30 YEARS
1993
1997
2002
2009
Elizabeth Murruffo An Ancient Culture
Hannah Beveridge Looking Glass, Missing Hearts
Clare Webster Untitled
Shivali Patel Happy Birthday, Mrs Wilson!
To commemorate the international Year of the World’s Indigenous People, I wanted to depict a celebration of Aboriginal culture. I looked to the work of American artist, De Grazia, who depicts the native Indian people in a simple and sensitive way.
When you look in the mirror, you see what other people see of you. In my piece, Looking Glass, Missing Hearts, I tried to show a part of myself that cannot be seen in a reflection, a part that not even I know completely.
I wanted to incorporate desolate landscapes and objects “past their time” in order to create an eerie, timeless and lifeless space.
Birthdays are typically a joyous event for y when it is another year closer to being able makeup. However when we get older, birt enjoyed, but instead cause yet another wr heightened awareness of one’s own morta Mrs Wilson with a happily coloured party is in contrast to her sombre facial expressi executing this work because of the challen The artists Albert Tucker and Clare McGre with their expressive and unique approach
young people, especially e to drive a car or wear thdays are no longer rinkle about and a ality. I have painted hat and streamer, which ion. I particularly enjoyed nge of knowing the subject. egor influenced my work hes to their subject matter.
years of pulse
2012
2016
2020
Nicholas Forrester One Punch
Chelsea Menmuir Exposed
Sarah Hoey Androgyny
The idea for my body of work was to investigate the mindless violence so prevalent in our culture today. My aim was to produce a large scale painting that made a powerful statement about abhorrent acts. I began my investigation of my subject through reading and making notes on the episodes of alcohol fueled violence reported in mass media. I also read the articles highlighting new laws referred to by the media as ‘one punch laws’. The major artistic influence on my work was the painting, Guernica, by Pablo Picasso.
Inspired by landscapes, realistic artworks and female form, as well as the work of contemporary artist Tim Okamura, my piece explores culture and identity. I wanted to capture the transition of cultures of my friends and I coming from communities up north where culture and tradition are a big part of our lives, to a completely new environment, boarding away from home. The word ‘exposed’ captures the vulnerability felt by sharing our culture and language, as it is very important to us.
Through this piece I am conveying the balance of masculinity and femininity in all of us by using stereo-typically “male” blue and “female” pink to illuminate how the model’s masculine characteristics juxtapose with their feminine pose. The piece aims to encourage a re-assessment of gender labels. Gender stereotypes associate masculinity with dominance, strength and assertiveness, whilst femininity stresses vulnerability, warmth and passivity.
Mckenzie Wilson
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Afterglow
From the Director The Art Gallery of Western Australia is proud to present the thirtieth installation of The West Australian Pulse. From the inception of the exhibition in the early 1990s the public showed immense support for the creative works of the recent Year 12 graduates and the popularity of the exhibition quickly grew. While 2021 saw our community withstanding unique challenges, today’s youth were quick to adapt to new pressures highlighting their resilience in the face of so much uncertainty. Young Western Australians are standing up, speaking out and fighting for their futures and I am honoured to elevate their voices through The West Australian Pulse. Every year this highly anticipated exhibition invites us into the minds of young people, providing us insight into their aspirations, passions, and concerns. This year’s exhibition presents an interesting mix of techniques, originality and creative interrogation, with this year’s exhibitors contributing to conversations on mental health, social pressures, and navigating self-awareness, with a particular interest in environmentalism and human impact, meaning and memory, and connection to culture, family, and country. In celebration of the thirtieth anniversary of The West Australian Pulse, AGWA have partnered with The West Australian to further amplify the voices of this year’s exhibitors. With the efforts of The West Australian and the AGWA team we have been able to dive into the history of this exhibition, looking back at how artistic style has developed in high schools over the past three decades. I would like to thank Healthway for their ongoing generosity in support of Pulse; your valuable work in the area of mental health for young people is particularly poignant for us all at this time. We value the work of every single student that submitted and extend this appreciation to the efforts of the parents, teachers, and schools that encouraged these artists in developing their creative process. The West Australian Pulse is a community minded exhibition, and it is through the support of family, friends, educators, and mentors that these young artists create such meaningful work, and we realise the brilliance of The West Australian Pulse every year. I hope you enjoy the selected works in this years The West Australian Pulse and encourage you to vote for the work which resonated with you in the Act Belong Commit People’s Choice Award.
