CONTENTS — PRIMED 2020
YEAR 12 VISUAL ARTS EXHIBITION Showcasing work from IB Visual Arts VCE Media VCE Studio Arts VCE Visual Communication Design Sunday 25 October 2020 Geelong Grammar School Cover Image Credits Josh Zhu (P)
10–29
62–111
112–127
IB VISUAL ARTS
VCE STUDIO ARTS
Kasey Furnari Harriet Furphy Maya Holman Anna Li Issy Perrignon Julia Sinclair Lawrence Yang Julie Yuan Joanna Zheng Josh Zhu
Sally Barlow Elliot Blundell Archie Brenchley Amberlie Calvert Avah Colls Murdoch Haigh Briony Hoh Bridget Hood Coco Jeffrey Harry Jennings Jack Joyce Aurora Kisvarda Eliza Leckey Maia Love Henry Martin Amy McEachern Mia McEachern Ella McGrath Holly Robinson Tanna Ryan Madison Schofield Hannah Scott Jemima Smith Lola Smith Gigi Stephen Amaris Su Sharron Yuan
VCE VISUAL COMMUNICATION DESIGN
30–61 VCE MEDIA Elliot Blundell Ruby Burgess-Hoar Avah Colls Imogen Duff Harry Jennings Annabel Kirby Mia McEachern Alice Needle Arabella Ritchie Tom Santalucia Madison Schofield Gigi Stephen Zoe Walters Jemma Whitson Sharron Yuan
Sophie Browne Murdoch Haigh Jack Joyce Amy McEachern Ella McGrath Tamzyn Pickard Thomas Stojanovski
INTRODUCTION — PRIMED 2020
FROM THE HEAD OF VISUAL ARTS I am most delighted to present to you the PRIMED 2020 Exhibition Catalogue. The catalogue includes the works of 49 students involved in IB Visual Arts, VCE Media, VCE Studio Arts and/or VCE Visual Communication Design. The publication is very special this year as it takes both printed and electronic format. While the tumultuous character of 2020 prevented us from organising the customary physical exhibition, not presenting the work of our graduate students was not an option. Adopting a defiant stance against COVID-19 pandemic, the staff of the Visual Department, bolstered by the success of the 2020 Coriobald Prize E-exhibition, decided to work around imposed restrictions and create a virtual PRIMED. Consequently, the digital form of the catalogue became our interactive exhibition, which hopefully, once again, will be one of the main features of the Leavers’ Celebrations. Its electronic format allows us to share, for the first time ever, the moving images – videos produced by Media and Visual Arts students, as well as movies of some of the three-dimensional works.
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INTRODUCTION — PRIMED 2020
The title of the show is not accidental.
PRIMED, according to the Oxford dictionary, means “prepared for a situation so that an individual knows what to do, especially after being given special information”. The exhibition showcases projects of students who, over the last two years, have been involved with the Visual Arts. They have received their “special information” to take them into the next level. Whether they will choose to pursue Art and Design education further or not is at this stage uncertain. The feedback from the students who have done the subjects in the past would suggest that they will, however, definitively bring along new perspectives and energy for creativity to any academic field. In this time of pandemic and isolation, the role of Art and Design has become even more central to our students’ lives, whether they have realised it or not. As a number of their works show, many “prepared for a situation” moved deeper into their inner thoughts and imagination, a vast space of inspiration that ordinarily is perhaps neglected. Staying creative – painting, sculpting, designing, photographing and video making – offered them a chance to move around freely in a fictional world in a way that was impossible in reality. As Audrey Azoulay, Director-General of UNESCO, declared at the first celebration of the World Art Day earlier this year, “Art connects us to the foreign, the exotic, and the impossible—but in our current context, it also connects us to a world where anything is possible.” The power of Art and Design, namely, the importance of bringing people together, inspiring and soothing, has been made emphatically obvious during the Coronavirus period. Luckily, the School recognises the significance of Art as a core part of education and the national curriculum, and our students are given an exclusive opportunity to experiment with different media and materials in a variety of purpose-built venues like the darkroom, painting, printing and ceramics studios or the computer lab (known as ‘MacLab’). They also have the rare opportunity to observe and work alongside leading contemporary Australian artists. In Term 1, we were lucky enough to host one of the three planned artists in residence that were to enhance our programme in 2020.
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Looking through the various sections of this exhibition/catalogue, arranged according to the four Visual Arts subjects taught at Year 12 level, it is easy to see the effects of such “priming”. The artworks and designs on display are a culmination of sweat and tears shed over the course of the students’ journey. As they advanced, and especially through the last two years of their study, the students were developing their investigative, analytical and reflecting skills. They strove towards an appropriate form and the highest level of resolution to attain full ownership of their artistic development. Furthermore, they also worked effervescently to respond to specific briefs and/or self-guided challenges.
INTRODUCTION — PRIMED 2020
Margaret McIntosh stayed with us for nine days at Corio – the visits of the other two artists had to be postponed until 2021. Ms McIntosh not only generously shared her knowledge and skills but, importantly, spoke about the value of experimentation, resilience, learning from mistakes, determination to succeed, perseverance, humility and, most of all, hard, honest work for her creative practice. This has indeed provided further “special information”.
In the process, they created works that express how they perceive and respond to the specific design needs, life challenges or the world around them. The visual thinking helped them to express what it is that they feel and what they see. Being “prepared for a situation” our students “know what to do”, and thus receive skills for life, skills for living. Importantly, notwithstanding the restrictions and challenges of remote learning, their work is experimental, diverse and transnational, and strongly linked to our school-wide focus on Adventure, Positive and Creative Education. As the work displayed in the catalogue testifies, self-isolation or not, Art and Design has nonetheless been thriving. The Visual Arts Department as well as the School would like to acknowledge the effort, determination, perseverance and ultimately the wholesome development that so many of our students have demonstrated through the last two years, and especially in 2020, when they have had to develop their creative solutions to art and design problems, largely in isolation. The students are truly PRIMED. On behalf of the School, I wish them well in their future endeavours. Dr Peter Bajer Head of Visual Arts 7
INTRODUCTION — PRIMED 2020
A ME S SAGE F R O M T H E
VISUAL ARTS CAPTAINS
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INTRODUCTION — PRIMED 2020
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IB VISUAL ARTS — PRIMED 2020
IN TE R N ATIO N A L BAC CA L AUR EAT E
VISUAL ARTS
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IB VISUAL ARTS — PRIMED 2020
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
La Vela Recycled materials Vestido Lápiz Recycled materials
KASEY FURNARI (EM)
My body of work is consistent in its adoption of recycled materials to reform garments as elegant and fashionable. The theme has been explored in various ways - creating wearable street style, constructing runway attire, and finally using recycled materials to make an obvious statement about the ethical and environmental impacts of the fast fashion industry. Each artwork is interiorly inspired by various designers, however, the entirety of the exhibition is inspired by the documentary The True Cost. The film is a ‘portrait of exploitation’, revealing how the ‘price of clothing has been decreasing while the human and environmental costs have grown dramatically’. My body of work aims to inspire people’s visions of recycled clothing to be beautiful, ethical and environmentally exhilarating, by considering the implications of mass production and consumerism on our people and our planet. The medium of my body of work is textiles and film, designed to challenge the environmental and moral concerns regarding the current rapid movement of the fashion industry, considering ‘80 billion items are manufactured every year’, whilst globally ‘13 million tons of clothing are thrown out each year’. The second element of inspiration, evident in the Spanish translations for the titles of the work comes from my studies in IB Spanish, and an article studied about the ‘ultimate destination for European fashion’, the brand ZARA. The Spanish translation of names aims to bring awareness to the ‘slave-like’ labour conditions ZARA is known for, due to their mega-production of fast fashion under the direction of Spanish founder, Amancio Ortega. 12
IB VISUAL ARTS — PRIMED 2020
Blázer de Mezclilla Necessities Recycled Video materials
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IB VISUAL ARTS — PRIMED 2020
HARRIET FURPHY (Cl)
Bride II Medium: linen, embroidery
My theme Gothic Feminism hopes to explore and comment on traditional and simplistic definitions and thoughts on femininity and feminism. I would hope that my works initially disturb viewers but ultimately inspire a sense of empowerment in women to hold ourselves to higher standards instead of playing into the roles and attitudes we seem to be given. I was heavily inspired by Gothic feminist literature as the rise of Gothic fiction coincided with the emergence of modern feminism. I found textiles to be the most effective media in expressing my ideas as it is a rapidly evolving area, especially for feminist artists. It can provide a lens through which to view traditionally held notions of female domesticity and thus is inverted to explore female liberation in this exhibition. By manipulating my traditional skills of embroidery and sewing, I was able to create more complex artworks with a range of unusual materials and techniques. 14
IB VISUAL ARTS — PRIMED 2020
Bride I Corset, Embroidery
Returning the Male Gaze Calico, Oil paint, Canvas
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
Textile Piece - गंग ा – gang-ga – (Ganges) Canvas, Indian textiles, miscellaneous beads and string, liquid cement.
