Ideas behind the work …

“Sorrow” embodies the sadness and fear that is often felt and buried deep within our LGBT population. The work aims to reflect how courage is needed to tell the world who we really are. The concepts of fragility, torment and ridicule are reflected in the subjects’ eyes and how the necessity to hide oneself from the world is felt by the viewer.

Starting points and influences …

The personal experiences of a good friend living in a regional area of the state and his internal struggle with the fear and sadness of not being able to express his sexuality and true identity formed the evolution of work. Furthermore, reflecting on photos of my good friend that seem to always capture his introspective expression and demeanour were the starting point of “Sorrow”.

Sources of inspiration …

I was inspired by the intensity of the romantic relationship captured in the film “Call Me By Your Name” –2017 directed by Luca Guadagnino.

I was influenced by the hyper-realistic artworks of Marco Grassi, Dylan Eakin and Heather Rooney. Their use of incredible detail resonated with me.

I found I was impacted by the novel “Find me” written by André Aciman. This text gave me the underlying notion for “Sorrow” that love and identity can be hidden, but true love never dies.

Materials and processes …

Materials used on Bristol Vellum 300gsm paper were Prismacolor pencil, Copic Marker and Copic Airbrush. After finishing the sketching using pencil, I started at the most important area of the portrait which is the face to avoid any mistakes that can later occur. Layer by layer, I slowly built up the desired texture and realism of the portrait. Keeping the pencil sharp, I applied with point tiny dots of force, similar to a Pointillism technique. This allowed me to overlap more layers of colour in the same area on the paper. At the completion of the face, I filled the background with Copic Airbrush (burnt umber colour). The juxtaposition of materials used in the artwork helped enhance the principle of contrast to create an impact for the viewer.

Interesting/challenging aspects of creating the work …

The most challenging thing when creating “Sorrow” was to replicate the realistic texture of the human skin. To bring the realistic texture of the skin to life, I had to create thousands of dots representing pores on the skin’s surface. This process was complex and time intense but also interesting as it was therapeutic. It was motivating to witness the skin texture grow and develop with each layer of different colours applied.

Ideas behind the work …

‘Aim and shoot’ explores what it means to capture a person – photographically and literally. My grandmother Heddie, although smiling in each frame, experienced extreme depression. I therefore questioned the extent to which a photograph presents ‘reality’ and how a camera’s technological parameters can portray or augment lived experiences. By dissecting photographic language, I discovered morbid parallels in the terms: capture, aim, shoot, hang and negative. My fragmented understanding of Heddie’s life – alluded to by the disjointed layers of collage – allowed me to interpret her life, metaphorically as a negative. However, printing them into a positive offers a new way of seeing her.

Starting points and influences …

I began searching through the existing photographic material that made up my family archives. Interested in the tangible quality of photographs changing through time, my focus shifted to the narratives behind them. I questioned the role of context, and relationships photographs have to one another, i.e., in albums or frames. Subverting the original contexts, I curated, repurposed and reframed my own selections, used once as a tool to record childhood, not to create art. This led me to investigate the role of privacy more broadly, comparing my role in the family, to a complete outsider.

Sources of inspiration …

After seeing David Noonan’s solo show (Only when it’s cloudless, Tarrawarra Museum of Art) I was drawn to the technique screen printed overlay collage texture. I was inspired by Noonan’s enigmatic abstraction of existing photographs, giving the impression of geometric shapes cutting across the work.

Susan Sontag’s book ‘on photography’, inspired the photographic metaphors I discovered. As she likened the camera to the gun, and the photographer to the godlike figure, I stopped seeing photographs as objective records of data – and began to see the weaponry bias photographs hold.

Patrick Pound influenced my method of curating, selecting and arranging existing photographs.

Materials and processes …

• Curating and selecting family archival material.
• Screen printing onto various textiles and fabrics.
• Cutting, overlaying and collaging various compositions (from the batch of clear and successful prints).
• Creating multiple editions of each frame, recording each composition with a photograph, then selecting most successful.
• Securing chosen composition for each of the four, using heat ‘n bond iron-on adhesive.
• Mounting each frame onto board and securing with Perspex.

Interesting/challenging aspects of creating the work …

I was challenged by the laborious and time-consuming practice of screen printing, along with the multitude of variables I needed to control. When I created an unsuccessful print, distilling the variable was the hardest part. I didn’t know whether it was the consistency of the ink, the application and technique of the flood/pass, the surface I was printing onto, the position of the screen, the depth of the transfer, the number of passes, or the pressure of the pass. Persistence and remaining calm in light of these problems was very challenging.

Ideas behind the work …

‘A salute to hard work, hair, all things natural and a possible robot apocalypse’ depicts a naked stocky figure representing humankind. He salutes to many things that encompass human existence on planet earth. The pot uses a range of abstract and figurative imagery to recognise history, morals, nature, and our contemporary culture. The large hand coiled vessel salutes elements of life that contribute to our existence as a species. This pot depicts the strength, dedication and resilience of humans, our challenges individually, socially, and globally, our dependence and connection to the natural world, and the risk of that world being taken over by robots.

Starting points and influences …

The intent to create the largest pot possible was the thought that initiated the creation. The challenge began by measuring the kiln and working to those measurements. An appreciation for a challenge and the joy of making things large, saw this pot began with great enthusiasm. Beginning with the idea, a dedicated coiling process eagerly followed. Influenced by the ceramics work of Grayson Perry, Stephen Benwell and Ben King the pots imagery also draws heavily on my drawing practice.

Sources of inspiration …

Potato cakes, calendars, clocks, socks, alcohol and Paracetamol, mirrors, boxes, beer and more. I am inspired by life and the activities and objects that occur around us, and form cultures. It is a social observation that initially drives my inspiration. Music is integral in my daily life and my artistic process, a wide range music is constantly altering or assisting my mood and approach to both life and painting. Of course, I am also inspired by artists, however I aim to be conscious in remaining original and not heavily inform my practice on the work of others.

Materials and processes …

Using several bags of stoneware ceramics, I hand coiled the pot over the span of three weeks. Using kidney tools, slip and a knife I joined my coils in a free form manner allowing the shape to occur naturally as I progressed vertically. Once constructed, the pot was bisque fired and ready for underglaze painting. Using a variety of brushes and vivid tones I was able to detail the whole composition with subject matter and abstraction. Additions of clear glaze painted on provided the work with a variety of texture once glaze fired.

Interesting/challenging aspects of creating the work …

The ceramic process requires a lot of patience for the pot to remain stable without collapsing. Working on a larger scale forced me to take my time and approach the pot in a more delicate manner than usual. I love working with my hands, a physical connection with my mediums is the reason which I enjoy ceramics so much. The difficulties of this work were technical ones, struggling to hold extremely long coils, or move the vessel without damaging it. I found this creation to be enjoyable and rewarding.

Ideas behind the work …

It is the reflection of how we view our lives, constantly coming to an end, frightful of what may be lurking. We are so consumed with the upkeep of our lives, of how others see us that a single wrong look would ruin our perfect suburbia. I thought of one of the most common locations, a single bus stop and repeated this subject matter several times over.

This idea of repeating would highlight the cycle of our everyday lives, point out the insanity in suburbia and make us look at the simplistic in more detail.

Starting points and influences …

A range of musical lyrics along with the videos to capture a sense of what I wished to create, such as No Surprises, Radiohead and Noid, Yves Tumor.

I looked more into photographers such as Michal Chelbin and William Eggleston this was grounded by the idea of pointing out the instantly in the simplistic.

Once landed on a theme I heavily trialled a range of photoshoots and techniques that could emphasise the mood in my work.

I found the main element that portrays this was repetition, it was from this point I decided to repeat subject matter over and over.

Sources of inspiration …

William Eggleston, his minimalistic yet influential style of photography was something I wanted to mimic in my own work, it came with such a strong message even with his simplistic use of subject matter.

Before Sunrise, although a romantic drama may not seem reminiscent in my final work, it was their conversations that guided my interest in the life of others and the places we reside.

Bill Henson, his darker style of photography is what landed me on my night shoots, and influenced me to take a darker yet more romantic approach to photography.

Materials and processes …

I took these images using a Canon EOS 100D along with the use of a tripod, although I would have liked to have the tripod at the same height for all appearances, the sloped nature of the Mornington peninsula did not allow, hence my further editing in later stages. As I wanted to focus primarily on repetition, I chose to digitally edit these works on Adobe Photoshop 2022, this allowed me to make them the same hue, position and contrast that could not be archived manually.

Interesting/challenging aspects of creating the work …

My work contains a large LED light in the top middle and finding one that would not destroy my work was quite challenging.

Stalking the aisles of bunnings and online shopping for hours trying to find a single light that could work I eventually found the light that ensures nothing ends fire hazard.

What I found most interesting was the process of taking the photos themselves, driving around what felt like endlessly pointing out every bus stop that had the right LED light turned into an activity that is yet to end well after my finals were completed.

Ideas behind the work …

The artwork explores the illusory and deceptive nature of fear, focusing on the concept of imagination and exaggeration as we view our fears as greater than ourselves and undermine our own ability to overcome them.

I aimed to create an isolating and claustrophobic environment to represent the feeling of being trapped within intrusive thoughts.

The large scale of the fish in comparison to the child symbolises the feeling of threat and overwhelm.

Starting points and influences …

I chose the theme ‘fear’ as I often struggled with anxious thoughts and I wanted my art to reflect those thoughts and feelings.

My artwork was a result of my exploration of monstrous figures as a conceptual idea. Monsters are a metaphor of fear, juxtaposing childhood fears and realistic fears.

Inspired by @kota_illustrations (via Instagram), I opted for the idea of contrasting the size between the monster and a human figure within my artwork in order to evoke a sense of threat and intimidation. This also helped me portray the idea of imagination and exaggeration.

Sources of inspiration …

The subject matter is heavily inspired by experiences in my personal life. My pet flowerhorn fish that my sister and I had a shared fear of as children due to its bulbous head. The fish had unfortunately passed away this year.

I am also inspired by contemporary surrealist artists, such as Leonara Carrington, Chris Austin and @kota_illustrator on Instagram.

I find inspiration in fantasy horror films and plot-based games such as Coraline, a childhood favourite that explores the concept of ‘another world’, and Fran Bow, a dark story game that explores mental health and the concept of reality.

Materials and processes …

I used an iPad Pro and Apple Pencil to create my artwork. I did my digital painting on Procreate. I took photographs of my flowerhorn fish as well as my little sister, figuring out the composition I desired. I then sketched it out and used the ‘flat painting brush’ to colour and render the artwork. I also painted multiple eyes all over the fish’s head to make it appear more monstrous and alien-like. I applied distortion techniques, such as expansion and exaggeration to manipulate the subject matter. I did an inkjet digital print on metallic paper for a luminous feel.

Interesting/challenging aspects of creating the work …

I found the trialing of distortion techniques the most interesting part of creating my artwork as even the slightest manipulation of imagery can communicate an entirely different feel from the original.

I wouldn’t say the artwork itself was challenging although it definitely was a time-consuming process, however, the ideas behind it are more complex than it seems. I made sure I had thought out every detail within the artwork, ensuring that each decision had a purpose that goes beyond visual aesthetics, such as the squarish dimensions, the use of perspective, the application of tone and colour, etc.

Ideas behind the work …

• The cultural and mystical notions of rebirth.
• The validity of cultural symbols in today’s age of technology.
• The lanterns and their cultural means of ancestor communication present a cyclicity of life, and continuation of life after death.
• The human presence of the feet interrupts the natural serenity, similar to human imposition of varying religious beliefs onto the world.
• The contrast of natural/ artificial methods and materials, representing the tangible scientific world, against the natural mystical world.
• The artificial manufacturing of the ultramarine and gold paint contradict with nature’s laws, which elevated these colours’ value due to their scarcity.

