Welcome to the PRIMED 2024 Exhibition. The display includes the works of students involved in IB Visual Arts, VCE Art Making and Exhibiting, VCE Media, and/or VCE Visual Communication Design. 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 past two years, have been impacted by 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.
There is much talk in the media and in our own school about creativity, innovation, agility and 21st century skills. Likewise, there is a push to approach this issue by embracing approaches to learning and development that integrate other areas of knowledge e.g. science, technology, engineering and mathematics (STEM), or implement an application of self-regulated learning strategies that involve a selfmotivated, dynamic classroom approach.
The PRIMED exhibition demonstrates that there is more to learning than Science, Technology, Engineering and Mathematics, or Project-based Learning. If we want to have a real culture of innovation, then we need to have true creativity at its heart. Sophisticated, erudite, creative society requires Art as a core part of education and the national curriculum. Luckily, the School recognises this important link, and the 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 are also given a chance to observe and work alongside leading contemporary Australian artists and experience firsthand the creative processes of prominent Melbourne-based design studios.
This year, we were privileged to host three exquisite artists: Kyoko Imazu, Maryanne Coutts and Cat Rabbit. Our guests not only generously shared their knowledge and skills but, importantly, they discussed their life-stories. Understanding the value of experimentation, resilience, learning from mistakes, determination to succeed, perseverance, humility, self-regulation, and, most of all, hard, honest work for their creative practice, provided further “special information”. Students were also encouraged to contemplate upon Ludwig Hirschfeld Mack’s legacy. It was thanks to him that the Bauhaus approach to teaching, which placed greater emphasis on
experimentation, problem-solving and imagination, and the idea that apprentices attain a deeper knowledge through active exploration of real-world challenges and problems (nowadays, this style of teaching is known as inquiry-based learning), was introduced in our GGS Art School as early as 1943.
Looking around the display spaces and the works exhibited therein, 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 past two years of their study, the students were developing their investigative, analytical and reflection 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.
In the process, they created works that express how they perceive and respond to the specific design needs of 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, they show that Ludwig Hirschfeld Mack’s legacy lives on. Their work is experimental, diverse and transnational, and strongly linked to our Schoolwide focus on Adventure, Positive and Creative Education.
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, especially through the past two years.
The students are truly PRIMED. We wish them well in their future endeavours.
Dr Peter Bajer Head of Visual Arts
INTERNATIONAL BACCALAUREATE
VISUAL ARTS
SAMUEL CAMERON (A)
The exhibition ‘Human Mechanics’ is about looking towards ourselves as humans, specifically toward the functions of our body. Surrounding this theme, the works look at the intricate and powerful systems of the body, with the intention of acknowledging them and eliciting a sense of wonder in the viewer with the body’s beauty and miraculous ingenuity. Each artwork in the exhibition is representative of a part, system or process of the body and demonstrates the specific aspect of the subject matter I wish to emphasise to the viewer.
All people have unique and remarkably sophisticated bodies. They are often separated from the soul or the mind arbitrarily. Within this exhibition, I aim to convey that the body is not only a tool of but an extension of the mind, and that all parts of the body work together harmoniously as a well-oiled machine to project the conscious experience of life. Inspiration in the development of this idea came mainly from works of Auguste Rodin, Ryu In, and several (mainly Expressionist) artists who, through their depictions of the body, maintain an emphasis on the self. However, while these artists depicted the emotions of their subjects, I aim to depict more specifically the source of these emotions and the machinery of our body which allows them.
Camera Lense
Acrylic paint and glaze on white raku 13 cm x 14 cm x 17.5 cm
Grappler
Acrylic paint and glaze on white raku 21.5 cm x 19 cm x 17 cm
Above: Machine reaching up Pen on paper
42 cm x 29.5 cm
Right: Tread
25.5 cm x 13.5 cm x 13 cm
Left: Computer
Acrylic paint and glaze on white raku
14 cm x 22 cm x 26 cm
Below: Hammer, Chisel
Acrylic paint and glaze on white raku
33.4 cm x 11 cm x 9 cm
Acrylic paint and glaze on white raku
Chapter 4 The Last Straw a color key
Digital Painting (Clip Studio Paint), printed on coated paper and mounted on foamcore and polystyrene 55 cm x 92 cm
JANAE CHAU (Fr)
‘Nuances in the Narrative’ explores the fascinating formation of a friendship whilst delving into the nuances of a visual narrative. I wanted to explore how details in an artwork are crucial to convey a cohesive story, but also express the intertwining of Literature, Psychology and Visual Art in the development of narratives, human relationships and visual storytelling. These overlapping subject areas inspired me to investigate how narratives and relationship nuances are conveyed through comic book-like illustrations and digital painting. Therefore, an imaginary storyline featuring my fictional characters, Athena and Leo, is created. I wanted viewers to experience a narrative rich with compelling and relatable emotions, empathising with Athena and Leo’s struggles as they grow as people and become friends. In my exhibition, a chronological storyline with 10 artworks is presented. However, each work can also be viewed and interpreted as individual narratives. I balanced open interpretation and guided storytelling, letting viewers interpret each step of character development and relationship growth by implementing common English idioms into the artwork titles to guide viewers. I utilised an evolving colour palette that mimics the different times of day and different influences of artists to develop the artworks, whilst retaining cohesiveness by following a linear narrative that revolves around Athena and Leo. I wanted the exhibition’s storyline to reflect the cyclical nature of daylight; the colours associated with the times of day correspond to the narrative milestones, representing relationship milestones as well.
Left: Prologue Starting from Scratch
Digital Painting (Clip Studio Paint), printed on coated paper and mounted on foamcore and polystyrene
21.4 cm x 61 cm x 5 cm
Below: Chapter 2 Green Eyes of Envy
Digital Painting (Clip Studio Paint), printed on coated paper and mounted on foamcore and polystyrene
93 cm x 51 cm x 93 cm
Right: Chapter 5 Eat Your Heart Out
Digital Painting (Clip Studio Paint), printed on coated paper and mounted on foamcore and polystyrene
56 cm x 62 cm
Veins of Vitality
Red beads, thread, organza fabric, styrofoam board
59 cm x 59 cm
LILY CHENG (EM)
As we transition from high school to university, I am reminded of the passage of time and the various life stages we experience as humans. My body of work is about the ‘Cycle’: exploring the cycles of life, time and seasons, delving into the intricate dynamics of the natural world and its perpetual rhythms. Every species in this world is going through its life stages, the passing of individuals contributes to the sustenance of new life, perpetuating the ecosystem’s vitality. In this exhibition, I aim to investigate different cycles within the natural world. Each artwork is associated with a specific ecosystem or living organism, reflecting the cyclical patterns of the natural realm. Driven by my interest in fashion, I created a variety of garments, textiles, or concepts for clothing, utilising mixed media including recycling materials. I centered my focus on various ecosystems—the ocean, the forest, the desert, and the living organisms within the natural world. This exploration delves into themes such as the concept of ocean, blood vessels, water, forest, desert etc., showcasing the cyclical patterns.
The exhibition aims to evoke reflection on our intimate connections with the natural world and our role within its cycles. By showcasing different cyclical patterns within ecosystems, including human blood vessels or injuries, the artworks encourage viewers to acknowledge the vitality of nature and recognise that we, as humans, are an integral part of these cycles. The arrangement of placing each textile piece in order of its transformation in ecosystems contributes to the cohesiveness of the exhibition and create an immersive experience that guides the viewer through the series of themes and concepts explored in the body of work.