MAYA HOLMAN (Ga)
My intention for the presentation of this body of work is to introduce and immerse the viewer into an experience of the Indian culture and Hindu religion. From this experience, I would like the viewer to reflect and respond to the aesthetic experience and characteristics that make Indian culture unique. Indian culture is generally very vibrant, colorful, and rich in history, traditions and religion. Through this exhibition, I hope that the viewer will feel enlightened and take home with them a taste of the vibrancy of the Indian culture. This body of work is also a response to my Indian roots. Through the creation of this art, I sought to explore and interpret my Indian heritage from my perspective as a second-generation immigrant in Australia. 16
IB VISUAL ARTS — PRIMED 2020
Bengali (Couples) Piece - बंग ाल ी – ban-galee - (Bengali) Acrylic paint on paper Deity Piece - प ् रहलाद – pren-lade – (Prahlada). Acrylic paint and mixed media on wood.
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
Mother Photography
ANNA LI (He)
My work explores the notion of emotional pain as a part of the human condition. Ren Hang is a Chinese photographer who has influenced me, His work has a sense of beauty under suppression, which is in line with my idea of subtle pain. Another artist whose work inspired me is Francesca Woodman. She uses long exposure to capture the movement of the subjects within the photo, often caught entwined within a landscape or edging out of the photographic frame. I have used models in my work to express personal and universal trevails. 18
IB VISUAL ARTS — PRIMED 2020
The Neglected Photography Bondage Photography
Necessities Video
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ISSY PERRIGNON (EM)
Through my artworks I have explored the idea of a modern identity through female and self-portraiture in order to address varied and complex issues with the main unifying quality being the medium and style. My body of works has been inspired mainly by both Frida Kahlo and Yvette Coppersmith, not only for their style but their ideology as artists. My work has also been influenced by portraits featured in the Archibald prizes and female portraiture from both the Renaissance and Baroque periods. 20
Top right: My Sister Oil on Canvas Middle right: One Dollar Oil on Canvas Bottom right: Julia Oil on Canvas
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
头悬梁 (众相) Mixed Media: Plaster, Acrylic Paint, Metal Wires, Gym Ball, Rubbish bags, Foam Balls, Rope
LAWRENCE YANG (Cu)
The central theme of my works can be summarised in a joke called “When everything Smells like Roses” which considers the first principle of Susan Scott’s book Fierce Conversations –interrogate reality, which the underlying premises is to assess the gap between the official line and what is actually happening, to confront real issues and certain conventions. Each work in the exhibition is created to confront or discuss certain issues and conventions in different perspectives, applying my own thoughts on it and then positions the audience into thinking about these issues and conventions and form their own opinion. For example, I referenced artist Yasumasa Morimura by appropriating the Chinese actress Ruan Lingyu’s image and superimposing mine 100 years after her birth her image. By inhabiting her image, I tried to empathise with the pressure from media rumours, which led to her suicide. With this work I invite you to consider how society is subjected to media pressure due to internet transparency, rather than the previously individual focus. The piece 头悬梁 (众相) relates to the Chinese proverb ‘头悬梁’ of a Chinese student tying his hair to the ceiling to keep him awake at night to study. Although this proverb encourages the students to work hard academically, it ironically highlights the destructive cycle of academic study that students now participate in. The pressure to ensure admission to a good university is potentially mentally detrimental, sometimes leading to suicide. The piece Covered Self-awareness (尘埃) stems my own experience involving my friend who ended his life; he appeared happy as others did yet hid the depression in his heart. This piece explores the darker side of trying to maintain a façade and trying to fit into identities that don’t come naturally. 22
尘埃
IB VISUAL ARTS — PRIMED 2020
Covered Self-awareness Acrylic Paint on Canvas
Ruan Lingyu (真相) ” Mixed media: Digitally manipulated photo and old book
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
Pixels Oil painting on canvas Phantasmic Acrylic paint on canvas
JULIE YUAN (Ga)
As I was reflecting on my own experiences of growing up in three very different cities – Beijing, Shanghai and Melbourne – I became captivated by the beauty of traditional Chinese and Western architecture. My theme Journey with Purpose stems from exploring my relationship with each of these cities and reveals a personal reflection on my culture and society. My works also aim to promote appreciation for the architecture around us, which we too often take for granted. Monochrome biro pen sketching is definitely a staple characteristic of my works. By eliminating colour, I sought to convey a sense of emptiness as I struggled to define the concept of home amongst the many cities I lived in. Furthermore, I believe the absence of colours invites viewers to freely associate their own interpretation and emotion to my works. Inspired by M.C. Escher and Surrealism, I expressed my confusion and lost at various points in time, whether due to the absence of identity or the overwhelming load of new information through hallucination, surrealist qualities and a fusion of multiple/ distorted perspectives. I hope my works can evoke resonance for all those who perhaps struggle to comprehend the sense of belonging and find their individual identity as they moved through many cities and cultures in their journey. 24
IB VISUAL ARTS — PRIMED 2020
Journey with Purpose Biro pen, acrylic paint, newspaper on canvas
Ideological Dreamscape Biro pen, acrylic paint,Necessities newspaper Video on canvas
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IB VISUAL ARTS — PRIMED 2020
Cotton Boll Oil paint
Soy Plant Water colour Forced Evolution Sculpture Feeding Sculpture
JOANNA ZHENG (Ga)
My series of works Eutrophication address the environmental problem of algae bloom caused by the excess nutrient brought into the river from fertilisers used in nearby agricultural land. However, eutrophication is more than algae overgrowth. Severe cases of eutrophication cause oxygen levels in the water to drop to a critically low point, suffocating the aquatic animals, leading to mass death. Through art I want to indicate unsustainable agricultural activity is the primary cause of eutrophication and demonstrate the adverse effect of agriculture on the environment. I have explored a range of materials and techniques, including oil and water colour painting, sculpture and ceramics. 26
IB VISUAL ARTS — PRIMED 2020
Necessities Video
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IB VISUAL ARTS — PRIMED 2020
The Reformation Gold foil, Glaze on Ceramic & Oil
JOSH ZHU (P)
History and traditions are both indispensable components of the conservative Chinese ‘Han’ culture, where it is cherished by normal civilians in all dynasties and eras. However, such unshakeable culture faces challenges throughout time, whether from Chinese government officials, in between civilians, or foreign countries. Ultimately, the culture was not yet altered or changed. This exhibition revolves around the Chinese traditional and aesthetic ceramic techniques of blue and white porcelain, aiming to illustrate from different periods and perspective, the Chinese cultural associating events, such as the cultural revolution from the last century, as well as the ongoing coronavirus impacts in the present. My works are largely influenced by practices of artists Ah Xian and Ai Weiwei from a similar cultural background, where their intention is to convey and criticise controversial topics, applying symbols and culturally significant techniques. This intention is continued in my practice. The symbolic Chinese ceramic refers to the theme of traditions and aesthetic values, combining with references to different cultural artifacts that demonstrate and express from a civilian’s perspective of various cultural events. Some works exceed the extent of simple demonstration to the level of criticism, aiming to visually stimulate the viewers to reflect on, especially present incidences in the Chinese civilian’s perspective. 28
IB VISUAL ARTS — PRIMED 2020
Inner Strength Gold foil & glaze on ceramic
The Virus Gold & glaze on ceramic
Necessities Video
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VCE MEDIA — PRIMED 2020
VI CTO R IA N C E RT I F I CAT E O F ED UCAT I O N
MEDIA
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VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
ELLIOT BLUNDELL (FB)
My media film is a music video following two different models, Francesca Blundell and Karl Skoglund in different styled costumes, as they flaunt their outfits and they walk and dance around their set location. I used an old hand held camcorder from the early 2000s to give the video a retro and alternative feel, and because the zoom feature allows me to pan in and out to follow more towards my alternative theme. The songs used for my film are “Vitamin C – Conducta” in Francesca’s clips, and “Doomsday – MF doom”. While editing my film I cut the clips so scene changes happen on certain parts of both songs to make it like a real music video. 32