Starting points and influences …

• Contrasting the tangible and philosophical outlook to life I portrayed in Unit 3, I further explored cultural traditions, and embraced the more mystical notions of life and death.
• Similar to the way people’s memories live on after death, an alternative ‘second life’ is presented in the form of rebirth.
• As opposed to the traditionally slow and laborious nature of pencils, the harnessing of contemporary technology such as laser cutting challenged which approach to artwork (and by result, life) is inherently ‘better’.
• Developing from the frozen and cold nature of my previous piece, I intended to imbue this piece with life and spiritual energy

Sources of inspiration …

• My upbringing – a combination of Catholic schools, Buddhist temples, and annual Chinese traditions. The exposure to these ‘conflicting’ worldviews shaped my way of viewing the world, whether a higher force is comforting, even when seemingly impossible.
• Chinese festivals and celebrations – The use of light and lotus lanterns in creating a scene, as well as the colours which represent these different celebrations.
• Film – The film Portrait of a lady on fire inspired me to closely examine power dynamics between individuals, and the way memories of loved ones linger on in the mind.

Materials and processes …

• Harnessing digital software like illustrator to laser cut plywood and acrylic sheets.
• The use of various natural and artificial sculpting materials, using knives and sculpting tools.
• Folding, cutting and gluing of paper to create lanterns.
• Digital mock-ups and illustrated renderings to visualize concepts-Technical orthogonal drawings to measure size of wood required for aesthetic and practical purposes.

Interesting/challenging aspects of creating the work …

I have never properly experimented with sculpture, so all the materials were quite arbitrary to me. Initially experimenting with contemporary technology, I thought it was convenient and ‘perfect’, however the challenges it presented positioned me to challenge this view-For example, the laser cut paper for lanterns left burnt edges and undesirable effects, forcing me to challenge its ‘perfection’, and whether human attempts to create order and beauty (akin to religion) will ultimately prevail.

The balance of prioritizing the piece’s aesthetic qualities as well as its physical function and stability.

Ideas behind the work …

Depicts the unhomely moment and forces viewers to accept change as inevitable.
Explores the insidious transformation from homely to unhomely.

Starting points and influences …

Hans Coper, Prue Venables, Genesis Belanger.
The specific idea of the transformation from homely to unhomely is inspired by Bhabha’s essay titled The World and the Home. Which suggests that the unhomely moment “creeps up on you… stealthily as your own shadow”.

Sources of inspiration …

Florian Gadsby is a ceramicist working in London. He creates YouTube videos and tutorials which explain the art of pottery. His videos are partially why I was interested in pottery to begin with.
Franz Kafka, a Bohemian novelist working in Czechia, serves as a source of inspiration. His stories, particularly the short story Metamorphosis and the novel The Trial inspire me through the ideas of existentialism and absurdism they explore.
Japanese art and the various aesthetic philosophies (such as Kintsugi and Wabi-Sabi) are also sources of inspiration.

Materials and processes …

Materials: Keanes Midfire 33 clay (stoneware), Antique white and Randy’s Red glazes (self-made).
Tools include a wheel, Dolan turning tools, sponges, electric kiln.
Clay was first wedged, then thrown on the wheel. At leather-hard the pieces were turned to refine the shape and create a tall, narrow base. Pieces were then biscuit fired then glazed and fired to produce a highly vitrified glaze.

Interesting/challenging aspects of creating the work …

The scope of ceramics is so broad that sometimes you can get lost or overwhelmed with all the different aspects to experiment with. In some ways this gives me the freedom and ability to explore and have fun but in other ways it can be quite scary.

Ideas behind the work …

I believe that childhood is a state of mind that can exist at any point in our lives.

This outfit is me living out my ballerina fantasy, after doing ballet for many years and quitting as it became more intense, and I began to lose my initial joy.

Throughout my time playing dress-up, dancing and acting I have found that wearing a costume is a very liberating experience for catharsis.

I wanted to capture the childish chaos that has brought excitement to my life and goes against the depressing systematic nature of the adult world, by embodying an absurd character.

Starting points and influences …

The experience of childhood was the starting point of everything, however as I explored the theme, I didn’t want to just reminisce over my idealized childhood but show how it is a state of mind that we incorporate throughout our lives.

Yayoi Kusama is a huge influence on my artwork with her use of bold colour, shape and form and her ideas of self-obliteration also heavily influenced my thematic exploration.

Nick Cave also heavily incorporates childhood into his work and influenced my exploration of texture and costume.

Sources of inspiration …

Films such as Daisies (1966) directed by Věra Chytilová and Hausu (1977) directed by Nobuhiko Obayashi are huge inspirations for me pushing the limits of film, using colourful and stylized imagery to portray unexplainable chaos, also influencing my outlook on the world.

The Australian sketch comedy group Aunty Donna inspires me to incorporate an absurd sense of humour into what I create and motivates me to be silly and light-hearted.

The theatre is a huge part of what inspires me with plays from playwrights such as Eugene Ionesco that question the meaning of life and Antonin Artaud’s horrific imagery.

Materials and processes …

To create the skirt of the tutu I measured and cut various lengths of tulle and gathered them using fishing line.

After overlocking the two-toned lycra leotard and sewing the layers of tulle onto the bottom I gathered spikey strips of red bridal tulle sewing them along the red side of the leotard and hand sewed tassels on the pink side.

I then beaded the balaclava with various red beads, pink jewels, and pearls.

Photographed the costume in a studio setting using diffused flash lighting and digital camera.

I edited the photos using both Adobe Lightroom and Photoshop.

Interesting/challenging aspects of creating the work …

I found it interesting creating a piece of clothing solely for artistic purposes without having to focus on an end-user like you do in textiles and it was nice having full creative control over a school assignment.

The amount of hand sewing/taking was much more than anticipated and heavily increased the time that it took to complete the garment.

Working with previously unexplored materials and finding the best specific technique to combine them.

Ideas behind the work …

“Father 1” and “Father 2” – The painted silhouettes frame each image of my father’s childhood displaying the frantic nature of time and memory with the sketches of several people walking past emphasising the need to step back and reflect. The use of childhood photographs links his past with mine portraying my own inquisitive nature towards family.

“Poppy 1” and “Poppy 2” – The layered self-portraits display my relationship with my grandfather and how I have been inspired by him and all his knowledge from his past. Therefore, I used old photographs of him for a sense of nostalgia whilst enforcing the importance of family and role models.

Starting points and influences …

This series of works began with the exploration of my families past through photographs. At the same time, I was sketching portraits and silhouettes on my iPad and decided to combine both layers for a combination of my own emotions and current experiences. This concept was developed from Georg Wachberg’s paintings of layered images. My addition to the photos collaborates the story of my paintings with the upbringing of my Grandfather and Father. The technique of overlaying the image creates another dimension to the past and causes furthermore contemplation of the connection of loved ones.

Sources of inspiration …

Francis Bacon and his evocative gestural application of paint has informed several aspects of my paintings. I love reading about his chaotic life and his work never fails to cause me to freeze and contemplate my emotions. Vault magazine has allowed me to remain up to date with the news of Australian art whilst also challenging my ideas of the ‘perfect’ artwork. The Rich Roll and Lex Fridman podcast sallow me to listen to several perspectives on what is going on in the world and helps broaden my eyes and creativity in ways I would not have thought of.

Materials and processes …

Firstly, I sketched preliminarily on my iPad of myself and random people walking. These sketchers were simplistic and transparent allowing me to place an image behind. This was then printed on rag paper allowing me to paint black oil painted background only leaving the silhouette of the image as a window to the original layer. I painted the frames black with the gold trimming to encapsulate the essence and highlight the centre of the works. Moving from unit 3 to this set of finals I had to change my painting technique to a more delicate and ambiguous paintings.

Interesting/challenging aspects of creating the work …

This series of works until the end I viewed as trials and potentials but once I refined them by developing individual frames, they became some of my proudest works. I did not expect my artworks to end up small and delicate at the beginning, but I believe they encapsulate the essence of all my trails and final works. My most challenging aspect of the year was my goal of perfection but once I stopped over contemplating and began working on several works at once I freed my mind and was able to know when things where truly finished.

Ideas behind the work …

This ceramic figure depicts an idiosyncratic inhabitant of a wondrous dimension. The ornate textural details of this flowing, winged entity have been finely crafted to emulate the organic enchantment of the ocean just as the glistening touches of gold lustre convey a meretricious allure of prosperity. However, an underlying obscurity provokes uncertainty in regard to its nature. Does the looming, domineering form of the figure perhaps reveal its more sinister disposition, as it wages a vicious underwater competition for the jewels of the ocean? Or, does this creature live in harmony with its oceanic companions, appreciative of their respective magnetism?

Starting points and influences …

My desire to focus on a sense of wonder was borne from memories of the joys of childhood, when fantasies seemed to fashion themselves in the world around me.

I returned to drawings and paintings I created as a young girl, which depicted magical, fantastical and often strange creatures and characters.

As I developed and refined my concept, Iwas increasingly inspired by oceanic imagery and the enchanting, unfamiliar vitality of sea life.

All my finals take great inspiration from the endless possibilities evoked by obscure, uncertain narratives which can offer a process of exploration and discovery.

Sources of inspiration …

I am greatly inspired by the playful, whimsical aesthetic of Mirka Mora and Grayson Perry. Both artists create peculiar characters and narratives which I find deeply nostalgic and provoking. I love that the viewer must unearth the meanings behind their naïve, colourful imagery. For my concept, the fairy tales consumed as a child were extremely influential. I was inspired by the outlandish stories and characters they depicted as well as the sense of nostalgia I experienced in returning to them. The elegant forms of sea life are captivating to me. I find this imagery both enigmatic and profoundly beautiful.

Materials and processes …

The manipulation of ceramics allowed me to create intricate textures and fine, delicate forms. Applying tints over the glaze allowed the pigmentation to gather and emphasise crevasses and highlights, creating the complexity necessary for the allure I wanted to achieve. Additionally, the fine embellishments of gold lustre added an element of unity over the three pieces, tying the series together. The scale of the works meant my process was at times very daunting, and I experienced numerous tragedies as a result of kiln explosions.

I employed the playful, soft medium of a rug in my second final to provide both a sense of comfort and attraction. There was a slow but exciting process of discovery which accompanied the completion of this work, given the extremely time-consuming nature of hand-tufting. There was also a lot of room for error, as I could unravel stitches or trim imperfections throughout the whole process.

Interesting/challenging aspects of creating the work …

The processes I undertook for my finals demanded a huge amount of time and attention to detail which was very challenging.

I had never created a rug anywhere near the scale of my final ‘Falling Dew’, and I definitely underestimated the time I needed to dedicate to the process. A lot of late nights were required but it was a great form of procrastination from my other subjects.

Even though it was at times terrifying, the creation of ceramic series was also very exciting, especially the risk taken with each firing.

Ideas behind the work …

The ideas behind my oil painting revolve around my personal experience with an overwhelming desire to control my surroundings and daily events. I chose to explore this through the use of oil paint, applying it in a way that challenged the preconceptions and style of more traditional oil paintings. I wanted to create an artwork that reflected the feeling of being in control and everything perfectly aligning.

Starting points and influences …  

I knew that I wanted to incorporate a personal experience into my work. I felt that exploring a visual representation of the desire and feeling of being in control would be a good starting point. I drew inspiration from the geometric and interconnecting shapes that comprised the subject matter in Kurt Schwitters’, ‘Revolving’. I wanted to use a medium in a style that it was not traditionally associated with to help me convey the notion of an assertion of control

Sources of inspiration …

Robert Delaunay’s paintings and the interconnecting nature of his subject matter.

The geometric and precise and ordered compositions present in Piet Mondrian’s work.

My own personal experience with the overwhelming desire for control, order and structure and a constant struggle with perfectionism.

Materials and processes …

• Materials:
  I applied oil paint onto canvas board.
• I used a T-square, set square and compass to sketch out the composition with grey lead.
• To create the crisp straight edges, I used painters’ tape.
• To create solid round curves, I employed a synthetic square flat edge brush.
• I utilized linseed oil to create the desired consistency of paint.

