Made It 2014 Grad Show Catalogue

MADE IT

MADE IT

G R A D U AT E E X H I B I T I O N

MADE IT VISUAL ARTS

GRAPHIC DESIGN

MEDIA ARTS

DIGITAL MEDIA

MADE IT G R A D U AT E E X H I B I T I O N C ATA L O G U E VISUAL ARTS

GRAPHIC DESIGN

MEDIA ARTS

DIGITAL MEDIA

M AD E IT C ATALOG U E BRANDING & IDENTITY: Daniel Cvetkovski, Erin Dixon PUBLICATION DESIGNER: Jess Nesbitt GRADUATE EXHIBITION COORDINATORS: Stephanie Kinstler, Jess Nesbitt, Karen Paterson, Rochelle Thompson SUPPORT CREW & EDITORS: Gregor Cullen, Grant Ellmers, Madeline Kelly, Jo Law, Derek Kreckler, Sarah Miller, Kate Sheehan

CONTENTS STUDENT MESSAGE page 4

HEAD OF SCHOOL MESSAGE page 5

GRAPHIC DESIGN page 6

VISUAL ARTS page 48

M E D I A A R T S / D I G I TA L M E D I A page 87

FROM THE STUDENTS

There seems to be a misconception about what we learn as creative practitioners. We don’t get taught how to ‘join-the-dots’ or how to ‘colour inbetween the lines’, as others so often suggest. We arrive with knowledge from our backgrounds in art and our intrinsically imaginative thought processes and we build upon our technical skills and our ability to think creatively.

At university we’re taught to work with big ideas and ask big questions as we attempt to create unique human experiences and responses. We learn to grapple with concepts and theories and of course, with our own imaginations.

We’re asked to appeal to an audience’s emotions, to question our own intentions and to express ourselves through different mediums. And, unlike any other discipline, we work in the absolute most un-mechanical processes.

As creative artists, we learn more than how to deliver a pleasing graphic composition or a technically skilled painting or a professional post-production video. We learn to deliver thoughts, feelings, ideas, concepts and emotions; and it isn’t easy.

Luckily for us we have been inspired, motivated and guided by the best. Thank you to the passionate staff at the Faculty, for always encouraging us to produce thought-provoking work, to think outside the box and to challenge our ideas and ourselves.

We are Graphic Design, Visual Arts, Media Arts and Digital Media 2014. Not only have we ‘made it’, we’ve only just begun.

We are infinite.

FROM THE HEAD OF SCHOOL

Congratulations to the class of 2014. You have indeed MADE IT! And this exhibition, coming as it does at the end of three years of hard work and commitment, is evidence of just how far you’ve come.

A graduate exhibition is no small thing. It says you’re ready to take on the world, to apply the learning –formal and informal – acquired during your time as undergraduate students. Three years of concentrated study across a range of creative practices, undertaken in tandem with the complex worlds of history, theory and studio development locates you in a long tradition of graduates distinguished by their capacity for hard work, their self-reliance, and their practical and conceptual smarts.

This year the catalogue encompasses not only students from the Bachelor of Creative Arts majoring in Visual Arts and Graphic Design, and in some instance both – but also students studying Media Arts, often through the Bachelor of Digital Media. It’s an extraordinary coming together of diverse media, concepts and processes and the outcomes are rich, multifaceted, and sometimes challenging, but always a pleasure to experience.

And of course it’s a great time to acknowledge the support of friends, of your teachers, and families, who have shared the journey with you. Congratulations on three years of hard work, adventure and creativity. We hope that MADE IT is not just a celebration of your achievements to date but an auspicious beginning to wonderful lives in the contemporary arts and creative industries.

Professor Sarah Miller Head: School of Arts, English and Media.

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GRAPHIC DESIGN

‘Zoo Freeze’ 2014 (collaborative mobile application design), ‘Cosmetic Animals’ 2012 (poster campaign)

DANI bEGOVICH Design has the power to always be different in every project. Design is never repetitive.

Design constantly requires you to expand your personal perspective. Idea creation and research play an important role in my creative process. Where the line of normalcy is shaped differently, in my eyes as a designer, everything is relative, there exists the freedom that only designers can create. These are the reasons why I design. I draw on inspiration from the world that surrounds, from the daily happenings of activities, and the daily procrastinations I journey through. My design work engages with different mediums, where photography and illustration provide a way to design and gain inspiration away from the computer.

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‘Illustrated Anti Fur Campaign’ 2013 (poster series)

ALANNAH bOURKE I believe good design engages with the mind, spirit and body. Real life experiences have shaped my appreciation and practice of graphic design. My ambition is to practice design in the packaging and publishing industry.

Life can be very black and white, however it is design that brings a whole new world of colour, bit of a cliché but it’s true. It has been life opportunities that have developed my passion for visual communication and refined my design style to be somewhat minimalist with an emphasis on colour.

‘LOST Prospectus’ 2013 (layout design), ‘Australia Waste’ 2013 (collaborative data visualisation project)

NICK COONEY Creative thinking and developing innovative solutions is my passion. As a designer, my main drive is to create new and engaging solutions, constantly striving for that original idea. Data visualisation and user-interface for smart phones are two of my more preferred practices, however I always seek to use the most suitable medium to communicate information.

To me, being able to effectively engage with the audience is when a project is truly successful, regardless of what form it takes in its final production.

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‘Clique’ 2014 (identity), ‘Grail Co’ 2014 (identity and poster series)

DAN IEL CVETKOVSKI As a visual communicator, I aim to inspire, educate and collaborate with others. Critical thinking is central to my design practice. I picture the design process as an endurance race involving both mind and body, where you push yourself to the limit to get to the finish line with the best possible result. The feeling of being under-pressure when a deadline is looming is perplexing and sometimes overwhelming, yet a powerful source of learning and inspiration; the endorphin needed to embark on new challenges and problems to solve.

Kiama slumbers robed in mist

All glittering in the dewy light

The brooding o’er The shingly shore

Lies resting in the arms of night The foam-flecked craggs with surges chill And rocks embraced of cold-lapped spray Henry Kendall, 1961

MAP NSW

Illawarra Region

Film Illawarra Location Guide Unique filmmaking locations in the Illawarra region, New South Wales, Australia

ILLAWARRA REGION

Wollongong Shellharbour Kiama

Shoalhaven

‘Rise Above Plastic’ 2013 (vector graphics), ‘Film Illawarra’ 2013 (parent package design and collateral)

MADELINE DE-SANCTIS I am inspired by minimalistic, stylised, and reductive communication design. I love simplicity and the way an important message can be communicated without the need for complexity and embellishment. I have an ideas based approach to my design practice, with a touch of wit and humour.

I aspire to work in commercial design creating beautiful work and having it acknowledged by clients, peers and the public.

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‘Eclectic Medicine Design Studio’ 2014 (identity), ‘Bloominel’ 2014 (identity), ‘UOW Marketing and PR Society’ 2014 (banner design)

ERIN DIXON I have discovered my love of graphic design at a very young age whilst teaching myself how to Photoshop friends heads onto each other’s bodies. A hobby that continues to this day. Graphic design is my escape and you won’t ever see me without my computer.

I am heavily inspired by Minimalism and Scandinavian design, and my work is always about trying to achieve balance and visual harmony using only what is necessary. I hope one day I’ll find the perfect font. Until then, I’ll use Futura.

‘URAC Advertisement’ 2013 (creative advertising), ‘APRAP Magazine’ 2013 (typography and layout design), ‘Sukhoi’ 2014 (paper artwork), ‘Aardvark Records’, 2014 (branding)

JAMES DOWSWELL As part of my creative arts degree, studying graphic design has given me the privilege to work alongside many wonderful undergraduate and industry-experienced designers.

Pursuing the Creative Arts degree has also enabled me to dabble in other avenues of creative practice within the visual arts arena such as illustration, image manipulation, and printmaking, and these have opened new prospects in my personal design practice.

When it comes to graphic design, I am particularly interested in designing identities and branding solutions, designing for social change and creative advertisements. I typically take a pragmatic approach with my design practice. I evaluate possible design solutions and discern the most appropriate design direction, but I also strive for eclecticism. I derive inspiration from many sources, while still injecting my own artistic interests into my work.

These include vector and freehand illustration, digital painting and perhaps even some origami - just to mix things up a little.

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‘Wollongong Social Hub’ 2013 (illustrative A2 poster), ‘Hungry Harvest’ 2014 (educational application for iPad)

DYL AN FE LTON In my life before graphic design, I dabbled in medicinal chemistry, chased countless winter seasons across the globe, and poured thousands of beers. Now I have come to the conclusion that none of this compares to the passion and fulfillment meaningful visual communication gives me. Yet these past experiences have shaped my view and approach to my design practice, and have provided the analytical principles that underpin my approach to research and the design process. Global travel has cultivated a lust for chasing the unknown in the world of design, and working on the other side of the bar has provided a broad perspective on life that is central to my design practice.