Right: Ocean’s Embrace - The Cycle of Renewal Organza fabric, acrylic paint, pearls, shells, styrofoam board
59 cm x 59 cm
Left: Veil of Transformation UV glue, human skull model, crêpe paper, Styrofoam board
30 cm x 30 cm x 15 cm
Clockwise:
Domus Gratiarum Consensis (transl. The Boarding House Graces)
61 cm x 91 cm
Liv and Temperantia (transl. Temperance)
45.7 cm x 91 cm
On My Own Life
30.5 cm x 30.6 cm
Cam and Humanitas (transl. Kindness) 41 cm x 41 cm
Acrylic paint on canvas
FLORA GILLIES (Ga)
My exhibition explores the profound bonds that are shared among women, and how the virtues of the sisterhood embody a whole philosophy, proving endlessly influential every day. Female relationships are often undermined, or overlooked, superseded by the supposed unkindness and selfishness stereotypically associated with women. In my exhibition, I aim to subvert this idea, and instead propose that there lies an otherwise disregarded value and importance within sister-like bonds.
Inspired by French Expressionist Käthe Kollwitz and her distortions of perspective to provoke certain emotions or ideas, and American Impressionist Mary Cassatt’s manipulations of colour and representation of commonplace scenes, my exhibition is a subjective representation of my personal sentiments in response to the influential nature of female relationships in my life. The concept of my exhibition came from a coincidental overlap of events, at a time when I was dealing with what felt like insurmountable stress, we were learning about the idea of virtues in my Theory of Knowledge class, specifically the cardinal ones, derived from Aristotle, which are found in both Greek mythology and Christianity. Intrigued by the idea that these are needed to live a happy life, I reflected on who around me exhibits them, realising that temperance, courage, prudence and justice are all embodied by upstanding and self-assured women in my life. This stirred a rumination on the correlation between close female relationships, and the moralities they inspire.
Virtues, and their value, have been reflected on throughout history, however their portrayal in these instances are overwhelmingly profound, confusing the profound nature of virtues with the unremarkable places that they can be found. Thus, through the deification of quotidian moments shared with women in my life, I suggest that virtues and their influence are not only sacred by nature, but inspiringly abundant in everyday female relationships.
ARABELLA LANGDON (Cl)
This exhibition presents a body of work which aims to celebrate female empowerment via the depiction of women in art. I have chosen the genre of portraiture to communicate the essence of the feminine spirit as represented by my muses, who comprise several high-profile female figures in both mythology and history, in addition to some important women in my own personal life. I have depicted my muses to convey the embodiment of each of the attributes of female empowerment. My exhibition features 10 works, each of which explores a specific attribute relating to female empowerment - knowledge, justice, friendship, faith, independence, power, love, wealth, health and beauty. My chosen medium is painting. Whilst I experimented with pencil drawing, watercolour painting, clay sculpture and lens-based media, I kept returning to canvas painting for its ability to connect with an audience on an emotional level. I prefer to work with acrylic paints due to their intense colour saturation and their ability to dry quickly.
My intention is for the viewer to appreciate that the evolution of female empowerment has provided important progression towards a liberated society. I would like my audience to acknowledge the revision of the patriarchally imposed attributes, which have been depicted within many of my works. I am also seeking for the viewer to appreciate how the reconsideration of these attributes with a 21st-century perspective can lead to further advancement of female empowerment. I aspire for the viewer, particularity the female viewer, to discern a sense of hopeful anticipation when experiencing the works focussed upon the celebration of the female attributes which empower women. This is conveyed particularly within the second half of my exhibition via the Fauvist depiction of my muses. I do hope that my exhibition “Muse” provokes a meaningful contribution towards the ongoing progression of female empowerment.
Inverted Venus
Acrylic paint on canvas
50 cm x 76 cm
Clockwise:
The Other Mary
101 cm x 51 cm
Eye for an Eye
91 cm x 61 cm
Melanie’s Pledge
46 cm x 61 cm
Yin & Yang
41 cm x 51 cm
Acrylic paint on canvas
Left: The Birthplace
GALI LEUNG (He)
My exhibition is based on the inevitabilities of life; a concept aligning with my beliefs of fate in the grand universe. Experiences are a source of growth in human life, yet the most crucial junctures are those we cannot control. Although the oblivious often spark notions of fear, I personally believe that the experiences we have endured or are yet to face shape us to be who we are. Following this perspective of faith, my exhibition aims to acknowledge that life is always how it is meant to be, whether an experience is perceived positively or negatively.
Inspired by the French Symbolist Odilon Redon and the Expressionist manipulations of colour and texture by Edvard Munch, my exhibition is a visual representation of personal sentiments in response to intangible situations past, present and foreshadowed in one’s life. The main concept for my exhibition came from a realisation upon ‘mundane’ life. In finding comfort away from moments of personal distress, visits to parks allowed me to observe my surroundings in a new light, which is when I then began to ponder human ephemerality, specifically how uncontrollable junctures in all our individual lives can be experienced vastly but, nevertheless, is still a point of relatability to all.
The artworks are enriched with mythological symbols across different cultural backgrounds, most prominently from Ancient China, Ancient Greece, and the religion of Christianity. Symbols often address the parts of humanity that we cannot reach via intellect. Each artwork presents a unique pair of contrasting symbols, carefully chosen to reflect the omnipresence of faithful belief collective in cultures across history. Although two aspects within one piece may seem enigmatic, the interaction between the symbols was intended to create a sense of unity, commending each diverse perspective of fate throughout human civilisation.
Acrylic paint on wood panel
38.5 cm
Right: Down on one
Acrylic paint on wood panel
38.5 cm
45.5
Luck is a Lady
Acrylic paint on canvas
cm x 92 cm
A Visit from Raven Acrylic paint on canvas
25.5 cm x 51 cm
A Pledge in Utero Acrylic paint on canvas
24 cm x 101 cm
Reprise; Soundtrack of Life
Acrylic paint on canvas
45 cm x 61 cm
CATHERINE LING (EM)
‘Framed’ referring to camera frames and picture frames, aims to illustrate the coming of age of a teenage girl through snapshots of her daily life leading up to adulthood. This theme of coming of age and the development of maturity is depicted in the works of my exhibition through several paintings, each being a ‘framed’ shot of a moment in her life, a visual timeline of the process of maturing. This theme of coming of age was brought about by a period of introspection as I was entering Year 12. The idea of adulthood was as daunting as it was exciting, and so I wanted to portray these feelings in art form, especially by examining the life of another person, as I wanted to emphasise that the duality of coming of age is a universal experience.
Using the medium of acrylic paint for its vibrancy and versatility, this allowed me to experiment in my work, which I thought was crucial as it gave me the flexibility to depict opposing ideas of freedom and limitation, juxtaposing a cheerful and more sombre mood. Through these snapshots of life, I hoped to depict both the positives and negatives of coming to adulthood as I see it - Year 12 is a time of change, and I want to reflect in my works both the pressures and freedom that come with growing up.
Being both a celebration of adult freedom and a forewarning of future challenges, I captured this conflict in tone in my exhibition by echoing the yellow-blue colour contrast seen often in Van Gogh’s work, often contrasting warm and cool colours by setting the orange-hued subject on a cool background.
paint on canvas 45 cm x 61 cm
Top to Bottom: Half-Hidden
Soundtrack of Youth
A Toast to 18!
Lovely View
Acrylic
Neighbours
Digital Photography
21 cm x 29.7 cm (each image)
MAIA MELZER (EM)
My exhibition presents a series of digital photography which explores the profound aspects of interiors, the relationship between one’s physical space and headspace. I have portrayed this notion by the exposure of inner thoughts through outer spaces displayed. Based on the space’s owner, there is a significant correlation between the elements of composition and layout within an area, as it ultimately illustrates an emotionful atmosphere.
My collected works are created and composed to explicitly reveal the depths of the inner nature found in individual humans, thus my use of four different models who express their differentiation in lifestyle. To broaden this exposure, I used different angles and focal points to prove the coherency found in one’s choices which are driven by psychological factors.