Process:
I began by sketching my idea for the composition on a piece of paper and then used a T-square, set square, compass, and raised drawing board to create precise, straight lines and curves. I then roughly planned out where I would place different colours, recording this on video and by writing the specific colours directly on the canvas. I used blue painters’ tape to section off specific areas when painting straight edges and used a synthetic, flat edge brush to paint the curves free hand, following the grey lead composition lines. I mixed the paint with linseed oil to create the desired consistency, ensuring that it didn’t bleed underneath the tape, creating crisp and precise linework and shapes.

Interesting/challenging aspects of creating the work …

I found the repainting specific sections the most challenging aspect of my work. When sections were not the desired opaqueness, I had to repaint them which involved carefully taping off the edges and using a flat edge synthetic brush to precisely go over the preexisting shape.

Another thing I found challenging was achieving the correct consistency of the paint to ensure it didn’t bleed underneath the tape or apply in a sheer style.

Controlling the paint placement was also challenging at times, as oil paint is a notoriously difficult medium to work with.

The initial sketch and planning out the composition was very interesting as there were so many different options and deciding on one final one that looked seamlessly interconnected challenging yet rewarding.

Ideas behind the work …

Cementality, is a name derived from the 2013 song by King Krule, which was a very influential artist during my studio process. The song a “sinister yet soothing” piece. The artist contends it is about contemplating his own suicide, yet for me, it’s stillness, and stagnant focus. The word ‘cement’ lies within the title which further explains its appropriateness.

Starting points and influences …

I wanted an original form of inspiration. The meeting point between the two most basic forms of inspiration, being humans, and nature was architecture. The brutalist style was calm, still, yet strong. Most found it ugly and boring, but I was able to peel back the layers to find a deep and complex story behind it.

Brutalism was always fascinating in its neutral and powerful nature, and it has significant links to history and culture of both Eastern and Western societies, and I have always been fascinated by architecture, politics and history. I was first exposed to Brutalism through pop culture so those were my direct sources of inspiration including images from popular Brutalist artists, Eastern European political bands, European movies and brutalist sculptors. These sources offered a wide variety open inspiration in which I could take and incorporate into my own work.

Sources of inspiration …

History and politics. Particularly conflict and wars and the way art can be used to start movements, spread messages and capture moments in time for future generations.

Pop culture. Music such as Molchat Doma and other European bands. Cult film classics such as “End of Watch” directed by David Ayer, “The King” directed by David Michôd and “La Haine” directed by Mathieu Kassovitz. All works of art, exploring raw and rugged realism of crime, police brutality and war in their purest forms.

The study of Otto Dix and his work heavily resonated with me. I took very little inspiration from his style or artworks produced, but his story is far more interesting. His art was a criticism of the government, and he was consistently punished for it. He used art to process the PTSD from two of the biggest wars in recent history.

Further reading: unrelated to VCE work.

Australian Pop Culture. Music and movies such as “Son of a Gun”, “Two Hands”, “Mad Max”, and music such as TISM, Regurgitator, Powderfinger, Midnight Oil, Nick Cave and Grinspoon. However, this did not heavily impact my VCE work, but it does influence many other aspects of my art outside VCE.

Pinterest, due to its complex and accurate algorithm.

Eastern European culture such as politics pop culture and history.

Materials and processes …

My initial process was precise, planning, measuring, and cutting carefully and precisely proved too time consuming. I was forced to restart from scratch in order to complete my work in time. I improved upon my use of the Styrofoam mould by using larger pieces, lacking precision I cut and glued until I had a solid Styrofoam structure that somewhat reflected my visualization. I then filled gaps creating a watertight receptacle. This method allowed me to create a more organic, natural form, quicker. A ratio had to be determined between the sand cement and water, and a 3:1:1 combination respectively sustained its structural integrity the best.

Film photography offered more character, and calmer, neutral effect with grain texture.

Interesting/challenging aspects of creating the work …

Interesting was the initial exploration into the ideas and themes of Brutalism I’m trying to incorporate all of my learning into my physical works. The selection process of finding of model that fit my requirements was difficult and stressful due to the lack of willing models. The concrete sculpture proved extremely time consuming and tedious with large room for error. Someone’s god was with me the day we removed the mould.

Ideas behind the work …

Bigger Picture is about stepping back and considering identity as a whole rather than what is seen in the physical realm of expression. Transgender (as a term describing those who do not identify with the gender assigned at birth) individuals often hide the true extent of their uniqueness and individuality when expressing themselves, while only presenting a smaller fraction of their identity to the world. This piece encourages individuals to consider the ‘bigger picture’ of identity, acting as a reminder that what you see may not always be authentic, but a portion of the whole story.

Starting points and influences …

Using my journey questioning my own gender identity as a starting point, I wanted to explore through my art the feelings I had and the discoveries I made through such a process. Aiming to visualize my own internal conflicts, I developed a paradoxical way of expressing myself, combining new materials and older imagery.

Sources of inspiration …

Street artists like Shephard Fairey and Keith Haring captured my interest because of the street art they created and the meanings they intended for each of their works.

Previous Top Arts students inspired me to be ambitious with my approach to the VCE subject which ultimately kept me confident when creating such large-scale or emotive works.

Artists like Andy Warhol and James Jean who use vibrant colour within their works.

Materials and processes …

Exploring the medium of spray paint for the first time, I tried freehand and stencilled application of the paint to see what created the most visually interesting and aesthetically pleasing result. It took a long time to refine my technique when using stencils to create defined edges and sharp tonal transitions as the material itself doesn’t naturally allow for much precision.

Interesting/challenging aspects of creating the work …

I found it difficult to both manage my time and abandon my perfectionist tendencies when coming to the final stages of making my works. Spray paint is not precise in its nature which would annoy me or have me wanting to start over until each detail was perfect.

Ideas behind the work …

‘Caught in a Dream’ is a short film that explores the idea of what would happen if a film camera was snuck into a dream and manages to record it in all its strangeness. Across it’s short time of 3 mins and 15 secs the audience follows a seemingly normal poker game until things quickly begin to get weird. The overall idea behind my studio process was to explore dreams and how unsettling it can become if the dreamer realizes they are dreaming. Looking at the strange space between reality and illusion.

Starting points and influences …

My starting point was how I dream, my dreams tend to be cinematic and feel like mini movies. I wished to express how I experience dreams and have always found it fascinating how dreams are portrayed in film and other media. Thus, I wanted to put my own personal touch on it, something beautiful but feels off in some way because it isn’t reality.

Sources of inspiration …

I was largely inspired by themes explored during the French new wave of cinema and how a low budget does not need to limit your creativity.

Film makers like Wes Anderson and Hayao Miyazaki were a massive inspiration because I love the way they use colour, lighting and subtle acting to communicate interesting stories.

I’m overall inspired by how stories are told through visual mediums, specifically photography as a single shot can tell a whole story.

Materials and processes …

I spent a long time planning out the script and how I was going to create a set that would successfully give off the right mood. However, when it came to filming, I mostly ended up going with the flow and having fun with my friends. The list of materials I used during the film is extensive but key components were digital camera, tripod, smoke machine, chairs (used to make the table) and friends. I used Adobe premiere pro to edit.

Interesting/challenging aspects of creating the work …

Interesting: How chaotic and fun it all became, one moment I was drawing up scenes and researching film techniques and next everyone is choking on smoke from the smoke machine dressed up in my shed in the middle of winter.

Challenging: Definitely the editing process because there was constant tinkering and adjusting.

Ideas behind the work …

The title of the piece is ‘Growing Pains,’ and seeks deconstruct the popular trope of ‘teenage monster-hood’, where in horror, maturation is depicted as a corrupting force. The use of the bull – typically associated with hyper-masculinity and male sexuality, works to warp the symbolism, which’s sexuality is heightened by the penetrative gaze of the bull. This presents a commentary on the role of young women in the modern age, and stands to subvert the association between bulls and ‘unbridled masculinity.’ Thus, the illustration utilises animal motifs and mythological symbolism to commentate on the treatment of female sexuality in media.

Starting points and influences …

My artistic process for the piece began with an examination of the mythological art of Medieval manuscripts, which often involved anthropomorphisms as allegories for social and political conditions of the time. From there, I took to investigating symbolism of animal-human hybrids in history, which drew me to the Minotaur, as well as Spanish bull practices. As a result, Picasso became influence on my work, alongside feminist creature-feature horror such as Ginger Snaps, written by Karen Walton.

Sources of inspiration …

Major sources of inspiration for me include the musical works of J.G. Thirlwell (Scraping Foetus Off The Wheel), the films of Alejandro Jodorowsky, as well as the art of J. C. Leyendecker. While they were less of an influence in Growing Pains, their art styles, personal philosophies and role in the creative industry has always remained in my head during creation.

Materials and processes …

The actual finished piece is simply pencil on paper, however mixed media studies of bulls and human/female anatomy were made during the development stages of my process. Photoshop was also utilized in order to create a rough reference for my full-scale piece.

Interesting/challenging aspects of creating the work …

The most challenging aspect of my work came when having to fully articulate all the meanings and nuances of the piece in my visual diary. As it combines a lot more concepts than previous VCE pieces of mine, I wanted to make sure all the detail and complexities were spelled out coherently, which proved to be a challenge.

Ideas behind the work …

The idea that relationships must consist of a man and a woman is engrained within people from a young age, storybooks, songs and tv shows all show relationships as men and women. Therefore, coming to terms with your sexuality, especially as a lesbian, can prove to be an arduous task. The warm, feminine colours of “Internal Discord” distinctly contrast with the harsh black lines of the aerosol paint to create a clear distinction between the ideal’s society pushes upon people and the experience of queen women. The grid like structure and jagged shapes of the aerosol lines represent a beautiful identity hidden behind a cage built from societal expectations.

Starting points and influences …

Personal experience as a queer woman.

I wanted to create something that could provide an insight into the difficult aspects of being a queer woman.

Sources of inspiration …

Poetry from Greek poet Sappho, particularly Sappho 31 which discusses loving a woman when you are not allowed to due to societal expectations.

Tove Jansson’s illustrations for her book Finn Family Moomin Troll as well as her own experience as a queer woman in Finland which was largely unaccepting of queer individuals. Jansson uses her illustrations to express her hidden relationships with various women and the emotions that accompany these relationships.

Materials and processes …

Oil paint, aerosol paint, transparent gesso, canvas.
Primed the canvas with the acrylic gesso before sketching out the composition with grey led pencil.
Used black aerosol paint to go over the sketched-out lines.
Waited for aerosol paint to completely dry before adding in sections of colour with oil paint.
Waited for oil paint to dry before hanging the canvas vertically and adding sections of dripping oil paint.

Interesting/challenging aspects of creating the work …

Ensuring that every aspect of the work contributed to my communication of ideas and meaning.

I had to carefully consider what colours to use when painting with oil paint to emphasise the prospect of a queer identity. I chose to use colours from the lesbian flag to ensure that the colours also had meaning.

Adding the dripping paint proved to be slightly challenging as the canvas absorbed the oil paint quicker than I was used to. To combat this, I had to add extra oil paint to the pre-existing dripping sections in order to lengthen the drips.

Ideas behind the work …

In ‘Landscapes and Landforms’ I wanted to explore landscape through a deferential lens to engage in alternate ways of understanding the Australian environments of Uluru and Tasmania which mean so much to me and what I value about our natural world.

This idea stemmed from my own appreciation and affinity for being in nature, marvelling at Australia’s variegated natural landscapes and landforms.

By examining landscapes such as the Uluru, Kata Tjuta and the cordillera landmasses of Cradle Mountain with my Nikon Coolpix p950 I hoped to enhance an appreciative, methodical, precise approach to monolithic landforms inherent in these ancient places.