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
RUBY BURGESS-HOAR (EM)
My media product is a series of ten photographs that effectively leaves my audience profoundly impacted; each image influencing the viewers to contemplate their actions and ask themselves if they are doing enough to stop what is likely to be a potential future. The series depicts a future where children are unable to experience the privileges their parents had, where the accessibility to a beautiful environment is a distant memory. A sense of loss will focus mostly on our marine life, where the presence of fish will be replaced by plastic. I believe it is important to raise awareness of the growing issues in regard to plastic consumption given the numerous problems that have arisen. In statistics provided by the Ocean Crusaders website, they stated that “100,000 marine creatures a year die from plastic entanglement and these ones are found”, “approximately 1 million sea birds also die from plastic”, “at least two thirds of the world’s fish stocks are suffering from plastic ingestion”, “scientists have identified 200 areas declared as ‘dead zones’ where no life organisms can now grow” as well as many more harrowing facts. It is appropriate that my audience is aware of the detrimental habits they continue will only contribute to the growth in these statistics. Not only this, but the habits they teach the children in their lives will consequently assist in the loss of ocean life. 34
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020 SUIT BY DRIES VAN NOTEN
AVAH COLLS (He)
Throughout my design process I have created a 10-page magazine print that essentially inspires creativity through fashion. Depicting a configuration of intimate interviews with designers alongside portraits of the model wearing high end fashion labels I have focused on translating the significance that the fashion industry has on the creative mind and similarly, the way in which the creative mind is replicated through fashion. My product is directed at people who are interested in contemporary fashion and arts and will effectively provide fuel for their interest and passion by encouraging additional support for designers and creative directors. My inspiration was driven from the works of V Magazine and LOVE Magazine as they focus on creativity through fashion, music and culture. Both sources of inspiration encouraged me to delve into the artistic mind throughout the editing process to produce a magazine depicting colour, bold typography and collage. I was fortunate enough to work over FaceTime with a photographer in New York City who was able to replicate my desired intentions taking photographs while being parallel to my instructions. This offered me a greater insight into the fashion and design world as I was encouraged to develop my skills in editing and formatting further. My magazine is abreast with fashion directions and development providing an engaging and intelligent read for people looking for creative inspiration. 36
VCE MEDIA — PRIMED 2020
INSPIRING CREATIVITY
NO.OI TWENTY-TWENTY
FRONTROW
FEATURING ALEXANDRA AGOSTON PHOTOGRAPHED BY CHRIS COLLS EDITED BY AVAH COLLS
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VCE MEDIA — PRIMED 2020
IMOGEN DUFF (He)
In my short film Caged, I hope to highlight the suffering of women in history, in particular the 1950’s, while also critiquing the strict gender roles of that time which are still prevalent today. I am exploring the idea of no matter how perfect and skilful women in the 1950’s were, whether in regards to beauty, ability to maintain a household, cooking skills or loyalty to their husband, they were still considered and treated as inferiors by men due to the prevailing patriarchal ideology of society. Conceptually, Caged is inspired by the idea that the search for perfection was unachievable for 1950’s women, no matter how skilful or caring or beautiful they were. This is shown through the housewife character, Margaret, whose attempt to be the perfect wife inevitably fails, through no fault of her own. The husband cheats and the wife was blamed for not being good enough in the household, rather than the man who cheated. As a result, Margaret is left murderous and unhinged when her ‘perfect’ life falls apart. She did everything in her power to be the perfect wife… Initially planned as a live action film, pandemic circumstances forced me to consider creative solutions to my casting and production. 38
VCE MEDIA — PRIMED 2020
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HARRY JENNINGS (FB)
The student has created a music video entitled Lausse the Cat based on an original script. 40
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
ANNABEL KIRBY (He)
My short film, Class of 2020, highlights the challenges that GGS Year 12 students face during a world pandemic. None of us expected to be attending our final year online, an adjusted study design, missing out on opportunities every Year 12 looks forward to. In my mini-documentary, I interview multiple students on how they are feeling and coping. My Media product overall explores resilience, love, community, humour and strength. 42
VCE MEDIA — PRIMED 2020
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MIA McEACHERN (Cl)
Ode to Simplicity is an experimental short film focusing on the characteristics of simple things in life. Whether it be through watering plants, pouring tea or painting watercolours among nature, it’s the simple things life has to offer. This imagery is complemented by soft piano to convey the mood as hazy, calm and relaxed. I filmed the majority of my production through a plastic pocket to get the faded, slightly blurred, effect which flatters the soft, summery mood I aim to achieve. Towards the end of the short film the aesthetic changes to a darker, cynical mood as the character begins to bleed the colours she creates from the watercolours as she was consuming all of life’s little pleasures. This is fuelled by glitches and dark colours to convey a dramatic contrast between to aspects of the idea of how much is too much. 44
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
ALICE NEEDLE (Cl)
I have produced a series of photographic portraits that investigate inner self. I used staged lighting and projected images/patterns within a studio setting. This reflects the beauty in youth and their ability to grow and connect. I want people to feel like they are able to identify with my work and hopefully be able to see beauty in themselves and recognise their own personal growth during a crucial time in their lives. My audience should be able to identify both the good and bad aspects of being human, and to accept and feel comfortable in their individuality. The ideas and issues I’m addressing are how many people struggle to find their personal identity and tend to feel alienated. If you strip back all the superficial layers, we are all going through similar situations. This is also influenced by body image, and accepting and loving yourself. This is something both males and females struggle with due to societal pressures. I want people to consider themselves, as it is really a reflective piece, where the viewer can take whatever message away from it as they wish. This could be increasing sense of self-worth, or acknowledging both positive and negative emotions. I’m making this product because I think it is imperative for people to see art as something they can identify with and personally feel connected to. The use of shadow, geometric shapes and colour is to simply express and emotion or feeling. 46
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
ARABELLA RITCHIE (Cl)
My short film Second Wave explores the challenges presented with the second peak in coronavirus cases in Victoria. Exploring themes of hopelessness and boredom as I contrast this second lockdown to the first one in March-June. My media product looks very different from the initial plans made back in January. Instead of trying to press on with my original idea, I took a step back and looked at what I could do with the restrictions and constraints brought on by COVID-19. Through this period of reflection, I was able to draw on my own experiences with social distancing and the feelings associated with being apart from my friends. When discussing this with others, it was apparent that while we were physically separated, we had the shared experience of disheartenment, being back where we had just been weeks ago. The film starts with a compilation of news clips and interviews regarding the second wave, giving immediate context to the film. The body of the film is a mix of text messages, and social media interactions between friends overlayed onto scenic shots in the Macedon Ranges, contrasting the chaos of social media with the normality of nature. Finally, the film ends with a zoom call, tying together the theme of staying connected. The film will fade out to Shakka’s song When Will I See You Again. 48
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TOM SANTALUCIA (Fr)
I wanted to make a mini documentary of clips that I had from when I toured with Sony Moore AKA “Skrillex” in 2017. This trip for me was like a dream, the experience will stay with me my entire life and I cannot thank the team at ‘OWSLA Japan’ enough. I learnt tonnes more about cinematography and filming techniques, I learnt more about making music and overall, I learnt what its like to be a literal superstar. 50