Colin Walker, Director, The Art Gallery of Western Australia
Ahleigha Davidson
change ahead
a new perspective 6 |
Warning Signs
A message from The West Australian When I was in high school I was really good at two things – playing footy and writing. And it was much cooler to be good at Aussie Rules than English Literature. The truth is that high school can be a lonely place for those of us enamoured with the arts. It can feel like you’re the only teenager in the world who cares about Van Gogh or Picasso or Frida Kahlo. Who actually looks forward to studying The Great Gatsby or who watches black and white films for fun? So when an annual arts competition for high school students comes along and it’s housed at the prestigious Art Gallery of WA, it can be an important lightbulb moment. Suddenly you start to realise that maybe you’re not alone. Maybe there are other students out there who love art, novels and culture too. For many, The West Australian Pulse is the first step towards choosing to study an Arts degree. And of course, once you’re at university you discover there are many other students just like you. That’s why I’m proud to be the Editor in Chief of West Australian Newspapers as it embarks on this new partnership with AGWA to sponsor the Pulse exhibition. I want students right across WA to know their voice matters and that their passions are important. The annual Pulse exhibition offers a no-holds-barred insight into what issues are playing out across the schoolyard. Everyone would do well to listen, and look, as students tackle themes such as racism, climate change and social media. What issue will dominate the minds of this year’s students? Most importantly, as they hold a mirror to their world, they’ll know they’re not alone.
Anthony De Ceglie, Editor in Chief, West Australian Newspapers
A message from Healthway Healthway is proud to support the Art Gallery of Western Australia’s The West Australian Pulse through Act Belong Commit. Through our valued partnership, we support the mental health of year 12 students by providing them the opportunity to share their stories through this popular exhibition. The exhibition celebrates the creative expression of Western Australia’s promising artists and the role creativity plays in developing young people’s identities while shining a light on compelling and urgent issues. Being able to express ourselves through art and creativity is a fantastic way to protect and nurture our mental health and wellbeing. The students push the boundaries of art through a dynamic range of mediums displaying a mix of humour and earnest. By sharing their stories, they also form positive social connections with other artists, visitors, and the broader community at a time when celebrating their achievements with others is so important. Prepare to be captivated by an impressive display of works from students across the state, and don’t forget to cast a vote for your favourite artwork in the Act Belong Commit People’s Choice Award. By simply attending the exhibition and voting, you are helping to support young people and their invaluable contribution to the way we communicate ideas, feelings, and interpretations about the world. Finally, I’d like to congratulate all the artists taking part in this exhibition and The Art Gallery of Western Australia for successfully running The West Australian Pulse for 30 years.
To find out more about nurturing your own mental health visit www.actbelongcommit.org.au or on social media @actbelongcommit. You can also connect with Healthway @HealthwayWA.
Ralph Addis, Chief Executive Officer, Healthway 1 |
Minister’s Foreword Congratulations to this year’s The West Australian Pulse selected artists for their inclusion in the thirtieth year of The Art Gallery of Western Australia’s popular exhibition dedicated to young artists. It is an honour and testament to your skill and commitment to creativity. I would like to acknowledge all the submitting artists for this year’s exhibition. Again, it has been an interrupted and challenging year, and I congratulate you on your resilience and openness to navigating our changing environment. Thank you also to the educators and families who supported our young artists over the past year. Over the past thirty years, this exhibition has cemented itself as a platform for the voices of young artists. I’m delighted to see The West Australian Newspapers supporting the exhibition and enabling the Gallery to further share the exceptional art of our young people. Pulse is always an anticipated exhibition for the participating artists, their families, and the Western Australian public. Each year, I look forward to this opportunity to view the world through the lens of our young people. To encounter and experience their concerns, passions and insights into our society is often humbling, exhilarating and always rewarding. The artistic talent on display leaves me inspired and encouraged for our creative future. Creativity is essential in building a thriving society and fostering an innovative and inclusive culture. I urge everyone to take the opportunity to view these superb works for themselves, listen to the voices of our young people, and reflect on the immense value of the arts.
David Templeman Minister for Culture and the Arts; Sport and Recreation; International Education; Heritage
Pulse class
Sara Al Husseini • Bailey Arundell • Ainun Beck • Me Luke Chapman • Rory Charles • Lee Connor • Ahleigha Davidson • Bridie Dempster • Jenny Do Pippa Ford • Melissa Howman • Sanoe Nathan Mahney • Michael Marangelis • Finnity McH Ruby Nunn • Michaela Oberlin-Brown • Bill Ov Eva Perrella • Martin Phan • Harriet Robertson • L Sophie Smith • Mitchell Thompson • Emilia Traverso
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eganne Betteridge • Juliet Caliva • Sophie Catchpole • Joseph Cook • Abbey Cooke • Mathew Cox • Tanami Dundas-Steedman • Suki Elson-Spencer e King • Sophie Kirk • Sophie Kostkova Houll • Emma Moore • Julia Musial • Jasmin Naish versby • Eloise Pavlinovich • Oliver Pemberton Lani Robinson • Charlotte Simmons • Gabby Smith o • Bridget Walter • Noa Williams • Mckenzie Wilson
Sara Al Husseini
Wanneroo Secondary College
On Her Shoulders ink on fabric and paper two parts: (textile) 83 x 31 x 35 and (work on paper) 175 x 76.4 cm
My work represents how the beauty of Muslim culture is often ignored to favour a negative narrative of Islam. I have created my own hijab, drawing on the Qalamkari style of printing from Persian culture. The outer side of the hijab is black and white to represent negative Muslim stereotypes, such as Saddam Hussein, 9/11 and ISIS. The inner side, a side that many never seek to understand, depicts bold colours and ornate repeat patterns which frame what is truly of importance in Muslim culture; friends and family.
