Visual Arts, Design and Technology Showcase 2021
Cover artwork: Collection of creative works by Year 12 students.
VISUAL ARTS, DESIGN AND TECHNOLOGY SHOWCASE 2021
FROM THE ACTING HEAD OF VISUAL ARTS, DESIGN AND TECHNOLOGY Our Year 12s have been inspirational in rising to the challenges of 2020/21. This showcase celebrates each piece of art and design – the dedication, determination and hours of focused attention from each girl has been monumental. Our HSC Visual Arts cohort have developed an impressive collection of works across a range of expressive forms including painting, photomedia, drawing and film. The works investigate the complex world around us and portray personal messages from each artist. Our girls’ works are thought provoking, delving into our intrinsic connection to the land, animals, the beauty of the natural world, empathy, human connection and disconnection. Each piece encourages the audience to reflect on their personal stories, culture, rituals and habits. HSC Design Technology students are calling for action in addressing real world problems. Their innovative design solutions provide insight into the issues that are important to them such as inequality, climate change, education and mental health. The final projects span multiple disciplines including product and fashion design, architecture and electronics. The students have excelled in addressing genuine needs such as affordable housing, isolation family retreat, sustainable design, upcycled fashion and jewellery, promoting inclusivity and a genuine empathy for those around us. Our International Baccalaureate (IB) Design Technology students have developed innovative solutions to address research-backed needs. The students developed multi-purpose designs using a range of technologies to produce highquality products including a stylish dog kennel and an ergonomic children’s seat.
Similarly, the IB Visual Arts students have produced impressive individual collections of work across themes ranging from real world experiences to mythology. The girls explored a variety of mediums to bring their ideas to life, culminating in thought provoking exhibitions of their work. Congratulations to all students for their sustained effort and commitment in realising their Major Works. I would also like to thank parents, guardians and our community who have supported and inspired the students to achieve their creative and academic potential. Further acknowledgement to our Year 12 teachers, Ms Daniela Borgert, Ms Tina Bramis, Ms Silk Burke, Ms Amy Charters, Ms Georgia Kite, and Ms Helen Mitchell, who have mentored and guided the girls throughout the creative process. I would also like to extend sincere thanks to Mr Peter Anderson, our technician, whose time, skills and expertise have been invaluable. Michele McGrath Acting Head of Visual Arts, Design and Technology
DESIGN AND TECHNOLOGY
GEORGINA BEER Clothing for low socio-economic children in Cambodia Textiles and plastics
After travelling to Cambodia as part of my world challenge expedition, I was able to see the effect that a disadvantaged socio-economic status has on children in developing countries. Currently 2.3 billion children live below the poverty line and having little access to clothing throughout the year. I wanted to contribute by helping reduce the devastating effect poverty has on children, while also working towards eliminating the 8 million tons of plastic that end up in our ocean each year. I have created a prototype clothing item that can be worn all year round by children in developing countries – providing financial relief associated with buying new clothing dependant on the season. Incorporating the use of recycled plastic, the full outfit is waterproof including zip off pants, venting at the back of the top, and roll up and down sleeves for protection against humidity and colder climates, allowing the outfit to be appropriate all year round.
ELIZA FINLAYSON ROOM – Affordable housing project, 5-7 Watson Street, Bondi Architecture Housing affordability in Sydney has been in crisis for more than 30 years. The recent COVID-19 induced recession combined with soaring house prices have worsened this housing crisis dramatically. As such, the Waverley local government area have recorded a severe shortage of affordable housing. Waverley rentals for all dwellings are 130 percent higher than the Sydney average, making it unaffordable. This project – ROOM, aims to provide well designed affordable rental apartments to accommodate key workers and low to moderate income households in Bondi. The selected site is currently used for retail parking, which has now been relocated to a basement car park. Each dwelling in ROOM is self- contained with the height, scale and design sensitively responding to the character of Bondi.
LARA HEDGES Improved ankle brace for sport Textiles and plastics Netball is a high impact sport that places strenuous pressure on the ankle due to extensive jarring movements. The ankle accounts for almost half of all netball injuries and is the most prevalent cause of sports hospitalisation among young female Australians. From conducted research paired with personal experience, it was evident that despite such a prevalent injury, preventative options are lacking and currently limited to taping and generic bracing. Whilst tape is often preferred aesthetically, it is not a possible solution for all athletes due to allergies and skin irritations, not to mention its wasteful life-cycle. Thus, leaving bracing the only method of injury prevention on the court. Current braces also prove problematic; and may actually be causing more harm than good, for many it permanently weakens the ankle muscles and has harmful impacts towards performance. My MDP combines innovative technologies of impact absorption in a bulk-free brace that poses positive aesthetic features of tape without sacrificing its assistance in the stabilisation and support of the ankle.
DOMINIQUE HONEMAN The Surry – repurposed electric guitar Engineering recycled guitars and scrap waste Inspired by my passion for both music and the environment; The Surry, a repurposed electric guitar was designed to combat automobile pollution. Every year, 20.5 million tonnes of automobile waste are produced in landfills across Australia. The vast production of this waste has caused a long list of negative impacts on the environment and surrounding ecosystems, including chemical leakage within waterways, contamination of soil and pollution of air as a consequence of excessive carbon dioxide emissions. The Surry’s innovative and ergonomic design has specifically been tailored for users who play the guitar and enjoy a comfortable, compact design.