Comparing drastically different stereotypes and personas, allowed the intent of projecting an emotion of reflection and self-identity for my audience. Ideally, the pathways I took to shift focal points and perspectives within my series enables the audience to recognise the humane effects we make on the surroundings around us.
With much consideration to other artists, I followed the works of Shizuka Yokomizo, a photographer who heavily inspired my processes throughout the journey. Yokomizo allowed me to acknowledge and delve into the beauty of lens-based mediums, by experimenting with different manipulations. Through the help of photo editing in Adobe Photoshop, my pieces strive to work towards a reflective journey epitomising the strong parallels between internal and external spaces of human.
Digital Photography
59.4 cm x 84 cm
Digital Photography
42 cm x 59.4 cm
Digital Photography
42 cm x 59.4 cm
Right: Hannah
Below: Juliette
Fred
Above: Study Of Divine Humanity
Charcoal on paper
96 cm x 66 cm
Left: The Star Machine
Charcoal on paper
96 cm x 66 cm
STEVEN WAN (FB)
My exhibition explores the deep-rooted ideology of ‘Anthropocentrism’—the belief that humans are the central and most important entities in the universe. This worldview, often unnoticed because of how ingrained it is, has shaped human progress for centuries, influencing everything from scientific breakthroughs to societal structures. Through this collection, I aim to explore not only the triumphs brought about by anthropocentrism but also the blind spots it creates, particularly in our understanding of the world and our place within it.
At the heart of the exhibition is the idea that humanity’s obsession with placing itself at the centre of everything has had both remarkable and disastrous consequences. From early biblical interpretations that painted humans as the controller of everything to modern day human-centered design, this mindset has driven innovation while simultaneously stifling broader perspectives. This exhibition questions whether this self-importance is a natural impulse or a dangerous limitation that has held back progress in science, philosophy and our relationship with nature.
Rather than merely focusing on the artworks themselves, the exhibition invites viewers to challenge their own perspectives, asking: to what extent has our impulse to satisfy our need limited our understanding of the universe? By bringing together historical references, philosophical questions and futuristic visions, this collection serves as a reflection on humanity’s enduring desire to control, categorise and elevate itself—while also urging a re-evaluation of our place in a much larger, interconnected world.
Axis Of Illusion
Laser cut perspex and strings
55 cm x 58 cm x 60 cm
Post Humanism
Laser cut wood and LED lights
40 cm x 60 cm x 4 cm
Then God Said...
Laser cut wood and foamcore
20 cm x 137 cm x 30 cm
VICTORIAN CERTIFICATE OF EDUCATION
ART MAKING AND EXHIBITING
Celestial Forces
300 gsm Fabiano paper buff colour, and resin pour/glaze
100 cm x 100 cm area space of series
EVIE BAYOT (Yr11 Ga)
I created ‘A Celestial Cycle’ to explore and interconnect the vision of Luna Cycles and Earth’s tidal cycles, their correlation, and the moon’s strong control over Earth’s water movements. This artwork connects movements together, symbolising the moon’s extreme empowerment and control over Earth’s tidal movements, whilst implying a message of strength, power, beauty and control. Producing a meaning of how something so far away and depicted so small can be so powerful and have such an impact on the world. I wanted to provide awareness that there is so much more to life on earth and beyond than we as humans see and think.
The Luna section of the artwork was displayed in a circular formation, symbolising the cycle and the tidal formation was displayed linear depicting the change in tidal lengths. These two forces together depicted the push and pull and the changes that the moon influences on Earth.
The resin glaze over the Luna phases provides a visible tie between the moon and tides, portraying liquid, and depicting the force and vigour the moon has over Earth. Illustrating the two aspects together. I wanted to delineate the scientific gravitation push and pull through different materials, drawing processes together, and project that the ocean is so unpredictable due to space’s overpowering control and effect.
Seasonal Harmony
Acrylic paint on canvas
45.5 cm x 35.5 cm
HONEY
BARTHOLOMEW (He)
Seeing the similarity and change that comes alongside the changing of seasons. This piece demonstrates the similarity and familiarity that people live alongside every day. It shows that although the world around us is forever changing, such as the seasons, there are so many things that stay the same which give us the sense of familiarity and peace. The two pieces together should represent the similarities and differences presented to us in everyday life.
HATTIE ELLIOTT (He)
From 1 January to 10 September 2024, 59 women and 12 children have been killed as a result of violence against women. This artwork reflects the deep scars left behind by such violence, exploring how toxic masculinity spreads through generations. Influenced by the works of Basquiat, this piece weaves together multiple elements and materials to convey a broader narrative through the often loud, political voice of street art. The large scale of the piece was done to confront the viewer, making it impossible to ignore the weight of the issue as well as to emphasise the dominance and destruction of these men. I want to point out that this piece is not an attack on men, but rather a commentary on a prominent issue within our society. The aim is to provoke reflection and foster awareness, with the hope of contributing to the end of this devastating and unacceptable violence.
The Toll of Toxicity
Paste-ups, acrylic paint, spray paint, posca pens on masonite sheets 153 cm x 210 cm
SYBIL FLEETWOOD (Cl)
This piece embodies the importance of florals. Flowers are seen through all different cultures, therefore collating an array we find that flowers are what brings peace and people together throughout the world. Each flower is designed from a particular culture through shape, yet the use of embedding indigo blue ink into the veins of the floral brings a sense of the purity, fragility and complexity that is shown throughout nature. To enhance detail within the work, gold lustre has briefly been used on central parts to emphasise the preciousness and rich beauty each flower holds. By using a circular shape, it brings together the universal and global importance of flowers. The use of porcelain clay creates the fine and delicate yet robust interior of this piece. Although flowers are seen with bright colours of natural beauty, a refined colour pallet of the blue and white intertwines the profound and constant use of this technique throughout western cultures. Flowers are often given to one another with a deep significant meaning, therefore no matter the language barrier between parts of the world, each person finds a sense of joy and appreciation in a piece of nature that is heavily reflective around the globe.
Globe of Flowers
Clear crackling gloss and indigo blue ink with gold lustre on porcelain 38 cm x 38 cm
JADE FRYDMAN (He)
This multipaneled series captures the intricate journey of human growth from childhood to adulthood. Through dynamic shifts in colour and texture, the progression from the vibrant innocence of youth to the darker complexities of life’s challenges is illustrated. Each panel reflects the evolving experiences that shape our identities, with smooth surfaces symbolising the simplicity of childhood, giving way to richer, more textured canvases that embody the weight of responsibility and societal expectation. The concluding piece, while steeped in darkness, reveals hints of vibrant hues, symbolising hope, rediscovery and the potential for liberation in life’s later stages.
Ebb and Flow
Acrylic paint on canvas
ALICE GUNN (Cl)
‘Sonder Through the Obscured Eye’ is a visual representation, incapsulating the peculiar concept of ‘Sonder’. This carefully curated work of art seeks to invite its audience to embark on an optical journey that celebrates this phenomenon through the art form of photography, immersing the audience in an engaging and thought-provoking experience. Sonder is a fictitious term, invented by author John Koenig, comprising a made-up word for the segments of the human condition that we all feel, but don’t have the words to describe. Sonder was born from the need to express the universal human experience that elicits the profound realisation that each random passerby is living a life as vivid and complex as their own – populated with their own ambitions, friends, routines, worries and hardships – which they are continuously living despite one’s personal lack of awareness. These images before you have been photographed through the lens of a handmade Camera Obscura. This has resulted in the tangible aesthetic qualities I seek in the hazy, vintage texture that references the movement; thereby suggesting the individual narratives that reflect the concept of Sonder. I have carefully resolved the materials and techniques, incorporating the mirrored base behind my photographs to engage my audience with themselves through perceiving their reflection in the gaps, introducing this alternative perspective in acknowledging the fleeting moments in time of the neighbouring lives. This artwork endeavou,rs to capture how I interpret and envisage this concept I have grown so passionate about, and regard as a fundamental segment of empathy, forcing a pause in time to acknowledge the fellow lives accompanying us in this fast-paced world.