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“My work represents how the beauty of Muslim culture is often ignored to favour a negative narrative of Islam.”
Bailey Arundell John XXIII College
We’re All in the Same Boat oil on canvas 76 x 101 cm
My artwork depicts Captain Cook situated in a boat with two asylum seekers, emphasising how Europeans have only occupied Australia for 233 years which is almost nothing in comparison to the 65,000 years that the Aboriginal peoples have lived here. My work acts as a reminder for viewers to rethink the way in which they see Australia’s past, so that they may ask themselves; if our ancestors came to this country to annex Indigenous land, what right do we have to turn away those who are seeking a better life?
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Bailey Arundell John XXIII College
11 |
Effeminate Flamboyance coloured pencil and gold leaf on paper 84 x 59 cm
Macaronis were an effeminate group of men who rose to popularity in eighteenth century England and were persecuted for their rejection of English culture. My work depicts an androgynous teenage boy who is dressed in traditional macaroni attire, his bruised face indicates that he is the victim of both psychological and physical trauma. The drawing highlights how the heteronormative social paradigms that supported the persecution of macaronis in the eighteenth century still heavily prevail in society today, resulting in men being shunned by society for their expression of femininity.
“The drawing highlights how the heteronormative social paradigms... still heavily prevail in society today...”
Ainun Beck
Willetton Senior High School
Let me Take a Selfie oil on board 73 x 60 cm
In my artwork I communicate the value of enjoying the moment and not taking things too seriously. I used highly saturated colours with a warm, yellow tone to evoke a sense of joy. The contrasting orange and reds of my lips and glasses against my skin help draw emphasis to my playful expression. I was inspired by the contemporary works of Erica Lee Sears and Sari Shryack, who heavily employ light, shade and bright colours to aid their lively compositions.
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“...the value of enjoying the moment and not taking things too seriously...”
Meganne Betteridge St Mark’s Anglican Community School
Otherworld charcoal on board 119 x 84 cm
Otherworld is a charcoal self-portrait inspired by the works of John Singer Sargent and Dimitra Milan. I wanted to create an artwork that I felt reflected my idea of heritage and the connection I have with my family and ancestors. My intention was to convey a sense of past and present through symbolism connected to Celtic and Anglo-Saxon culture, demonstrating that although restrictions are causing many of us to be separated from family, we are parts of a whole that is connected to us no matter where we are.
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“...we are parts of a whole that is connected to us no matter where we are.”
Juliet Caliva
Lesmurdie Senior High School
Capgras Delusion acrylic on canvas 76 x 61 cm
This family portrait features two kinds of birds, two meadow pipit parents and a cuckoo bird child. The cuckoo is a parasitic bird which lays its eggs in the nests of others tricking them into raising its offspring. In my artwork, the cuckoo represents an imposter pretending to be a part of this family after having replaced the parent’s real child. I painted in acrylics on primed canvas, and was inspired by The Robing of the Bride, a painting by artist Max Ernst.
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“...the cuckoo represents an imposter pretending to be a part of this family after having replaced the parent’s real child.”
Juliet Caliva
Lesmurdie Senior High School
Life in Motion aluminium foil, wire, polymer clay, spray paint, red string and glue 36 x 20 x 10 cm
My artwork is about the evolution of the human race and represents the idea that our appearance might change so much in the future that we may be unrecognisable as ‘humans’. I made it using an aluminium foil and wire skeleton covered in polymer clay. I then spraypainted the sculpture silver before gluing the string on. The paint was used to make it look like a metal cast and the pattern of the string was made to resemble twisting DNA. I was inspired by the work of Umberto Boccioni.
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“ ...represents the idea that our appearance might change so much in the future that we may be unrecognisable as ‘humans’. ”
Sophie Catchpole
Kalamunda Senior High School
Bare Necessities oil on canvas 92 x 61 cm
The barefoot man shearing a ram pays homage to Australia’s agricultural roots. The man faces the large animal with nothing on his feet, using only the bare minimum to complete his job. It represents the connection between people, their purpose, and their place. The farm is the shearers own place and there he finds his purpose. I used oil paints as I felt it linked to the lanolin oils of the sheep’s wool and the medium of many early Australian paintings. I took great inspiration from early Australian artist, Tom Roberts.
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“It represents the connection between people, their purpose, and their place.”