SIENNA MACCALLUM Raynaud’s syndrome self-heating gloves Electronics and fabrics Raynaud’s syndrome is a syndrome where smaller arteries which supply blood to the skin constrict excessively in response to cold, hence limiting blood supply to the affected area. My mother along with many others, suffer from this syndrome which can become a life altering as the inability to feel ones fingers can create many problems in a working and everyday environment. Therefore, I have developed a product that treats Raynaud’s Syndrome by combining aesthetics with practicality and function to help support those affected and living with the syndrome.
ELIZABETH MOJANOVSKI Colourblind children teaching resources 3D printing During work experience at South Coogee Public School, I witnessed Toby Armson struggle with a colour vision deficiency (CVD). Children spend the majority of their day in the classroom, where colour can be used to influence and enhance their learning. Learning methods that are fundamental to a child’s education, are taught through visual stimulations. Children such as Toby, have detrimental effects on understanding the concepts which may impact their performance in school. As a response, I created surface textures that correspond with the three primary colours: blue, red and yellow as well as QR code stickers that correlate to the surface textures. The QR code stickers are easily adjustable in the classroom, and when scanned provide an uplifting and encouraging audio poster that establishes the primary colour, their prevalence in society and emphasise it’s surface texture. For Toby, this innovation will enable autonomy and independence in the classroom, allowing him to feel confident in his abilities and give him an equal playing field with the rest of his peers.
CAITLIN O’ROURKE Librarian’s book week costume Textiles Time and time again, reading has been proven to be beneficial for improving ones cognitive skills and academic achievement. Children and young people who regularly read for pleasure have been shown to have improved academic performance and general wellbeing. However, recent findings show that there is a decrease in young people reading and developing their literacy skills, and therefore encouraging our younger generation to read for fun is unquestionably important. I wanted to design an outfit that embodies the beauty of literature and books, while also encouraging young students to become interested in reading. The use of 3D printed ink stamping and lights on the skirt increase interest as students are encouraged to find their favourite book character illustration within the skirt. This design is not only a costume, it is a wearable interactive installation aimed to encourage young students to read and appreciate literature.
PHOEBE SCOTTS Resin jewellery for anxiety Resin jewellery Anxiety is one of the most common mental disorders around the globe and can affect up to 30 percent of adults at one point during their lifetime. Similarily, I have experienced anxiety myself and so have created a set of resin rings to help reduce anxiety by fidgeting with various rings.
SARA WRIGHT Purpose designed hospital attire for patients Textiles The COVID-19 pandemic is responsible for a rise in mental health issues specifically, eating disorders. Research indicates that anorexia is prevalent in many Australian teenagers and young adults. Through examining various findings I have created hospital attire to assist paintients and reduce the difficulty of their hospitalisation experience. The product is tailored to patients, evoking positive thoughts and ensures comfortability.
ANIKA WRIGLEY Isolation family retreat Architecture COVID-19 was responsible for 40 percent of the workforce needing to work from home to help stop the spread of coronavirus. COVID-19 has dramatically impacted society, families and individuals and the way lives were lived. Individuals have had to significantly change the way they study, work and learn. Mental health issues have became much more prevalent during COVID-19, as people are challenged to exercise and connect with friends and family members. In response to the current situation, I have created an isolation retreat which can be placed in a backyard ensuring for ideal space to work and study while maintaining good mental and physical health. The isolation retreat will also include a specialised area with gym equipment so an individual is able to exercise. This retreat is designed so one can live, work and exercise for as long as needed.
ZHILIN (KINATA) ZHANG Convertible and multi-styling evening wear Textiles I developed a sustainable outfit that can change shape and transform into a new shape and create an entire new look. This idea will expand J’Adore’s (an Australian based evening wear brand) cocktail and day time wear. After my research I have realised the staggering amount of evening wear being wasted or thrown away after one wear. This inspires me to make this evening gown fashionable, convertible and multi-styled. By designing an evening gown that can be multi-styled it may help reduce the amount of evening wear being thrown away. This evening gown could be worn as an evening wear and also a long blazer. The black chiffon on top of the shoulder could be detached from the front and reattached to the back, creating a beautiful, natural swallow-tail. The dramatic shaped shoulder structure is the statement piece of the entire gown. Recycled boning has been placed under the shoulder to support the structure. This design will also raise awareness of the fashion industries wasteful practices.
LUCY HICKSON Sensory fidget toys for children with intellectual disabilities Mixed media My younger brother, Angus, has an intellectual disability and sensory processing difficulty and has required supervision. We live in a rural and remote location so we often went on long car trips.The usual activities did not keep my brother’s attention and resulted in his behaviour escalating. Excessive screen time would also negatively affect his behaviour. My design is a portable storage solution – specifically designed sensory toy for the needs of children with intellectual disabilities. The product will target each of senses; touch, smell, taste and sight.
