Loreto Normanhurst HSC Showcase 2021 (Final)

SHOWCASE A celebration of Loreto Normanhurst creatives from the Class of 2021

Featuring Major Works from: Aboriginal Studies, Dance, Design and Technology, Drama, English Extension 2, History Extension, Music 1, 2 & Extension, Textiles and Design and Visual Arts

‘Our Past, Her Future’ - Lua Pellegrini, Class of 2019.

Acknowledgement of Country We pay our respect to this ancient Land that breathed life 300 million years ago. A Land that extends from the ridgeline of the Blue Mountains across the soft sandstone plateau to the coast into the ocean. These ridgelines are the water catchment areas. It’s where the rain hits first and flows down into our rivers and creeks, rejuvenating the earth and filling waterholes and hanging swamps. A Land kissed by rainbows and home to the tall Blue Gums. We acknowledge this Land as mother to possums, lyrebirds, the laughing kookaburra, the tawny frogmouth and brush turkey.

We recognise the deep cultural and spiritual connection of this Land to the peoples of this Country. We honour Elders, those past, present and emerging. We pay respect to all Aboriginal and Torres Strait Islander people within our community.

Contents Aboriginal Studies 8 Dance 32 Design and Technology 50 Drama 76 English Extension 2

130

History Extension

142

Music

180

Textiles and Design

224

Visual Arts

262

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From the Principal

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A message from Coty Farquhar

(Kathryn Hahn, ’80)

Aboriginal Studies

We would like to congratulate...

Anne-Maree Swanson

Bethany Conlon

Lily Hudson

Ruby Booth

Charlotte Black

Scarlett Crimmins

Ella Dwyer

Shayarnee Burns

Xanthe Althofer

for their completion of the HSC Aboriginal Studies Course

‘Because of Her, We Can’ - Anne Maree Swanson

As part of the Stage 6 Aboriginal Studies course, students engage in a major project. This is a significant highlight as students are able to explore many different areas of interest. Some students focus on their own local Indigenous Australian communities, investigate Indigenous Australian artists or compare the representation of Indigenous Australian women in sport with non Indigenous women. This gives them the opportunity to work in collaboration with our Indigenous Australians to deepen their learning.

Students then use their research to create a variety of major works to demonstrate the results of their research to the wider community. Some major works include artworks, magazines and programs for organised events. I congratulate each Aboriginal Studies student and Mr Timothy Lennon for their persistence and dedication this year and hope that you enjoy the short film that displays their talents.

Jason Currao Head of Religious Education

From the Head of Department

Anne-Maree Swanson

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Because of Her, We Can

By Anne-Maree Swanson For my Year 12 Aboriginal Studies major project, I chose to create a song.

Throughout my life I have always had a connection with music and when deciding what to present as my major project, I felt that there was no better way to do this, than to create a song.

To begin with, I knew I wanted to incooperate music into it. But what could I write about? I struggled to pinpoint a certain theme that I would feel so passionate about that I could write a song. When meeting with some Aboriginal Elders from my local area (the Anaiwan Tribe), the idea to incooperate the 2018 NAIDOC Week theme “Because Of Her, We Can” really stood out for me. The ideas started to flow easily from that point as there was so many angles I could work from.

This theme gave me the chance to acknowledge some of the role models that had shaped so many people’s lives. I was able to incooperate both male and female perspectives into it

and was also able to acknowledge some of the influential women from the Loreto community as well. This was just one of the reasons that I felt extremely passionate to write about that particular topic. I was able to include some of the recorded interviews from my meetings with the Local Elders into my song and felt this was an extremely moving and important detail to share in the song (with their permissions). Whilst this project was extremely challenging, I felt very honoured to be able to write a song which represents the strength and tenacity that the influential women from their pasts displayed and I feel very proud to be able to share that with you all today.

Anne-Maree Swanson

Bethany Conlon

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Am I Aboriginal?

By Bethany Conlon

For my major work I decided to investigate the Aboriginal heritage on my Mum’s side of the family. I hoped to ultimately determine who I am related to, when and how long they have been around for, where they have come from within Australia and what this means for my family and myself. Through my research I was able to gain a greater understanding of and connection to the culture, history, and family I was only newly discovering. I was extremely lucky to be able to connect with relatives of my ancestors and learn about their lives, sacrifices and contributions whilst forming relationships and connecting on social networks. Within my work I have exhibited the achievements and hardships of my Aboriginal ancestors, whilst documenting my learnings of their experience with their culture from their

Click image to view time to mine. Additionally, I’ve explored the stigma associated with someone of my appearance, experience and geographical location identifying as an Aboriginal person. Through researching opinions in the media and interviewing Aboriginal Peoples familiar and un-familiar to my family I was able to truly grasp how people in our day and age feel about my situation.

I now finally have answers to the question ‘Am I Aboriginal?’.

Bethany Conlon

Charlotte Black

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Aboriginal Centred Loreto Boarding House

By Charlotte Black

My Aboriginal Studies Major Project 2021 is an architectural design model for the upcoming Loreto Boarding house. The three key areas in my research and in my model, incorporate an Architectural Design (the exterior of the upcoming boarding house), Interior Design and the Natural Environment (exterior and interior). My Aboriginal-centred architectural design model recognises the cultural history which Loreto is situated on and pays respect to all Aboriginal boarders past and present. This structure is a bold statement to the community that Loreto Normanhurst is committed to ensuring all Indigenous and Non-Indigenous students have optimal wellbeing and are connected to their families and

land even when they are away from home. To achieve optimal wellbeing for students, the architecture incorporates the natural world, visual stimulation strategies and aspects of culture.