Luke Chapman
Corpus Christi College
90s icon ink on paper two parts: 142.5 x 108.5 cm each
This work explores my entrepreneurial identity through the process of a four-colour silk screen and photography. I utilised pattern and colour through collage to create form and movement. The images in my piece are a direct reference to 90s hip hop and fashion, in which Kris Kross and Denis Rodman were a major inspiration. I chose to model myself in the piece due to my desire to become an influencer in the DIY fashion world, an industry I hope to be a part of in the future.
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Rory Charles
Wunambal Gaambera, Balangarra and Nykina peoples Trinity College
25 |
Memories of My People synthetic polymer on canvas 61 x 51 cm
My grandfather spoke about the frontier wars, the massacres of our people by police and white settlers, and how they burnt the bodies down by the river. He talked quietly with great sadness and solemnity. The memories and loss are etched deeply into my DNA.
“The memories and loss are etched deeply into my DNA.”
Lee Connor St Mary’s Anglican Girls’ School
29 |
Heritage ink on paper, MDF board, textiles and mixed media two parts: (textile) 145 x 75 x 40 cm and (work on paper) 60 x 90 cm
I have always appreciated observing the growth of modern architecture around historic buildings. There is constant tension between the old and new as historic buildings are demolished and built over by contemporary structures, particularly ones of more capitalist value. My piece highlights the contrasting relationship between new and old structures by exploring the Coop’s Shot Tower, a heritage building in the middle of a shopping centre in central Melbourne, which is protected from the natural elements by a modern glass cone.
Joseph Cook
School of Isolated and Distance Education
31 |
Blankie oil on canvas, dyed fabric and bleached cyanotype prints 130 x 130 x 65 cm
My piece depicts my nostalgia for both positive and negative experiences due to personal issues with derealisation. I have sewn warm oil paintings, suggesting happy memories among doleful blue cyanotypes, to symbolise my uncertainty about whether specific recollections have benefited or harmed me. By creating a blanket covering a plaster-cast figure, this reflects the comfort these memories give me now, even though I am unsure if I truly enjoyed them at the time.
Abbey Cooke
St Hilda’s Anglican School for Girls
Close to Home ink on paper, wooden box with mixed media and found objects four parts: (three works on paper) 46 x 56.5 cm each and (object) 34 x 104 x 19 cm
Growing up on a farm I gained an appreciation for the land that I called home, as well as a deep-rooted connection with my surroundings. Through sharing a narrative of my own experience, my work explores this sense of place and the gradual removal from it. Drawing inspiration from Joseph Cornell’s shadow boxes, I created a box made with found materials from my home. Together with the triptych of lino prints depicting progressively distancing scenes, the left-to-right movement of the work reinforces leaving home. 33 |
Mathew Cox Aquinas College
Volare al’alba (Flying at dawn) oil on MDF board 45 x 123 x 44 cm
My work explores the beauty of volare (flying). I learnt to fly a plane solo before I learnt to drive a car. The feeling of euphoria enters my body when at high altitude, viewing our beautiful land from an unfamiliar angle, which can only be experienced through flight. Dawn brings a new day where we are blessed to wake up and consciously choose what we accomplish and what talents we use to better ourselves, others, and our world.
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Ahleigha Davidson
Iona Presentation College
Warning Signs oil on wood with soundscape three parts: (paintings) 76 x 51 cm, 69 x 69 cm and (audio) 2 min 22 sec
I have reimagined the instantly recognisable ’wrong way go back’ and ’danger ahead’ road signs to stand as visual metaphors for the confusion and memory loss that my grandmother, Valmai, is currently experiencing due to her dementia. The two oil on wood paintings, depicting my grandmother and the beloved home in the country she was forced to leave, are displayed with a self-recorded traffic soundscape. The soundscape is composed of beeping horns and revving engines to add to the atmosphere of disorientation.
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“...reimagined the instantly recognisable ’wrong way go back’ and ’danger ahead’ road signs to stand as visual metaphors for the confusion and memory loss...”
Bridie Dempster Perth Modern School
Where I Stand oil on canvas 90 x 50 cm
This artwork explores the significance of naming and how these names allow us to relate in different ways to the world in which we live. I highlight the dissimilitude of First Nations and Western naming practices by focusing on street signs. The transparent and barely visible signs displaying the Whadjuk Noongar names for places in my local area are juxtaposed with the highly visible and defined Western names, illustrating how traditional Aboriginal language names for places have been disregarded.
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“...explores the significance of naming and how these names allow us to relate in different ways to the world...”
Jenny Do
Perth College Anglican School for Girls
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Home Away from Home synthetic polymer paint and varnish on canvas three parts: 76 x 61 cm each
This painting captures my forsaken childhood experience influenced by the survival of my immigrant parents and our family’s cultural juxtaposition within the West. The composition of my parents facing me shows their subtle form of love for me, while my inability to recognise their love is represented by my back turned towards the viewer. I’ve learnt that love in Vietnamese families isn’t always expressed as obviously as it is in the West. I seek to display an emotional moment that those, like me, can relate to.