AMELIA O’DEA Alternative school uniform – contemporary values Textiles In recent years, inclusivity of all genders and gender identities have become a more prominent discussion. Despite this I have found that our uniform doesn’t cater towards those who identify as non-binary, gender fluidity or transgender. My design proposal is a uniform that can be customised by the wearer to fit their desired specifications. Therefore, allowing the wearer to feel more comfortable in their schooling environment without needing to change schools. I have created three new pieces to be combined with our existing uniform pieces including a skort, a pair of pants and a short sleeve blouse.
SIENNA PARNES Shark deterrent print Graphics More Australians have been killed in unprovoked shark attacks this year than in any year since 1934. Over recent years the frequency of interaction between sharks and humans have increased dramatically, reaching a historic high of 18 attacks already this year in Australia. COVID-19 has presented a considerable rise in people undertaking water-based activities and this is further increasing the risk of attacks. To mitigate the risk of unforeseen shark attacks and to reduce the stress imposed on many ‘beachgoers’, I developed a range of fashionable shark deterrent beach gear – SharkProof. The shark deterrent beach gear will cater for an audience of swimmers, surfers, of all genders and ages, while adopting the latest research on shark repellent and avoiding the unnecessary killing of sharks. My project aims to improve the quality of life of many with no negative impact on the shark ecosystem. This will allow people to be at peace in the water and maximising their positive and enjoyable beach experience.
BIANCA SACHR Life cycle gems E-waste and resin jewellery Each year more than 40 million tons of electronic waste is generated world wide. People throw away electronic waste to buy new and improved designs. Globally there is a need to acknowledge the consequences e-waste has on the environment. This project will transform e-waste into stunning, unique and colourful hand crafted jewellery. while exemplifying an environmentally aware fashion statement. The jewellery will exemplify an environmentally aware fashion brand and raise awareness of the issue. My jewellery is designed to stimulate conversation about the detrimental impacts of e-waste and encourage change.
MONTANA WALSH Repurposing clothing to avoid landfill Upcycled textiles Charity stores such as Vinnies and Red Cross are a great way to repurpose clothing items that would otherwise end up in landfill. But has this been taken advantage off? By charity stores welcoming donations from everyone, they can however only take a certain amount of clothing. Many people think they are doing a good thing but with the excessive amount of clothing received, the majority still end up in landfill. My MDP provides a way for people to redesign their old clothes so they are able to get a longer and better wear. I gathered information on fashion trends and designs that are modern and stylish, allowing people to repurpose their old dated clothing items into wearable garments. By doing this less clothes will be donated and the purchase of fast fashion decreased, resulting in lowered textile pollution rates.
INTERNATIONAL BACCALAUREATE DESIGN AND TECHNOLOGY
CHARLOTTE CORR Homebuddy As a result of COVID-19, restrictions have contributed to a compulsory confinement of everyone in their households. Due to the psychological support pets can give backed by research, dog adoptions during COVID-19 has increased rapidly. This confinement has put many households under pressure as additional space is now needed for the new addition to the family. My project is a minimalist dog crate which is designed to save space in your home by acting as a bedside or coffee table. This product aims to allow new dog owners to incorporate a dog in their life, without the dreaded spatial, aesthetic and interior sacrifice that often follow.
CHLOE KNOWLES Child’s Play “Sitting for long periods, especially in children, can weaken and cause atrophy to the large leg muscles. If these muscles are weakened, they can impact a child’s ability to develop gross motor patterns… Regular physical activity/movement would result in improved concentration levels.” – Sam Bartlett, PhysioFix Recognising that young children in learning environments are restricted to either sitting cross-legged on the floor or in conventional chairs, both of which pose health risks and hinder children’s engagement. Therefore, I have developed a chair for use in learning-environments that offer flexible seating arrangements. By incorporating three possible seating positions, a chair of this sort encourages children to frequently change position and requires children to draw upon various muscle groups, particularly their core, in order to maintain their respective seating posture. As a result, the chair increases the range and activity of muscles that would otherwise be left unused in conventional chairs. If implemented in a classroom environment, a drastic improvement in posture and concentration levels would be observed.
VISUAL ARTS
JOANNA COLES Happily Ever After Painting What if Snow White took the Queen’s heart for usurping her throne? What if Sleeping Beauty was a vampire? What if Beauty was the Beast? My body of work challenges the stereotypes attributed to empowered women: power-hungry, seductress or gold-digger. I have displayed these through a fairytale lens, as princesses were used to show women how they should behave; docile and sweet. Instead, these princesses are taking control of their own narrative. I have used pearlescence, gold, silver and oil paint as well as stylised techniques to make them appear as though they are from an old fairytale book. Inspired by Angela Carter’s twisted fairytales, these women rescue themselves and make their own happily ever after.
LARA FINLAYSON Womb-Mates Painting My body of work explores the fluctuating and disparate power dynamics intrinsic to the twinship. Specifically, through the craft of self-portraiture, I construct a representation of my own experiences in navigating the inherent co-dependence, and power struggle exclusive to my relationship with my twin sister, to emerge with a unitary identity. In the absence of setting and material objects, the double portrait becomes suspended in time and space – an allusion to the ambivalence and unknowability of the shared womb. With chiaroscuro inspired by Baroque artist Artemisia Gentileschi, and inconsistent brushwork that emulates Jenny Saville’s unflinching realism, I blend an old-world aesthetic with a contemporary youthful narrative. By portraying varying emotions, relative to the isolated or fused existence, as well as drawing upon the historical taboo that saw twins as a product of the devil, I illuminate the multifaceted nature of our duplicity.