Starting points and influences …

Travelling around Uluru and Tasmania with my family on holiday and experiencing such reverence for Australia’s natural landscapes was the starting point of developing my photographic imagery. I was Inspired by Ansel Adams, one of the most iconic American landscapes photographers housed film cameras to produce darkroom silver gelatin prints of America’s sublime natural landscapes such as Yosemite National Park. Similarly to Adams, I aimed to convey a sublime quality with the controls of a DSLR camera, employing both ends of the tonal spectrum whilst observing and enhancing organic textures, fissures and forms of some of our ancient landscape.

Sources of inspiration …

My bearded dragon, Leon. I have always been a green thumb and animal lover but when I first saw Leon, I was mesmerized by how such a small, intricate creature could be so different to myself yet exist within the same natural environment. This sparked my curiosity and yearning to explore the vast and various Australian environments

Travelling around Uluru and Tasmania (Cradle Mountain, Schouten Island) – hiking around and exploring ancient landscapes, experiencing awe with each step really inspired my sense of reverence for the natural world. Ansel Adams ‘pure’ photography, sense of sublime and reverence for the natural.

Materials and processes …

Using my Nikon Coolpix p950 camera I created a series of 12 monochromatic matt black pigmentA2 inkjet prints on 310gsm Canson Photographique rag that represent my own experience of reverence for Australia’s landscapes and landforms that have existed for eons of time.

I used Photoshop features (Camera Raw) to edit my initial, coloured images to black and white-enhancing the textures, highlights and clarity and spiritual quality of my images.

The matt black pigment ink I used to print seemed to solidify the dramatic contrasts of light and dark within my work to correspond to the heightened spectacle of these landscapes.

Interesting/challenging aspects of creating the work …

I found it interesting exploring the role of colour in my images. Initially my images depicted rich, local colour palette of deep sandstone reds and spiritual sky-blue hues that characterize Uluru. I found that utilising monochromatic black and white colour palette enhanced the variety of endless iterations of the geological forms sculpted over eons of time, augmenting my strong emotional connection to the nature of such landscapes. This helped to evoke emotions such as yearning to be in natures comforting yet consuming presence and convey a sense of appreciation, reverence for this natural world.

Ideas behind the work …

In my performance of ‘Mycotoxin’, I explore the concept of ‘invisible toxins’, specifically carcinogenic mould. I was particularly interested in how we go about our lives unaware of the everyday toxins silently harming our bodies, carcinogenic mould being one that has impacted myself and family’s health significantly. I had my brother motionless and oblivious in the centre as I danced around him, affecting him with the charcoal. The harming of the body is communicated in my piece through my movement with charcoal powder. The use of charcoal powder is ironic as it is in fact a supplement used to detox and draw toxins from the body. My use of the large white space acts as a canvas and enables you to immerse yourself in the piece and emotionally connect to the physical, confronting but beautiful nature of the artwork.

Starting points and influences …

I was influenced predominantly by my own experience with toxins impacting my health after living in a water damaged house with carcinogenic mould. It was a new concept that I became aware of and I started developing an understanding of how everyday toxins can harm us without our knowledge, hence why I explored this concept for my artwork.

A very prominent topic and alarming issue in our world right now is the state of the environment. Having lived in an apartment right near a motorway where fumes would constantly be entering my home, it made me realise that our world is full of toxicity that is not just impacting the natural environment but our bodies too.

Sources of inspiration …

I am inspired by Richard Wilsons ’20:50’, an immersive installation of black oil. It prompted me to consider the scale of my work and simplicity of space in order to ensure focus on the substance, in my case charcoal to represent mould.

I’m also inspired by Sydney Dance Company’s sleek contemporary style and their set and lighting design which compliments their dance works by acting as a blank canvas.

James Turrell’s light installations and architectural spaces.

Materials and processes …

• Charcoal powder
• iPhone 11 on a tripod to document
• the performance
• Contemporary dance
• White videography studio space
• 120m2
• Rolls of white paper and protective sheets to lay the surface and prevent damage.

Interesting/challenging aspects of creating the work …

The most challenging aspect of creating this work was organising a space that would allow for use of charcoal as well as ensuring I was well rehearsed and prepared to do the performance in one take. I faced many obstacles in securing a large white space and preventing damage to floor with the charcoal.

Ideas behind the work …

Focuses on the exploration of ideas relating to the futuristic, dystopian aesthetic, and comments on the dystopian nature of a possible future and society as a whole.

Starting points and influences …

The idea for my artwork began with wanting to create a dystopian world that conveyed messages and ideals through worldbuilding.

Sources of inspiration …

I took inspiration from the filmmaker Ian Hubert and his films, which similarly featured the aesthetic which influenced the style of my own artwork.

My artwork drew inspiration for aesthetics from films that featured the science-fiction, cyberpunk themed style, such as Blade Runner, Ready Player One, as well as Dynamo Dream by Ian Hubert.

Materials and processes …

The animation is done digitally using Blender, working in a 3D environment.

Photography was used to capture image textures that were used on the 3D models, for example, the buildings were modelled by projecting a photo taken in Melbourne of a building onto a cube and was 3D modelled around the texture.

Photogrammetry was utilized to create 3D models from videos shot from my phone. I recorded areas in Melbourne and used photogrammetry to reconstruct them digitally.

Interesting/challenging aspects of creating the work …

The process of iterating different changes digitally for the animation took a long time.

Rendering the entire 400 frame animation took 2-3 hours to complete, thus whenever I wanted to change details it would take a while before receiving the feedback with an updated animation.

Ideas behind the work …

The corporeal naturalism of carrion birds’ scavenging cycles is intermingled with machinery, delineating an alternate reality where technology is ingrained within ecology, where a subtly roboticized murder of crows consume the mechanical viscera of the human figure. Utilizing the 21stcentury’s cultural paranoia surrounding the uncertainty of rapid developments in artificial intelligence, the portrait serves as an allegory for an individual’s depersonalization at the liminal threshold between one era and the next, where unfulfilled youth is given little time to comprehend the advancing stage of adulthood. During such a transitory process we are dissected and disassembled -at a point in time you become the last you, and perhaps the last version of humanity in a machine-driven world.

Starting points and influences …

The engulfing mass of industrial components and silicone become recyclable nutrients and references my starting point influence, sculptor Patricia Piccini’s speculative future biomorphs. The mortal loss of August Friedrich Schenck’s “Anguish” was echoed in the surreal visual language of the crows. The insensate, reclined subject matter accepts a limbo landscape that is both romantically alienating yet dominated by claustrophobic low-key tones, bridging Carravaggio’s academic rendering conventions with the contemporary qualities of Louise Hearman’s psychical portrayals, developing into a diptych that crosses tradition and modernity.

Sources of inspiration …

‘Can’t Help Myself’ (2016) by Installation artists Sun Yuan and Peng Yu was a sculptural installation that inspired the exploration of the boundary between ethos, machine, and greater cultural underpinnings, motivating me to develop an imposing composition that could elicit invigorating exchanges between the audience and the artwork. Surreal exploration video game NaissanceE also kindled the conceptual fascination with the eerie unknown. The digital illustrations from retro-futurist concept artist Simon Stalenhag further roused my interest in narrative.

Materials and processes …

With a broad brush, I established the tonal ranges of the preliminary sketch with a burnt sienna underpainting, which would amplify the brilliance of the subsequent grey layers and counterbalance the dominant cool tones with warm tinges. For the background, I employed gestural sweeps of the brush to simulate the ephemerality and erraticism of wind, adding kinetic washes of solvent to enact the directional dripping of paint in the background, which juxtaposes against the heavy, sinking stillness of the black and ultramarine blues. Rendering the face en grisaille elucidated areas of light and shadow for skin tone accuracy. I used a rough bristle brush and a blotting, layering technique to produce the wispy feathers

Interesting/challenging aspects of creating the work …

What was interesting was the exploration and development process of the initial idea, where diverging influences ranging from structural techniques to concepts seemingly irrelevant could be drawn together and synthesize within the image, however apparent or underlying. While I abandoned using mirror vinyl in the final as I had done in Unit 3 (I explored this in my diary) I could still utilize reflection in metaphorical ways. Technical challenges I overcame were perspective, and colour vibrancy.

Ideas behind the work …

Images of cis femme and non-binary people posing in men’s clothing – aimed to give a ‘glimpse’ into the day of passing as a male.

Aimed to investigate male stereotypes and see how these influence our styles, body language, identity and more-the distressing reality of many trans people struggling with passing is sugar-coated with the playful cliche aesthetic.

From my personal experience, before starting testosterone, clothing played a crucial role in the way I was perceived and how I felt comfortable in myself. But now, passing isn’t as relevant or important to me, so I wanted to create a humorous artwork about how silly this concept is.

Starting points and influences …

Reflecting on how my experiences with trying to ‘pass’ as male.
Had this vision of dressing my cis fem and non-binary friends in men’s clothing and taking photos of them walking down the street. Public experiment.

Influences:

• Bruce Gilden and Eamonn Doyle – candid styled photos taken in cities and public spaces using a harsh flash.
• Ted Min ‘Twisting the Nipples of Photography’ represents a photo series of people jumping in the air on a broomstick. Funny, light-hearted and strange. I’ve also modelled and assisted him on shoots and taken inspiration from how he directs and positions his models in unique poses.

Sources of inspiration …

Thomas Friederich Schaefer’s ‘Experiential Spaces’ photo series has been a major inspiration when it comes to the concept of ‘memories’ and how spacial effects can change our moods.

Chella Man is a multi-media trans masculine artist based in NYC, his representation helped me, and I wanted to continue that. Seeing him model for magazines as a trans man inspired my ‘hard yards’ photo series.

Materials and processes …

Handholding a Canon 5D mark 2 digital camera I placed a portable studio flash on a stand right next to the lens and snapped the photo of the participant. This technique created a fine harsh shadow outlining the subject’s body. For post-production I edited all my photographs to B&W in lightroom, heightening the contrast and highlights. I printed all the photographs on Watercolour paper to add texture.

Interesting/challenging aspects of creating the work …

Most interesting was exploring my concepts in depth, especially when it came to researching nostalgia and putting those feelings into an artwork.

I met so many new people, most of my subjects were random people from social media callouts. I met my best friend from the ‘passing’ shoot’. It’s interesting the connections you make when working with others.

The most challenging was filming in the green room because if I wasn’t satisfied with the lighting, I had to do it all again. Furthermore, editing this work in premiere pro and aftereffects were incredibly time-consuming.

Ideas behind the work …

• An autobiographical mapping of my lived experiences.
• A developmental, chronological and visual cartographic narrative.
• This concept is reflected through abstract subject matter, detailed linear marks depicting boundaries, pathways, undulating meridians and horizon lines, illustrating our life paths in a metaphorical manner.
• Each line or mark represents an event, connection, or emotion, coming together in a crisp, sharp, clearly articulated pattern of marks, creating an abstracted visual cartographic narrative of my own lived experiences.

Starting points and influences …

I viewed a quote by J.R.R Tolkien: “Not all who wander are lost,” and was inspired by both the literal and metaphorical interpretation of being lost within a landscape.

Thus I came up with the theme of “Life: Mapping the Contours of Lived Existence” and exploring notions of space from a psychological and corporeal context, where the landscape becomes the metaphor for the lifepath.

Sources of inspiration …

• Books/ literary quotes- to form the conceptual basis of an artwork. One book I looked at a lot throughout the year was The Eyes of the Skin by architect Juhani
• Pallasmaa.
• Jason Craighead
• Cy Twombly

Materials and processes …

• Oil paint
• Black printmaking ink
• Litho paper
• I used a variety of unconventional materials, such as creating texture with paper, organic material like bamboo stems, using techniques like tapping and rolling the stem to allow it to move naturally across the surface, and inorganic material like fake plastic leaves, creating unique, fragile, and delicate linear markings that infer the concept of mappings a metaphor for the lived existence.

Interesting/challenging aspects of creating the work …

When creating the final artwork, I ran into some problems regarding materials. The water color paper that I had initially intended to use did not take to the ink as well as I had expected. This led to me experimenting with other types of paper and settling on a smaller roll of litho paper, which meant that the prints could not be the larger size that I initially planned. The final work could have had more impact if completed on a larger scale; an over-sized work would inhabit the viewer’s peripheral vision with an abstracted yet refined visual account of my lived experiences.