Tanami Dundas-Steedman Governor Stirling Senior High School
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Home oil on canvas two parts: 91 x 246 cm overall
Home comments on the insidious brutality of domestic violence, depicting its intergenerational impact from different points of view within an abusive household. Drawn from personal experience and created in a Realist style, Home is intentionally graphically raw. In one image a child peers from behind a door witnessing domestic violence, depicted in the reflection in their eye. This symbolises how children and witnesses are shaped by abusive moments. The second image explores domestic violence from another perspective, depicting a woman holding her hands up, cowering in fear, where the viewer is positioned inside the abusive scene.
Suki Elson-Spencer
John Curtin College of the Arts
foliatum natural dye on wool and silk, embroidery and cotton thread, dried leaves and paper two parts: 22.5 x 22.5 x 2.5 cm overall
foliatum is a tactile work aiming to mimic the overwhelming sense of calm and stillness which envelops me whenever I enter the natural environment. The twelve pages were all created through a natural dyeing process utilising the leaves of different eucalyptus trees, the embroidery which overlays them imitates the original shape and colour of the plant. I encourage you to immerse yourself in the quiet place my work creates in amongst an otherwise loud and intrusive world.
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Pippa Ford
Presbyterian Ladies College
ZEITGEISTOFGLOBALCHAOSANDVERBIAGE ink on gesso board, posca marker, digital print, audio three parts: (work on paper) 102 x 183 cm, (object) 61 x 41 x 43 cm, (audio) 2 min 22 sec
My immersive artwork explores the impact of mass media and the overwhelming presence it has. We are constantly overstimulated by words, technology, and opinions regarding numerous political, economic and social issues. The installation consists of a 2D weaving and a prism, constructed from screen printed line drawings on board. Typography and drawings interlink, combining when woven and overlapped to create a visual vibration. The artwork challenges the viewers point of view on various commentaries globally, forcing them to look closer at the words I consider to be poignant and important. 49 |
Melissa Howman
Melville Senior High School
What a waste! oil paint, pencil, glazed ceramic and wood five parts: 46 x 36 x 30 cm overall
Inspired by site visits to the Fremantle port area, What a waste! is a commentary on the beauty in the overlooked. Jeffery Smart transformed ordinary objects into extraordinary forms by painting bright colours and simplistic shapes in a polished and appealing way. I wished to pay homage to these artworks, emulating the same romanticised approach to Fremantle’s port. I used ceramic rendered pieces of rubbish to create beautiful, idealistic versions to encourage these objects to be recognised as art rather than throw away items.
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Sanoe King
Broome Senior High School
Ground acrylic paint, oil pastels, chalk on marine plywood 77 x 120 cm
Using acrylic paint, water colour and oil pastels I wanted to share a unique point of view that I see in my community; the deep connection between country and people. Creating the atmosphere in the artwork was most important. Throughout the final stages, I worked towards the unity and relationship between sky, water, land and people, all seen as connected. Country is not just the land but it is the sea, sky, and beings that live and share life on it.
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Sophie Kirk
Perth Modern School
From One Thing to Another oil on canvas 70 x 90 cm
My artwork was influenced by the pressures and uncertainties I experienced approaching graduation and the end of my school years, unsure of what came next and how things would change as I left behind the place I’d grown up in. My painting intends to capture a slice-of-life moment between the conclusion of one journey and the start of the next, morphing the initial fearful response to change into one of anticipation for whichever pathway lies ahead.
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Sophie Kirk
Perth Modern School
The Labour of Love oil on board 80 x 110 cm
The Labour of Love is a reflective work, aiming to showcase the serenity and encompassing beauty associated with our environment, even when working within it. The painting reflects a snapshot scene from my backyard at home, highlighting the routine and everyday nature of these pockets of life found within our lives – if we care to look. My work was influenced by global climate concerns and the uncertainties into what the state of our natural world will be in 50 years, bringing awareness to its magnificence before it is lost. 57 |
Sophie Kostkova Corpus Christi College
good luck rabbit mixed media and textiles three parts: 46 x 88 cm, 38 x 35 cm, and 64.5 x 119.5 x 1.6 cm
In Western culture, stitching is seen as ‘women’s work’. In Greek mythology, Arachne used stitch to challenge the patriarchal order, and in the early twentieth century the Suffragettes used stitched banners to symbolise their struggle. These stories of protest continue long after the women who made the marks were silenced. I developed this work through numerous stages and processes of sketching, sewing paper, experimenting with oil paint, and using pens. My use of pink and purple speaks of feminism, while the stitches over the eyes and faces reference the stories that are silenced by power. 59 |
Nathan Mahney Aquinas College
Trashed oil and mixed media on wood ten parts: 101.5 x 90 x 0.8 cm overall
My artwork explores the human impact on the natural environment through the consequences of tourism on the rich natural beauty of Bali, Indonesia. Organic, natural and lush paint strokes are contrasted with the artificial, hard and unnatural colours and materials of the manmade elements, conveying human interference and trashing of pristine environments. The result of this is shown by the rubbish animal head sculptures of species that have now become either endangered or extinct from this area.