BONNITA GREEN Sound in Colour Painting Music has always played a crucial role in my life for as long as I can remember; it allows me to escape in a way words can’t describe. Inspired by the work of Willow Bader, I have created a work showcasing people in my life passionate about music and capturing what it means to them. I have attempted to capture the movement and expression of a variety of individuals, portraying the unique experience each person has when playing, or listening, to music. The loose, lively brush strokes represent the vibrancy that music brings to life, and the indescribable emotions felt. Music is entirely subjective, and not one individual experience it the same. Similarly, my work mimics the notion that not one painting is the same, with varying colour schemes and compositions. The universal experience of my work creates an atmosphere in which the audience can immerse themselves and experience the same intensity.
CHARLOTTE HERRON Same-same, but Different Painting This is my father and his identical twin brother, who have all their lives shared everything with each other, even their own faces. My work portray them as the half to each other’s face, the similarities that they both embody, yet also the differences that set them apart and make them unique. You may notice that the central work is not symmetrical, as I have allowed each individual to express themselves for who they are, as two people, not just one face, furthered through the two-individual works to the sides. Perhaps, we can say that they’re same-same, but different.
OLIVIA HEWLETT The Price of Grace Painting My body of work explores the aspects of dance that are disguised from the gaze of the viewer. Focusing on ballet, I explore the price that is paid to achieve the idealised image of grace. This glamourised art form masks the detrimental impact dancers face, as the ever increasing demand and expectations becomes relentless. I utilised oil paints on linen canvas to carefully depict the degradation of a dancer’s body and mind. I used loose wide brushstrokes against an exposed linen background in order to suggest the decay of a dancer’s liveliness. In my larger work I draw attention to the feet of a dancer. The feet being a crucial element of dancer, forcing a viewer to recognise the unseeable damage that is cloaked by the grace of ballet. My work aims to present the question: what is the price of grace?
SAMARA KELLEHER Layers of my Skin Painting My body of work ‘Layers of My Skin’ depicts two intimate scenes that foreground the interracial relationship between my Sri Lankan mother and Australian father. Through the layering of vibrantly collated photo-transfer areas, detailed oil painting and ink wash, my work reflects a new visual language that symbolize the layered and dual cultural identity I possess – which at times feels paradoxically isolating and whole. The miscellaneous photo transfer areas are images derived from global pop culture and politics, including pictures of pop stars, models and celebrities, as well as posters and album covers. In addition, some of these images are from my personal archive of family photos, fleeting moments from my upbringing. The cohesive yet diverse colour scheme evokes a heterogeneous space where dissimilar cultures meet. Overall, these artistic features communicate a compelling visual metaphor for the layers of personal memory and cultural identity that shape my experience as a child of an interracial relationship in Australia.
ISABELLA REDMOND Presence Painting My body of work reflects the presence of human existence in objects that are malleable to touch, hence exploring the unavoidable impact individuals have in society, regardless of the self-awareness of their footprint. I was influenced by Giorgio Morandi’s elusive paintings, where his subdued colour scheme and composition of stylised anonymity creates art that lack pathos. My collection of works is a microcosm to the indifference society has to the impact they leave, despite their influence is left forged eternally, as my study of household objects are left with indented memories.
SUNDAY (SUNNY) SALT Roots Painting Tree roots serve as anchors, gripping tightly into, and forming a symbiotic union with the earth, drawing from its various nutrients and water. In my body of work, ‘Roots’, I attempt to communicate the important role that each individual plays in the construction of a social experience, through a semi-realistic style documentation of close-proximity, temporary situations. This assimilation of many small paintings captures a feeling of interconnectedness, yet simultaneously portrays the subjects in an ambiguous manner, hence inducing the audience to question the identities of the subjects, the importance of their inclusion, and the relationships that occur between them in their environment. As a result, the individual pieces of the body of work become interdependent, much like the relationships that occur within my personal social and familial life – these people have become the roots from which I grow and evolve. The visual language of cropped framing, unusual perspective, and the use of colour to heighten emotion creates a unique documentary of the world that surrounds me, reflecting an elevation of the minutia of life, in celebration of the individuals that have shaped my world.
CLAIRE VILLATA Altering One’s Aspect to the Sun Painting “I don’t believe in ageing. I believe in forever altering one’s aspect to the sun.” – Virginia Wolf Ageing is often seen by our society as something to be dreaded. However, maturity can bring wisdom, strength in adversity and freedom. Older generations can also be our greatest teachers. The three paintings depict my Italian grandfather, a Chinese grandmother I teach English too and my Australian neighbour who has known me since birth. Using a radiant colour palette inspired by Australian artist, Rosemary Valadon, my intention was to depict their divergent cultural backgrounds but also what they have in common – charisma, warmth, vitality and energy. All are from different worlds, but all are united in their willingness to share their stories, rich traditions, food and culture. They have ‘altered their aspect to the sun’ and continue to live life in vivid colour.