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
MADISON SCHOFIELD (Ga)
My product GUISE is an 8-page print layout series that aims to break down the stereotypes of gender normalities through individuality and self-expression. Growing up in an age where the development of technology and social media is rapidly evolving, more than ever individuals are saturated with a consistent stream of societal pressures related to self-expressionism and identity. My product is a visual response to the negative impacts of social media on young individuals and the ways in which individuals should be able to freely be themselves, express their identities and break down the prejudice ideals on gender stereotypes. Self-expression is an important part of identity. It allows individuals to clearly understand and separate themselves from others with an intention to reflect on their own values, morals, ethics and needs in order to validate their identity. GUISE supports to engage those who feel as though they are ‘socially outcast’ due to pressures and constraints of societies expectations. I want my audience to feel inspired by my product, and leave knowing that they too have the ability to express their identity however they please - without the constraint of societal normalities. 52
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
GIGI STEPHEN (Cl)
My short film utilises archival still images, combined with interview footage with my grandmother. In it she reflects on her life and, in particular, some of the difficulties she and her husband experienced. I created this documentary in loving memory of my grandpa. I wanted my documentary to be heartfelt and tear jerking. But also, just a reminder of the memories that I have with my grandpa. Losing someone you love is never easy, so I wanted to create something for my family to watch and remember all the good times. 54
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
ZOE WALTERS (Ga)
This year I produced a music video to the song “Red Desert” by 5 Seconds Of Summer, an Australian band. The songs lyrics tell the tale of how one is drawn to the central desert as it is a place of love and healing. This song struck a chord with me because it’s exactly how I felt when I moved back to Alice Springs at the beginning of the year after living in Geelong for five years. I desperately wanted to go home because it’s where I feel at peace, among the red sand and gum trees. Although this wasn’t what I had originally planned to do for my media product, I knew that coming home gave me an opportunity to share the beautiful, unique landscape with an audience. I have been filming small clips every time I go out bush with my family, trying to illustrate the happiness this country gives us. I have clips of my dogs running through the sand, clips of Parrtjima (The Light Festival) where a light show was displayed on our mountain ranges, telling the story of the land. It has been a process that I have enjoyed very much, crafting a small, montage style music video and I look forward to sharing it with my peers. 56
VCE MEDIA — PRIMED 2020
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JEMMA WHITSON (Ga)
The student has created a documentary film entitled Youth based on an original script. 58
VCE MEDIA — PRIMED 2020
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VCE MEDIA — PRIMED 2020
SHARRON YUAN (Ga)
This short animation centres around the metaphor of escapism (definition: mental diversion from boring or unpleasant aspects of reality, mostly through activities involving imagination) – a fish tank. The fish tank in my work represents a state of euphoria (as suggested by its pink colour and soft glow in the dark room) which one can enter through practising escapism. One feels comfortable, happy and fulfilled in that state, thus making one reluctant to leave the fish tank and face the undesirable and overwhelming reality outside. However, if one stays in the fish tank for too long, one will suffocate and thus kill their human self. Although one may feel as if they have become a goldfish (metaphor for fictional or imagined character) who rightfully resides in the fish tank, they are in reality human, and will eventually die if their human existence was neglected for too long. The main protagonist of this animation enters a state where she has reached a point of extreme discontentment with her life in reality that she is willing to abandon it completely in order to live a happy, but virtual life, thus resulting in the death of her human part. I created this animation intending to convey how some people (including myself) – especially those in their teens and twenties – may feel at times. Living in this modern age, with technological advancements, has drastically increased the variety and quality of escapist activities. I have made my media product relatively neutral regarding escapism, neither encouraging nor condemning the practice of it. However, I do intend for it to become food for thought, to make people think more deeply regarding this topic. 60
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VI CTO R IA N C E RT I F I CAT E O F ED UCAT I O N
STUDIO ARTS
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SALLY BARLOW (Yr11 He)
I have explored the theme of natural beauty; the way that many things, such as plants, animals, settings, objects and humans, have a natural beauty that can radiate, and while they may not seem perfect to the critical eye, they have a unique unedited appeal. I have always appreciated how uncensored beauty radiates in the most unexpected and uncomplicated form, shining a light through the ordinary. With increased exposure to and marketing of modified forms, along with the fast pace of our lifestyles, I felt we were losing sight of the simplest beauties that lie right before us. I wanted to push forward the notion that beauty cannot be defined, it is not a standard and it is not something physical that we can attain, instead it abounds in our surrounds and within each other, and we just have to open our eyes and minds and recognise it. I have chosen to create a collage to convey my message. The use of the cracked mirror with nature appearing through the cracks to represent that beauty is there despite “imperfections” portrayed by a society that too often idolises physical ideals. 64
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ELLIOT BLUNDELL (FB)
My main theme for my folio and final that I have researched and explored is Hybrid. The main theme behind this is the connection between humans and animals and how we are all one. In my final piece I painted the animals and humans living and breathing together as equals. The way in which I came up with the idea to explore and look into the theme of Hybrid and Humans and Animals was because of the work done by David Larwill. In most of his pieces they feature different animals and humans drawn in the same primitive style, but every time he paints them even though they are different species he colours them the same way giving them an equal sort of sense. The process/technique I have followed is similar to the way in which Larwill painted “The Early Bird”, and that is first creating a background with different colours, shapes and textures, and then adding the animals and humans to then cover them up and adding in a plain background, like how Larwill used white in “The Early Bird”. The main aesthetic style my final work portrays is a primitive cave man style painting, with bright neon colours to give it a more modern feel. 66
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ARCHIE BRENCHLEY (FB)
I wanted my work to really stand out to the viewer and let them be lost in how much detail there is to look at. I started out wanting to be making something of a surreal world but as I progressed, I think what that I really just like the appeal of being able to get lost in something. 68
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AVAH COLLS (He)
Throughout my design process I have explored the concept of intergenerational time and how age can be expressed throughout generations. The idea that we are in some way another representation of those who came before us captivates my work as I believe everyone has their own story but their stories have ultimately been shaped by our ancestors. Through portraiture I have been able to capture an intimate understanding of the ideas of age and perception depicted through time, specifically within the male generation of my family. I have used the art form of drawing using pencils, focusing on capturing detail articulated on the models faces exercising soft and relaxed line work to accentuate the strength and clarity depicted within the shapes and tonal range. Throughout the design process I experimented with a range of materials and techniques, including led pencils, paints and different paper surfaces. In addition, numerous drawing techniques were applied including shading using the cross hatching technique along with smudging which ensured the natural shadows and light were emphasised. I believe that less is more, therefore, my work faithfully represents the models and what they express through their natural beauty by highlighting the main features on their faces, such as the small finer details in the skin, eyes, lips, hair and nose to showcase the similarity. Throughout my studio practice I believed I have gained a new perspective on how our generations have fashioned and swayed who we are, more so on a physical understanding through portraiture.