My industry experience to date has taught me the importance of deadlines and attention to detail, fueled by a passion to be the author of evocative design. If I can achieve this through my affinity for illustration, and user interface design for mobile platforms, I will continue to grow as a designer.

‘Contaminocean’ 2014 (poster), ‘Legless’ 2014 (poster), ‘SOON’ 2014 (mural)

AMY FLANAGAN I am a messy person, I love clashing patterns, and I like to draw characters that have multiple personalities and mismatched limbs. It makes sense that my approach to design is experimental and messy. Graffiti has always had a major influence on my work because of the use of eccentric creatures, elaborate typography, and vibrant colours that decorate the city walls. Creating things a little out of the ordinary is a motivating factor in my work, because weird is different, and different is good.

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‘Double Exposure’ in Nobody Cares About Your Half Eaten Ravioli 2014 (photography), ‘Film Illawarra’ 2012 (branding and parent package), ‘The Fate of Second Place’ 2013 (campaign design),

JULIA FOTOUDIS As a visual communicator I have a love for quirky illustrations and old time-photography.

Handmade inspired typography is my signature style, along with great attention to detail. I often make creative decisions on impulse then reflect on this response to create distinctive brand-marks, typographic compositions, and riveting campaign design.

Various logo designs, ‘Travelink’ (poster design)

VAN F RE TAG My passion is corporate identity design and branding. A brandmark is capable of encapsulating so much, and continually absorb new meaning as it evolves with the organisation it represents. I believe branding is about developing strategies that communicate the values, beliefs and philosophy of an organisation in ways that shape its future.

It is important that each logo in the public sphere has an individuality. This can only come from a deep understanding of the organisation it represents. The brand philosophy should be consistent across all forms of organisational structure and communications. A brandmark and its implementation should represent the organisations core values in a meaningful and honest way.

I hope to build a career based on my passion; staying true to my beliefs, and helping clients understand the importance of an honest and inspirational visual representation of their organisation.

Special thanks to Jo, Jon and Gregor, you have been instrumental and inspirational.

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‘Acidtrash’ (photo manipulation), ‘Pop Tags Not Pills’ (campaign design), ‘PH01’ (photo manipulation)

RObERT GIbIETIS You could say I’m a bit like any Adobe Creative Suite file, layers...

Apart from being comically gifted and painfully sarcastic, I enjoy all things minimal, geometrical, symmetrical, and surreal, within the world of visual communication. I have a passion for piecing together technical, imaginative, and complex compositions, through photomontage and digital manipulation. I also have a passion for creating contemporary inspired vector forms, which has eventually led to an unhealthy relationship with overusing Futura Bold.

‘Police Campaign’ 2014 (collaborative campaign design)

ASHLEIGH GIROLIMINI

My love of graphic design has emerged from my interest in visual arts. Throughout my childhood and teenage years you would never catch me without a pencil or a paintbrush in my hand, spilling out my emotions onto a canvas. It was this passion for visual arts that developed into my love for graphic design as I advanced into adult hood.

I love the opportunities that graphic design gives me to create brands, websites, apps and campaigns through both the handmade and the digital. Design also allows me to accommodate the rapid technological advances of today and incorporate this in my work.

I am more excited now than ever to be working in the graphic design industry where I have the power to influence, move, and inform my audience. As the famous Milton Glaser says, “There are three responses to a piece of design – yes, no, and WOW! Wow is the one to aim for.”

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‘Chatr’ 2014 (mobile app interface design), ‘Gem Celebrancy 2014 (logo and business card design), ‘Film Illawarra’ 2013 (branding and logo design), ‘ APRAP Magazine’ 2013 (magazine design and layout)

DAV I D HA M I LTO N Central to my graphic design practice is idea creation. I’ll scribble my ideas on café napkins, my notepad, or just about any spare piece of paper lying around, probably because my best ideas hit me when I least expect it. I find design stimulating enough without needing to add caffeine. I’m fascinated with typography and watches, and if I’m not designing I’m usually outside doing some sort of exercise.

I’m infatuated with user interface design particularly for new mobile technologies. I’m engrossed in logo design and branding. I’m captivated by a simplistic look and minimal feel. I design websites, write code, and dance (that last one depends on who is asking).

I’ve had industry experience every year of my degree and can’t wait for the real life deadlines, interesting word choice of clients, and challenging briefs.

I’m more fun than comic sans, so we should definitely talk!

‘Capcha App’ (user interface and logo design)

M AT T HARDY My career started at the graphic design startup Canva, whilst still studying at university full time. Since the age of 18, I have worked as a freelance designer with a number of clients including Twyfords Consulting, Capcha App, StreetCrew, Max Hardy Consulting, and PhotoboothMe.

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‘The Living Lunchbox’ 2013 (poster series and logo), ‘Did You Know?’ 2014 (UOW energy conservation poster)

T eira H um b y I consider myself one of the lucky ones. Graphic design not only allows me to do what I love as a career, but it also enables me to create work that can influence how society views the world. Campaign design is a particular strength as it enables me to investigate typography and illustration in a meaningful way, and with its ability to engage with social issues. Creating design solutions that inform and make people aware of different perspectives is my ultimate goal. If done with passion, critical thinking, innovation, and empathy, design has the potential to resonate and visually communicate with audiences, leading to positive change within the community.

‘Eat for the Future’ 2013 (print), ‘Insightful’ 2014 (digital photography)

INA KARLSEN Coming from Norway I have been exposed to a lot of art and design. This experience has informed my love for everything associated with design, illustration and photography.

Through industry experience I have gained valuable knowledge designing visual identities and marketing material for clients. I have a passion for sustainable design. I love employing graphic design and photography to make positive changes within society, particularly issues dealing with human rights and the environment.

As a practicing visual communicator, I see inspiration all around me from cooking, outdoor activities, traveling, exploring galleries and museums, and studying art and design in both analogue and digital formats. Upon completion of my degree in graphic design, with a specialisation in photography, I am excited about the journey that lies ahead for my creative practice.

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‘Give Rebrand’ 2014 (digital illustration), ‘Out of mind Out of sight’ 2013 (Great Pacific Garbage Patch campaign poster), ESIU ‘Did you know?’ Campaign 2014 (online tutorial skin) ‘Fibromywhat?’ 2013 (campaign poster)

GEORGIA LANG Hi, my name’s Georgia and I am passionate about all things design. I believe that there is more to design than meets the eye. I aspire to use my creative design skill set to change the world. I consider creative output as more than mere aesthetic artifacts. My design works are a form of visual speech that communicate a sentiment and a set of values, with the aim to influence audiences to adopt new or alternative perspectives. As such, I hold the belief that effective design can act as a powerful tool to inspire social change.

The majority of my projects are bound to ethical practices that reflect a ‘do good’ attitude.

‘Strive Against Domestic Violence’ 2013 (poster campaign), ‘Spont’ 2014 (collaborative mobile application design), ‘WorldFair’ 2014 (collaborative branding and website design)

CLOE LEIKER I consider myself a creative design thinker, who is optimistic, and loves a new challenge.

My passion and strengths in design lie across a variety of design mediums, which draw on my unique combination of skill sets as a designer, illustrator and photographer. I am continuously exploring and expanding my abilities to ensure my evolving design practice has a sense of originality and energy.

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’Pigeonhole’ 2014 (collaborative mobile application design), ‘Re-Think Refugees’ 2013 (social campaign illustration), ‘Be The Change’ 2013 (environmental campaign poster)

C lark L ogro Throughout my studies, I have learnt that design has the ability to influence how people think and look at the world. As a designer I truly have the opportunity to be creative and innovative. My design strengths include working with typography, illustration, and creating innovative marketing solutions. I believe I have a unique style, of which experimentation is an important part of that process. I thoroughly enjoy developing numerous design solutions for different problems, and I always push myself to exceed my boundaries.

‘Pro Me’ 2013 (poster campaign), ‘Unleashed Magazine’ 2013 (digital magazine), ‘Jumpstart’ 2014 (collaborative mobile application design), ‘Alter Ego’ 2014 (collborative branding project)

M E L I S S A M AC K I N L AY I value the exciting opportunities that graphic design allows me to explore. The process of generating an idea and implementing this in order to create a cohesive design solution is one that I find to be both challenging and rewarding.

I hold the belief that the relationship between the designer, audience, and the brief, is what drives the design and determines the success of the communication solution. My work is underpinned by a clear understanding of the relationship between illustration and typography. I frequently explore and integrate these two important design elements within my work as an effective method to create a vivid visual language to communicate a holistic message to the audience.