MONTANA WALSH Reclaimed Painting 99 percent of endangered animals are threatened and are put at risk due to human activity. The primary cause of this is the loss of habitat and the pollution urbanisation produces. My painting is based of this alarming reality that faces the earth today. The concept of my piece is that the endangered animals are reclaiming the environment that humanity has stolen from them. I took inspiration from surrealist artist Salvador Dali; I enlarged the animals to show how they are more important than the urbanisation around them and to signify the importance they should have in today’s society.
ELIZABETH BABLIS Perfect Fifth Painting Escapism; avoidance of reality through absorption of the mind. What do you see when you close your eyes and listen? As reality fades away, I float serenely through the mesmerising melodies, pulling me gently through the abyss. Music is consuming. During the most stressful and intense moments of reality, music is my respite and escape. Inspired by the notion of escapism within art, the layered approach of combining representation of painting and music creates the ultimate paradigm of catharsis. Painted as album covers, my self- portraits represented in various perspectives illustrate my retraction, further and further away from the world around me, in the comfort of my own bedroom.
SARAH EDWARDS Thank you for Shopping Drawing Drawing inspiration from Anne Ferran, my artwork seeks to expose the logocentric codes imposed on girls’ clothing and reveal that what we wear is merely a reflection of our world’s stifling values. Namely, my subject matter is overly ‘girlish’ – one dress featuring frills to evoke girls’ ornamental role, the other dress appearing passive, yet sweet, in comparison. Despite their disparities, both dresses represent the polarity of identities we are forced to assume. Moreover, through encasing a dress in plastic, I illuminate the impersonal nature of the dress, and that the values woven in are pre-constructed and ever fixed. The plastic simultaneously functions to evoke the commercialisation of female identity. Specifically, rather than allowing clothing to be a vehicle for expression, it has been reduced to a monetary venture. This is reinforced through the receipt and through the intersection of the daily normalcy of dresses with the clinical plastic bag and receipt, I disrupt the viewer’s passive consumption of clothing that perpetuates conventional ways of thinking.
FRANCESCA HERRO Entitled Drawing In my body of work, I narrate my journey towards constructing an autonomous identity, navigating the discourses of power that exist around me. Where I was inspired by elements of ‘low culture’ appropriating political caricature artists like John Cuneo, I blended this with canonical German expressionist works like Grosz and Dix. This has allowed me to track the development of parodic art and the changes to the way artists have perceived and critiqued the dominant structures around them. As a result, I sought to make my own autonomous comment on those in positions of power, allowing to show the complexities of existing in a time of mass cultural change and development.
JESSICA LEDGER Catharsis Painting To me, the human life is ultimately characterised by the emotions we experience. It is a life that is filled with moments of ecstasy, shame, awe, romance, regret and many more. My work explores the explosive impact these emotions have upon our body and its consequent movements. Emotions are subjective; they look different for every person. As a result, I do not focus on one emotion and rather open the interpretation to you, and align my work with your own experiences. To aid this process, I have intentionally denied full access to the face as it is the key to understanding one’s emotions and rather force you to decipher the body language. I have also stripped the body down to its bare skin to explore the rawness of these experiences and additionally used a wide range of colour signifiers in my painting so you can draw from their emotional connotations to ultimately aid in your personal interaction with my work.
ANNABEL LORANG The Long Goodbye Painting My major work is a series of watercolour paintings that depict stories from my grandfather’s life and his memories through a lens of dementia. Dementia is a cruel disease and is exceptionally hard for those that suffer from it. My grandfather led a rich and wonderful life. He had a brilliant mind, a sense of adventure and worked in the busiest hospitals of London and Sydney. Over the years this brilliant mind was taken away from him. We watched his memory fade over many, many years, till he had trouble remembering the names of those he loved. I wanted to capture this in my major work, his life, his gift to others and the toll dementia took on not just my grandfather but on those around him. His colleagues, the community and off course those closest to him. The reason I chose watercolour painting as the medium is its fragile nature. Like my grandfather it too fades over time. It gets absorbed, the lines bleed and blend into those around them. That was my grandfather, over time he faded, and got absorbed into those around him. His memories flickered, dimmed and went out. Yet others still hold them, of him and for him. It truly was the long goodbye.
AVA PIETRANSKI Ebb and Flow Painting My body of work explores how the serenity of nature can make us feel insignificant while inspiring a sense of the sublime. Giving representation to this juxtaposition of emotion, I used circular canvases to depict the elliptical nature of the ocean in a never-ending cycle of motion. Additionally, I used the palette knife to expose the harsh vitality and unending authority of the natural world. Incorporating multiple sized works to represent my own experience living in Bondi, I attempted to capture the glimpses of the surging seascapes that have provided a sense of peace and inspiration for me throughout my life. Gaining inspiration from Nicholas Harding and Neil Frazer, I was able to observe the unique qualities of light, colour and movement that were displayed each day, emulating the immense passion and buoyance that they both imbue in their works. Ultimately, I wished to convey the ways in which a connection to the natural world is critical in an age of increasing technology and urbanisation.