My Camera Obscura
This standard looking box is far from ordinary. If you take a peep through the opening, you will be introduced to a whole new view of the world before you. I crafted this unique photographic device myself, with three simple materials: recycled cardboard, a standard magnifying glass and tracing paper. By focusing the magnifying glass and paper together, light from the external scene ahead is projected through the glass, striking the paper’s surface inside to form this inverted image you see of the trees through the window. This instrument dates back as far as 400 BC, as a possible tool in the creation of prehistoric art, prior to any records. Hundreds of years of advancements in chemistry and optics led to the invention of the camera obscura, believed to have been employed as a drawing aid to trace a projection of an accurate representation of a scene before the lens. The choice of constructing and operating this material stems from my great fascination with the theory and science of photography. I have transported myself right back to the discovery of this optical illusion which lays the foundations of the photographic cameras we know today. The purposeful texture of the grainy and blurred resolved images furnishes this feel of memory, glimpses into the lives around us, refining how I perceive this phenomenon of Sonder in my work.
Sonder Through the Obscured Eye/Sonder Obscura
Photographs printed on satin paper, displayed on mirrored base
180 cm x 85 cm
JEMIMA GRACE HEALEY (Yr11 He)
‘Reflection is a Journey’ is a poignant exploration of personal transition and the contrasting landscapes encountered along the path to inner peace and resolution. This piece artfully integrated acrylic and soft pastel techniques, symbolising the synthesis of different artistic methods to mirror a personal journey. In this artwork, the composition captures the essence of moving away from a sombre, urban environment - represented through the cityscape visual in the side view mirror - towards a serene, idyllic setting symbolising a destination of comfort and home. The use of soft pastels conveys a dreamlike quality, while the acrylic layers provide a realistic contrast, reflecting the complex emotions and transformations experienced during such a journey.
At the heart of this composition is the side view mirror, which serves as a powerful symbol of reflection—both literal and metaphorical. It encourages viewers to consider their own past experiences, reminding us that we carry our histories as we move towards new horizons. The transition from the gritty cityscape to a serene, idyllic setting embodies the aspiration for comfort and a sense of belonging. This juxtaposition of environments highlights the contrast between chaos and tranquillity, illustrating the duality of human experience.
Drawing inspiration from Australian artist Reg Mombasa, ‘Reflection is a Journey’ utilises organic edging to create a sublime visual experience. Mombasa’s distinctive style, characterised by fluid lines and a vibrant colour palette, resonates throughout this artwork, enhancing its emotional depth and inviting viewers into a world where nature and imagination intertwine.
This painting is intentionally positioned at an impaired height, inviting viewers to engage with it as if they are seated in a vehicle, embodying the role of the driver. This unique perspective creates a literal sensation of being in the driver’s seat, symbolically placing the viewer in control of their own journey. By altering the typical viewing angle, the artwork encourages a more personal and active experience, making the act of viewing not just passive but participatory.
Reflection is a Journey
Soft pastel and acrylic paint on plywood
EVIE LANE (Yr11 He)
‘Bodies of the Split Divine’ combines aspects of both ‹biophilia› and ‹biomimicry›, exploring the concept that elements of nature may solve human problems, and simultaneously become the focus of attraction between both ‹divines› – nature and humanity. Drawing upon the oeuvre of Tamara Dean, Gordon Ellis-Brown and Martin Vallin, whose work collectively explores human–nature connection and disconnection, this series seeks to embody the essential, intrinsic and, ultimately, fragile and fractured relationship between humanity and nature, through perfection and imperfection, and scales of macro and micro.
Initial explorations into these themes paired full-colour portrait and floral photographic images printed on layered acetate sheets, allowing transparency to create hybrid abstract images. Through experimentation with imagery, scale and print media, including rag paper, not only were practical outcomes tested but also thematic nuances, such as the idea and embodiment of beauty enhancing or inhibiting the conceptual intention.
Connecting the subject matter, rather than more literally separating it, led to stripping back of colour and ultimately employing the delicate but raw medium of black and white photography. This consequently allows extraneous, distracting factors to be eliminated, reducing the imagery to its inherent qualities, thereby highlighting the foundational bonds between the human divine and natural divine.
In the resulting final series, comprising two photographic diptychs and one collage printed on satin paper and mounted on foam core, the juxtaposition and layering of elements represents the intertwining of bodies – in this context, the physical human body and the proximate body of water with its surrounding landscape – in an intimate exposition of our biological origins and connections increasingly lost. While the viewer is invited to ponder the disconnection inherent in the work, the proposition that a revival of our relationship with nature is the solution is equally evident. This duality is at the heart of the parallel narrative in a metaphorical and visual waxing and waning, which symbolises the thematic contention of human–nature connection.
Bodies of the Split Divine
Satin collage prints on foam core
59.4 cm x 84.1 cm
2
Series of pencil and texta drawings on watercolour paper
LULU LAUNDER (Fr)
My piece symbolises the bond between two souls, building onto my theme of constant companions. This meaning that they are constantly with each other, as well as drawn to one another. The yellow and purple auras are represented in each picture, forming a linear storyline. In the story, they find each other through portals and voids, and the different perspectives and point of views of the two figures is explored. I was inspired by the artist Holly Warburton and some of her techniques when conveying that glowing and ethereal effect in my pieces. The name of my artwork stems from the flower iris and the qualities the flower poses. The core of the flower is yellow and fades into purple, similar to one of the artworks in my series. I felt as though this really fits into the theme as well as reflecting the souls fading into each other. I wanted to present it in a way that gave it the effect that the first image was falling through the storyline, so I presented it vertically. I presented my works in a salon hang style as all my pieces are different sizes and there are six. I wanted to achieve a vibrant colour and used techniques such as shading and blending to give that range of colour in my artwork. I intentionally titled the piece “iris” with a lack of capital letters, the two i’s being visually representative of two people, reflecting the two souls throughout my drawings.
iris
Floral Cartographer
Embroidered photo on rag paper
WILLOW LEVINSON (Cl)
This collection of maps explores the origins of the exploration and discovery of Australia, in particular the native botanical flora. Learning how to capture the floral emblems of Australia and how they have been recorded in the past through photography on rag paper, I tested different materials and techniques, eventually settling on a combination of coloured glass beads and embroidery threads. The flora on the maps is representative of that State, using the floral emblem for each. This work aims to reflect the collections of both maps and native flora created by the first explorers of Australia with the concept of mapping Australia’s flora. Through the original botanist’s process of recording, the authentic Australian colours of the flora was often changed to suit the European colours, which I have imitated in the use of beads and threads to alter the original colours. The works are presented in a salon hang, to compose the formation of the Australian map.
Matrilineal Wool, found branches, wax 183 cm x 123 cm x 255 cm
ELIZABETH MORRISON (He)
Matrilineality- the tracing of kinship down the maternal line.
This assemblage was inspired by a family tradition of daughters holding up the skeins of yarn while the mother winds it and explores the idea of intergenerational connection through common practices passed down the maternal line. Here, the woollen threads, a mix of hand-spun, recycled and dyed with Madder Root, connect the faces of three generations of women (my grandmother, my mother and me) cast in beeswax. Suspended in Mana gum branches, the web is a physical manifestation of the way in which the wool connects the female line. The idea ‘art’ vs. ‘craft’ is another major influence on this work, as traditionally male pursuits such as painting and sculpting are exulted as art, while traditional female ones are written off as crafts. The labelling of the traditional/ stereotypical creative work of women (spinning, weaving, dying and needlecraft) as domestic labour, or as ‘crafts’, erases the creativity and artistry involved and undermines their intrinsic value to society.