I am excited to put what I have learnt through my studies to the test, develop my abilities further, and continue to explore the fascinating world of graphic design.

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‘Plastic In the Pacific’ 2013 (campaign poster design), ‘Let’s Misbehave’ 2014 (illustration)

RACHEL MACLEOD

I am a graphic designer, an illustrator, a visual communicator, a conceptual thinker and an artist. I am fascinated by design, and how we are surrounded by it in everyday life. This motivates me and inspires me to create strong visually and conceptually driven design.

I like simple, to the point, yet beautiful design, and this is something I aim to achieve in all of my work. I am like a sponge, constantly seeking ways to further improve my design practice, both thinking and skills.

Studying a minor in media arts has given me the opportunity to explore other methods and forms of creativity. This gives a wholistic approach to my design practice, and allows me to experiment with photography, web, audio, installation and painting.

‘Save the Orangutan’ 2013 (poster series)

DA N I E L M AY As a designer I constantly challenge myself to produce work that is engaging, thoughtful and innovative. I see composition as independent of medium or style, and consider it as an essential element in all design. I enjoy the evolution of ideas, and consider this an essential stage in the design process. During my studies I have grown to appreciate the importance of type not only as text, but also it’s power as image. I believe that when image and text are combined successfully, the resulting work can portray the key message in a thoughtful and aesthetically pleasing manner.

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‘Major Project’ 2014 (campaign poster design images using pen illustration layered with digitally produced patterns and colour)

S H E N A E PA I G E M C E WA N I’m one of those people that have boundless ideas and I execute them through a strong passion for illustration, photography, creative writing, and of course, all things graphic! I like trying new things, delving into different mediums and tools. I like to know how to do everything! If this passion can be invested into a career and my ideas get out, that would be fabulous. Design can be aesthetically beautiful, and that’s what I aim for, making the world more beautiful.

‘Pacific Problem’, 2013 (poster), ‘Flight’ 2012 (digitally manipulated photograph), ‘ACDC Spread Aprap Magazine’, 2013 (layout design)

L uke M ultari Graphic Design gives me the freedom to express myself creatively whilst creating beautiful and practical works. I am passionate about design and my dream is to have a successful design career. I take pride in my work and love the feeling of looking at a completed piece. I always endeavour to do my best and I am continually looking to challenge myself, striving to do better. My main passion and strength lie in print design, poster and editorial design.

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‘Boutierre Girls’ 2014 (Identity), ‘Fixa’ 2014 (App Design), ‘The Strive’ 2013 (Identity & Campaign), ‘CAGD390 Blog’ 2014 (Web Design), ‘Personal Sketchbook’ 2014 (Process)

L U K E M U R R AY My knowledge and skill as a Creative not only draws on my graphic design studies at the University of Wollongong, but also a Diploma of Product Design.

Graphic Design is the rational practice of communicating ideas through a range of visual mediums to specific audiences to achieve planned outcomes - or at least that is my definition.

Spanning Print to Digital to Installation - all mediums of visual communication interest me, as they provide new opportunities to explore solutions of communication.

When I’m not creating you will see me running, cycling and surfing - sitting still isn’t really an option.

It would be great to grab a coffee and talk further about design.

‘The Tertangala’ 2014 (publication design), ‘Wollongong Writers Festival’ 2014 (program), ‘Gender & Sexuality Glossary’ 2014 (booklet), ‘The Tertangala’ 2014 (‘North but not forgotten’ photo essay spread - publication design)

JESS NESBITT Design has always been the perfect outlet for my need to constantly change and adapt.

New processes, techniques and technologies excite me and I’m not afraid to admit I’ve read more than one book about grid systems. Simplicity and functionality are central to my practice, and I often find my favourite part of the design process is in the details. To me, purposeful type and a clean layout are not optional; they’re a must.

My communication skills extend beyond the visual and into verbal. I am passionate about people and believe that clear, confident and creative communication can change the world.

Design is my skill, speech is my strength, and people are my passion.

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‘Too Good to Waste’ 2013 (identity and collateral)

R enee P yers My connection with design is a somewhat love/hate relationship. The whole creative process of discovering a brilliant idea at the most random time and place is the biggest thrill. My passion and design strengths lie with layout, typography, and illustration. I aspire to design for a magazine in one of my many future careers. Back to the hate, it usually kicks in with the limits of time. I guess this is because I get too carried away with attention to detail.

‘Freescreen’ 2013 (campaign poster design), ‘Cuppa 4 Cancer’ 2013 (Cancer Council NSW campaign)

VAN E S SA RE E S Design, coffee and travel are my three main passions in life, and I strive to involve all three, preferably simultaneously. Illustrative, colourful and engaging would sum up my style of design. I have discovered this is my niche through years of design study.

I value creative community involvement, development of new design techniques, and especially innovative creative thinking. Give me a challenging design brief, a cappuccino and an exotic location, and I will be one happy camper.

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‘Fyve’ 2014 (snowboard design), ‘Pigeonhole’ 2-14 (collaborative mobile application design), ‘Children of Africa’ 2013 (illustration

L O C K I E ROYA L L I believe that creativity in design is heavily influenced by the state of mind of the artist and that artists view the world differently. I enjoy a simplistic design whilst focusing on an attention to detail. I often approach my designs with an illustrative flare, creating innovative designs. My design practice is diverse and through experience has equipped me with a dynamic set of personal and collaborative skills.

I believe that being involved in extreme sports has helped to feed my creative cravings, it gives me a focus and allows me to express myself freely. My biggest desire is to travel, I believe it is an important part of life. I know the places I have visited so far have left an impression on me as a designer. I am always keen to discover and explore. Without visiting new places and meeting different people, I would not have as much awareness of the world. I view this as an essential part of design.

‘BLOCK THE HABIT’ 2014 (poster), ‘Scarlett Rush’ 2014 (album cover)

SUSAN SAQQA I have a deep appreciation for minimalistic design and consider this approach one of the most effective forms of communication in graphic design. My goal is to design simple and elegant work. My strengths include branding and corporate identity. My passion in graphic design is to portray significant issues with beautiful and simple imagery. I desire to create work that connects with audiences and influences how society views the world.

My design work is quirky, innovative, and reflects a contemporary style.

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‘Film Ilawarra’ 2012 (branding and collateral)

CARMEN SCHEFFER Creativity is intelligence having fun. I believe an important role of the graphic designer is to solve problems in a visual format. I have always had a passion for illustration, both in the hand-made and through digital media, and I believe it has an important role in visual communication. I am an enthusiastic, hard-working creative that loves working both collaboratively and independently. I enjoy all areas of design, but I have a particular strength in branding, where I enjoy the challenge to incorporate my own style whilst meeting the requirements of the client’s brief. I see the beauty in humble places and I am constantly inspired by my surroundings, especially by the woods, vintage American signage, and of course, Johnny Cash.

‘Palm Safe’ 2013 (Awareness Campaign), ‘Creative Thinker’ 2014 (Vector Graphic), ‘BluOrange’ 2014 (Café Branding)

ANAS TAS IA S E M M LE R I have always considered myself a hybrid of intense creative flare, with order and logic.

I am an extremely visual person. I think in images, and I have found that I could always better explain myself through shapes and colour. This is why I find design to be the perfect platform to express my ideas and assist others to communicate their message.

My design work stems from my passion to draw, which is a core element of my process and thinking. This underpins my engagement with my digital work.

I have an engaging inner critic that keeps me striving to not only produce successful work, but to create work that I am proud of.

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‘Food For Change’ 2013 (campaign design), ‘Block the Habit’ 2014 (campaign design with envisage), ‘Say No Plastic’ 2013 (campaign design), ‘Together’ 2014 (photography), ‘Girl’ 2012 (photography)

A shleigh S toppel Campaign design is a major strength in my work, particularly call-to-action campaigns.

At the heart of this is an understanding of the central role that type and photography play. Through my design solutions, I strive to make people stop, think, and understand.

I believe design should be communicated not only in a clear, aesthetically engaging manner, but should also effectively communicate the core message.

As well as a designer, I am a photography enthusiast and an animal lover, who is passionate about representing important issues in our society.

I thrive on the challenges that solving design problems present. I feel it is important to persevere, not give up, and to learn from these challenges. This is how I will continue to grow as a designer and continuously improve to be the best that I can be in each and every way.

‘Mermaid Tears’ 2013 (campaign poster), ‘Livestock Protect’ 2013 (campaign poster series)

S ara T omlinson The idea of putting pencil to paper and letting imagination flow gives me a sense of connection to my surroundings, whilst also allowing me to express my creativity. I have a love of hand-drawn and digital illustrations. This has led me to explore ways in which design can evoke emotional responses from audiences, and in particular how campaign design can create change. Through my practice as a graphic designer, I aim to create meaningful design strategies that are professional, creative, innovative and show my own unique style. I especially love working with word and image, and exploring the relationship between typography and illustration. It takes more than just skill and precision to fulfill a brief that evokes emotional responses, it also requires design thinking and a holistic approach to design.