TALLULAH SIMPSON Delirium Painting Over this year I have started to explore the intricacies of the human psyche in relation to my own mind. I have found that it is next to impossible to exist without the love and acceptance conveyed by others. The brain’s instinct to replicate this feeling for the self is overwhelming and the individual ultimately can’t differentiate between constructed love and genuine love from another. This is called maladaptive daydreaming and is a theorised disorder that is shockingly common in my demographic. The realisation that those feelings weren’t genuine and were simply constructed by my mind showed me how confused my perception of reality had gotten, which was a scary prospect. In my work I have endeavoured to replicate the intangible sensation of losing your perception of reality through self-portraits. The four pieces are a progression from a relatively normal state to a completely confused one, indicated by increased use of surrealism and exaggerated colour. The book pages in the background serves not only as a motif but as an indicator of an absent mind throughout and the reliance on forms of escapism which is commonly found in works of fiction.
ISABELLE WILKINS Labyrinth of my mind Drawing My body of work serves as the means to which I open a discussion, a reflection and a connection. Diagnosed with ADHD at age three I didn’t believe it to be something that impacted my everyday life. But as I grew, my behaviour and concentration isolated me from my peers and goals. These last few years I have focused on truly understanding my disorder, how my brain works differently and how I can communicate this effectively with those around me. Here, my pen drawings evoke the sense of impulsiveness yet clarity that is evident in my brain, each key branch a thought or idea emphasised in bold lines of black exploring a calm yet obsessive passion, stemming out into millions of other ideas and distractions engulfed in a haze of chaos. The red elements illustrate the extreme moments of impulsivity, hyperactivity and fidgetiness. My collection of drawings shrink as one becomes hooked on a key point, almost hyper fixation, the clarity in the chaos. I hope that my body of work offers perspective and interest into the labyrinth of the ADHD mind.
ALICE CRONIN Apple of My Eye Photomedia The phrase “apple of my eye” dates back to the 9th century when it was believed that the pupil of the eye was a solid, round object. However, today we use it as an expression of affection, referring to someone or something that is cherished. It is believed that the eye is a window to the soul, revealing the threads and patterns of who we are. I have used string to portray the textured complexities of life and the deep connections that bind us together. My inspiration stemmed from the works of Maurizio Anzerio, use of string and portraiture to fabricate the connectedness of the past and present merging as ‘living graphic symbols’. My work is centered around this idea of interconnection, binding us together as a family unit reflected here in the circular beauty of our irises using a 100mm macro lens.
LUCY EVANS -32.83582, 149.93908 Video work My home is in the central west of NSW, on a vast and sprawling rural property that spans across fields, mountain ranges and bush with endless skies that fall over the landscape. The numbers in my title represent the latitude and longitude of the property; a global number which identifies my home, a property my family has owned for centuries. This is a video work that captures the place I call home, and the intricate and ever changing landscape at its centre. It is also an exploration of my own relationship to this land and its constant pull on me to return. The cycle of returning and leaving this place has been a constant and repetitive aspect of my life as I leave home to study at school as a boarder in a city far away. Throughout my work there is the constant use of the motif and repetition of circular motion, a symbol of continuous spinning and return to centre. It represents not only the cycle of return to place but also the cycle of the land, seasons and farm life. The Hills Hoist clothesline is a symbol of Australian daily life, and has a sense of nostalgia and comfort. It is placed in an open field that sits high on the ridge line surrounded by the Great Dividing Range and is the focal point of the work. It holds the urban photographs on its line, captured to represent the city where I reside for school and the constant cycle and spin between the two. This dichotomy of the city and the rural landscape highlights the local differences of the two settings. I have used drone cameras, film footage and ambient sounds from the landscape, captured by myself to create the work. This footage has been taken over a series of weeks and months, bringing the cycle of the farm to life, exploring it through my first hand experience. No matter the distance, location, latitude or longitude, my heart and love lies at home, the centre of my world. And this continuous pull will always bring me spinning back to this beautiful rural landscape.
ISABELLE PERKINS Nostalgia Photomedia “We head home: through the gloss of rain or weight of snow, or the plum blush of dusk, but always— home, always under one sky, our sky. And always one moon like a silent drum tapping on every rooftop and every window, of one country—all of us— facing the stars hope—a new constellation waiting for us to map it, waiting for us to name it—together.” – Richard Blanco This work is a photo essay, documenting the meandering journey of my family on a road trip we took together. The focus is my grandparents and their love for vintage cars, travel and family. My artwork’s aim is simply to be an homage to them. These vintage cars have themselves become part of the family and are an integral and central ‘member’ of the road trip. The car itself becomes a continuous silent passenger, one who brings us together in one time and place. Throughout the journey, I have captured the mundane moments and memories created, as we explore the landscape together. The nostalgic feel and inherent character of the vintage cars led me to capture the work in film. The entire work is captured on both black and white and coloured film using an SLR camera. This choice of material and techniques echoes the sense of memory, time and place that is often captured in family photo books from the past. Robert Frank was one of the main artists of influence in my work; I was inspired by the way he captured the ordinary world around him with such sensitivity. I have also looked to his exhibition work for the way my images have been presented and composed as narratives on time and place. In the end the work I have created is both a time capsule and a love letter to my grandparents and their constant guidance and love. These road trips taken together are testament to their passion and dedication to my family and I.