Garden of Time
Gold and silver shim, moulding wire, viscose black stretch suiting
Textile Artform
ELIZA REID (Ga)
When combined with ideas of femininity, the piece beautifully conveys the fragility of women while embodying the strength that flowers possess. In order to explore the relationship between women and nature, I have carefully chosen a piece of art that represents how much women like flowers. Drawing inspiration from Schiaparelli, I have incorporated flowers into the work by using gold, which highlights each element’s delicacy with an aura of luxury. The work’s superb feeling is enhanced by the movement created above the head, which makes the work’s central floral emblem more prominent. To contrast this radiant gold, I explored down below the surface and implemented silver roots. The strength of flowers is such a coherent theme of the work but, to explore how that strength is formed, it was only right to incorporate roots, with their ever growing and branching resources supplying life. Combining the two elements of above and below the surface beauty in nature, communicating those themes into growing from the garment (the woman) truly symbolises how beauty grows from women. Using femineity as a symbol of where all thing beautiful grow from. The theme of the work being drawn from ‘The Garden of Time’ allows the metallic elements to symbolise eternity for things that are meant to die. The use of black and a simplistic garment has been implemented to allow for the structured elements to speak for the work themselves and truly elevate and emphasise the natural components.
HANNAH SCOTT (EM)
Exploring the depths of human experience, this garment weaves elements of self-identity with the central theme of ‘Truth Behind Experience. Initially inspired by architecture, I wanted to embark on a raw exploration of personal identity. This piece delves into the four fragments of life, Perception, Reflection, Past, and Place and their interconnectedness, revealing how they collectively shape who we are. At the heart of the design, a mesmerising beaded eye serves as the central focal point, symbolising perception.
Inspired by Vivienne Westwood’s self-expression of identity the electrifying rays of beads radiating outward, the eye emphasizes the transformative power of perception, much like the Australian sun, which is a constant in my life. The eye acts as a gateway to the world, filtering the past, reflecting personal identity, and connecting with places that have moulded my core values and beliefs.
The limited colour palette reflects my Australian heritage with heraldic significance as the wreath colours in the Commonwealth Coat of Arms. The garment has intricate symbols such as the ocean and the iconic Sydney Opera House. These represent Place, with my formative memories of family holidays spent on Australian beaches and yearly Easter trips to Sydney. The Opera House, and the rhythmic oceans are significant symbols from these journeys and stand as a monument to both my family connections and cherished childhood experiences.
The lower skirt showcases delicate photographs from my childhood, capturing the tangibility of Memory. Influenced by Deanna Tyson’s expressive prints the contrasting the bold beads provides an intimacy to the design with the intricately printed photos inviting the audience to lean in and explore the artist’s past, allowing a personal glimpse into how their perception has been shaped by these experiences, contrasting the bold beads.
Inspired by Maison Schiaparelli, the dramatic, reflective sun motif symbolizes Reflection and the ability to grow through self-examination. Just as the sun reflects light, the act of reflecting on one’s past and present is a crucial part of growth. The Australian sun carries deep personal meaning, evoking countless joyful memories. It also invites the audience to reflect on their own identity and how perception shapes who they are.
The hypnagogic sleep state portrays bizarre moments that blur the lines of imagination of reality. This series captures an ambiguous combination of person, place and thing that deliberately contrasts one against another. In this way, the glamorous aspects of the world we perceive are presented in unpredictable locations. The third element – task – furthers this notion of divergence by presenting the glamour woman completing a commonly viewed “domestic task”, which is interpreted as obscure. This series invites viewers to reflect on our roles within a wasteful culture and the pressing need for change, while highlighting the dissonance between human-made luxury and the fragility of our natural world.
WILLOW SMITH (Ga)
The seven photographs explore the complexity of femininity, presenting a seamless blend of symbolism, balance and emotional depth. The Seven Feminine Archetypes delve into the complexities of a woman’s character, revealing that each trait possesses its own unique power and limitations. While every woman embodies these attributes, there’s a choice in how much of each is displayed to the world. This theory draws from a blend of psychological, mythological and cultural frameworks, tracing back to the Swiss psychiatrist Carl Jung, who introduced the concept of archetypes as universal symbols present within the collective unconscious of humanity. These archetypes also have roots in ancient cultural stories, where female figures symbolise the diverse facets of womanhood.
These photographs of the different archetypes use Greek goddesses as the framework. Each goddess represents a specific expression of femininity, offering a way to understand the varied roles and energies women can embody at different stages in life. These archetypes provide a lens for personal growth and a deeper understanding of the complexities of feminine expression. Anouk, the model for this series, was chosen because as she has grown up, I have been able to collect insight on her characteristics. She was able to electrify the artworks by bringing them to life with her facial expressions and her dashing features capture the layers of ‘beauty of women’.
The use of symbolism in the photographs was a careful and deliberate process. The symbols were revised multiple times to evoke the deep passions and characteristics of each archetype. Initially I had planned to use a pinhole camera to create a more raw and authentic feel, but I found that the quality wasn’t intense enough to convey the emotional depth I was seeking. Digital photography allowed me to maintain the vintage aesthetic while increasing the emotional impact of the images. This helped to communicate the underlying message: that every woman has the power to choose which aspects of herself to show, and that each woman holds within her a rich and powerful array of characteristics.
Goddess Within; The Feminine Archetypes
Digital print on satin paper
42.4 cm x 59.1 cm
Series by the Sea 1920 × 1080 resolution (Film)
54 cm x 84 cm (Print)
FREDERICK TREMLETT (Cu)
Inspired by my time spent in Port Fairy East beach, ‘Series by the Sea’ was photographed along a variety of bays and beaches, each captured on my Bronica ETRsi analogue camera. Further inspired by Henri Prestes and his alienated scenes of nature, my artwork aims to express feelings of isolation. The photos are arranged in an order so that they complement each other through the use of aligned horizon lines. The aligned horizon lines connect each image, creating a seamless transition between them which unifies them both visually and thematically. Each image presents its own narrative of isolation, not necessarily shown through a lone figure but also through scale and by capturing the quiet solitude of public places, devoid of typical human activity. The film aesthetic of my movie aims to recreate old film projectors which serves as a metaphor for being present and quiet in nature. The raw presentation style serves as a reminder for us to disconnect from our everyday lives and take a moment to connect with nature and the land around us. The use of ocean sounds in the film is employed to engage the audience and immerse them in the film; it serves as an opportunity for the audience to physically engage and apply themselves to my artwork’s message.
Part 1: The Phoenix – Ancient China & Japan, 2024 Satin, polyester crepe, mesh wire, aluminium shim, paper mache
DAISY TURNBULL (Cl)
Primitive Power: A Juxtaposition of Femininity and Power – Inspired by Ancient Cultural Ideals
Centred around the juxtaposition of femininity and power, ‘Primitive Power’ explores the contrast between traditional feminine qualities – delicacy, elegance and grace – and the concept of authority and dominance, associated with the term ‘Power’. Drawing inspiration from ancient cultures, the collection uses red and gold to unify the pieces, symbolising both strength and beauty. This collection reflects a deep exploration of how femininity and power can coexist, achieved through meticulous refinement of ideas, materials, and techniques.
Each part of the collection draws inspiration from a combination of ancient cultural symbolism, historical armour and significant female figures, resulting in a combination of traditional and contemporary design elements. Each piece in the collection invites viewers to reflect on the nuanced relationship between softness and strength, presenting a dialogue between past and present. ‘Primitive Power’ highlights the enduring relevance of these themes in art and design, showcasing how historical symbols and contemporary methods can merge to make powerful statements.