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‘Inference’ 2013 (photograph), ‘Foreign Affairs Redesign’ 2014 (magazine layout), ‘Finding the Way’ 2013 (museum exhibit poster)

S A M A N T H A T U BB Y Throughout my time at university, through traveling and studying abroad, I have developed a strong social opinion, particularly surrounding global issues. I believe in design with a greater purpose; designing with a social conscience in order to increase social awareness.

I want to create experiences, and push my audience to challenge themselves and think beyond the everyday. I believe in making a difference through my work. I want to inspire change. I want to be part of making the world a better place.

‘Drastic Plastic’ 2013 (poster design), ‘APRAP Cover’ 2013 (magazine), ‘APRAP Inside Pages’ 2013 (magazine)

H AY L E Y VO S P E R I love design with tiny little details and intricate pieces that are hidden in a larger work, like breadcrumbs that form a bigger, mysterious fairy tale. Complexity is my friend. My design is filled with these hidden mysteries and intricate details because design can bring even the tiniest idea to life. I believe that design is taking a simple idea and creating a whole new world of possibilities, where the artefact can be unimaginably powerful, intrinsically beautiful and eternally inspiring.

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‘Worldfair’ 2014 (identity), ‘Christmas Card’ 2014 (vector graphic illustration), ‘Neptunes Bar & Grill’ 2014 (identity)

TAR A VOU LGARI S Graphic design is more than just a career choice for me; it is a way of life. If I am not creating design solutions, I am thinking about design, or taking photographs, or singing my heart out, or even doing all of these at the same time.

I’m passionate about illustration and this underpins my approach to design practice.

My design philosophy is to be clear, conscientious, calm, cooperative, collaborative, consistent, creative and confident. Through my industry experience I understand the importance of deadlines and working to a brief.

I love the feeling that you get when a successful design is achieved and exceeds the client’s expectations.

I live and breathe design. I simply could not live without it.

‘SafeSkin’ 2013 (mobile application design), ‘Ocean Protection’ 2013 (poster design), ‘ShanXi’ 2014 (provience brand design), ‘Peace’ 2012 (photography)

Y i X ue As a graphic designer, I believe developing innovative solutions while maintaining a professional quality is important. Graphic design is not just about the end product, but the ideas, the thinking, and the process behind the final outcomes.

My strengths include user interface design for smartphones and tablets, designing in a cross-cultural environment, and photography.

My Chinese heritage informs my high work ethic. Multicultural experiences make me think globally, and I enjoy creating diverse cultural communication solutions.

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‘Seconds Matter’ 2013 (poster series)

AMANDA ZENKINS I believe that if you can change the way you think then you can change the world.

Creating logos and strong communication design campaigns are my strengths, and I’ve recently found a passion for photography. I am keen to be challenged, explore different possibilities and allow myself to grow. Every experience has potential for new knowledge and learning. I am not only a designer. I am a dreamer. I am an explorer. I am a creator.

VISUAL ARTS

‘God is Great’ 2013, (Acrylic on canvas), 70 x 70cm, Head up’ 2013, (Ink on canvas), 29.7cm x 42.0cm, ‘Face of Neglect’ 2012, (Acrylic on canvas), 80 x 80cm.

EIMAN AL UBUDY Migrating to Australia at the age of two I had to adapt to a new lifestyle, new art, music and literature. This cultural shift has had a significant influence on my thinking. I consider myself as an artist influenced by struggle accompanied by tenacity to overcome adversity.

My art draws upon diverse cultures. I see politics, race and religious views as vehicles to advocate for social equality.

51 VISUAL ARTS

‘Read Between the Lines’, 2012 (newspaper print and magazine print, printed and stenciled calico stretched on canvas, ink, sticky-tape), ‘To Drape’ 2014, (wool fibres and muslin gauze, stitched, scrunched and felted, displayed on wooden poles)

B RIT TANY CARTE R I have always been fascinated by the arts. I think it has something to do with the thought processes and ideals that different artists have about the world. As a journalist and visual arts student, my fascination encompasses both practical and theoretical elements. I enjoy writing and reading about art as well as making it. My major work focuses on process; manipulating muslin gauze cloth and wool fibres through felt making techniques. The artwork is composed of an off-white colour and features a combination of soft, fluffy and net-like textures. This work is greatly influenced by Richard Serra’s approaches to making a sculpture titled To Lift (1967). As a result, in this work I have compiled a list of my own infinitives in order to test the material potential of the muslin gauze and felted fabrics.

‘Nastia’ 2014 (acrylic, cinnamon, coffee), ‘Nastia on my bed’ 2014 (acrylic, chilli flakes), ‘Alex wears a pink top’ 2014 (acrylic and cinnamon), ‘Alex’ 2014 (acrylic, coffee, green tea)

JESSICA COCHRANE My work questions perceptions of beauty and the grotesque in relation to popular culture and body politics. By aggressively applying paint over glossy photographic imagery, I emphasise the utterly false nature of the idealised female figure in the mass media.

Common gateways such as fashion and beauty publications, popular online realms such as Instagram and general advertising perpetuate these images.

My use of these images is subversive - I paint them with substances that are commonly related to the unhealthy and inappropriate attainment of the ideal figure. Vices that restrict, abuse and pressure the body to conform to such unattainable standards are here applied directly to the surface of the print in order to deface, disrupt and corrupt the image. The distorted faces in my work convey our unhealthy obsession with beauty and perfectionism. Most importantly, my work aims to question what is considered beautiful through the use of paint.

53 VISUAL ARTS

‘Synergy’ 2014, ‘Tensions’ 2013

K ate C uth b ertson My work is based around notions of earthly and spiritual landscapes and utopias, and the intersections between the macro and micro. More recently, these ideas have expanded into larger immersive abstract landscapes. I began exploring these ideas through a variety of paper and textiles techniques often through repetitive processes. I am interested in the interaction between natural and synthetic materials as a way for me and the viewers to process the interaction of earthly and spiritual realities. My work has expanded into three-dimensional installation spaces, which developed through a desire to question the way the public addresses art, from passively viewing it to engaging and interacting with it.

‘Untitled (the walls have eyes)’, ‘Untitled (I see numbers)’, ‘Untitled (they are stealing my thoughts)’, ‘Untitled (voices follow me)’ 2014 (woodblock and mono-type prints, waterbased inks and solvent on dutch etching paper)

K harleigh D allas My work investigates psychologically altered and disrupted states. I am particularly interested in the ways in which the theme of schizophrenic hallucinations and paranoid delusions may be suggested through text. These poetic fragments coupled with the printed layers of neural like patterns represent dream and the degradation of the brain.

I want the viewer of my work to question the complex relationship between sanity and insanity, ultimately to wonder what it means to be normal.

55 VISUAL ARTS

‘Societies Playroom’ 2014 (installation), ‘Their Pain Never Stops’ 2014 (installation)

K elly D O BB I E Societies Playroom and Their Pain Never Stops offers a critical view of cultural issues surrounding women in society, most often stereotypical opinions on gender roles. My past works have commented on the abuse of women and the concomitant insecurities abuse creates. The media forms of the works vary to include installation, painting and sculpture, and combinations of these media. I enjoy using a variety of different materials and appreciate the way these materials influence my process. My intention is to use art to raise awareness of issues I am passionate about and to not restrict my work by addressing a gendered audience. For example some works may reference women but the concepts are intended to reach a broad audience.

Various Textiles

HANNAH DOVE My work investigates the notion of beauty and time through the exploration of pressed flowers. My current work combines these flowers with hand-stitching and text. In my view, stitching is analogous to constructing new connections and mending old broken relationships. As a result, in my major work, the stitched words communicate complementary messages, which were selected from a collection of conversations. For me, the process of collecting and stitching or mending the flowers, suggests the importance of truth, and its attachment to beauty. This work invites the audience to sort through the flowers, reflect and contemplate on their appearance, and consider the messages.

57 VISUAL ARTS

‘Untitled’ 2014 (natural dye on silk), 30x 20 cm, ‘Recognition of the resilience of the Illawarra aboriginal Peoples through the daughter Keira’ 2014 (site specific natural dye on silk), 300 x 265 cm

R achael D unstan My current practice investigates the alchemical capabilities of natural dyes. Whilst my work draws upon both scientific and traditional approaches to create impressions on fabrics, paper and wood, the process also involves a component of uncertainty or even magic. Whether it is a defined photo-like leaf print or an abstract expressive stain, these images speak of landscape and place. It is through the process of dyeing involving complex interactions and reactions between diverse materials that the works are created.