ANIKA WRIGLEY Ubuntu (not me, we) Photomedia Ubuntu is an ancient African word meaning ‘humanity to others’. It is often described as reminding us that ‘I am what I am because of who we all are’. I have named my body of work ‘Ubuntu’ as it is not just about an individual, it is about the bond between my family and their horses. This has been developed through generations of rural living and building trusted relationships togther. My work explores this cherished bond between my family and their horses and why this is so special. Psychologists have demonstrated that horses can recognise a human’s mood from their facial expressions and differentiate between anger and happiness. Horses are now being used as mental health aids for humans, with equine therapy taking psychology sessions out of the office and into the paddock. Horses are special creatures. They are strong and can display a broad range of emotions. When they are around humans, they are outstanding communicators and thrive in social settings. These qualities are part of the reason why horses develop such strong bonds with humans. Therefore, my work, Ubuntu, explores the strong bond that my family has formed with their horses. The work demonstrates that horses are more than a valuable source of transportation and labour, they are a companion to many. My work includes portraits of my family and their horses. Using photography and digital editing I have captured their portraits. Working in the studio I have created dramatic lighting and worked to create muted tones and rich blacks. These techniques have been used to enhance the sense of trust and calm between the individual and the horse. With these portraits, I made a composition for each family member and their horse to explore the interconnectedness and strong bond they have developed with over many years.
SOFIA ZORBAS Purification Photomedia “The sea is emotion incarnate. It loves, hates, and weeps. It defies all attempts to capture it with words and rejects all shackles. No matter what you say about it, there is always that which you can’t,” – Christopher Paolini, Eragon. My body of work, Purification, explores the hidden wonders of the natural world and the ways that the sea can purify and cleanse the individual. In this series, I explore how the ocean can be drawn upon to provide emotional and spiritual detoxification. In viewing this work, it is my intention that the audience can subjectively reminisce on their past memories and connect emotionally and physically as they are visually immersed in the natural realm. In my work I was inspired by my own ideas associated with the sea. Whenever I go swimming, my mind slowly releases my worries and rejects the doubts that can consume me. Each stroke forward feels like I am leaving my negative feelings behind. Photographer, Tamara Dean, has been a significant influence to my work and I have been inspired by her subtle photographic techniques, use of light and exploration of the human figure in the natural environment. I have endeavoured to capture these same complexities and the dynamic relationship between humans and the natural environment, focusing on the intrinsic connection experienced between the two bodies. The variation in scale and colour evident in my work also serves not only as a motif but as an indicator of the emotions slowly being released as the individuals submerge into the natural landscape.
CLAIRE ZYLSTRA Oseaan Photomedia My body of work Oseaan is a compilation of abstract imagery of the ocean habitat and ocean ecosystems. The work focuses on the minute and complex textures of water and rocks that make up our coastlines. The images have been highly manipulated and the macro textures of these ecosystems have been used to create a series of laser cuts and etchings. These accompanying photos and prints, which together play on light, shadow, space and texture, create an intricate third dimension to the work. Taking inspiration from Lindy Lee in the techniques I have used, the layering and juxtaposition of materials explores the complex nature and patterns of both rock and water. It is this delicate combination of natural elements that I have been fascinated by in this work. My material and conceptual choices have been influenced by my time spent in both the western cape of South Africa and Sydney, with many of my experiences revolving around the ocean. Some of my fondest memories were formed on Clifton beach in Cape Town, South Africa, and in my work I wanted to convey the multifaceted and dynamic ocean habitat that I have grown up exploring.
INTERNATIONAL BACCALAUREATE VISUAL ARTS
LILY HOWELL My work explores identity and how we as individuals fit into an increasingly multicultural and diverse society. As someone who has grown up in a multicultural family and lived in many places around the world, my cultural identity has always been a point of confusion both for me and others who ask. It is difficult to find oneself between how you identify yourself and what others label you to be. I realised that I don’t want to tie myself to any specific country as it doesn’t feel authentic to how I have been raised. As I have grown, I have accepted that our identity, how we perceive ourselves and are perceived by others is changeable and out of our control. I have explored this theme of a moldable and ambiguous nature of our identities. My use of colour in my work is a consistent stylistic choice to better convey my intentions of fantasy. I feel that by accessing this part of our imagination, it suggests that we can be in control of shaping our perceptions. In my experience with others my age, there is often a move towards teenage cynicism and people begin to think about the world in what they see as a ‘realistic’ way. This is often a defence mechanism as one grows older and concludes that in order to survive in a world that often disappoints, they must match its disillusionment. Whether intentional to seem ‘grown up’ or a way of survival, this loss of magic in one’s worldview is often portrayed as an inevitable part of maturing. However, I have realised that to lose one’s sense of fantasy with the world does not necessarily mean a loss of wonder. Perhaps, growing up is realising that retaining a sense of the fantastical and wondrous can be a different path to maturity. One can be aware of the reality of the world while maintaining a sense of magic because it is equally as magical as it is sometimes disappointing. My exhibition explores the process in three parts; dedicated to childhood and innocence, the introduction of scepticism and disillusionment and a return to seeing magic in the world.