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MURDOCH HAIGH (Cu)
My focus and subject matter throughout my final piece of work has been on items which are represented within the term Suburbia. These comprise of landscapes, streets, houses, interiors and other material possessions alike. Symbolic subjects, settings and activities associated with suburbia have been an important part of my theme. Houses, cars, streets, postcodes, etc. are all examples of fragments of which fall under the term Suburbia. The piece I have created reflects the suburbia of today, showing an interior and a view of suburbia through the window. My final has been created using digital media, more specifically, Procreate on an iPad. It has then been printed for display. The scale reflects the size of suburbia. 72
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BRIONY HOH (A)
My artwork has been influenced by the idea of natural change; how as humans, we never cease to evolve and grow. I found it interesting how change can be transformative in both outer and inner experiences, and how the metamorphosis of butterflies embodies the natural change which occurs through one’s progression through life. I wanted to convey the beauty of change and how growth is an experience which can be appreciated, both throughout the transition and retrospectively. Furthermore, I have aimed to portray a sense of transformation and capture the process of changing and evolving through the lens of metamorphosis and the emergence of a butterfly from its cocoon. The purpose is for viewers to reflect on their own change and to appreciate the natural progression and evolution through life. 74
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BRIDGET HOOD (Cl)
The theme of work focused on the relationship between the human form and nature. Essentially my work was based off the physical connection that human bodies have to their surrounding environment. Through femininity I used the strength of women’s bodies to perceive them at a much larger scale, to emphasise the bigger picture and how their bodies are a gift of nature. Through nude photography combined with landscape and perceptive photography, I used the male and female body to represent unity between anthropomorphic form and nature’s form, which I emphasised through shadowing and contrast. Both pieces aim to show the similarity of the body and its surrounds, the placement of the bodies to represent sand dunes and to provide another view on how the world is perceived as well as shining light of how powerful the human body really is. 76
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COCO JEFFREY (Yr11 Fr)
In the exploration of the theme Blackmans History on Whiteman’s Conscience, the concept explores the notion of intergenerational trauma as a result of historical upheaval. The perspective of the 3-dimensional work interprets storytelling and trauma in a cohesive portrayal of the degeneration of Aboriginal and Torres Strait Islander culture as a result of colonisation. The intention was to provoke an ‘emotive’ response when viewing through the white lens, the dominant culture. The work is a collection of elements showcased through the interpretations of symbols that work together in transmitting my theme. Symbolism is accentuated through the use of bones as conceptual ideas of repatriation. The jarring conflict of the children’s play toys inflict a disturbance and unnatural confrontation of cultural denial; a detachment that First Nations people experience from their country. The terracotta plates have a distinguished storyline that emits a timeline of the dreaming to urbanisation, purposefully choosing to present these as ‘lost’ objects injects the notion that trivialisation and oppression are continued within today’s society. The use of coconut within the animation references the ethnic slur associated with the connotation of being mixed race or a fair skinned Aboriginal person. The self-portrait conveys the conflict of identity and cultural heritage. The oral history, told in Wergaia language, is pronounced via the artist’s Grandfather and community Elder, representing the beauty of language and story. A cultural gift for all people and enabling positive representations of Aboriginal culture. The translated English and French languages inclusion serve as a reminder that Aboriginal and Torres Strait Islander languages are not privileged in education. ‘The final resting place, the story they never told’ is a reflection of society’s lens on Aboriginal and Torres Strait Islander culture, where the value of storytelling and tradition is deprecated and the identity of a ‘Blackmans’ story is illuminated as a result of ‘Whiteman’s conscience’ rather than their reverence.
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HARRY JENNINGS (FB)
The student has created a series of three acrylic on board paintings inspired by Marlboro cigarettes packaging and Arabic calligraphy. 80
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JACK JOYCE (M)
Spontaneity within reaction is performed without any constraint, effort, or premeditation. It’s thereby understandable as “unplanned” or “impromptu” or as my theme Unguarded. I started to think about our social media dominated age and became intrigued by the idea of social pretence, who people are when they aren’t behind the lens of a camera, the ‘true self’ revealed by letting down one’s guard and showing authenticity. Throughout this year I have taken and collected photos of people that surround me as well as from social media photographers. My artwork aims to present these moments within facial expressions using media such as acrylic and pencil. 82
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AURORA KISVARDA (Fr)
I wanted my artwork to explore the relationship between beauty and destruction. My artworks are centred around the violent eruptions caused by volcanos and the beauty that is left behind as a result. This is captured through the balance between the simplistic nature of the organic forms and the spontaneous outcome of the vivid myriad of bright and bold glazes layered heavily upon a soft purply-blue crater glaze. The wide variety in texture depicted through the expressionistic glazes evokes a textural response of wanting to feel the surface and heightens the movements of propulsion through the layered glazes representing the beauty within the destructive outcome. Overall Eruption of Colours depicts the re-sculpting of the landscape via violent eruptions captured in a frozen form and emphasizing the balance between beauty and destruction in a visually captivating and breathtaking way. 84
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ELIZA LECKEY (EM)
Personality is the theme that I chose to follow for my Year 12 studio process. I am fascinated by this concept, and thus regularly contemplate the multitude of personalities that human beings have, and indeed how and why they are formed, shaped, developed and physically shown. Photography has been my vehicle that allows me to capture meaningful portraits of individuals that characterise the aspects that make their personality unique, and thus highlights my subject’s own individuality and uniqueness as a human being. In this way, I explored the intricacies that make up who we are, through detail-focused portraiture that emphasises the inner workings and personality of my different subjects. My decision to have five different portraits in my final artwork was to empathise on the extreme contrast in personalities that surround us every day. The diverse mix of extroverted and introverted personalities delivers a range of emotions that is portrayed in this presentation method, reinforcing the idea that there are such assorted personalities in this world, with no two personalities exactly parallel. The scale of each artwork acted as a sophisticated representation and symbol for the subjects personality, while allowing the audience to further distinguish differences between each of the personalities. Ultimately my artworks should inspire empathy through shared experience and provoke the audiences thoughts as my composition in each portrait emphasises each subjects portrayal of humanity. 86
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MAIA LOVE (He)
In both my Unit 3 and 4 exploration, in terms of conceptual possibilities, I have aimed to explore the connection between the inner and outer self, as well as humanities connection to nature through surrealistic style portraiture. The inner self reveals true values, thoughts, feelings, dreams and spirituality; it is a point of clarity but it is often clouded by outward perceptions. Whereas, the outer self is a representation of your physical attributes, that relies on ego and is often materialistic. Through my work I have aimed to create pieces that conjure a question between the combination of elements that may initially seem obscure but upon further inspection correlate a central theme. This is expressed through my final portraits that incorporate symbolism, colour and traditional elements that both signify and contrast Japanese and Australian culture. Through this comparison of cultures, I intended to demonstrate the way in which culture is built not only through internal decisions and human nature but also from external elements of the natural world. In this sense, I aim to portray the significance of the natural world in humanity’s ability to find their inner collective purpose and, by extension, personal self. All the elements in my paintings carry symbolic weight and have been chosen as a reflection of aspects of a particular culture and the personality traits that are tied to such culture as a demonstration of the desired ‘self’. In terms of media I have focused on using acrylic paint on canvas with the incorporation of collage, in order to create physical layering in my work. 88