Ideas behind the work …

“Untitled (father figure)” grapples with both my own associated attitudes towards industrial materials and attempts to assert my own masculinity and experiences. I associate industrial materials with restrictive, abrasive and intrusive forces and this creates symbolic connections to maternal and paternal relationships. By confronting the materials through a tactile and intimate process, I am able to recontextualise my relationships with industrial and urban spaces.

Starting points and influences …

I wanted to transition my ritualistic foraging tendencies from a natural to an unnatural environment, as my time in urban spaces increased dramatically in Unit 4. Urban foraging gives me the opportunity to reuse and recontextualise materials that would otherwise go to waste. Through this I wanted to challenge and reconsider my detached relationship with urban spaces and recontextualise these materials to view them in an artistic light. I also wanted to challenge my relationships with materials through the use of both urban and domestic objects, which allude to associated maternal and paternal symbols.

Sources of inspiration …

I am inspired by observing how young people attempt to understand and navigate contemporary society when our lives have been overrun by both the successes and devastations of technology and urbanisation. My life experiences and the physical spaces around me are most influential, as my ongoing practice is conceived through trying to dismantle and cope with contemporary society, and the inevitable future. Tracey Emin, Joseph Beuys and Thom Yorke inspire me, as they challenge traditional notions of art and incorporate confessional elements into their work to come to terms with the abrasive and repressive forces of industrialised and contemporary society.

Materials and processes …

In “Untitled (father figure)” I used industrial materials and a labour intensive and tactile process. Urban foraging was used to locate and interact with materials in different environments and to accumulate items, such as the discarded chair and piano pieces. Transporting bags of concrete, mixing, pouring, creating moulds and trialling different mixture ratios were all part of my process. A shirt impression in one of the forms was made by pressing it into the wet concrete surface. Casts of my shoes were created using pinkysil moulds. These act as implied self portraits of my experiences and relationship to the materials.

Interesting/challenging aspects of creating the work …

The physical labour involved in creating “Untitled (father figure)” was most challenging, as it was difficult to contain and control such an abrasive, heavy material as concrete and it affected me physically. Even when wearing protective gloves, my hands and skin would become dry and peel for months. I learnt that even before concrete sets, it can be destructive, as reutilising cardboard boxes as molds meant that the pouring process would often burst or erode the boxes, spilling concrete everywhere. I had to adapt by reinforcing the molds using tape, pinkysil and plaster bandage and pour in stages.

Ideas behind the work …

Constantly scrutinising the concept of control, I am led down a path of deciphering the spirit to understand the strength of our own will. Spiritual instincts are how we can direct what we want to create before our eyes. The base drawing behind this work was done blindfolded, so I was completely detached from subjectivism and completely attached to my original condition of being. At the end of a day of finding my mark, I drew over my original sketch, without the blindfold, to actualise a culmination of instinctive energies; with the harsh charcoal expressing the abrupt changes in impulses.

Starting points and influences …

I was always insistent on studying the spirit having been exposed unconditionally to natural tendencies living in a forest, but I had to find my visual language that is conducive of acting on my own spirit. So, my dad and I spent the day doing charcoal art, blindfolded, to find my mark and tested my efficacy on different surfaces. In this sense the work arose from a spontaneous blindfold drawing that I then took further at the end of the day using my culmination of instinctive energies to actualise a raw, uncontrolled work completely subject to my spirit.

Sources of inspiration …

Film noir was a critical vantage point for me to discover black and white as a powerful sense of the spirit. It opens a portal into a space that gives the viewer no attachment to their surroundings, other than an objective understanding of knowing the space from its own perspective, not from one’s own point of view. Albrecht Dürer inspired me for his drive to measure the tools of calculating composition with the tools of representing ideas to create a theoretical work that reflects our own existence. I am also inspired by Leo Tolstoy’s fervent fascination to analyse every dimension of meaning behind every initiated word.

Materials and processes …

Complete Detachment/Complete Attachment was completed on Velin Arches fine art paper for its robust quality and pronounced fine grain. To begin, a blindfolded 2B graphite pencil drawing was completed and then using the same image as visual direction, I went over the top with charcoal after trials lead me to conclude the harsh black quality of the charcoal will best allow for the expression of line and form that manifest abrupt changes in impulses.

Interesting/challenging aspects of creating the work …

The charcoal drawing was similar in the sense that it was pure instinct that distracted the mind from controlling the work and which decided the movement of charcoal. I was acting in a flow, quite undisrupted, so mistakes were not observed and only my next movement engaged my conscious. The challenging aspect was knowing when to stop!

Ideas behind the work …

I was determined to make people think differently about our empirical reality, and even if just for a moment, remember our earth-lightness that connects us to the natural world. Nature’s spirit interconnects everything ubiquitously and breathes life into us with our roots emanating from the ends of the roots of nature. Like an asymmetric balance, we likewise use instincts to grow out of the darkness of unpredicted action and we inherently depend on each other for stability. Therefore, I explore a sense of connection…an invisible energy in the atmosphere that elaborates on the fossilised instincts of the spirit in the subconscious.

Starting points and influences …

Looking through my window, I thought, we always look at nature as if looking through a window whereby our vision is not comprehensive. Focusing on the glass like a picture of the outside, we see what the glass allows us to, but do not see beyond a precisely outlined section delineated by the framework. Almost as if an ethereal force has deliberately confined the limits of the human eye to see only the material matter to save the sophisticated systems of connection that makes nature the controlling force of the universe.

Sources of inspiration …

Film noir was a critical vantage point for me to discover black and white as a powerful sense of the spirit. It opens a portal into a space that gives the viewer no attachment to their surroundings, other than an objective understanding of knowing the space from its own perspective, not from one’s own point of view. Albrecht Dürer inspired me for his drive to measure the tools of calculating composition with the tools of representing ideas to create a theoretical work that reflects our own existence. I am also inspired by Leo Tolstoy’s fervent fascination to analyse every dimension of meaning behind every initiated word.

Materials and processes …

The photographs for Trace Fossil were taken on a Nikon D800 DSLR and then developed further on Adobe Photoshop. I spanned one photograph across the panels as a background layer, and then created a translucent effect by decreasing the opacity of the front superposed photos which imbues the work with a rich depth and luminosity. Printed onto Moab Somerset Museum Rag art paper, I manipulated an instinctual inclination towards the movements of line by expanding on the sense of spirit captured in my photographs through traced engravings and then took its natural form further through imagination.

Interesting/challenging aspects of creating the work …

Trace Fossil was challenging in the sense of finding the landscape, or tree, for the photographs. I had no intended image in mind that I was searching for, I only knew I would know the shot in the moment. Subsequently, lots of trips and trials were conducted in the search of the perfect setting. The engraving process was completely natural and instinctive so it was interesting purely acting on spontaneous lightning bolts of insight; not really knowing my next move or what I will produce.

Ideas behind the work …

“The Sameshima oysters” are the physicalised vessel of emotion belonging to the artist’s grandmother navigating homesickness and racism in 1950s Australia. The outer ‘shell’ is emblematic of the tough facade one may erect to defend the vulnerability of one’s authentic self. Further, the steel nails violently defend the teeth submerged in the oyster’s flesh, alluding that the teeth are symbols of trauma and inner turmoil. Typically, only the pristine emotions are put on display, yet here, the artist displays the grotesque side of emotion on presentational plinths. Behind hang modern interpretations of Kakemono, showing the erosion and distortion of family memories.

Starting points and influences …

I began with the starting point of wanting to create a piece that was navigating identity, specifically the relationship that one has between their external expression and their inner turmoil. My grandmother’s story is one that I have been depicting in art for the past 3 years of my high school education, I felt like when it came down to the final year, I wasn’t quite done sharing those intimate stories from my family. After COVID-19, I found there to be a surge in Asian hate which I found to be similar to the racism faced by Japanese immigrants (My grandmother) post World War two.

Sources of inspiration …

• The behaviour and anatomy of bivalve molluscs, or rather their pattern of defence.
• Kensuke Koike’s abstracted family images.
• Man ray’s surreal objects and his ability to give inanimate objects human or animal-like features.

Materials and processes …

I created the sculptures themselves using pouring clear melted wax from a burner into the oyster shells. I had to strategically place resin teeth and nails into the melted wax just before it had set to ensure it was both upright and secured. The plinths were made from plaster which was poured into several moulds I had made with foam core and Perspex sheets; I then used a jewellery drill to imbed nails into the dried plinths. I secured the oysters to be floating on the nails using Araldite super glue. The hanging pieces were made using transfer sheets onto canvas, using edited images through an IOS application called ‘Superimpose’.

Interesting/challenging aspects of creating the work …

The most challenging part about my work was attempting to create clean perfect edges and forms for my plinths. I spent hours trying to make the perfect mold or file them down the best yet in the end I came to a crucial realisation. Although vastly different, my attempts at perfection were similar to that of my grandmother when attempting to assimilate into western society. I learnt to embrace the imperfections of my piece as it was emblematic of the struggle itself, allowing my piece to become more personal to me than ever.

Ideas behind the work …

The coffee pot is a symbol of my grandparent’s enduring marriage. It is a treasured possession which has travelled with them all their lives. The coffee pot is juxtaposed with the rabbit trap which is a link to my grandparent’s early farming days and experience. The rabbit trap is an unsettling presence with its association of pain and mortality. I’ve used aquatint and the dark tones, to reflect the melancholy mood.

Starting points and influences …

The coffee pot is a symbol of my grandparent’s enduring relationship over many decades. I used a more elongated format to suggest the Australian horizon line and landscape of my grandparent’s farming past. In essence the work is both a still life and a depiction of the vast emptiness of the Australian landscape. The still life in the foreground of Picasso’s “The Frugal Repast” was influential. The trap was a found object in my grandfather’s shed and is symbolic of the pain and struggle of his life on the land.

Sources of inspiration …

In unit 3 of Art, I explored painting and was inspired by the figurative works of Ben Quilty and Francis Bacon and their expressive, manipulation of oil paint, which I translated into a painterly use of aquatint.

Picasso and his works, this became a particular interest after viewing the ‘Picasso century’ exhibition.

People, in particular my grandparents and the stories heard from my grandparents about their turbulent lives on the land, and their enduring marriage over many decades.

Materials and processes …

I used etching/aquatint on a copper plate to create my print. Using bitumen hard ground for the line etching and spray paint to create aquatint. Spray paint was used as an alternative to the traditional rosin box method for OH&S reasons. I also incorporated spit bite, which involves applying the ferric chloride directly to areas of the plate to create a smokey/ ghostly effect, which I used in the foreground/tablecloth area of the work.

Interesting/challenging aspects of creating the work …

I found it challenging yet rewarding to communicate such personal feelings using etching and aquatint. The process of making an etching is both interesting and challenging, with the possibility of many things going wrong along the way. You never really know what the final work is going to look like until you pull the print. Many accidental marks occur during the plate making, these marks whilst often being incidental at times elevated my work.

Ideas behind the work …

I believe that childhood is a state of mind that can exist at any point in our lives.

As I (like most young adults) begin my journey into adulthood the systematic and soul crushing nature of adult life has weighed down on me.

I wanted to reintroduce the fun and chaos that I have associated with childhood using costume that I know can bring catharsis to the buried child within.

I aim to help comfort myself taking a less pessimistic view of the world with childish optimism, soft fur, bright colours and shapes.

Starting points and influences …

The experience of childhood was the starting point of everything, however as I explored the theme, I didn’t want to just reminisce over my idealized childhood but show how it is a state of mind that we incorporate throughout our lives.

Yayoi Kusama is a huge influence on my artwork with her use of bold colour, shape and form and her ideas of self-obliteration also heavily influenced my thematic exploration.

Nick Cave also heavily incorporates childhood into his work and influenced my exploration of texture and costume.