JADE LIN Distortion alters and confronts the notion of a normative reality through the minds of both an artist and viewer. This exhibition blends surreality with reality, broadening the distinction between thought and movement. Veins of distortion, alienation and musings of the psyche are amalgamated in this exhibition to portray a collective opinion on the shifting relationship between distortion and reality. The piece illustrate the universality of experiences and differences. The prevailing disjunction of perspectives provides the viewer an opportunity to reflect, connect and create attentively, bringing diverse perspectives to foster a discussion. This exhibition is deliberately organized to establish a dynamic collection that reflects a plethora of diverse depictions of the experienced world, all offering an experience that is separated from physical reality. The curation of artworks, presented in an extensive range of scales, is intended to overwhelm the viewer. The immersive works on the wall invite the audience to view each piece as an independent object and provoke curiosity and seek meaning for how the results coalesce into a cohesive body of art. Having explored a multitude of media, this exhibition comprises a combination of three-dimensional, two-dimensional and digital works. As a three-dimensional artwork induces a unique engagement with the viewer, due to its direct appeal to the senses. The viewer can observe the work from varying angles to experience shape and depth. Additionally, three-dimensional artworks evoke a desire to touch, appealing to our need for physicality and validation for reality. Digital medium facilitates manipulating form in an image, a fundamental technique to create tone and expression. Additionally, digital works offer a sense of familiarity to a contemporary audience alongside perhaps a greater appreciation of the work. The stylistic similarities of distortion and eerie-ness create a unifying display of work that hints to the underlying driving idea – to prompt viewers to expand their definitions of art and to consider the distortions that are present in their lives, thoughts, opinions and identities.
CORDELIA WHITE My exhibition is centred around the overarching concept of ‘Mood on the Street’. It is an exploration to uncover the illusive connections between art and society. Motifs such as TV’s, guns and skulls invade the exhibition in order to display and question the viewer, and their position in society. The exhibition aims to shed light on the illusions perpetuated within society and the media, as well as the arts’ role, as a catalyst, to reveal truth and provoke thought upon us. Street art tropes have been used across the exhibition, delineating artworks into branches of political and activist art. Jean Michel Basquiat has been a large inspiration for the development of my exhibition pieces. Growing up, I have always loved his art and the way he paints with such simplicity, yet captures complex emotions that are seen in all aspects of society. Stylistically and conceptually Basquiat influences can be seen through my use of mixing text, colour, symbolism and experimental mark-making. During my exploration into Basquiat’s work particularly ‘The Irony of a Negro Policeman’, I assembled a profound admiration and appreciation of his work. The exhibition collection grew from my prior experiences and my own interests and concerns of the world I live in. As a visual learner now and as I was growing up, I noticed that the information I was absorbing was biased to the way society and those in positions of authority intended for me to see it. Therefore, through the use of visual expression in my art studies, I aim to express these concerns through ideas that can be seen and interpreted from different perspectives. On first inspection some might perceive some elements of the exhibition as simple portrayals of ordinary imagery – just a gun, just a skull. However, the simplicity that I convey is intended to provoke the viewer to question this view, alluding to media portrayal and aiming to alert the audience to the complex often bias representations and depictions shown in the wider media.
ZENAN (JASMINE) ZHOU This exhibition is centred around the beauty and significance of Chinese mythology and its meaning to people. I have been interested in mythology since I was very young and wanted to present my personal thoughts to a wider audience. Chinese myths act as an important part of Chinese folk religion, there are many mythical creatures and they all have their own symbols. In this exhibition, I explore Chinese myths from three perspectives: in the history, the present and imagination. The scope gradually narrows from society as a whole to the individuals, depicting the transformation of Chinese myths throughout time within both the physical and imaginative world. The history section of ancient Chinese mythology depicts mythical symbols that are found in existing buildings and statues. This part focuses on realistic depictions, emphasising the signs of ageing on this element to highlight the long history of Chinese mythology. In the present section, the artworks depict a sense of cultural destruction due to urbanisation. Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts. In this work, my metaphorical creation of the dragons merging with mountains is to be connected with the culture desolation in the present society. At the same time also highlighting the problem of cultural destruction. The last section shows the mythology within an imaginary context, projecting our yearn for the protection and curiosity of the supernatural world. In this section, I blended my idea of this supernatural world and ancient stories of these mythological creatures, which results in a depiction of these creatures out of my own interpretation. This section is introduced by the watercolour fan, the three birds symbolise the connection between the supernatural world and reality, and they will lead us into the imaginary world of myths. The second artwork ‘Dream of Mountains and Seas’ is an illustration of mythical creatures and landscapes becoming alive from ancient scrolls and into people’s dreams, contrasting with the realistic depiction in the previous sections. Lastly, ‘Eternity’ digital painting of a phoenix in the night sky with a town beneath its feathers, symbolising the protection offered mythical creatures that exists in our imaginations and also the confidence provided by our time-honoured culture.
794 New South Head Road Rose Bay NSW 2029, Australia +61 2 9388 6777 info@kambala.nsw.edu.au www.kambala.nsw.edu.au