wanted them to be recognisable and realistic, to help communicate my concept of the hidden inner voice being a real, universal experience.

Viewers could gain a sense of familiarity with each figure, their outer appearance paired with embroidery ‘thoughts’- the concealed nature of their inner voice.

Ideas behind the work …

Bianca is an exploration of illusion and distortion. The rippling of the water creates distortions on the smooth surface of the skin.The contrasts of black and white create the realistic illusion of water running down the face. I chose to do a black and white charcoal drawing as it gives a much more dramatic effect and emphasises the solemn and relaxed expression of the portrait.

Starting points and influences …

I have always found it fascinating to see subjects captured mid movement. I wanted to capture my subject in their natural element; almost unaware that they are being photographed. I was inspired to create a realistic charcoal drawing by artists that I follow on social media. I have always been interested in portraiture and wanted to add an extra element, water, into my artwork to make it more interesting.

Sources of inspiration …

I am inspired by various artists, galleries and social media

Materials and processes …

I used a range of charcoal pencils and sticks on a large piece of drawing paper. I began by blocking in large areas of the drawing such as the background and skin, then I layered the skin with white charcoal to achieve tone. I alternated between layers of black and white charcoal until I was happy with the tones. I then drew the water over the skin using pencils for fine details such as strands of hair and small water droplets. For the finishing touches, I painted strong white highlights with white acrylic paint.

Interesting/challenging aspects of creating the work …

This artwork is the largest drawing I have done so far, and I found it difficult to get the proportions correct. Every half an hour I would have to stand back and look at my drawing from a distance.  I always found that something would be out of proportion. I also struggled with lighting. As this is a black and white drawing, the tones look different depending on the lighting at different times of the day, so I had to adjust the tones quite frequently.