Sources of inspiration …

Films such as Daisies (1966) directed by Věra Chytilová and Hausu (1977) directed by Nobuhiko Obayashi are huge inspirations for me pushing the limits of film, using colourful and stylized imagery to portray unexplainable chaos, also influencing my outlook on the world.

The Australian sketch comedy group Aunty Donna inspires me to incorporate an absurd sense of humour into what I create and motivates me to be silly and light-hearted.

The theatre is a huge part of what inspires me with plays from playwrights such as Eugene Ionesco that question the meaning of life and Antonin Artaud’s horrific imagery.

Materials and processes …

I drew my design on a commercial coat pattern and used the pieces to cut the fur shapes.

Individually sewing different fur pieces from a range of colours, lengths, and qualities together.

Secured the pieces by hand taking them together and using a small compressed zigzag stitch over the top piece and lined the coat with satin.

The hat was made using stapled craft foam into a cylinder and covered it in fur and satin.

Photographed the costume in a studio setting using diffused flash lighting and digital camera.

I edited the photos using both Adobe Lightroom and Photoshop.

Interesting/challenging aspects of creating the work …

I found it interesting creating a piece of clothing solely for artistic purposes without having to focus on an end-user like you do in textiles and it was nice having full creative control over a school assignment.

The amount of hand sewing/taking was much more than anticipated and heavily increased the time that it took to complete the garment.

Working with previously unexplored materials and finding the best specific technique to combine them.

Ideas behind the work …

I have explored the concept of contemporary Aboriginal art, representing the traditional roles of Aboriginal women displayed through years of Aboriginal heritage being passed down over many generations. Demonstrating the artworks connection to land through the natural leaves and branches. The baskets represent the traditional methods of Aboriginal heritage, demonstrating the different traditional uses of a baskets or bowls in which the women used within my Aboriginal culture.

Starting points and influences …

My Aboriginal heritage was the starting point and influence of why I choose to focus on the art form of weaving. Being a proud Dagoman, Wardaman and Gurindji Woman raised in Katherine in the Northern Territory, I knew I wanted to explore and create artworks that were inspired by my culture, family, and growing up in the NT. I wanted to be able to pay tribute to the traditions, share my own story and explore the traditional roles of women.

Sources of inspiration …

I was inspired by my family, hometown, and the rich history of the importance of my aboriginal heritage and connection to the land in which it brings. I was inspired by first nation artists who express their culture through their art forms. I was inspired by Tracy Gandimil wanapuygu, Kourt artworks, and Parks Australia, photography (traditional weaving workshop). They all express their passion for their culture through their chosen art forms.

Materials and processes …

Throughout my final I wanted to explore the traditional art form of weaving in a contemporary and modern way. I used a combination of materials like raffia, native leaves, and plants, using the native materials I was able to represent my cultures connection to the land and the environment where weaving is usually taken outside. This created a space that was warm and inviting for my audience. The final artworks consisted of baskets and an ensembled woven mat with sound and light representing contemporary aboriginal art.

Interesting/challenging aspects of creating the work …

I had to learn the traditional technique of how to weave the mat, which took time and practice to master the skill of traditional weaving.

Ideas behind the work …

My painting “Toffee Apple” explores the variety and chaos of life, specifically associated with the experience of youth, through a vibrant and abstract subject matter which contrasts against the stark and controlled presence of lines. The central idea forming the basis of the piece revolves around the utilisation of a coined ‘grid’ technique discovered through extensive experimentation that involves the use of painters tape to emulate layers of details. I wanted to convey the individuality of life through these details which when viewed from afar has a bigger meaning about the restrictions and boundaries associated with lines within a society.

Starting points and influences …

For my folio, I aimed to push the limits of my artistic abilities by leaving my comfort zone. Before starting this subject, I felt that art had to be realistic or perfect to be worthy of praise, which only restricted my artistic freedom, meaning for this artwork and folio, I actively sought to try new things that previously intimidated me. The beauty of abstraction lies in its originality and endless possibilities that allows the individual to interpret the piece in their own unique way, with this idea becoming a major influence on my attitude towards my own creative abilities.

Sources of inspiration …

Experimentation within all types of art has allowed me to find inspiration in what would be considered as mundane and everyday things, all of which has contributed to my confidence within abstract art, an ability that has taken me years to achieve. For this final, my sources of inspiration include my experience of youth within the world, the abstract artists Piet Mondrian and Louise Fletcher and my mum and her support. Without any of these sources of creativity, I wouldn’t be equipped to appreciate the world or its beauty and complexity that provides inspiration in often the most simplistic forms.

Materials and processes …

The grid and its secondary double gridding technique acts as the foundation of my creative process, involving the use of tape applied throughout the process to deliberately leave sections of blank space whilst emphasising constructed layers of acrylic paint that forms a connected, yet separate final artwork. Acrylic paint provided me with the freedom to take spontaneous risks, as “Toffee Apple” delineates the purpose of my process where I want the viewer to become enthralled by the paintings detailed complexity and becoming intrigued by the method and process, all whilst contemplating the true meaning of an abstract artwork.

Interesting/challenging aspects of creating the work …

Prior to my experience within art, I was intimidated by the creative freedom that is available to an abstract artist to express their inner emotions and ideas, an art form where there are no right answers that I had to navigate blindly in the beginning stages of my development. A major challenge was building my confidence, both in my abilities and feeling like a fraud as an artist, as well as the associated misconceptions within the movement. People are easily deceived by abstraction, often looking past its intricacies to identify simplicity, an idea I have found to be entirely untrue.

Ideas behind the work …

The Eisenhower administration’s 1956 Federal Interstate Highway act was driven by the maniacal capitalistic interests of the Automobile industry, and sought to assert the dominance of the automobile as the primary mode of transportation in all American cities. “Construction of an Urban Highway” depicts the apocalyptic scenes across the United States as massive swathes of cities were demolished, efficient public transport networks entirely dismantled and hundreds of thousands of citizens were displaced from their homes to make way for the radical new highway network, obliterating entire communities and fracturing cities forever.

Starting points and influences …

I watched videos and read about the history of transportation in cities, and learnt about the history of how cars came to be such a dominant part of our lives, the history of the automobile lobby, and the violent legacy of how streets and cities were transformed into environments for cars, hostile to people. This history was the starting point for my work; I wanted to tell this story in a visually engaging way that can grab the attention of audiences, in my aim to spread awareness of how destructive cars really are to our cities and our lives.

Sources of inspiration …

I was inspired by the work of Adam Paul Susaneck, an NYC based architect whose ongoing personal project “Segregation By Design” documents the destruction of communities of colour due to red-lining, “urban renewal”, and freeway construction, all funded by the 1956 Federal Interstate Highway Act. Jeffrey Smarts’ depictions of “man in his new violent environment”, and his hyper-realist urban vistas also served as inspiration throughout my practice. Ultimately, my main inspiration and drive is the history of cities and what must be done to create a sustainable, liveable future, which I learn about online and through reading books.

Materials and processes …

Construction of an Urban Highway is a quadriptych (four panel) fibre-tipped pen on paper drawing. I used Uni-Pin Fine line pens for their consistently black pigment. Much of the drawing was done using 0.03mmweight pens, because this allowed me to achieve the greatest level of detail. I used hatching to show texture and to create form throughout the work. About the process of drawing, I like to say, it’s just a whole lot of lines! The black sky was filled using an Uni-Pin Fine Line Brush tip pen, drawn in a repeated circular motion.

Interesting/challenging aspects of creating the work …

One interesting part about creating this work was my continued development of my technique throughout the months it took to complete – I learnt a lot and my drawing technique has improved significantly since starting the work. The biggest challenge about creating this work was by far the time constraints. The large size and high detail of this drawing proved to be considerably time consuming, and balancing it with the rest of my studies was a challenge. The final few weeks were a phenomenal effort but I pulled it all together in the end.

Ideas behind the work …

The everyday and everydayness, omnipresence and overuse of mass-produced, cheap plastic packaging, climate change, consumerism, materialism-driven waste, and single-use design.

Starting points and influences …

Pop art’s use of consumerist imagery influenced me, as did found object art using ready-made materials, like Cattelan’s Comedian and Duchamp’s Fountain.

Sources of inspiration …

Found object art with ready-made materials like Comedian by Maurizio Cattelan and Duchamp’s Fountain, as well as pop art’s use of consumerist imagery.

Materials and processes …

Plaster, enamel, inkjet photographic prints on paper. Collected objects on the street, made molds of them with silicone, cast plaster in the molds, then spray painted the plaster casts with enamel. I also took black and white film photographs of rubbish in the street and printed them on paper after being developed.

Interesting/challenging aspects of creating the work …

The silicone mold making material was interesting but sometimes it was challenging to use to cast plaster.

Ideas behind the work …

This work discusses the intersection between the animal, human and landscape in traditional agricultural practices, specifically in Ireland. The canvas has been buried in soil presenting the natural effects of soil and the fertility of land. The physical process undertaken to bury and dig up the paper links to similar laborious tasks in agriculture. The carcass depicted addresses the role of livestock in farming and their connections to land and humans. The carcass is also barren, signifying the deteriorating relationship between these spheres of traditional farming.

Starting points and influences …

I was aware that I wanted to delve into my agricultural Irish heritage. Therefore, my starting point was to find what sphere of it I wanted to address and how it could be translated. I spoke to my Irish grandfather who showed me photos and documents of his farm in Northern Ireland, and drove out to the country to immerse myself in an agricultural landscape. With this all influencing me creatively, I began to also be inspired by artists such as Francis Bacon- influencing my subject matter, and John Wolseley- influencing my process and materials.

Sources of inspiration …

My own Northern Irish ancestry in farming and agriculture. Particularly, my Irish grandfather and his connection to the cows on his dairy farm.

The poetry of Seamus Heaney which creates distinct imagery of rural farming and life in Ireland. His poem ‘Digging’ is one I found exceptionally influential and impactful on my work.

John Wolseley’s physical process of artmaking. Wolseley’s use of natural materials and environments within his work greatly inspired my own creative process, such as burying my canvas in soil, and the further inclusion of organic mediums.

Materials and processes …

Burying my paper in soil for an extended period.
Smudging damp soil over the paper to build up greater levels of texture.
Drawing a cow carcass over the soil covered paper with both willow and compressed charcoal to create tone and depth. Also focusing on pushing abstraction.

Interesting/challenging aspects of creating the work …

I found the physical process involved in creation of artworks from start to finish, one of the most interesting but also challenging experiences. In the development of my artworks, learning to assess and evaluate my process was a valuable skill, particularly when things didn’t quite go accordingly. Despite my production of works not always going to plan, which was sometimes difficult, it gave way for experimentation often through trial and error.

Ideas behind the work …

Self Analysis-Hiding Myself, Changing Myself and Distracting Myself explores my identity as someone living with an invisible disability and chronic illness. It examines how fashion and makeup relates to our environment and thus can help us hide or fit in. Hiding, Changing and Distracting myself refer to coping mechanisms to face my identity and how I manage my disability on a daily basis. My work draws on perception and judgement through the lenses of others and seeks to highlight how difficult it can be to understand an individual from an outside view.

Starting points and influences …

I began by exploring aesthetics and trends that I thought were interesting, such as bleached eyebrows or crochet. I also drew upon my own experiences with medical treatment in the past years and how this effected my relationship with my own body, looking at how daily pressures effected my quality of life. I wanted to explore my own unique identity through my artwork as I felt this would be a way to create and express something that I felt really connected to.

Sources of inspiration …

Cindy Sherman’s work and her use of fashion, accessories and props to capture a particular mood or character as well as her exploration of femininity, identity and pop culture.

My friends (my school had no uniform) who all have their own style and express themselves through their clothing choices.

The Uncanny artform and artwork that evokes disgust or uncomfortable feelings for the viewer.

Recent fashion trends: Crochet and the balaclavas, how something associated with crime and hiding of identity is now seen on runaways and in mainstream culture as fashionable.