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HENRY MARTIN (Cu)
My exploration has been on the concept of how life’s significant journeys and experiences define individuals and reflect upon how they see themselves over time. Does someone’s past define their future? Once an immigrant, always an immigrant? These are questions that intrigued me to delve deeper and expand my conceptual understanding of what makes someone their unique self. Does their interactions with a specific person, memory or object encapsulate how they understand themselves as an individual? With a specific reference to how the journeys and experiences of migrants are depicted throughout the past, present and future and have continued to shape individuality in the present, I have focused on how people view themselves and their journey and how this can be represented through a sentimental or meaningful object or symbol through exploring the soothing aesthetic and dimensional qualities given by the reflective surface of mirrors. My exploration of these concepts has been revealed through the use of mirrors which allowed me to emphasise a rhythmic effect in which natural and culturally significant elements flow from the outer mirrors and converge in the middle, overhanging a portrait. This emphasis on movement, rhythm and reflection encapsulates the overarching concept of how life’s significant journeys and experiences define individuals and reflect upon how they see themselves over time. 90
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AMY McEACHERN (Cl)
My chosen theme is based around exploring the idyllic memory of home. The focus of my final artwork is to capture home as a sanctuary, portraying the familiar, comfortable, pleasant qualities of home . The typical everyday scene illustrates the essence of transient pleasures, depicted through golden light indicating time passing. The emphasis on time passing heightens the feeling of beauty and tranquillity of a common sanctuary: home. The purpose behind this artwork is to encourage viewers to reflect on the qualities of their home and what it means to them. I chose the media gouache to work with, focusing on creating a smooth, subtle texture enhancing the idyllic memory of home. My illustrative style enhances the ordinary clutter and busyness of home, portraying it as a place to belong, enveloping you in its warmth and safety. 92
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MIA McEACHERN (Cl)
For my folio this year I have focused on the themes of dreams and how each person has their own individual, unique dreams. I have created my final this year through the concept of surrealism and the subconscious as our minds can think of psychedelic wonders while we sleep. I have used encaustic painting on three canvases to create a cohesive dream using surrealist imagery which is conveyed through the carbon transfers. These carbon transfers have imagery of people’s dreams and common dream symbols like insects, people, large mountains and galaxies. I have used surrealism to create a shock association for the audience by placing objects where they are normally not found, as dreams are usually very mind bending and expressive, fitting in with the concept of surrealism. The colours of the canvases are three different tones. The cool toned canvases on the left and the warm toned on the right leaving the multi-coloured one in the middle as it has both warm and cool tones. 94
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ELLA McGRATH (A)
The theme for my exploration this year was Built Environment, and more specifically, buildings in urban areas. The main focus for me throughout this process was the contrast between anonymous and plain skyscrapers, with iconic buildings that stand out and the way in which this reflects human nature and culture. The ways in which I explored this theme was through looking at different aspects of buildings, such as looking into details, architectural form and density within cityscapes. The reasoning for choosing the theme of ‘buildings’ came from an appreciation of buildings and architecture, from a creative point of view, rather than a practical perspective. This can be seen through the illustrative and colourful form the final works achieved. Initially I liked the idea of taking influence from iconic building designs seen worldwide, through New York, Tokyo, London, Melbourne, Sydney, Paris, Beijing, and Moscow, taking away from these cityscapes the iconic nature of certain buildings and land sites, and I then proceeded to place them in foreign and unrealistic settings, to contrast the realism of the buildings themselves, producing a clear sense of anonymity. The medium used was predominantly drawing in combination with collage. Collage is used to produce repetition, in order to exaggerate density within my works, as well as an obviated layering affect adding to this. Therefore enforcing the theme of contrast between iconic recognition and anonymity of buildings in urban landscapes. 96
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HOLLY ROBINSON (Yr11 Fr)
Throughout my final piece of work I have created a singular portrait that explores the theme of shared empathy. Empathy is the ability for someone to understand and sympathise with the feelings of someone else, reflecting the emotion I want my audience to experience whilst they view my work. I studied the emotions and feelings that we as human beings experience on a daily basis, as well as the ways in which these emotions translate to our expressions. I have attempted to depict this idea in my creation of a close-up portrait that I have formed utilising different tones of graphite and pressed charcoal. The simplicity of the tones and contrasts has promoted little distraction from the key features of the portrait. Furthermore, I utilised a solid black backdrop in order to form a clear focal point of the artwork. The overall simplicity of the artwork helps to illustrate the youthful joy and enthusiasm which I have attempted to capture throughout my final piece. 98
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TANNA RYAN (Yr11 Fr)
Throughout my final pieces of work, I have created a series where I have explored the idea of disruption of the natural world. The term ‘disruption’ is one that comes with negative connotations, which is something that I have leant into with my explorations. I have chosen this pathway in order to portray that human activities which leave withstanding impacts on the natural world are not always welcome. I have done this through the use of film photography, shooting on a 35mm Nikon F5 camera. I have attempted to portray the theme of disruption in the natural world through the concept of human presence in natural settings. In the final series, a red vinyl club chair can be seen in each of the images, with each photo having been set in a landscape that looks pristine and almost untouched by human presence. Significantly, the bright red of the chair is a startling colour which contrasts against the natural tones within the surrounding landscape, helping to come together to portray disruption in the natural world. 100
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MADISON SCHOFIELD (Ga)
The marketing that surrounds us day-to-day has become a fertile breeding ground for women – projecting subliminal messages that create deteriorating and distorted self-images for females. Within my piece Flawed, I have intended to exploit the media’s impulsive, unpredictable and manipulative attempts to target young females through advertisements and beauty campaigns in order to demand society’s impossible ideals of being “beautiful” –seen through my work’s symbology. Within my work, I have expanded upon the juxtaposition of maturity and innocence; my subject matter is to be implied as a young girl who has been pushed and pulled, never able to meet the perfect benchmark, ultimately tearing [her] apart from her vulnerable innocence. The rainbow, the school tie, the cherub face and the vivid, warm tones are all symbolic in the way that they represent [her] yearning for innocence. However, she is unable to escape from the media’s punitive words and fabricated headlines that all demand the idealistic ‘woman’ (this can be seen within the background). This work is to be seen as a visual representation of imperfections – the imperfect society that [we] as females live in today. The society today that demands the pressures of perfection. 102
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HANNAH SCOTT (Fr)
An Ode to the Orchre Country; observing the organic Australian environment through printmaking. My folio intends to explore an observational response to the Australian natural landscape through various forms of printmaking. I was interested in how to incorporate organic materials unconventionally to produce direct impressions of organic detail, particularly developing a distinctly native Australian quality and aesthetic through colour palette and subject matter. To develop and maintain a style recognisably associated with Australian culture I was interested in consistently sustaining an ochre and earthier tone throughout my works to foster cohesion. Whilst not pursuing realism I meant to capture the natural likeness of flora and still life by drawing from organically accurate shapes and images in stylised environments and backgrounds. Through the detail of printmaking I honed the focus of my observation into the microscopic detail of the organic world. My investigation explored various forms of printmaking and techniques —conventional and otherwise —to produce prints that reflect an organic aesthetic. This included lino and wood cuts, etch and engravings, collagraphy, stencils and stamps. These processes allowed for multiple and refined copies that highlight the intentional use of positive and negative space, shape, texture and linework. The printmaking media is most appropriate for my thematic focus as it embraces flaws through an organic and intentionally imperfect process. My subject matter was primarily botanical illustrations, particularly that of native Australian flora like kangaroo paw, wattle and eucalyptus to develop a national style, recognisable symbols and distinct cultural focus. 104