Part 2: The Warrior – Ancient Greece, 2024
Satin, paper mache, beading
Part 3: The Royal Relics – Ancient Egypt, 2024
Aluminium shim, felt, beads, foil
Inward Glances
Collection of drawings on paper, scanned Salon Hang
AUTUMN WHITEMAN (Cl)
This collection is focused on how women are perceived in different cultures, explored through the vessel of statues. My works are specifically explorative of Egyptian, Hindu and Greek cultures, seeing as these cultures have prominent portrayals of women as queens or Goddesses. As well as focusing on the way that royal women are portrayed in cultures, my collection also highlights and contrasts the unfortunate reality of the treatment of ordinary women in everyday life within these ancient cultures to the glorified portrayal of them. Throughout all my pieces there is the continued motif of the snake/python, which has significant symbolism in all three cultures. Snakes overall are heavily associated with women, being both a symbol of fertility as well as rebirth and transformation. I have alluded to the ancient myth of Medusa; a woman famously treated cruelly in the eyes of a patriarchal society that villainised her. In a contemporary millennium, Medusa is seen as a symbol for strength, power, female empowerment and, often, the overcoming of assault. I have decided to capture close-up views of the statues, as seen in my collection, the intent of this being to create intimacy between the viewer and the women captured in my work, as well as focusing on the intricate cultural details that vary in each work.
The Ripple Effect
Series of white raku hand built vessels
Various sizes
AISHA YATES (Cl)
Simulated texture has the power to convey a multitude of meanings as it can communicate subtle nuances and intricate details that go beyond mere visual appearance. The series with the implication of the theme ‘textures within the ocean’ is a sequence of six pieces which aims to create a visual experience by captivating abstract patterns whilst the artworks reveal the complexity and beauty inherent in the ocean. Each element is individually sculpted in a unique form and texture from one another to independently illustrate how different movements collaborate to exhibit each unique movement. Drawing from artist Noriko Kuresumi, these pieces delve into the fine, intricate detail that is often overlooked in the underwater world. The main focus was on structure and form through the implementation of light and shadow. By intentionally focusing on the absence of colour, the series directs attention to tactile qualities through the white raku clay, which has a sandy textural finish and visually represents rhythmic ocean textures. As the piece is threedimensional, viewing them from various angles reveals distinct perspective, enriching the way movement dictated by the ocean is perceived.
VICTORIAN CERTIFICATE OF EDUCATION MEDIA
HONEY BARTHOLOMEW (He)
The purpose of my music video is to create tension and elicit an emotional reaction from an audience that may have suffered from someone close to them dying. The video reflects the many shades of grief and sadness, and ponders the time it takes to overcome the feeling of losing someone. For some, this piece may provoke feelings of grief—the heavy place in their heart reminiscing about a story or situation they have experienced—creating a connection to the confusion and blur that can occur after such a loss. This concept inspired the idea for this product, as well as the impact that this storyline could have on viewers.
A Loving Goodbye Music Video
Observational Documentary 3:20 mins
LUCY CARMICHAEL (Cl)
I have created an observational documentary about the beauty and joy of the alpine environment, in particular skiing. I shot this over three different days at Mt Buller, Victoria, where I knew the forecast would be sunny to contribute to the films uplifting and bright mood. I have aimed to portray an enriching representation of the feeling that the alpine environment brings to people, whilst implementing whimsical and striking aspects of the snow.
Alpine Euphoria
Sonder
Short Film 6 mins
ASHER CARTER (FB)
Sonder is a poignant short film that intricately weaves the lives of a young man, Charlie, and his father, Ray, through the threads of communication and human connection. Set against a nostalgic backdrop reminiscent of the 1990s to early 2000s, the film explores themes of intergenerational understanding, self-discovery, and the transformative power of heartfelt dialogue. As Charlie returns home from overseas seeking reconciliation with his distant father, the discovery of Ray’s old band photos sets the stage for a profound exchange. Through intimate conversations, both characters confront their shared vulnerabilities and rediscover the depth of their bond. The film portrays the evolution of their relationship, from initial conflict to quiet resolution. With a minimalist aesthetic and rich, evocative dialogue, the film celebrates the beauty of chance encounters and the transformative power of understanding, leaving viewers with a resonant message about the enduring value of meaningful communication.
CEE CHUNGYINGRUANGRUNG (M)
My project throughout Media is a walking cycle as a part of an animation that would be a part of a larger narrative. The programs I have used are Clip Studio Paint EX to produce the animation and Adobe After Effects for editing. The music is named “Salisbury” by TAKUMI, a Japanese music artist. I have been granted their full permission to use their music for my project. I have always wanted to try out animation as I have always loved medieval fantasy animations, as well as the adventurous journey the characters in fantasy shows take.
Salisbury by TAKUMI
Animation
HATTIE ELLIOTT (He)
In a surreal Journey through a dream, this short film delves into the strange and relatable nature of dreams. NOCTURIA – defined as the need to get up at night regularly to urinate – blends genres from thriller to romance, inspired by iconic films like Trainspotting and Eternal Sunshine of the Spotless Mind. The narrative unfolds as a series of vivid, dreamlike scenes, filmed from the perspective of the dreamer. I created this film to give myself complete creative freedom, allowing me to explore a diverse range of scenes as it reflects the unpredictable and continuously changing dreamscape experienced as we sleep. This film hopefully not only entertains but also invites viewers to be curious and reflect on the deeper messages hidden within their own subconscious.
NOCTURIA Short Film
HARVEY GIBB (Cu)
I aim to emulate the style and aesthetics of the French New Wave and convey it all through Bertolt Brecht’s alienation effect, which seeks to make the audience “distant” from the narrative by reminding them that they are consuming fictional content, to allow them to think freely and form their own opinions on the open-ended orientated narrative. The film will revolve around the final day of my protagonist, as she goes about accomplishing her spontaneous plan. The main purpose of the film is to tell an absurd tale, that will make the audience ponder on the intentions and actions of the protagonist, Debbie. The film will incorporate themes of alienation, obsession and martyrdom, which will be incorporated in the writing process as well as appear through imagery and symbolism.
Debbie (Create Dangerously) Short Film
MATISSE HIGGINS (EM)
My zine, Threadcount, explores the significance of sustainable fashion, highlighting the importance of slow fashion over unethical approaches. Set against black-and-white photos of Melbourne’s CBD, the zine juxtaposes the city’s backdrop with vibrant images of my model, Talia, capturing each piece of clothing. Each page serves as both a visual and intellectual journey, urging a shift towards more mindful, sustainable practices in fashion. The zine invites the audience to reconsider their relationship with fashion, encouraging a more conscious and thoughtful approach. It’s about seeing beyond the surface— acknowledging the hands that crafted each garment and the environmental impact of what we choose to wear. Overall, the zine is a call to embrace sustainability and appreciate the deeper meaning behind what we wear.
Threadcount Zine
LULU LAUNDER (Fr)
My product is an Arthouse music video for “Blondie” by Current Joys. The narrative explores cults, guilt among teenagers and the unspoken connections they can build with people. My goal is to visually depict the story I imagined for the song, focusing on teenage grief and coping mechanisms. It has a moody, sombre aesthetic achieved through colour grading and visual framing of shots. The story, set in the present with a vintage feel, follows a protagonist in a cult, highlighting her evolving feelings for a victim. My music video aims to evoke empathy and sadness. The choice of song, popular among teenagers, complements the video’s melancholic tone.
Blondie by The Current Joys Arthouse Music Video
GEORGIA MORGAN (Fr)
Teddy is a touching story that captures the essence of childhood and the magic of connection. The story follows a beloved teddy bear who becomes separated from his owner, embarking on an unexpected journey that ultimately leads him back home a year later—just in time for Christmas. In creating Teddy, my intention was to craft a heartfelt narrative that resonates with audiences of all ages. Through the teddy bear’s journey, I aim to evoke deep emotions and nostalgia, inviting viewers to reflect on their own experiences of childhood, connection, loss and rediscovery. This film serves as a celebration of the enduring magic of childhood, reminding us of the simple joys and profound connections that shape our lives.