‘WOmanIFESTO’ 2014 (baking Paper, wax paper, pencil, watercolour, ink), (human hair, material, elastic)

A lexandra G eorgiou I think the most compelling aspect of being an artist is the capacity for imagining and expressing visions through various mediums. I have been fascinated with dreamers - being one myself, dreaming has allowed me to imagine the world in multiple ways.

Through drawing, textile processes and experimentation with materials and forms, I challenge myself and move beyond my perceived boundaries. My major artwork, which is underpinned by feminist perspectives, explores gender issues in contemporary society.

Through this work I question the impact of sexist attitudes and the traditional gender divide in everyday living. I believe that gender is a socio-political construct and ideally we should be more accepting of the divine masculine and feminine aspects inherent in all of us rather than separating these facets, which create disharmony.

59 VISUAL ARTS

‘Lace Tools’ 2014 (lace, starch, wire)

C A S E Y G R AY My art practice involves an extensive investigation and exploration of the material qualities of textiles. My major artwork expands the function of lace and embroidery beyond their traditional use. In my view, the labour and time invested in the process of making a work of art is equally important to the objects that result from these efforts.

Through the manipulation of thread to create three-dimensional forms, the work aims to enable a space for the viewer to reflect upon the limitations and possibilities of common materials and making processes. In this sense, my artwork acts as a catalyst for thinking about the importance of creative expression.

‘Hair samplers (detail)’ 2014 (cotton, wooden hoops, liquid latex, human hair), ‘Boob Rug’ 2104 (recycled bed sheets), ‘Handspun yarn (detail)’ 2014 (wool, human hair)

S ophie H all Coming from a lineage of female craft practitioners, it was natural for me to develop an artistic practice focused on textiles. I enjoy the challenges and rewards that come from learning traditional making processes and experimenting with different ways to use these skills to create contemporary works of art. Through my art practice I am able to combine my interests in history and learning with my drive to create. Experimentation is an important element in my art making process: it is out of playing with different materials and learning different skills that my ideas for projects emerge.

61 VISUAL ARTS

‘Internal Monologue’ 2014 (crochet with wool, wax)

T ace H artley My textile project focuses on the subject of the body in contemporary art. Through this work, I seek to articulate conflicting emotions into tangible visual art forms and to expose the dichotomy between vitality of life and the fragility of my own physical self. This project encompasses a personal exploration, it is my creative response to being diagnosed with the BRCA2 cancer gene. To expose the inside of the body and the parts that are inherently weak within me, I shaped materials including wax, wool and silk into figurative elements and sculptural forms within an installation space. The artwork captures my own personal feelings towards my body and highlights the complex nature of the human condition.

‘Plastic cloud’ (molten plastic, water), ‘Plastic Strata’ (acrylic on plastic with tape)

A strid H ofmann My experimental paintings are made with printing ink and plastic layered over acrylic panels. Sheets of inked plastic are overlaid to simulate colour glazing. The colours on the layers of plastic optically mix to create secondary and tertiary colours. The variety of colour causes different densities and levels of opacity. The use of lighting behind the work accentuates the colour mixing and layering of the plastic.

63 VISUAL ARTS

‘Untitled Memories’ 2014 (poured enamel on 21 plywood boards) 39.8cm x 39.8cm each approx., ‘Caged’ 2014 (acrylic on card) 29cm x29cm, ‘Viscera’ (cropped) 2014 (acrylic on canvas) 56cm x 80 cm approx.

S tephanie K instler My paintings contain patterned surfaces that suggest the knots, tumours and growths of organic structures. Their intricate lines and refined surfaces reflect my interest in creating painterly layers. I explore the myriad ways in which abstraction can powerfully convey a number of things at once, in particular, the inextricable connections between all living things. For me, these painterly abstractions suggest rhythms lying beneath outward appearances, elemental structures and forms, as well as growth and transformation.

‘Couch’ 2014 (earthenware), ‘Minds’ 2013 (lace, feathers, chicken wire), ‘Life’s a Beach’ 2014 (mixed media)

E lisa b et H K O W A L S K I My work evolves in an intuitive way. I am influenced by the presence and absence of natural environments. The inspiration for my latest work is drawn from observing and reading about domesticated and wild realities, the product of this effort is experimental and uncertain.

65 VISUAL ARTS

‘Pancakes’ 2014 (ink on watercolour paper) 594mm x 420mm, ‘Frank’ 2014 (ink on watercolour paper) 594mm x 420mm, ‘Estelle’ 2014 (ink on watercolour paper) 594mm x 420mm

O livia M acaulay My art practice consists of painting, printmaking and photography. Through these mediums I particularly focus on portraiture. For me, depicting the human face through expressive applications of line and colour mediates a sense of the human condition. In this series of inks on paper, I depict people using comic-like drawing in order to explore social issues through ambiguous and humorous imagery.

‘Gins Leap’ 2013 (various)

K orena M A G E E Four Sisters in the Sky, is a series of objects created by weaving fencing wire and other materials. The resulting works resemble Australian Indigenous utility items such as handcrafted coolamon, fish traps, baskets etc. The repetitive nature of the weaving process frees my imagination and connects me to my family’s history in a restorative way. When making these works I consider my identity, and my family’s histories and how those histories have influenced me. Four Sisters in the Sky considers a possible parallel upbringing, by making these abstract objects I feel I can reconnect with my grandmother’s family and country.

67 VISUAL ARTS

‘Unwanted’ 2014 (series)

S tephanie M ark S “What is a weed? …a weed is a plant whose virtues have not yet been discovered.” - Ralph Waldo Emerson A weed is a plant that is considered undesirable, unattractive or troublesome, and grows especially where it is not wanted. Being human means we tend to only value things if they have obvious use. My current series of watercolours, Unwanted, proposes ideas of classification and categorisation, through the process of collecting and visually documenting weeds together as unwanted things. This encourages a space for viewers to intimately engage and reflect on the overlooked and humble beauty that is a weed.

This approach to taxonomy follows Michel Foucault’s ideas from his text The Order of Things (1966) where he discusses the heterotopia as an alternative space and order for things to exist beyond the categories that have previously been imposed.

‘Dead Body Floats’ 2014, 2m x 1.5m

G emma M c D onald My work examines the visual analogies between contemporary media and the formal qualities of Colour Field painting. In doing so, I repeat coloured pixels in arrangements that disturb the usually expected sense of illusion and depth in classic paintings or images. This aesthetic investigation is tied to a social agenda. Most recently, I have been concerned with the indiscriminate nonchalance of digital technology and how its immediate and uncensored bombardment of content contributes to a collective sense of apathy. Individuals are constantly presented with opportunities for instantaneous and perpetual communication. Each mediated experience tends to form the backdrop, or background, to another. My work, does not wish to criticize or demand withdrawal from the digitally mediated world. Instead, it endeavours to offer a space for pure observation, to reanimate the forgotten practice of contemplation. For me, the subtle interplay of fields of colour provides an aesthetic platform for such an experience.

69 VISUAL ARTS

‘Hebel’ 2014 (acrylic on plastic bag) 29 x 30 cm

J ordan M il b urn Everything under the sun is transient, it is all so brief and consequently meaning is difficult to grasp. Everything is ‘hebel’. This Hebrew term literally refers to ‘vapour’ or ‘mere breath’, and metaphorically to something that is fleeting or elusive. Considering this brevity and the use of ‘hebel’ in Ecclesiastes, a book of the Bible, I have become interested in contemporary distraction from life’s fleeting nature. The figures in my major work Hebel, are painted on plastic bags and appear to occupy themselves with vacant activity, ignoring their fading. The plastic bags contain fleeting breaths that whisper nuances of ‘hebel’ through the text. This is not despairing observation for there is more than the transience under the sun. There is hope that gives meaning to the breath we each hold.

‘New Light’ 2014 (digital photograph)

S hanelle O L I V E R During my studies I have explored and experimented with a wide range of mediums and materials. My studio work has helped me to develop skills which in turn have aided my confidence in the way I approach art. Through my work I have been able to maintain a firm grasp on my mental health and a better understanding of contemporary art. My art practice examines issues surrounding stress, anxiety, minor depression and trauma.

71 VISUAL ARTS

‘Affected’ 2013 (light-sensor sculpture), ‘Nanna’ 2013 (acrylic yarn)

K aren P A T E R S O N My sculpture and video practice draws on memories and experience as a registered nurse to explore concepts of feminism, gender, the body, and mental health. It is important to me that my work questions and complicates the societal status quo by challenging accepted gender roles.

‘Little Worlds’ 2014 (part 1/10 photographic series- digitally manipulated photographs), ‘Spirit’ 2012 (chicken wire, paper mache, plaster cast buffalo skull), ‘Relations’ 2013 (acrylic on wood, varnished with oil)

M atilda R O B E R T S Being comfortable and confident in the medium of photography, I call myself a photographer. However, I also have a desire to learn new art forms and create in a variety of different expressive tools. My inspiration is taken from the natural environment and the culture around me.