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LOLA SMITH (EM)
Throughout Units three and four, I explored shadow work and how stripping the perception of identity can unveil truths found within the shadows. My overall theme being Truth in Shadows, I looked at how there are different perspectives within shadow work, one being a tormenting, lurking fear that arises when faced with the unknown, and the other being a euphoric, fairy-like perception experienced when uncovering the true beauty that is found within shadows. My exploration within both these perspectives allowed me to create two cohesive yet juxtaposing finals in which embodied my theme of Truth in Shadows as well as capturing how identity can often be deceiving, leaving only honest beauty or fear to be found within shadows. The finals I developed capture these ideas as The Sunlight Diaries and assert an ambient, mythical, euphoric aesthetic, allowing my audience to feel at ease and peaceful when viewing each photograph. Capturing movement and beautiful silhouettes in each image, thus conveying to the viewer a more fairy-tale like perception of shadow-work. To contrast, my second final Lurking asserts a more spooky, haunting sort of atmosphere to my audience, conveying a more tormenting aesthetic whilst allowing each viewer to feel frightened and unsettled. Furthermore, both my finals within my exhibition provoke curiosity and interest within each viewer, encouraging juxtaposing thoughts to arise as they experience contrasting emotions whilst viewing the different perceptions that are ignited when faced with the honesty found within casted shadows.  106
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GIGI STEPHEN (Cl)
I wanted my artwork to explore the theme of confidence and empowerment of the female form. I wanted to show people how women should be brave, bold, proud and confident with their natural body shape and form. Through my artwork I tried to show the organic and unique figures of women, celebrating their natural beauty and how women should be confident in their truest form. The artwork encourages viewers to feel more confident in their own body because no one human body is the same. 108
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AMARIS SU (EM)
My design process this year has focused to a great extent on research and learning. My investigation has looked at the way of applying watercolour techniques and how light and colour can affect on people’s way of thinking. The theme and title of my artworks are 远方的家(Home far away). I explored the idea of sanctuary and safety which are displayed by the house that I have stayed in during the quarantine time. Under the circumstances of COVID-19 pandemic, it has been a wonderful opportunity to learn the significance of being strong and find a sanctuary for the inner world whenever and wherever. I chose to use watercolour to depict nature, the complex patterns and layers of trees. The free flowing and organic qualities of the medium, strongly depict the delicate and relaxing environment. Charcoal provides a stark contrast to the home-like houses which can be seen as the challenges and changes. The bright colour of the sky symbolises the new circumstances and excitement associated with home. I hope this evokes a sense of our interconnected world, in which all of our actions and way of thinking may verify as the circumstances change.
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SHARRON YUAN (Ga)
I was inspired by a psychology theory, proposed by Carl Jung, known as the “Map of the Soul” to create this artwork. Jung’s theory outlines the composition of the human psyche and its relation to the outside world. The map serves as a visual representation of his theory. Since I have always had an interest in psychology and philosophy, I was intrigued by Jung’s theory, and thus decided to create my own visual interpretation of the human psyche, using Jung’s as a starting point, in the form of a labelled diagram. From this, I began an artistic exploration of the different aspects within my diagram using different art forms, materials and techniques. By the end of this exploration, I decided to make the focus of my final artwork the internal struggle to balance one’s intrinsic desires and external expectations. I have symbolically represented this in my artwork as a person walking on a tightrope above a sea of chaos – with societal expectations and pressures portrayed on the left, and one’s own unrealistic desires on the right – trying to maintain balance in the middle and not to fall into either of the two sides. My reason behind choosing this particular concept for my final artwork is because I believe achieving a sense of balance between one’s internal and external states is essential to living a fulfilling life. Being overly concerned about one’s social standing can lead to the loss of individuality, whilst being too absorbed in one’s own unrealistic fantasies can cause one to lose connection with others. 112
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CELEBRATING CREATIVIT
FREE ILLUSTRATED GIFT INSIDE
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The Home iSSUE 2
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TY, IMPERFECTION AND LIFE’S LITTLE PLEASURES
an Australian Quarterly Journal
Commemorating 101 years
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and her terror the wide brown land for me
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SOPHIE BROWNE (A) Commemorating
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My folio began with a fictional client, Scarlet Maison, the editor for the Geelong Advertiser. The client contacted me with specific needs for creating a set of front covers, to honour the 101 years since the first release of ‘The Home: an Australian Quarterly’ magazine in 1920. This was the Australian publication aimed at women interested in art and design – the client requested that the cover designs reflect that. In addition, the designs were to attract a youthful audience. In response, I have created fun and eye-catching covers. In order to capture the current art and design magazines and designs of the past, I have designed a two layer cover. The front is made of modern dynamic shapes. These have been cut out to reveal a page with images representing art and design movements that have occurred since the last 18258226F publication of the magazine in 1940, e.g. psychedelic art of 1960s and street art of 1980s. The client was also looking for a potential novelty item to be given along with the magazine. The gift was to be light in weight but still serve a practical purpose. Therefore, I decided on the idea of a bag that could be reused for shopping, storage, etc. An original pattern has been designed to appear on it. I also chose to design a face mask with the same print as it appears on the bag. I created my final designs using Adobe illustrator and Photoshop. The designs I have produced, I feel, fit well within the client’s needs and would attract the relevant target audience. 116
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The Home iSSUE 1
an Australian Quarterly Journal
Commemorating 101 years
Commemorating 101 years
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an Australian Quarterly Journal
Commemorating 101 years
Commemorating 101 years
The Home iSSUE 3
an Australian Quarterly Journal
Commemorating 101 years
Commemorating 101 years
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MURDOCH HAIGH (Cu)
My Client, Haigh’s Chocolates, is a family owned Australian chocolate manufacturer. The client provided a brief looking for a range of new designs for a new range of fruit chocolate blocks as well as advertisements to go along with them. The designs are targeted at Australian millennials and confectionary enthusiasts. For the packaging design, I incorporated simple imagery and colour to give the audience a clear visual understanding of the flavour of each block. The final design is clean and modern, with a sans serif typeface helping achieve this. For the advertisement, I designed a range of posters which each match one of the flavours from the range. The coloured backgrounds and imagery of fresh fruit and leaves match and visually depict each flavour. Both the poster and the packaging design was created using Adobe illustrator and Photoshop. 118
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JACK JOYCE (M)
My client, Point Break Resort, provided a brief that asked to design a 5-star holiday suite (Environmental Design), that would be environmentally friendly while also provide a touch of luxury. The design, consisting of plans and elevations, was to be used to build several identical houses that will form the resort. Along with that, the client requested a brand identity (Communication Design), which will be used to advertise and promote the business. The resort was to be built at Point Break Beach (fictional site), located along the hillside coast of the Great Ocean Road between Lorne and Wye River. Both designs were to be aimed towards 28 to 40-year-old couples planning to get away, people who share a passion for surfing as well as a taste for luxury. 120
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AMY McEACHERN (Cl)