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“...conveying human interference and trashing of pristine environments”
Michael Marangelis Wesley College
A Morning Row oil on canvas 91 x 61 cm
One morning after a gruelling 5am rowing session, a friend bumped into me and asked, “You look exhausted, what have you been up to?” “Mmm… rowing” I replied. He looked at me like I was crazy before asking “Why do you do it then?” My work is a philosophical response to the question of why we do anything, particularly things that can be both painstaking and rewarding, not always in equal measure. A Morning Row depicts a snapshot in time, capturing that moment of exhaustion and exultation experienced after an enduring row.
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“My work is a philosophical response to the question of why we do anything...”
Finnity McHoull
Willetton Senior High School
Candy oil on canvas 90 x 60 cm
Inspired by the works of Lucy Culliton, the static composition of this work is a moment of stillness amongst the chaos of living with mental illness. Candy reflects my personal experience with the health system as a teenager struggling with mental health. The irony of reading “keep out of reach of children” written on every box of medication I was taking at the age of fifteen made me to feel older than I was. The title of the artwork mirrors the gradual loss of childhood innocence as medication replaces candy.
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“The irony of reading “keep out of reach of children” written on every box of medication.”
Emma Moore
John Curtin College of the Arts
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Reminiscence graphite on paper ten parts: 15.5 x 150 overall
Reminiscence is a series of photo realistic drawings, a collection of memories connecting us to our often neglected past. While searching through a box of family possessions I discovered the shared experience of family memories. Using photographs that captured blissfulness and graphite pencil for meticulous detail, I carefully constructed compositions with omitted figures to reflect temporality. I encourage the viewer to position themselves into these memories as if they are their own, allowing for a close reflection as to how truly beautiful yet ephemeral life is.
Julia Musial
Applecross Senior High School
Thanks for all the Fish graphite on paper with solvent transfer print and synthetic polymer paint on fabric, metal hook and pulley, and rope five parts: (textile) 200 x 200 x 100 cm and (works on paper) 86.5 x 61.2 cm each
Thanks for all the Fish speaks on unsustainable fishing practices occurring in the world. I began by researching the subject and learning about the damages caused by the fishing industry. I initially sketched the subjects, pre-cut my fabric of choice, then photocopied and transferred my sketches onto the fabric of choice. The wear and tear of the fabric brings awareness to the fragile state of the ocean’s ecosystems and its inhabitants.
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Jasmin Naish
Iona Presentation College
73 |
Mini effusione cutis (My shedding skin) hand built wooden cabinet, oil on canvas, feathers, lizard skin, clay, Perspex and glass jar 97 x 82 x 13 cm
Metamorphosis is a functional modification during development. Transformation, the physical and metaphorical shedding of skin, can be observed widely in the natural world. Baby teeth are replaced by stronger, permanent teeth. The juvenile plumage of fledgling birds moult, their downy covering replaced by adult flight feathers. Lizards shed the skin that they have outgrown. Crayfish can regenerate themselves, while octopus not only regrow lost arms but can also physically adapt to their environment by squeezing themselves into minuscule crevices. Evolutional change occurs in response to external, uncontrolled factors.
Ruby Nunn
Seton Catholic College
Cowboys Don’t Cry oil on board 65 x 114 cm
Cowboys Don’t Cry is an oil on board painting featuring a cowboy metaphorically clutching onto himself as he mourns the last moments of his life. The painting is an exercise in tragedy, appropriating the compositions of the Italian Spaghetti Westerns of the 1960s to explore the importance of positive male role models in media, while also debunking the myth of the cowboy as a stoic and controlled figure in the face of violence. This myth has led many young men to attempt an equally violent and depressing mimicry, sacrificing self-expression for bravado and connection for solitude. 75 |
Michaela Oberlin-Brown Governor Stirling Senior High School
77 |
The Modern Vices oil on board 51 x 40.5 cm
The Modern Vices is a series of paintings I created to expose the harsh reality of being a teenager. Inspired by Lucian Freud’s raw and exposing works, I aimed for a hyper realistic work that puts the viewer in the position of a modern-day teenager. The hands are positioned to offer the viewer objects I have a troubling context with, as my friends and I struggle with pressures of drinking, drugs, makeup and the normalisation of sex.