73 VISUAL ARTS

‘Uncanny Valley’ 2014 (turf, mannequin heads and mushrooms), ‘Infernal Journey’ 2014 (food colouring on canvas),

ALICIA ROWLES My works comprise of natural and man-made materials exhibited as installation.

Elements of nature such as moss, snails, organic inks, and fire, are used to create immersive environments. Located somewhere between fantasy and reality my intention is to create environments that do not appear man-made or representational. Using snails to create paintings may seem simplistic, however, I consider these works are imbued with complex processes that relate to irrationality, chaos and indeterminacy.

‘God is Great’ 2013, (Acrylic on canvas), 70 x 70cm, Head up’ 2013, (Ink on canvas), 29.7cm x 42.0cm, ‘Face of Neglect’ 2012, (Acrylic on canvas), 80 x 80cm.

RADESSA ROY Drawing from personal experiences as a second-generation migrant, my work Bust considers culture, identity, and notions of authenticity. I practice in a range of media including painting, textiles, assemblage and sculpture, preferring to use unconventional materials and domestic objects that decay or transform through time. Through my works I am interested in creating experiences that may be tense, confronting, grotesque but also playfully contradictory.

75 VISUAL ARTS

‘Don’t Think Of It As Dying, Think Of It As Leaving Early To Avoid The Rush’ 2013 (acrylic ink on watercolour paper), ‘Do You Not Know That A Man Is Not Dead While His Name Is Still Spoken?’ 2013 (acrylic ink on watercolour paper). ‘Rhiannon’ 2013 (watercolour and ink), ‘Poison’ 2011 (acrylic ink on watercolour paper)

M adeleine R Y A N My work is inspired by comic books, graphic novels and cartoons. Formal elements from these graphic images, such as strong black line and intense colour are appropriated in my work in scenes in which figures appear colonized by dense and intricate grotesque forms. For me, these strange morphing forms are intriguing, neither beautiful nor ugly they provoke a sense of wonder and fascination.

‘Clarity of Thinking (detail)’ 2014 (cotton, wood, wire), ‘The Considered Robe’ 2013 (installation)

Bron N Y S ivell This work concerns my search for how to depict and achieve clarity of mind through art making. I draw upon Post-Minimalist approaches, abstraction and explore materiality by paring-down an artwork’s content to reveal its formal clarity. The stripped-down, restrained aesthetic is combined with process evident in the use of textile manipulation techniques. Through these strategies, I create a space that is free of stress and anxieties.

77 VISUAL ARTS

‘No Room For Time’ 2014 (ink stamped on various surfaces)

M elissa S pagnolo Time dictates everything. I am interested in exploring the movement and fluidity of time in contrast to the stillness of waiting. In my work I have used countless numbers stamped with ink onto a door as my canvas. The door is connected to waiting for opportunities to open before us, and the hundreds of date stamps impressed on the door’s surface marks the impression time leaves on us while we wait. The work literally documents time through the action of stamping. I intend to achieve an effect on the viewer’s perception of time, in that the closer you come to the works, the concrete elements, the date so to speak, the blurrier the picture becomes. For me that’s proof of the impossibility of capturing certain moments.

“The Bird King’ 2014 (digital, Paint Tool SAI), ‘Spider’s Croon’ 2014 (digital, Paint Tool SAI), ‘The Long Way There’ 2014 (digital, Paint Tool SAI), ‘Town Stop’ 2014 (digital, Paint Tool SAI), ‘The Ghostly Book Thief’ 2014 (digital, Paint Tool SAI),

J essica T homas My visual practice primarily concerns the creation of imaginative “worlds”, through the construction of fantastical locations and strange characters. My process is deeply rooted in the designing of such content, exploring how to best portray the general character and histories of these universes and those that inhabit them through image, often attempting to convey part of a story through a small moment captured in a singular or few sequential images.

I achieve this commonly through a style and outcome that is conventionally illustrative.

The creation of images, along with storytelling, are among our oldest methods of communication, and are immensely far-reaching in their capacity to be understood and embraced across age and culture.

I primarily work with digital media, often programs such as Paint Tool Sai, in order to “paint” digitally. I describe my style overall as “painterly”, as I wish to achieve a textural quality similar to that of thick paint and/or watercolour through digital mediums.

79 VISUAL ARTS

‘Slot Machine’ 2014 (oil on canvas), ‘No See, No Hear, No Speak’ 2013 (watercolour)

R ochelle T hompson We live in a world where physical perfection is presented as ideal. My work explores images of female beauty by subverting photographs of models often seen in magazines.

To do so, I largely focus on the facial features of these women and use expressionist painterly techniques in order to transform and draw attention to features that are often the source of insecurity and resulting augmentation. For me, the paintings highlight ‘imperfect’ features in order to present them as raw beauty.

‘Function Cut’ (working title) 2014 (found objects, installation)

P hoe b e T O U G H In the series Function Cut (working title), tools are cut, welded and otherwise generally distorted beyond their use. The act of destroying then re-fabricating may seem irrational.

However, the creation of absurd objects appeals to me. One aspect of this intrigue allows me to consider the role of gender in Australian culture.

81 VISUAL ARTS

‘Untitled’ 2010 (acrylic on canvas) 60cm by 90cm, ‘Tonight we’re the Sea’ (acrylic on canvas) 90cm by 90cm, ‘Sea & The Rhythm’ (acrylic on canvas) 90cm by 90cm

F aith V arty In my paintings I use subtle tonal transitions to explore somewhat romantic aspects of human existence. Large-scale portraits create a sense of intimacy while dark tones suggest an ominous sense of unease. These disturbing figures may evoke the darker things that shape our lives, uncertainty and mystery. The solitude of these often forlorn figures creates a sense of empathy for internal struggles, haunting memories and emotions.

‘I Bleed’ 2014 (dye and cotton lawn), ‘Keep A Girl In School’ (wool tops and red thread), ‘Into The Woods’ (acrylic paint on mixed teabags)

M elissa V ella I enjoy working across diverse visual art practices. I am particularly passionate about drawing, photography, textiles and watercolour. For example, I have painted images of animals onto tea bags to explore the notion of childhood memories. Similar to my previous textile installation, this body of work made from dyed and formed cloths, explores sociocultural taboos surrounding young women’s menstruation. My art practice also acts as a device for exploring my own body, spirituality and where I fit in this world.

83 VISUAL ARTS

‘Reconstruction: In Progress # 6’ 2014 (acrylic on board and graphite on tracing paper) 45cm x 30cm, ‘Alternate Realities (Reverie)’ 2013 (epson inkjet print) 10” x 15”, ‘Alternate Realities (Luminosity)’ 2013 (epson inkjet print) 10” x 15”

S helley W e b ster Images are powerful. They have the ability to transform the way we understand the world. One picture can change the way a person sees, thinks and acts. In this way, a picture can be used as a catalyst for thought and change.

I find the best catalyst is poetic. Pictures that are evocative, captivating and haunting often hold profound content that inspire the mind’s eye. From painting to photography, I create images that restore a sense of wonder and imagination. They are often familiar scenes with subtle aberrations that spark our curiosity. These ethereal scenes capture a thoughts or feelings, which shift and unfold as they transcend time and space.

‘éntomo’ 2014 (needle felted wool, polyester and wire)

G eorgina W E L L S My sculptural practice focuses on three key processes: pattern development, repetition and consistency. Materials (such as wood, steel and wool) are processed and manipulated in some way using a repeated technique. The repetitive process continues until I have hundreds of similar objects. I then arrange these items together to create an installation.

The repetition of labour and the scale and placement of the objects creates a quiet intensity in the finished work.

85 VISUAL ARTS

‘Void 2’ 2014 (wood) 1.2m x 90cm x 80cm

NINA YOUNG

The intention of my working process is to reveal narratives that I find hidden within existing objects and materials. The aim is to create a world that the viewer does not expect and where contradictions such as full and empty, presence and absence, interior and exterior inform both body and spirit.

‘Happy Wall’ 2014 (installation)

Z hen Z eng I am interested in traditional crafts such as embroidery, weaving and knitting to explore cross-cultural connections between Australia and China. Specifically, my textile artworks focus on representations of cultural signs and signifiers. In this major work, I draw on my personal experience of living in China and Australia to show the cultural and environmental differences between both places. To do this, I utilise hand-embroidery and transform coloured threads into vibrant textural floral forms. Through this process I also hope to communicate a renewed sense of continuity and the mystery surrounding creativity.