My client, Flow magazine, is a publication from the Netherlands. The magazine has recently expanded into the international market. The publication focuses on happiness, daily life joys, mindfulness and creativity. It is richly illustrated. Expanding into the Australian market, the client (publisher of the magazine), provided a brief in which a request was made to provide an illustration/layout design for the front cover of the magazine and a novelty item/gift that would be included with its first edition being sold. The front cover needed to specifically relate to Australia in order to capture the audience’s attention – Australian women, from mid-teens to early thirties interested in positive psychology, quality illustrations and designs, and specifically, enthusiast about fine paper. The client expected the cover and the gift to be vibrant, eye-catching, illustrative and emanating high quality design that would attract mid-to-high socio economic status audience. The novelty item/gift was expected to be made out of paper, and be able to fit within the size of the magazine. Both final presentations met the requirements of the brief. They are visually striking and address all the set requirements, e.g. the pattern on the cover is based on a wellknown Australian animal. The second presentation, a set of novelty greeting cards printed on high quality paper, provides the audience with a purposeful gift. 122
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ELLA McGRATH (A)
In Year 12 VCD, I have created two final presentations based on a theoretical client of Alexandria Publishing, a book publishing company looking for a new logo design and book cover design for ‘Cat on a Hot Tin Roof’. The audience is a younger demographic, and the client requested a modern aesthetic, through the predominant use of colour and shape. The first of the two presentations is a final design of a logo, symbolising the event of the burning of the Alexandria Library. This logo uses shape and type to represent the company ‘Alexandria Library’ in an appropriate way. The second presentation, being the book cover layout, uses silhouetted black shapes to symbolise the breakup of the family within the book ‘Cat on a Hot Tin Roof’ as it is a main theme within the book itself. The contrast with the background is used to give a modern feel, and to help the silhouette stand out. The final products were both within the design sector of communication design, and have a highly illustrated feel to them, and follow the restrictions and expectations of my ‘client’s’ brief to remain modern and appealing, whilst also allowing for the constraints. 124
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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2020
SPAS CABIN CONCEPT Spas Studio is a Melbourne based Architectural firm driven by nature and the beauty we can get lost in. The studio focuses on reimagining and comfort as a method to discover new outcomes in concept, process and design. With a belief in honouring materials, craftsmanship and functionality, they work collaboratively with artists and artisans to create distinct and innovative designs. CONCEPT
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This cabin is situated in rural Victoria. It has been designed by part of Spas architects for a private coupled client. PURPOSE The purpose of the structure is to provide a simple and quality home to those of high socio-economic status. This presentation is to communicate to the client a concept of a cabin house. As well as communicating the concept to the client, the floor plan and other diagrams will also guide the builders in the construction phase of the project. It therefore will inform the audience about the cabins layout in hope to attract the audience.
FIRE
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MATERIALS The interior is completely wooden to create a minimalistic effect that seemlesly fits in with all surroundings.
WOOD
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The outershell of the cabin is a steel manufactured in Australia by COLORBOND. The steel has a matt finish and is luxurious in terms of appeal. The material not only contains recycled components, but is 100% recyclable. a Concrete around the left side and top of the structure will set a soft balance contrasting with the natural environment, allowing the building to sit calmly within the facade.
COLORBOND STEEL
CONCRETE
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TAMZYN PICKARD (Ga)
My fictional client, Spās, is an architectural firm that embodies eco-sustainable living. The client provided a brief which outlined the need for an eco-sustainable cabin and a brand identity for the architectural company. Both designs are primarily aimed at individuals or couples in the age bracket of 23-45 years old, who are high-earning professionals with complex lifestyles, but who are interested in sustainable living. The audience appreciates the use of high-quality materials that are sustainable to create a small carbon footprint. The self-sustainable cabin design was aimed to be built in a rural location. It has been requested that it uses minimal aesthetics and colours. The design was to be simple, modern and engaging. The cabin was designed to act as a getaway house for clients to remain in harmony with the environment. To complement the architectural design concept, Spās required a brand identity, to reflect the company’s values. Thus a logo was created that is both sophisticated and of high quality. Topographic map patterns have been used to construct it. The motif reflects the features of the land. As per the client’s request, the concept incorporates warm and earthy colour, is non-gender specific nor overtly complex. The logo has been presented in the context of a business card and merchandise. 126
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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2020
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Spas Studio 194 Meadow Lane Fitzroy 3004
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+61418 235 703 studiospas@gmail.com
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+61 418 235703
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STUDIOSPAS@GMAIL.COM WWW. S-P.A.S.COM
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194 MEADOW LN BRUNSWICK, 3004
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PROJECTS
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CONTACT
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Spas Studio is a Melbourne based Architectural firm driven by nature and the beauty we can get lost in. The studio focuses on reimagining and comfort as a method to discover new outcomes in concept, process and design. With a belief in honouring materials, craftsmanship and functionality, they work collaboratively with artists and artisans to create distinct and innovative designs.
SPAS ARCHITECTS
+61 418 235703
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STUDIOSPAS@GMAIL.COM WWW. S-P.A.S.COM
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194 MEADOW LN BRUNSWICK, 3004
SPAS ARCHITECTS
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VCE VISUAL COMMUNICATION DESIGN — PRIMED 2020
Chair
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Sample Finishes
Finish
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Contact
360 Midland Hwy, Shepparton East, Vic 3631
Phone:
(03) 5892 0242
Dimeninsions (mm) Length Width Height Packaged 1000 550 200 Assembeled 600 550 950
Base Price Finish chair Oak Pine Laminex Plastic
35 Plus Options Price Fabric Price 20 Leather 30 18 Velvet 15 5 Knitted 10 0 Vinyl 0
AEKI
THOMAS STOJANOVSKI (P)
My client was a furniture company AEKI, a brand that focuses on affordable furniture targeted towards 18 to 30-year-olds needing to furnish their homes. A key focus of AEKI is its environmental footprint through their transport and manufacturing process. To become more efficient, the company has embraced the concept of flat packing of all their furnishings. With all this in mind the client requested a chair design to be produced to go along with their new line of kinetic furniture, named ‘Estel’. The design needed to be held together through interlocking geometry whilst also being able to fit neatly in a flat pack box. In addition, the client has also requested a brochure design. The purpose of this promotional material was to promote the chair by displaying its features and to inform potential buyers about the product and different options that they may choose from. 128
VCE VISUAL COMMUNICATION DESIGN — PRIMED 2020
Estel.
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Contact
360 Midland Hwy, Shepparton East, Vic 3631
Phone:
(03) 5892 0242
AEKI
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THANK YOU I would like to say a very big thank you to the Visual Arts Department staff and especially to Martin Beaver who taught 12 VCE Media and 12 IB Visual Arts classes and Lucy Haigh who was in charge of two 12 VCE Studio Arts classes. I also want to acknowledge the hard work of all the other members of the department: Sharron Goodwin-Ryan, Lara Porczak (who, in Semester 2, taught Year 10 Photography) and Jane Maaser, our Art Technician, as well as Art staff from the other three campuses. I am sure that at various stages of their artistic journey many of the art and design graduates were taught or assisted by them. The work that you see in this catalogue would not have been created if it was not for the Staff’s ongoing mentorship of the students. Likewise, I would like to express my gratitude to Briony Hoh (A) and Lawrence Yang (Cu) who, as the Visual Art Captains, exceptionally represented the Department this year. Finally, special thanks must also go to Claire Robson, the School’s graphic designer, responsible for this wonderful publication.