Bill Oversby
Kennedy Baptist College
The Everyman’s Chrysalis watercolour, gouache and colour pencil on paper three parts: 31 x 39 cm, 51 x 31 cm and 51 x 31 cm
The Everyman’s Chrysalis is a mixed media series that represents human metamorphosis. It follows a bespectacled man’s progression from larva to chrysalis, from thence to beauty. My work is influenced by the film Safety Last! (1923) which features the iconography of a man hanging from the hands of a clock. To create this artwork, I first produced sketches of ideas using pencil on paper, then used photo editing software to construct collage-like images to inform the final compositions. I then rendered the final images using watercolour, coloured pencil and gouache. 79 |
Eloise Pavlinovich
Applecross Senior High School
Buzz Guaranteed inkjet prints on paper, wood, fabric and metal fasteners two parts: (wall hanging) 147 x 61 cm and (book) 43.3 x 60.8 x 2.8 cm
I used the idea of commentaries to focus on how consumerism drives product advertising. I shot photographs of kitchen objects, then applied the colour halftone filter in Photoshop to convert the dots to CMYK colour mode to achieve the patterns. I decided to present the prints in a swatch book to imitate the act of consuming products through viewing them. My work comments on how products are advertised through the influence of Pop Art and buzz words to catch the viewer’s attention.
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Oliver Pemberton
Christ Church Grammar School
Disoriented digital print on Perspex, acrylic and epoxy resin 17 x 70 x 70 cm
In this work I explore the emotional landscape connected to surfing. The exhilaration of catching a wave contrasts with the feeling of vulnerability towards the power of the ocean and its inhabitants. I wanted to convey a sense of disorientation but also of relaxation. The underwater photographs were printed onto acrylic, then overlaid with sculpted fins cast from individually dyed resins. The fin arrangements represent that of a surfboard and evoke a fear common to all surfers in our ocean.
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Eva Perrella
Swan Christian College
The Cost of Success ballpoint pen on paper 120 x 75 cm
This is an autobiographical work reflecting the experience of a year twelve ATAR student. The intent of my art is to warn students against overworking themselves. The smoke acts as a leading line to the figure symbolising success, which for year twelves is often graduating comfortably. After gluing the notes pages against the canvas and sealing them, I transferred the reference image onto the pages and began sketching using a blue ballpoint pen. The class notes used in the background are authentic, with some reproduced for aesthetic purposes. 85 |
“This is an autobiographical work reflecting the experience of a year twelve ATAR student.”
Martin Phan
Ursula Frayne Catholic College
HEADSPACE: The Inner Sanctuary of The Adolescent Mind MDF, glue, vinyl, synthetic polymer paint, epoxy resin, wood filler, plaster and acrylic 52 x 42 x 14 cm
Conceptualised from a joke mocking my mate who tends to zone out and avoid his mounting responsibilities, HEADSPACE developed into a representation of the typical teenager who commonly retreats into their own homely and safe headspace. The piece consists of many layers of laser-cut MDF, making up the layers of the teen’s developing self-identity. This voyeuristic perspective draws inspiration from Edward Hopper’s depictions of tightly sealed environments, alluding to a sense of entrapment and isolation while exploring ideas of loneliness, self-comfort, and social identity. 87 |
Harriet Robertson
Frederick Irwin Anglican School
52 & Me digital print on ACM metal 120 x 40 cm
As a person who struggles with connection, I often long for closer bonds. My digital print on metal depicts an imaginative story I painted using oils on canvas and further developed into a children’s book. Inspired by the lonely 52-hertz whale, an animal who sings at an unheard frequency, my work portrays an unexpected friendship between a young girl and her toy whale. My narration includes a symbolic scuba helmet that protects one from sadness, a magical raincoat that provides strength, and a journey to finding comfort and happiness within oneself. 91 |
“...my work portrays an unexpected friendship between a young girl and her toy whale.”
Lani Robinson All Saints’ College
Te Haerenga o Tetahi (The Journey of One) hessian, feathers, wool, whaea peara (mother of pearl shell), pāua (abalone shell) anga kau (cowrie shell) and video and audio two parts: (textile) 95 x 39 x 30 cm and (media) 1 min 39 sec
Te Haerenga O Tetahi (The Journey of One) is a story about my own personal identity and journey towards a deeper connection with the Maori culture, which I share through my family’s heritage. Traditional Maori materials, such as pāua shells, feathers, flax and wool, are woven throughout the piece, connecting my cultural heritage throughout the work. With my passion for contemporary dance, I have incorporated materials and repetition of movement to emphasise a wearable form to express myself. 93 |
“...a story about my own personal identity and journey towards a deeper connection with the Maori culture...”
Charlotte Simmons Melville Senior High School
Echoes of Choeung Ek oil paint, ink and pencil on canvas 91.5 x 122 cm
My artwork highlights Cambodia’s contemporary history involving the Khmer Rouge regime. The woman, whilst having experienced the genocide of her people, acts as a motif of hope. I have incorporated Khmer writing and mixed media in the background to create a murky textural surface to represent the largest killing field in Cambodia, Choeung Ek. It acts as a subtle reminder that power can decay human morality and that such atrocities can happen in our lifetime.