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M E D I A A R T S / D I G I TA L M E D I A

‘Charles’ 2013 (single channel video)

BILL AUGER My works explore complex themes and ideas that are specific to digital media. Using a combination of film, animation and 3D modelling, my works present the audience with other-worldly experiences that are unobservable in the physical reality. These works are presented as single screen works, installations, and interactive pieces to provoke the audience reaction, probe their understanding, and challenge their expectations. My final work explores aging and inevitable death and decay using the digital medium to create an uncanny experience.

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BERNARD BANUAN

D I G ITAL M E D IA

In Stacey’s Tale I explored the contingencies of digital imaging in a filmic study of themes of replication and mirroring. In Mined Games and The Last Stop I used green and blue screen techniques to explore themes of illusion and hallucination . My contemporary interests include the use of interaction with film making to explore themes of transformation and metamorphosis. The Puzzle Box integrated wooden craftsmanship and electronics to construct a interactive puzzle that explored the potential of tangible media.

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I’ve always loved science fiction and animation, genre’s that have always been at the forefront of pushing cinematic technique and technology. Through the wizardry of the word and the camera those genre’s opened onto worlds of possibility beyond the extant.

Today I pursue these possibilities as a filmmaker.

MEDIA ARTS

‘Mined Games’ 2013 (video), ‘The Last Stop’ 2014 (in progress video), ‘Puzzle Box’ 2013 (wood and electronics), ‘Stacey’s Tale’ 2013 (video)

‘Crystal Flight’, ‘Redback’, ‘Bronze Rest’ 2014 (photographs)

ROCHELLE CARTER My work is inspired by close observations of my domestic and immediate environment. I’m interested in the minuscule motions that are often forgotten or ignored but nonetheless effect our lives and choices. The subject of this current project Small Beginnings involves macro and extreme close-up photographs of nature. It explores the scale and intricacy of nature’s engineering and iterations. My practice moves across and between photography, video editing and 3D modelling.

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REECE CONTI

D I G ITAL M E D IA

My plan is to attend USC School of Cinematic Arts in Los Angeles and work in the film industry.

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I am a filmmaker and actor working with diverse genres focusing on drama, horror, fantasy, and exploitation. My films Jump, Him and Her: The Imperatives, and Polar Bear explore the different aspects of the human condition, through flawed characters in despondent situations. Other works such as Ringmaster’s Prologue and Weapons in Witch War play with fantastical, childish and exploitative elements.

MEDIA ARTS

‘Him & Her: the Imperatives’ 2014 (video), ‘Ringmasters Prologue’ 2013 (video), ‘Let Go’ 2013 (video), ‘Polar Bear’ 2013-Present (video)

‘Making Art with Zac’ 2014 (short film)

KEIRAN DIXON Kieran (born 1991, Australia) His main medium is working with video and animation.

Through video he documents aspects of life as well as exploring insights in people’s skills and hobbies. Using different equipment is an important aspect of his medium as it gives him the opportunity to become more familiar and comfortable in the surroundings of his work. When it comes to devolving concepts, Kieran generally likes to work on things that have a strong connection with his personal life.

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IMOGEN GESTE

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D I G ITAL M E D IA

I find beauty in the most peculiar things. The film and photographic media provide me with a platform to capture sights, sounds, and meaning. My works experiment with nontraditional cinematographic and editing techniques to create unexpected experiences.

Culture and family is a subject I explore in my practice, often combining digital media with traditional techniques of ink, pen and paints.

MEDIA ARTS

‘Belles Personnes’ 2011 (oil on canvas), ‘Lady of the Day’ 2014 (ink and nib), ‘Life of Emmanual’ 2013 (single channel film), ‘All and Sundry’ 2014 (stop motion film)

‘The Electro Mechanical Turntable version 2’ 2014 (interactive music composition device - timber and electronics), ‘L’s for Lavender’ 2013 (music video), ‘Purpleonia’ 2014 (setsurfboard foam and polystyrene)

L AV E N DA R L I LY The spontaneity and fearless experimentation that characterizes childhood play motivates and shapes my practice. Building on my 20 years experience in creating concerts for children and their families, I continue to extend my practice through engaging with electronic and interactive media. My work encourages an interaction between the natural environment and richly imaged and imagined narrative worlds. I love to enchant people and make them smile – as here lies the potential for realizing a better world.

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ORCADIA MCCANN

D I G ITAL M E D IA

My study has led me to investigate the use and implementation of new technologies. I have a newfound curiosity for various media processes and look forward to integrating them into my future work.

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I began my study with a passion for editing and a keen interest in post-production processes. My practice has evolved from a simple enjoyment of these techniques to an appreciation of what they can bring to my artworks. I have experimented with the moving image, programming, and micro-controllers to create interactive and surprising pieces.

MEDIA ARTS

‘Face-ination’ 2014 iInteractive, multi-screen installation), ‘Rock Poo’l 2013 (projection piece) ‘Knock’ 2013 (interactive, electronic sculpture)

Various photographs

SCARLETT O’CONNOR I am a Photographer based in Wollongong dedicating my final Semester at Wollongong University to combining two great passions of mine; photography and mental health (mainly anxiety). Suffering from anxiety myself, being surrounded by people everyday that struggle with anxiety, feelings of depression, angst and general feelings of discomfort in everyday situations I feel very strongly about raising awareness and helping people understand the feelings associated with anxiety so that they are better able to help and recognize people in their everyday lives that suffer from it. My final work explores metaphoric and visual representations exploring a variety of emotions and mind-sets associated with anxiety in a way that is visually stimulating and provides an artistic approach to providing an understanding of the emotions involved.Â

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SEAN O’GORMAN

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D I G ITAL M E D IA

The moving image is my medium. I enjoy expressing narrative in a unique way, whether these are real stories or fictional. I have worked experimentally with the medium, fusing moving image with physical spaces, utilising multiple projections, light, colour and textures in order to tell stories. I find aesthetics the most important and gratifying aspect of my work. My works do not only tell a story, but visually immerse the viewer in the narrative.

MEDIA ARTS

‘The Guilt That Followed’ 2012 (single channel video)

‘Aesop Rock - Tomorrow Morning’ 2014 (kinetic typography- animated music video), ‘Future Architecture’ 2014 (3D render), ‘Heart’ 2014 (digital render)

ADAM OLDS As a video & motion graphics editor, 3D modeler and graphic designer, I’m often presented with creative problems, and enjoy solving them in multiple ways. Working with non-linear editing programs and image-editing software, I focus on both the minimalist and the extreme; either developing simple designs or bringing out experimental and over-thetop designs and visuals.

I find that the work I produce is heavily influenced by the music I attribute it to or the mood I’m in when I revisit it. I’ll usually have numerous works at a time, and work on them depending on my emotive input or creative drive at the time.

A peculiar style I practice is “mixing” media, wherein I utilise the sloppiness of paint and coarseness of a canvas to make up the visuals of a film or graphic.

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R e b ecca P errine

The mediums I use are chosen for their adherence to traditional line work such as inks, pens, pencil and brush and a flat white surface such as paper or any simulation of a canvas. I believe that a perfected craft can manifest just about any entity.

D I G ITAL M E D IA

This interest has manifested itself through an autodidactic drawing education that embodies the stylistic line work of both Eastern and Western cultures. I take this further with traditional animation and themes surrounding authenticity and cross-cultural contamination.

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I take an obsessive interest in mythology, spirituality and folktales that have the power to dictate our choices be it through our intrigue or fear.

MEDIA ARTS

‘Winged’ 2014 (ink and pencil on paper), ‘Kali’ 2014 (screen still), ‘Sheeva’ 2014 (screen still)

‘Under the Influence’ 2014 (single channel video)

NICHOLAS PHILLIPS With a passion for the camera, my practice explores the film and video medium, and its strength in conveying meaning through audiovisual means. Working digitally, my works pursue media experimentally with strong influences from historical and contemporary media art works, providing alternatives to commercial dictates.

My final piece is a video piece that explores themes of power and control. Using humour, it attempts to make people question who is really in control of their own reality?

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MARK RICHARDSON

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D I G ITAL M E D IA

I am increasingly in the power of art as activism and I am concerned with exploring contemporary cultural and socio-economic issues related to globalisation and the digital age. This is evident throughout my body of work and can be seen most readily in my latest video works: Corporations Need More (2014) aims to raise awareness of the constant corporate need for ‘more’ at the expense of ‘everything else’; Current Time Glitch (2014) develops similar themes providing an opportunity for relaxation and contemplation in the absence of contemporary ‘noise’; and Celebratory Complex (2013) examines the embrace of all things digital at the expense of the actual and lived experience.