Teddy Fictional Short Film
Sanctuary Expository documentary
PHOEBE NIKAKIS (Cl)
“Mental health knows no boundaries; it’s impact touches everyone, irrespective of labels or distinctions yet there is always a path healing to be discovered” – Phoebe Nikakis, 2024
My expository documentary, Sanctuary, explores the concept that there is always support available for those struggling. To portray this idea, I filmed my documentary at Jimmy’s Youth Wellbeing Sanctuary and asked members of that community a series of important questions. The way in which everyone responded portrayed light-hearted, uplifting and hopeful themes that aimed to inspire an audience.
SCARLETT PAHL (EM)
My product is a fictional short film called Spliced. It fits into the psychological thriller genre, with several aspects of horror and sci-fi genres embedded within. My film follows a story of a girl struggling with the loss of her older brother. In her grief, she goes on an unexpected journey through memories and explores the darkest depths of her mind in search for the truth of her brother’s death. My film explores themes of crime, memories and the human brain. I have implemented a heightened focus on the setting convention to create an eerie atmosphere, as well as the code of editing to employ special effects and post-production changes, such as sound effects, music and colour grading, for intended scary effects on the audience. My goal for my product is to form an engaging and scary experience for viewers.
Spliced Short Film
SOPHIE PATON (Cl)
I have created a cookbook to emulate a collection of my friends’ favourite recipes. When reading each recipe, look out for the names of who donated the recipe, and also read the short stories behind some of the recipes. Hopefully you may know some of the names and feel a sense of connection to those who have submitted recipes! I aimed to create a sense of belonging and to appeal to many different levels of cooking, so these recipes are simple and easy to follow. Enjoy!
Inspired by Friends , A Collection of Your Favourites Cookbook
GLORIA VAATSTRA (Fr)
The sunlight is dappled with darkness in this story of an uncle’s relationship with his two nieces, Tom and Birdy. With its bittersweet interweaving of fact and fantasy, youthful innocence and adult trauma, this tale of two children’s experience with the loss of a parent is tender, yet raw. I feel this short film will strike a chord on some level with a large portion of its audience. What makes it even more emotionally powerful and, ultimately, cathartic, is the way the narrative deftly moves towards not only the revelations, but also the unexpected comprehension and expression of the revelations by the two young children - Birdy and Tom Jones. While this story of the relationships between children and adults distills moments of both tragedy and joy, in the end, it’s those dusty shafts of optimistic light that endure, bathing the short film in a reassuring glow.
Toffee
Stop-motion Animation (Short Film)
AUTUMN WHITEMAN (Cl)
My media production is a zine, which is an unconventional magazine. My zine, as referenced in its title, explores different emotions through the use of colour symbolism, as well as personal and nature symbols. Each emotion explored is associated with a corresponding colour and paired with aligning visual imagery and text, specifically poetry. My zine has utilised collage aspects, photography, drawings and watercolour paintings. My zine has literary aspects including interwoven text and poetry that I have composed. The purpose of my zine is to provide connection through my personal experiences and to shine a light on the way that different people, me specifically, think. My zine aims to educate and share the way I experience emotions in a creative and non-conventional way through imagery, poetry and photography. This should provoke thought and make people consider the impact emotions can have, as well as how different people experience different parts of life and how different perspectives can alter experiences.
Little Book of Big Emotions Zine
Don’t Go
Poetic Short Film
ZOE YEUNG (EM)
My film, Don’t Go, is a deeply introspective exploration of the emotional landscape shaped by loss, longing and the journey toward acceptance and rebirth. The narrative weaves together visual poetry and a hauntingly beautiful aesthetic to capture the complex emotions that arise from grief. Through carefully crafted cinematography, including the use of natural lighting and deliberate camera movements, the film creates a dreamlike atmosphere that immerses the audience in the protagonist’s internal world. Don’t Go employs a variety of cinematic codes and conventions, blending elements of lyrical, arthouse and abstract filmmaking. The film’s use of color, lighting and symbolic imagery evokes a sense of nostalgia and melancholy, drawing viewers into its evocative portrayal of love and loss. As the story unfolds, it challenges traditional storytelling norms, encouraging the audience to engage with the film on both an emotional and intellectual level. Ultimately, Don’t Go is a visually compelling and emotionally resonant piece that invites viewers to reflect on the universal experiences of grief and the hope for renewal.
VICTORIAN CERTIFICATE OF EDUCATION
VISUAL COMMUNICATION DESIGN
Bright Bikes Bikes
DANIEL BIRAM (FB)
My client, Bright Bikes, wanted a logo for their bike shop (Presentation 1) and a poster for a bike event that they are sponsoring (Presentation 2). For Presentation 1, they needed a logo for a bike shop in the town of Bright. They wanted it to be made from simple colours and be able to be put at the front of the store. They also wanted the choice to have the logo on stickers, brochures and other merchandise. For Presentation 2, it needed to be a poster for a mountain biking event, held in the town of Bright, that is sponsored by the bike store. The poster needed to be in A3 size or larger. It also needed to have information on it, including a link to their website or Instagram. The poster was to be used to promote the event for riders as well as spectators. Overall, I believe my designs have fulfilled the client’s needs.
Bright Bikes
15/3/25
LACHLAN CALEO (A)
Client: A fictional client introduces a new brand poised to make a significant impact in the competitive winter apparel market. The brand seeks to establish a distinct niche, characterised by its commitment to modernity, functionality and versatility. The brand identity is encapsulated through a carefully crafted logo that resonates with a target audience of discerning 20- to 35-year-olds who possess average to high incomes and place a premium on contemporary design and practical utility.
Logo Design: The logo serves as the visual cornerstone of the brand’s identity, embodying its core values and differentiating it from established competitors. The primary objective of the logo is to convey the brand’s ethos—versatility, modernity and resilience—while appealing to a market segment that values both aesthetic sophistication and functional performance. The design is sleek and minimalist, potentially featuring interlocking or geometric elements that symbolise the dual functionality of the brand’s offerings. A colour palette incorporating tones such as metallic grey and greyscale underscores the brand’s focus on contemporary style and robust utility. The logo is instrumental in positioning the brand within a market that demands both innovation and reliability.
Product Design – The Jacket: The brand’s unveiling product, a men’s jacket, exemplifies the brand’s commitment to versatility and performance. Targeted at the same 20- to 35-year-old demographic, this jacket serves both extreme and casual conditions, setting it apart from conventional winter wear. The design balances rugged durability with sleek, modern aesthetics, ensuring the jacket is both functional in harsh environments and stylish in everyday settings with its detachable parts incorporating customisability into the design. Key features include advanced insulation for extreme cold, water-resistant materials and multifunctional pockets, all integrated into a streamlined silhouette that aligns with contemporary fashion trends.
2 POINT PERSPECTIVE
CEE CHUNGYINGRUANGRUNG (M)
My client is Toshiokan Inc., founded in 1925. It is Japan’s largest publishing company, based in Saitama, Tokyo. Recently, they’ve acquired a script for a mature medieval fantasy manga about a former war slave seeking revenge. The story, aimed at adults 18-40, will feature violence and possibly strong language. As ‘manga’ costs around $10 per volume in Japan, it will attract a variety of people from different socio-economic backgrounds.
The company requested concept designs for the main character and an environment. Before coming up with the final design, I explored various medieval styles, drawing inspiration from both historical clothing and fantasy media like Frieren: Beyond Journey’s End and Lord of the Rings. The final design shows front and back views of the character’s outfit with separate accessory details.
For the residence design, many different designs were explored. The final design was of an exterior of a church, illustrated in gothic medieval design presented in different perspectives to show more of the design. I believe that both final presentations fulfil the brief well and would attract the intended audience.