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Gabby Smith
Presbyterian Ladies’ College
Herbarium Heritage plant matter, thread, calico, bamboo and dissolvable bags 200 x 80 x 5 cm
My artwork is constructed from perishable flora embedded in cotton thread. The exterior of the garment is naturally dyed and hand stitched with grass roots. It celebrates the strength and fragility of the Australian bush. The inspiration for this work came from my granny and childhood memories of time spent in her enchanting garden. The cape references Little Red Riding Hood to expose our inner childlike virtues of innocence and playfulness, akin to peering into the cape for the first time.
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Sophie Smith All Saints’ College
Holding On repurposed sleeping bag, fabric, thread, text message and memories 210 x 70 x 4 cm
After spending time in and out of hospital my father took his own life in 2020. Throughout this time we started texting more. Looking back at these exchanges offers me comfort, particularly the texts incorporated in my artwork. I miss his strong and loving hugs. Similarly, sleeping bags provide safety, warmth and comfort. They encompass you and keep you safe. I have used clothing items belonging to me, my brother and my dad to show our connection. The threads left loose symbolise my journey with grief; messy and unforgiving.
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“I have used clothing items belonging to me, my brother and my dad to show our connection.”
Mitchell Thompson Hale School
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Wildfire oil on canvas, found objects and scrap metal two parts: (painting) 104 x 79 cm and (object) 66 x 93 x 23 cm
The Stirling Ranges bushfires near my home inspired me to create a multi-media work with environmental commentary. The malleefowl, outlined in the fire, is a symbol for endangered species. The non-indigenous fox and the bushfire symbolise the threats to the native flora and fauna. The sculpture is made from bits of scrap metal I found around my home property. The outline of fire around the malleefowl was inspired by Australian artist, Tim Storrier. The sculptural component was influenced by a variety of artists, as well as my own welding and repairs experience which I have learnt on my home property.
Emilia Traverso All Saints’ College
It Will Pass ink on paper two parts: 55.8 x 44 cm each
The symbolism of mushrooms became the central concept of my artwork. They are a vessel through which decay can occur and new life can begin. Through the technique of spore printing I highlight the areas on my body where my anxiety physically manifests, depicting these moments as fleeting and delicate. The two prints represent different layers of the earth, with the white ink being the mycelium of the fungi and the black ink being the surface. Belief in the ability for change and the temporality of everything brings me comfort. 103 |
Emilia Traverso All Saints’ College
Offerings ink on paper two parts: 56 x 44.5 cm each
The prints are a recreation of the paintings Death of Sappho (1881) and Circe Offering the Cup to Ulysses (1891). Both works were born from the Neo-classical and Romantic periods. I found inspiration in these works and grew an obsession with the images to the point of emulation. This forced me to stay present with a single idea in order to understand its intricacies and functions. Being present to the detail created a space for reflection and meditation.
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Bridget Walter
Iona Presentation College
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W.A.S. Kohlbardi Sheep Farm oil and synthetic polymer paint, fleece and processed wool on a synthetic wool bale 90 x 80 x 60 cm
My wool bale sculpture captures the rich aesthetic of the Australian farming community. Through the sun kissed style of portraits depicting my father and brothers, the sunspots and red pigments highlight their experiences as farmers. Inspired by Shearing the Rams (1890) by Tom Roberts, my work echoes Roberts’ celebration of pastoral life. My work pays homage to the significance that the wool industry played in the economic development of Australia. Through my narrative, my artwork portrays my family’s past within the wool and wheat industry, commenting on the lush country lifestyle of my home in Australia.
Noa Williams
St Mary MacKillop College
Animals, Animals, We Are All Animals aerosol paint, permanent marker, manipulated Perspex, found object, riso print, ink jet print, and animation seven parts: (five works on paper) 48 x 38 cm each and (TV) 35 x 38 x 35 cm (media) 5 min 54 sec
We are part of the animal kingdom, sharing the same mannerisms and instincts of animals. My artwork is a reinterpretation of the song Animals by Australian garage punk band Mini Skirt; the text and imagery are derived from the lyrics. The style and composition are influenced by underground artists such as Rad Dan and Nasty Neck Face. I have utilised spray paint stencils, free hand drawings with permanent marker, riso prints, manipulation of Perspex, found object and animation. Remember, we are all just smart monkeys. 109 |
Mckenzie Wilson St George’s Anglican Grammar School
Afterglow oil on canvas two parts: 88 x 122 cm each
I chose to complete a diptych of oil on canvas to show the debilitating shadow that eating disorders cast. In my first painting, I have placed myself in a foetal position curled up to represent myself as a child needing to be nourished. In my second painting, I have contrasted with this idea showing references to recovery. I have placed the papaya in my arms to symbolise the healthy relationship that I have discovered with food. In both works, I used a limited palette with a blocking technique.
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