Materials and processes …

I used a digital camera to take the photos, however I focused largely on curating each individual look through clothing, accessories and props. I began by exploring craft materials, colour and textures in my folio as well as sources of inspiration, through Instagram or Pinterest. I then moved on to creating mock-up sketches of outfits as well as creating mood boards to capture the desired ideas. I then sought out as clothing items from op shops or friends, such as the leotard or shoes. I also developed a lot of the work on the photoshoot day, trialling a variety of clothing combinations and searching my closet for the perfect item. I took many photos, tested lighting and posing, then edited the images slightly, framing them to be the same proportions and heights.

Interesting/challenging aspects of creating the work …

Being confronted with my own sense of self as well as observing the reactions and reflections of the models when they were in front of the camera and/or looking at their images in the leotards. They felt vulnerable and uncomfortable looking at some of the images, giving insight on how so many of us feel the need to hide or fit in and fear our bodies being put on display and perceived by others.

Ideas behind the work …

My work is a 3D representation of language.

My work is formed around the concept of syllables, the smallest unit of speech, acting as physical building blocks to form words.

My body of work explores and expands on this concept using a range of mediums.

The 3Dprinted sculpture displays the system, which I additionally photographed as an installation in the State Library.

My user’s manual allows individuals to understand the meaning behind the system.

I made a wearable book which folds out into a jacket to display the manual in a fittingly interactive manor.

Starting points and influences …

I was interested in how language shapes the way we think, and began the year toying with the idea of creating my own experimental language, a language of perspectives, with specialized grammar to foster empathy.

As an extension of this idea, I decided such a language should have a 3D representation.

I decided to transfer this representation idea to English. I had this image in my mind of how cool it would be if children could climb on great works of poems. As someone who both struggled with and loved writing this idea resonated with me.

Sources of inspiration …

Artists which used text such as Jenny Holzer and Barbara Kruger.
Artificially constructed languages.
Learning about the international phonetic alphabet and how sounds are actually created.

Materials and processes …

I experimented with a range of mediums throughout the year:

• Wire
• Matches
• 3D printing
• Photography
• Instillation
• Textiles

Interesting/challenging aspects of creating the work …

The thing I found most interesting was diving in and learning about my topic.
I found it challenging to submit my artworks and portfolio by my schools’ deadlines.

Ideas behind the work …

“Sulfur Series” creates a universe where beauty becomes monstrous and elements of the grotesque become alluring. In this series of manipulated film images, an eeriness is evoked through the gruesome afflictions left by the process of adding layers of distortion. However, behind the confrontational image is this ethereal, alien-like quality that sustains an intriguing pull, enticing a curiosity to be spun. The series depicts the mischievous strike of a match, leading to the second image emblematic of the destruction of conventional beauty, ending with a confrontational stare where beauty is abstracted once more.

Starting points and influences …

The work grew from my fascination with beauty, or rather how beauty can be found within the deeply disturbing or grotesque. I found my aesthetics as an artist have always been revolving around a morbid curiosity with the grotesque, as I identified through my initial brainstorm at the beginning of my folio. This realization led me to look at other artists who are considered ‘Grotesque’ and see if I can identify beauty within their pieces (or vice versa). Yet ultimately, I was influenced by modern societal beauty, and how the contracts of beauty can become grotesque with a small manipulation. Leading me to the augmentation of hair, human forms and landscapes.

Sources of inspiration …

Man Ray’s and Bill Brandt’s surreal abstraction of the human form via photography.

Ogen Nash’s poem ‘A Tale Of The Thirteenth Floor’ which gave imagery of “crinolines grotesque”/”vampire into a crypt”.

Article published by the TATE on Salvador Dalí’s “Autumnal Cannibalism (1936)”.

Materials and processes …

I shot on ILFORD 100 black and white film using my point-and-shoot film camera (Olympus MJU) before getting them developed at my local developer. Then with the digitalized copies, I experimented with an app called Superimpose (IOS) using overlay effects to alter the forms of my image. Further, the images were taken into photoshop to be altered, adding grain effects and vignettes. Using an Inkjet printer, I printed the images out onto satin paper for presentation.

Interesting/challenging aspects of creating the work …

I found the technical difficulty of editing software to be challenging as it required a lot of detailed work to appear clean and refined. I had to learn all of the techniques as it was a process fairly foreign to me yet ultimately, I overcame it through experimentation and a lot of google searches.

Ideas behind the work …

This work looks at the deeply bound relationship between the earth and the sky through the intertwinement of air and ceramic mediums. The raku clay, represents the earth while the various wholes and openings throughout the work allow air to mingle and interact with the clay mimicking their interactive relationship. The way this work expands across the wall communicates the greedy and skittish nature of air to spread and fill the space it’s given. Together earth and the atmosphere create our planet, which hosts a suitable environment to support life. Without the relationship between the two, we couldn’t exist as a species.

Starting points and influences …

As a child, I was fascinated by the concept of flying. I could vividly imagine the feeling of cutting through wind and the slight sting of precipitation on my skin as I flew at high velocity. There’s something so innately freeing about the idea of being unbound from the confines of earth and gravity. I believe this core love of the sky is inbuilt into all living things, including people, which explains our compulsive need to sail beyond our planet and create architecture that reaches into the clouds.

Sources of inspiration …

Biology as a science is the biggest contributor to all my works. Looking at life from a questioning and curious perspective, a desire to understand the deeper workings of organisms instead of just accept and never question why they are what they are, where we will be in the future. In this sense Patricia Piccinini heavily inspired my stream of work due to our shared fascination of animalistic science and expressing potential and confronting realities.

Materials and processes …

In this work I used a raku clay with a layering of different stoneware glazes to create a subtly blue effect. Utilising a press, I rolled countless sheets of clay which I manually punched holes of various sizes and shapes into, using these spontaneous forms as a guide to create the form of each individual piece. Each is hence unique and organic in nature.

Interesting/challenging aspects of creating the work …

I found repetitively that the carved thin forms of this work were incredibly fragile prior to firing, constantly breaking under their own weight before I could get the pieces into the kiln. The best resolution to this was to create a greater amount of smaller lighter fragments, reducing the number of breakages that occur. Additionally, I unintentionally found the finished and hung work chimed in the breeze as the clay pieces clanged against the wall, creating a wind chime effect furthering the symbolism of air.

Ideas behind the work …

• Uncontextualized but controversial imagery to provoke response from the viewer.
• Emphasises the fetishized relationship between many humans and they’re fast cars as a form of an indulgent escape from reality and how this type of relationship can lead to demise.
• Explores the concept of a ‘grey zone’ between life and death and the pinpoint moment between the two states of being.

Starting points and influences …

‘Crash’, a novel by J.G Ballard, was my main primary inspiration for the conceptual ideas behind my artworks, where I learnt about how fast cars can be fetishized and how deep of a relationship between that and a human and be fostered.

In terms of photographic inspirations, both Wolfgang Tillmans through his series ‘The Cars’, where I learnt about how to photograph cars without it looking like a sales photo, and Hedi Slimane, where I learnt how to take still life studio photos that use composition and lighting to express the mood of the subject matters, were both key sources that informed by photographic style.

Sources of inspiration …

Of course, artists, mainly photographers, were my main source of inspiration in terms of my Studio Arts process, this was both in terms of concepts and ideas behind works and also the camera techniques used by them.

Galleries I find are also a perfect space to surround yourself with new information that you might not find through online sources and discover new artists.

Literature is also quite a big inspiration for me as I am an avid reader, especially considering a novel was where I first came up with the concept behind my final works.

Materials and processes …

I used materials such as a Canon EOS 5D Mark ii camera with a Canon Speedlite flash for all of my photos. I also used a Manfrotto tripod for the studio shots of the human skin and skull. The skull is a prop that I borrowed from my school studio and using some black paper and a studio light I was able to create a homemade studio set-up in my house (see photo above).

I had to repeat a lot of processes throughout the making of the works. The main process when shooting was to take the shots on shoot-day, and then come back home and plug them into Adobe Bridge to single out the best ones before retouching them slightly in Adobe Photoshop and then resizing them for print. I had to do this for every shoot I went on, of which there were about 10.

Interesting/challenging aspects of creating the work …

The most interesting aspect of creating my work was definitely working towards an end goal of a final artwork for the whole year. This type of lengthy project was something I had never experience before and the feeling of elation and pride when you finish is unmatchable because you know how much effort you put in.

This also meant that it came with its challenges, especially in the form of demotivation and burn-out. Using time effectively, as I found out, means not exhausting yourself and also, I probably didn’t take it as seriously as I should have at the start of the year, which meant I cost myself because I had to work harder to be where I should be.

Ideas behind the work …

“Sown” Liberties is my creative interpretation of the dichotomy between progressive attitude, and the realities of the world. Being able to get up so close to all my subjects was a huge advantage to me, as I was able to fully express the determination and resilience they showed throughout the march. The artwork intends to confront the audience, and not be a passive comment on the world, but an active voice – as if its presence is also adding to the throng of movement.

Starting points and influences …

As someone who regularly carries a camera with them, I am always seeking to bring the most out of my surroundings in ways which are both confronting, peculiar, and that will hopefully spark conversation between others. I knew from the beginning I wanted to create something large scale, whether that was just a single print or likewise, I wanted it to have a lasting effect. This was then key in both my Exploration Proposal and early development phases, as it drove the ideas into fruition – something I discussed heavily in my Final Evaluation.

Sources of inspiration …

I have always taken great inspiration from several film photographers who I see myself align with the closest, being that of Vivian Maier, Henri Cartier-Bresson, and Robert Frank. I like to combine their attributes in an amalgamation I see as my own – mixing properties such as Maier’s urbanist style with Bresson’s powerful imagery, before then tying that up with Frank’s peculiar subject matter. Furthermore, in my research I looked into how previous women’s marches or socio-political movements had been documented, their intended effects, and thus their reception to an earlier generation.

Materials and processes …

I used a Pentax Spotmatic Original with Kodak 35mm black and white negative film. These prints were then mounted onto corflute, a rigid but malleable material, which were attached to wooden stakes driven into concrete umbrella stands. The medium of film is a wonderful thing to me, as I see it being so raw and unforgiving in its depiction of the world around it. Unlike how digital photography is only ones and zeros of the world around us, film is the physical imprint of light onto a tangible surface, thus making it this pure and truthful depiction of our world.

Interesting/challenging aspects of creating the work …

Being someone who identifies as a male, creating a work about women’s rights in relation to abortion was definitely something I discussed heavily throughout my folios, as it was a fine line to walk. On one hand I didn’t want to appear performative in my depiction whatsoever, but I also didn’t want to undersell the very real struggles these individuals are put through. Through several discussions with close friends, family members and teachers, I established my stance on the issue as being a supportive but acknowledging one, something which was paramount to the overall success of the work.

Ideas behind the work …

These vessels explore the inextricable link between consumerism in modern life and the influence of peers. ‘Cardboard Box’ encapsulates our contemporary culture of consumption. The figures on the pot each display a unique interaction with the box symbolic of the variety of beliefs around the society we live in and its capitalist dogmas. ‘Shoulder to shoulder. Skull to Skull’ examines peer influence and the association between those who surround us, their attitudes, ideas, opinions and the impact they have on our mind. The men’s, bodies are connected uniting them as a singular entity, that think, behave, and believe under the influence of the other.

Starting points and influences …

Influenced by the contemporary ceramic work of Grayson Perry, Stephen Benwell and Ben King, these pots begun without a planned shape. An instinctive coiling process directed the shape of the stoneware vases. The cobalt blue oxide and simple line work draws on classic ceramic pottery, another source of inspiration. The pots were started a week apart with the intention of being presented as a pair aesthetically.