MEDIA ARTS

‘Current Time Glitch’ 2014 (video still- twin rear-projection onto the roof of a tent-like installation (for lying in to view)), ‘Corporations Need More’ 2014 (video still), ‘Corporations Need More’ 2014 (performance sign)

101

CNM

corporationsneedmore.org

‘Jack Irvine’ 2014 (video), ‘Kurt Lovegrove’ 2014 (video) ‘Globe’ 2011 (35mm photograph) ‘Peter Souden’ 2012 (35mm photograph)

TARI Q SOU D E N I am a photographer and filmmaker working in both digital and celluloid forms. I draw inspirations from travel, culture, and music. These experiences bring about changes in perspectives and allow me to gain an insight into how an individual or society functions.

People and their passions form the basis of my work, with the finished piece presenting a fresh and enlightened disposition. My visual style often consists of pre-existing elements, such as the use of natural light and landscapes.

10 3

CHAD STEELE

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D I G ITAL M E D IA

My work is characterised by a spirit of ongoing invention and experimentation with emerging media technologies. I reimagine human computer interface design to create playful and accessible immersive experiences. My works explore immersion, perception, and the constructs of human experience, combining skills from my many practices: filmmaking, music-making, and the world of digital media.

MEDIA ARTS

‘The Ice Cream Song’ – Chad and the Culprits 2013 (music video), ‘Imagining’ 2012 (web video), ‘Chronos’ 2013 (concept trailer- web video)

‘Kaleidoscope’ 2013 (interactive installation), ‘Graffiti’ 2014 (still photograph), ‘Ghost’ 2014 (interactive installation), ‘Fireball’ 2014 (still photograph)

R enee S tewart

I produce work that provides an intricate sensory experience playing on the potential for digital media and specifically digital photography to explore the lack of ‘essential difference between illusion, perception and hallucination’ (Massumi 2002). I explore the potential and particularities of digital photography and projection to play and reconfigure the velocities and virtualities of light and contemporary media.

10 5

THAL AT SUL AI M AN

D I G ITAL M E D IA

When I’m not producing creative content I enjoy casting a line into the water.

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Since my youth I have always valued communicating in creative ways which has led me to embrace my role as an audio visual editor. Exploring the visual world with an open mind has allowed me to bring a wealth of multimedia knowledge to my practice. The powerful relationship between visuals and emotion is a principle that I work with. I am still immersed in the ever changing role of new media and how it connects with the world.

MEDIA ARTS

‘Body Conflict’ 2014 (single channel video), ‘Welcome’ 2014 (mixed media)

‘When I’m Gone – The City Summe’r 2013 (film), ‘Always – Gulliver feat. Fran Klin’ 2013 (film), ‘Afreek – Gulliver feat. Adam George’ 2014 (film), ‘Take a Seat’ 2012 (film)

JORDAN TURNER I’m a Filmmaker and media artist whose work explores psychological concepts, interpersonal dynamics, our relationship with technology and its role in society through the guise of science fiction and dramatic story telling. My works utilise a broad spectrum of cinematic techniques such as animation, traditional film and mixed media to create unique stories with defined thematic elements and emotionally resonating cores.

10 7

LOREN VETTORETTO

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D I G ITAL M E D IA

I enjoy developing works that explore the convergence of media, technologies, and their impact on social identities. While principally interested in digital media, I work with both digital and analogue forms. These forms include audio, video, photography, analogue film and paper. I draw from personal, cultural and emotional experiences, and am inspired by artists such as Andy Warhol, Pipilotti Rist, and Douglas Gordon. Warhol’s obsession with celebrity identity and image, Rist’s immersive sensory experiences, and Gordon’s obscuring of space and perception influence my ongoing exploration of the relationship between time, space and tangible media.

MEDIA ARTS

‘Marilyn Williams’, 2013 (digital print), ‘The Secret Life’, 2013 (still photograph), ‘An Active Journey Between Two Worlds’, 2014 (analogue film)

2014 (photograph), 2013 (animation, 2013 (video), 2014 (arduino)

LAUREN WAIN Digital mediums such as graphic design, photography, animation, film, special effects extra are all my passion in life how could someone simply choose one. These fields are all so exciting, intriguing and filled with inspiration! I have also had an infatuation with the digital world ever since I was a little. I got my first hand me down computer before I even started school that’s properly where it all started.

I see two paths ahead for me either an advertisement company or travelling the world with my SLR and GoPro in hand seeing what adventures are to be had. Or may be even both, I’m excited to where my career will take me. Right now I am working on a few works with two main ones being stills representing commodity fetishism and a music video including studio sound and the video to represent the struggles of depression through song.

10 9

TAS W I L SO N

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D I G ITAL M E D IA

My desire to create drives my experimentation with audio-visual media. I employ a range of image platforms: digital and analogue video, film, still photography, and sound design to create works. My most recent projects interrogate the audio medium and its relationship with visual forms. These works incorporate deep investigation into the aesthetics of the moving image and sound design.

MEDIA ARTS

‘Set Sail’, 2013, (video), ’Cory Robertson’, 2014, (video), ‘Cory Robertson’, 2014, (video), ‘Set Sail’, 2013, (video)

OUR SPONSORS

THE SCHOOL OF THE ARTS, ENGLISH AND MEDIA

Bribel Constructions Pty Ltd

RPM Excavations And Plant Hire Pty Ltd

ACKNOWLEDGEMENTS

Months of hard work, hours of planning and excruciating amounts of energy have gone into the organisation and production of this year’s Graduate Exhibition, ‘Made It’. We simply couldn’t have ‘made it’ happen (the joke never gets old) without our fantastic committee, the dedicated Creative Arts faculty and a bunch of enthusiastic students.

Firstly, a huge thankyou to our heaps dece Grad Show Committee! Thanks to Jess Nesbitt for encouraging the Graphic Design students and for always thinking of one step ahead. Thanks to Karen Paterson for rallying the troops of Media Arts and for always being positive. Thanks to Rochelle Thompson for keeping the Visual Artists updated and for being ridiculously on the ball. And thanks to Stephanie Kinstler, for not only being President of the Creative Arts Society and generously donating all of those cash monies, but for keeping us laughing throughout this whole process.

Many thanks to Karen Paterson, Tom Williams, Tara Voulgaris, Ashleigh Stoppel, Jordan Turner and Bill Auger for helping out with our flattering portraits. It was a big job and with Karen’s expert editing skills, you made us all worthy of a right swipe.

Thank you to Radessa Roy- our wonderful Nude Auction collector and curator! It was our biggest fundraising event by far and wouldn’t have been possible without Radessa’s assistance, Rochelle Thompson and Stephanie Kinstler’s impressive hanging skills and of course, all of our students and teachers excellent contributions. Shout out to Sophie Hall for her top-selling ‘Boob Rug’.

Another huge thankyou for everyone who contributed to our bake sales- those little slices of heaven made studying a little bit easier for everyone. Thanks to all who donated goodies and to Tilly Roberts, Kelly Dobbie, Korey Magee, Melissa Vella, Tace Hartley, Sophie Hall, Gemma McDonald, Georgia Lang, Tara Voulgaris and Ashleigh Stoppel for donating their time. Special mention to Rachael Dunstan, Bronny Sivell, Karen Paterson, Jess Nesbitt, Julia Foutoudis and Stacie Semmler for their dedication to the cause (and to the cake).

Thanks to Erin Dixon and Daniel Cvetkovski for their commitment to designing the exhibition. Not only is the result a powerful and dynamic brand but also much was learnt throughout the process. We were truly lucky to have Erin and Daniel on board, as well as Van Fretag, Julia Foutoudis and Gregor Cullen as support.

Many thanks to Matt Wall-Smith, Sean O’Gorman and Renee Stewart for creating our wonderful website and keeping us in the times with the whole ‘internet’ thing.

Huge thumbs up to Jess Nesbitt for whipping all 98 of our students into shape and then organising, writing and designing this Graduate Catalogue. It couldn’t have been done without Jess’ amazing ability to juggle and the help of the committee and the staff at the faculty.

A massive, gigantic, gargantuan thank you to Gregor Cullen, Grant Ellmers, Agnieszka Golda, Madeline Kelly, Derek Kreckler, Jo Law, Simon Maberley, Sarah Miller, Kate Sheehan and Tom Williams. Not only were they wise, supportive and encouraging- they were remarkably good sports with our endless requests and inquiries.

And finally, thank you to our sponsors, donators and supporters. Big shout out to the Creative Arts Society for their continuous collaboration and undeniable assistance in fundraising for the Graduate Exhibition.

Congratulations, you ‘made it’ happen and you’ve ‘made it’ to the end of our book.

The Graduate Exhibition Committee 2014, Jess Nesbitt, Rochelle Thompson, Karen Paterson, Stephanie Kinstler.

MADE IT

MADE IT

G R A D U AT E E X H I B I T I O N

MADE IT VISUAL ARTS

GRAPHIC DESIGN

MEDIA ARTS

DIGITAL MEDIA