22172428L
LEFT SIDE
FINAL - CHARACTER (MAIN OUTFIT)
FINAL - CHARACTER (DESERT OUTFIT)
FINAL - CHARACTER (DESERT OUTFIT) 22172428L
22172428L
SAMANTHA COSCARELLA (Ga)
My client was Evo, an Australian hair care company. For their first communication, they asked for an app concept that assists Evo customers in identifying their hair type and recommends suitable hair products from Evo’s product range. This app acts like a virtual hair consultant, asking a series of questions in a survey format. The client wanted an app that was simple and easy to use, containing a survey to identify specific hair types and shop-recommended products from the survey. This had to be suitable for 15 to 60-yearold audience and targeted to a soci0-economic level of low to medium.
The second communication the client requested was to create a new line of kid’s shampoo and conditioner as Evo didn’t have this type of product yet in their market. Concept two showcases the surface design for the shampoo and conditioner bottles. The design is visually appealing with bright colours and has an interactive aspect, as the audience is young children and parents/caregivers. The interactive aspect is a lid that is shaped like a bunny holding a carrot, this lid can be screwed on and off, so the child can play with the bunny lid as the parent/caregiver wash the child’s hair with ease. A logo was also requested for the surface design as it’s a sub-brand. Also, the bottles and logo had to match the brand identity with keeping the bottle quite plain, with a white base and simple logo.
SIENNA HOPKINSON (EM)
My client was a small Melbourne restaurant called The European, which required a significant upgrade to its modernity in hopes to lower the age of the original target audience. The client produced a brief stating two communications: the need for a refreshed outdoor furniture set, focusing heavily on the pieces being stored overnight using minimal room, and the updating of the interior bar area, allowing space for lighting and storage. The designs were to attract an audience around 20-30 years old, as the restaurant is now within a bustling university district and has the means to largely increase profit, so by making the most of the surrounding demographic, profit margins can be maximised. Other characteristics of the target audience included a middle socioeconomic status, as no large expenses are expected at the small restaurant, and an interest in the European cultural experience. The designs were catered toward a European feel by integrating natural colours, whilst maintaining modernity by creating smooth lines and surfaces with industrial materials. The interior bar environment was presented in poster form, implementing mock-up images of the area in use, and the outdoor furniture was displayed in its outdoor setting, as well as individually portraying the modern consistency. Overall, I believe the designs encapsulated all aspects of the brief whilst cohesively maintaining similar elements to allow continuity throughout the restaurant.
The updated bar area at The European has been thoughtfully redesigned to complement the new tapas menu and appeal to a younger, university-aged clientele. Embracing a natural European aesthetic, the space features earthy tones, rustic wooden accents, and modern minimalist furniture that evoke the warmth and charm of a European café. Sustainability is at the core of this redesign, with eco-friendly materials, energy-efficient lighting, and a commitment to reducing waste through innovative practices. The result is a welcoming, vibrant atmosphere that bridges traditional European elegance with contemporary design, making it the perfect spot for socializing, enjoying small plates, and experiencing the essence of sustainable dining.
The purpose of the updated bar area at The European is to revitalize the dining experience by introducing a tapas menu that resonates with the tastes and preferences of a younger audience, particularly those from the nearby university district. By reimagining the space with a natural European theme and prioritizing sustainability, the bar not only aims to attract a new demographic but also to create a meaningful connection with customers who value eco-conscious practices. This redesign seeks to enhance the social aspect of dining, offering a relaxed yet stylish environment where patrons can gather, share, and enjoy diverse flavors in a setting that reflects the harmony between tradition and modernity. The goal is to position The European as a vibrant, socially responsible hub that appeals to both the palate and the values of the next generation of diners.
The materials chosen for the updated bar area at The European—wood, stainless steel, green tile, and concrete—each play a crucial role in reinforcing the purpose and concept of the space. Wood adds warmth and a rustic European charm, evoking the natural beauty and timeless elegance of traditional European cafes. Stainless steel introduces a sleek, modern touch that reflects both durability and a commitment to sustainability, aligning with the bar's focus on eco-friendly practices. The green tile serves as a vibrant accent, symbolizing growth, renewal, and the connection to nature, while also adding a fresh, youthful energy to the space. Concrete, with its raw, minimalist appeal, grounds the design in modernity, providing a sturdy and unpretentious foundation that speaks to the blend of tradition and contemporary style. Together, these materials create a cohesive environment that embodies the harmony between classic European design and sustainable, forward-thinking innovation, perfectly suited for the younger, socially-conscious clientele.
WUNDERLAND WUNDERLAND
Materials:
Concept:
Purpose:
PEGGY NEVILLE-SMITH (Ga)
My client was an up-and-coming music festival set to take place over three days in regional Geelong, Australia. The festival, primarily showcasing techno and electronic music, aimed to attract an audience of 20,000 to 30,000 people, consisting mostly of young adults aged 18-25 with a strong interest in music and festival culture. The festival required two key communications: the first was branding of the event, including the creation of a name, and the promotional material of a street poster. The created name for the event, WUNDERLAND, is a play on the spelling of wonder, based off the German spelling due to Berlin being the techno capital of the world. The street poster is designed to be displayed around metropolitan Melbourne, targeting locations such as train stations, universities, bars and coffee shops, where the target audience is most likely to be found. These materials needed to convey essential information such as the festival’s name, dates, times, location and headlining acts, while also capturing the vibrant, modern aesthetic of the event to entice potential attendees.
The second communication involved designing both the architecture and surface design for a branded drink bottle. The bottle was designed to be both practical and cost-effective, holding approximately 500mls of liquid, with variations in surface design to match the festival’s branding. This functionality of the bottle not only encouraged hydration among festival-goers but also served as a piece of exclusive merchandise, helping to minimise waste and reduce the need for single-use drink containers. I believe the final presentations successfully captured the essence of the festival, fulfilling the brief by effectively promoting the event to the intended audience and providing a memorable, functional product for attendees.
PROJECT EDEN
PROJECT EDEN
PROJECT EDEN
PROJECT EDEN
PROJECT EDEN
SCARLETT PAHL (EM)
PROJECT EDEN
My client was Parks Victoria, who wanted to establish their new conservation reserve with a designed name and logo. They also requested the development of a design concept for an information centre building to be located in the reserve. The logo had to include the name of the reserve, reflect environmental values, and have a modern and natural aesthetic that would be recognisable and relevant to the reserve. I created “Project Eden”, with a logo set of three variants; a combination logo, typography logo and a reverse logo. The logos feature an abstract symbol I designed, which represents a leaf with a natural colour pallet of Australian flora greens. The font used is organic and playful, representing the warm and environment-orientated values of the reserve.
The main requirements for the information centre concept were that it is sustainable, accessible to visitors, incorporates renewable energy sources, and includes information services with a staff counter and toilet, fitting a minimum of 20 people. My concept design is sustainable, made from sustainable and recycled materials with solar panels on the roof, as well as a skylight for natural light access. The sliding door entrance makes the centre accessible to all visitors, and the interior includes a bathroom with a staff counter, brochure shelving unit, and display board with TV for educational and informational purposes.
The round and abstract shape combined with unique architectural features form a modern design that appeals to the target audience of a younger demographic of Australia, students, and visitors of the reserve.
THANK YOU
I would like to say a very big thank you to the Visual Arts Department staff, and especially to Mrs Lucy Haigh, who oversaw two Year 12 VCE Art Making and Exhibiting classes, and Ms Jen Nicholls, who taught Year 12 VCE Media.
I also want to acknowledge the hard work of all the other members of the department: Ms Sharron Goodwin-Ryan, as well as Jane Maaser and Rupert Porter, our Art Technicians. I am also most grateful to the 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 Eliza Reid (Ga) and Steven Wan (FB) who, as the Visual Art Captains, represented the Department this year.