Sources of inspiration …

Potato cakes, calendars, clocks, socks, alcohol and Paracetamol, mirrors, boxes, beer and more. I am inspired by life and the activities and objects that occur around us, and form cultures. It is a social observation that initially drives my inspiration. Music is integral in my daily life and my artistic process, a wide range music is constantly altering or assisting my mood and approach to both life and painting. Of course, I am also inspired by artists, however I aim to be conscious in remaining original and not heavily inform my practice on the work of others.

Materials and processes …

Using stoneware clay, I hand coiled the pots. Using kidney tools, slip and a knife I joined my coils in a free form manner allowing the shapes to occur naturally as I progressed vertically. Once constructed the pots were bisque fired and ready for oxide painting. Using thin brushes, I was able to apply the cobalt oxide to depict the figures on both pots. I also used clothes and sponges to smear the freshly applied oxide. Additions of clear glaze painted on provided the work with a variety of texture once glaze fired.

Interesting/challenging aspects of creating the work …

I love working with my hands, having a physical connection with my medium is the reason I enjoy ceramics so much. Working intuitively also results in interesting unplanned shapes that are asymmetrical, bulbous and textural. I find this element of my ceramic process to excite me and cause unique forms. The challenge of simple line work on ceramic is that you cannot hide your mistakes and must accept every mark made.

Ideas behind the work …

This etching is a portrait of my grandparents. How we value the elderly, and their life experience is explored. The intense linework in the figures is symbolic of their age and experience accumulated through many years of living and working the land. In contrast to Picasso’s “the Frugal Repast” in which intimacy is explored in a French restaurant, emotional connection is explored in my grandmother’s kitchen and living room. So, despite the homage revealing people over 100 years apart, the way humans connect intimately remains constant across, countries, cultures, and time.

Starting points and influences …

After visiting the “Picasso Century” and seeing the etching “The Frugal Repast” I was captivated by the melancholy mood, intimate setting, and emotional intensity of the work. This became a starting point for a portrait of my grandparents and sparked an interest in using etching as a medium. Picasso’s expressive line work and use of plate tone created a mood that resonated with me. I incorporated Picasso’s composition to express the deep connection of my grandparents and altered the objects within the foreground of my work to symbolize personal aspects of their lives.

Sources of inspiration …

In unit 3 of Art, I explored painting and was inspired by the figurative works of Ben Quilty and Francis Bacon and their expressive, manipulation of oil paint, which I translated into a painterly use of aquatint.

Picasso and his works, this became a particular interest after viewing the ‘Picasso century’ exhibition.

People, in particular my grandparents and the stories heard from my grandparents about their turbulent lives on the land, and their enduring marriage over many decades.

Materials and processes …

I used etching/aquatint on a copper plate to create my print. Using bitumen hard ground for the line etching and spray paint to create aquatint. Spray paint was used as an alternative to the traditional rosin box method for OH&S reasons. I also incorporated spit bite, which involves applying the ferric chloride directly to areas of the plate to create a smokey/ ghostly effect, which I used in the foreground/tablecloth area of the work.

Interesting/challenging aspects of creating the work …

I found it challenging yet rewarding to communicate such personal feelings using etching and aquatint. The process of making an etching is both interesting and challenging, with the possibility of many things going wrong along the way. You never really know what the final work is going to look like until you pull the print. Many accidental marks occur during the plate making, these marks whilst often being incidental at times elevated my work.

Ideas behind the work …

Follows theme of ‘human identity and the human effect’, exploring how we fit into the world and our human ability to use metacognition and be aware.

Human ability to gain perspective, recover and grow from adversity.

Exploring, breaking down and providing commentary on structures and aspects of society that perpetuate cycles of discrimination, exclusion, racism and sexism.

Climate change and the impact our actions have, with specific reference to 2019/2020 bushfires.

Has focus on perspective and who’s perspectives we’ve been privy to throughout history, e.g. white, straight men, and includes an introduction of a new youthful, female, coloured perspective.

Starting points and influences …

As it explores human identity, I pulled heaps of inspiration from my own experiences and identity such as my experience of 2019/20 Bushfires and this fed directly into the subject matter and storyline behind the animation.

Banksia Man, for example, is a character I had created in 2020 after the fires and was inspired by how banksia plants’ seed pods open and germinate when they are burnt, an analogy for the perspective that can be gained from hardship and adversity as his eyes open in the animation. The personification of Banksia Man also highlights how interconnected and related humans are with nature as well as our interdependence in order for survival.

I also wanted the aesthetic quality of the animation to reflect a style fit within the skating and surfing scene, with a grunge and edgy feel, as I have grown up surfing and skating and I’m heavily inspired by this.

Sources of inspiration …

Pink Floyd ‘Another Brick in the Wall’ – (ie another song on the record).

Greek and Roman mythology and creation stories.

‘Digital Surf, Digital World’ by Tanner Gudauskas.

Jean-Michel Basquiat.

Materials and processes …

I made the first half of the animation by drawing and duplicating each frame on ProCreate, following the storyboard I created. For half of the animation, I used a rotoscoping technique and printed frames of clips I had filmed on my iPad then painted over them with different coloured acrylic paints. Then I sequenced and cropped them on Procreate and I used Adobe Rush to put the animation all together. For some parts of the animation, I also used TouchViZ and layered parts of the animation over each other and live recorded it as I adjusted the colours and layering.

To create the sound and audio, I used Ableton Live and recorded audio on my iPad and adjusted it on Ableton. I recorded the sound of a lighter clicking, radio chatter, our wood fire heater, my dad breathing, and background rhubarb and chatter of a gathering of friends plus other random sounds and clicks. I used a Nord Electro and Ableton Live that allowed me to create effects and the soundscape that provides background psycho acoustics to the animation.

Interesting/challenging aspects of creating the work …

The long and meticulous process of animating and painting each frame was tedious and challenging, however it was also interesting as it meant I did not know what the end result would look like until I had finished the long process of creating each frame and sequencing it. This made the process of creating the animation daunting but also very exciting.

Ideas behind the work …

I have explored the concept of contemporary Aboriginal art, representing the traditional roles of Aboriginal women displayed through years of Aboriginal heritage being passed down over many generations. Demonstrating the artworks connection to land through the natural leaves and branches. The baskets represent the traditional methods of Aboriginal heritage, demonstrating the different traditional uses of a baskets or bowls in which the women used within my Aboriginal culture.

Starting points and influences …

My Aboriginal heritage was the starting point and influence of why I choose to focus on the art form of weaving. Being a proud Dagoman, Wardaman and Gurindji Woman raised in Katherine in the Northern Territory, I knew I wanted to explore and create artworks that were inspired by my culture, family, and growing up in the NT. I wanted to be able to pay tribute to the traditions, share my own story and explore the traditional roles of women.

Sources of inspiration …

I was inspired by my family, hometown, and the rich history of the importance of my aboriginal heritage and connection to the land in which it brings. I was inspired by first nation artists who express their culture through their art forms. I was inspired by Tracy Gandimil wanapuygu, Kourt artworks, and Parks Australia, photography (traditional weaving workshop). They all express their passion for their culture through their chosen art forms.

Materials and processes …

Throughout my final I wanted to explore the traditional art form of weaving in a contemporary and modern way. I used a combination of materials like raffia, native leaves, and plants, using the native materials I was able to represent my cultures connection to the land and the environment where weaving is usually taken outside. This created a space that was warm and inviting for my audience. The final artworks consisted of baskets and an ensembled woven mat with sound and light representing contemporary aboriginal art.

Interesting/challenging aspects of creating the work …

I had to learn the traditional technique of how to weave the mat, which took time and practice to master the skill of traditional weaving.

Ideas behind the work …

The artwork explores the art idea of home, specifically how an individual’s home and their morning routine shape show they start each day and how they act throughout the day. This is conveyed by the constant movement through the film which suggests intricate routines, and the artwork’s climax of each family leaving their hallways and stepping into an unknown, over-exposed outdoor area.

Starting points and influences …

After the COVID lockdowns, I felt a greater connection to my home and local community. I suddenly realised the impact that my home environment had on shaping my actions and how it made me feel safe. This led me to want to further explore the art idea of home and its influence on individuals.

The artwork was influenced by Greta Gerwig’s Little Women (2019) and her depiction of the constant movement and sound that accompanies a family at home.

Sources of inspiration …

My home and local area – viewing my environment from new and different angles inspires my compositions and provides potential colour schemes.

Films with unique editing or specific colour-grading, such as Denis Villeneuve’s Dune (2020), Kenneth Branagh’s Belfast (2021) and Peter Jackson’s The Lord of the Rings (2001-2003).

Taylor Swift – the vivid imagery described in her lyrics inspires me to depict similarly specific and authentic scenes.

Materials and processes …

I asked my friends and family to use whatever camera they had available (all participants used iPhones) to film their hallways.

I received four lots of footage ranging from 50 to 75 minutes, which I edited in Adobe Premiere Pro. In this program, I cropped and positioned my three favourite videos to create a triptych.

Then, I removed all scenes where the hallways were empty or silent. I only kept scenes where the film was visually and/or audially interesting (or necessary for continuity).

Finally, I colour-graded my footage. At the start and end of the film, when the hallways were empty, I used cold colours, whereas when the hallways were filled with movement, the film was warm. This reflects my belief that a family’s use of a home fill it with safety and security – ‘warmth’.

Interesting/challenging aspects of creating the work …

Most interesting: During the develop stage of the art process, I gained a clear mental picture of my final artwork. Seeing this vision come to life, and change along the way, was the most interesting part of creating this work.

Most challenging: It was challenging to organize participants to quickly film their hallways, so that I had sufficient time to edit the footage. It was an exciting challenge to finalize my colour-grading, as I had a very particular vision of accentuating the warm colours, which required lots of tweaking to execute.

Ideas behind the work …

Aims to represent trans men as beautiful, powerful, heroic, hot, and desirable.

Firstly, inspired by fighting figure toys, portraits of boxers posing, male muscular figures and athletic portraiture lighting.

Interested in how testosterone has gotten me into weight training and how this has helped me become more confident in my trans body.

I wanted to create an impactful ‘visual letter’ to my younger self telling him ‘this is who you will/can be and ‘this can be your future-subjects act as ‘fighters’ and shiny trophies.
There is very little trans inclusivity in sports, perhaps this is a glimpse into a trans-inclusive future.

Starting points and influences …

• Inspired by Ronnie Coleman’s Documentary on bodybuilding and Kerry Sharbakka’s 2009/2008 ‘Flying Knee’, ‘Clean and Jerk’ and ‘Out of the ring’ photographs. Furthermore, Zac Bailey’s untitled photographs of muscular men jumping in boxing shorts. Fighting figure toys and athletic portraiture influence my work greatly.
• Testosterone, working out and representing trans men as hot and heroic.
• Influenced by trans men on social media.
• Aimed to create a powerful and impactful letter to my younger self telling him ‘this is who you can be’.
• Influenced by old-fashioned styled photographs of greased-up muscular men.

Sources of inspiration …

Thomas Friederich Schaefer’s ‘Experiential Spaces’ photo series has been a major inspiration when it comes to the concept of ‘memories’ and how spacial effects can change our moods.

Chella Man is a multi-media trans masculine artist based in NYC, his representation helped me, and I wanted to continue that. Seeing him model for magazines as a trans man inspired my ‘hard yards’ photo series.

Materials and processes …

In a studio, I placed the subject in front of the white backdrop. Facing the subject, on the front left, stood a studio flash light with a soft box and honeycomb attached. Behind the subject, on the right stood a studio flash light with a honeycomb. I used a Canon 5D mark 4 camera on a tripod. Post-production editing included colour correction, adding vintage style, grainy texture and border.

Interesting/challenging aspects of creating the work …

Most interesting was exploring my concepts in depth, especially when it came to researching nostalgia and putting those feelings into an artwork.

I met so many new people, most of my subjects were random people from social media callouts. I met my best friend from the ‘passing’ shoot. It’s interesting the connections you make when working with others.

The most challenging was filming in the green room because if I wasn’t satisfied with the lighting, I had to do it all again. Furthermore, editing this work in premiere pro and aftereffects were incredibly time-consuming.