The well-designed boarding house positively affects individuals’ health, mood and productivity, which is crucial in combatting the ongoing effects of colonisation on Aboriginal students as they can have an adequate health, wellbeing and be productive when learning thus get the most out of their education at school. By incorporating Aboriginal culture and perspectives into the design of the boarding house, students are more likely to feel emotionally connected to the space which will make them feel safer and less alone.

Charlotte Black

Ella Dwyer The Yarrabah Experience

By Ella Dwyer

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For my Aboriginal Studies Major Work, I decided to assemble an informational booklet which includes all you need to know before completing community service at Yarrabah State School or the Early Education Centre. The community of Yarrabah plays a very important role through life at Loreto, Yarrabah is an inspiring, strong, and resilient community in which us as young women from Loreto can learn from. Yarrabah, on Gunggandji Country, is a coastal town within the Yarrabah shire in Far North Queensland. Yarrabah is one of the poorest Indigenous communities in the country, whilst also previously being an Anglican mission. It was declared an Industrial School in 1900, making it an official destination for children charged as being ‘neglected’ under the Industrial and Reformatory Schools Act 1865. Yarrabah’s community lacks what we as a Loreto girls find as the ordinary being education, food, and adequate health services, thus allowing students to reflect on their opportunities, and privileges. This book is aimed towards students at Loreto Normanhurst who plan on completing community service either on Outreach in Year 9, or Year 10 in July. The booklet is compiled

of information regarding Yarrabah’s history, how us as Loreto students can respect the communities Aboriginality, and the positives in the community whilst also bringing attention to the confrontational aspects. In doing this I have researched Yarrabah’s history, their educational system, and how the community has adjusted to such immense change in the past 200 years.

To create this book, I was lucky enough to be given the opportunity to interview a vast range of people varying between students who attended the immersion, the staff members who attended the immersion, the staff who organise the opportunity, and ex-students. I titled this book Reflections in Yarrabah, as the entire book is reflections from previous students, and teachers experiences in Yarrabah and how the community impacted them and changed their outlook on life. My motivations in creating this book, come from what I wish I was aware of before entering the community. I wish I was aware of what I would experience, from the positives to the negative, to the historical background, and to the surface of their community.

Ella Dwyer

Lily Hudson

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The Truth Behind Jan 26

By Lily Hudson For my Year 12 Aboriginal Studies Major Work, I decided to discuss the controversy around the 26th of January.

After the emergence of the Black Lives Matter Movement and its prevalence within Australian society due to the mistreatment of Indigenous Australians, I was intrigued to see whether it would have any impact on the nation-wide debate around January 26th and whether we should ‘Change the Date’.

Originally, my project began as ‘Australia Day’; exploring what Aboriginal Peoples did on the day, how it made them feel and the trauma that co-existed with that particular date. However, my research allowed me to realise that the nationwide holiday ‘Australia Day’ did not exist for all people, as the date could also be referred to as ‘Survival Day’, ‘Invasion Day’, ‘January 26th’ or ‘Day of Mourning’.

Thus, I was prompted to focus on January 26th as a whole, and through my research navigated the differing views of Indigenous and non-Indigenous Australians around the date, and whether Australia should be looking to move their national holiday.

and foremost, being a non-Indigenous person and attempting to raise issues that can be associated with large amounts of pain and suffering made it difficult to find candidates willing to share their perspective. Secondly, having a specific date to focus on which occurred during a pandemic made it hard to attend events and gain first-hand perspectives from the people at the events, forcing most of my opinions and research to be conducted online.

Nevertheless, my major project has allowed me to develop a significant understanding and acceptance of Aboriginal culture, and Indigenous peoples’ perseverance on January 26th.

Further, the lack of education around the date and obliviousness to the pain continuously imposed upon Indigenous peoples on January 26th highlights the significant steps Australia needs to take to move forward. My project provided significant opportunities for growth, particularly allowing me to realise that before we change the date, we need to address the marginalisation, discrimination and injustices that are Across the 6-month period, I was continuously imposed on Indigenous confronted with numerous challenges, peoples daily, as if we do not, changing most of which were out of my control. First the date will not benefit the ‘next Australia’.

Lily Hudson

Ruby Booth

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Proposal for Annual Indigenous Round to be held at Loreto Normanhurst

By Ruby Booth For my Year 12 Major Work for Aboriginal Studies, I decided to focus on proposing to have an Annual Indigenous Round held at Loreto Normanhurst. Throughout the process of conducting my Major Work, it not only pushed me to grow as a person, but how my passion grew to learn new perspectives, engage with Aboriginal communities and ideas that I have never thought of before, whilst also opening my eyes to the importance of creating change just simply within my community. My idea steamed from my love of sport and my passion to include Indigenous culture within Loreto Normanhurst through sport.

Sport within Loreto Normanhurst not only instils a sense of belonging and purpose, but it teaches important life qualities, whilst also educating our peers about the importance of Aboriginal culture within our community. I conducted ongoing research about the importance

of having an Indigenous Round to then reach my goal of conducting a proposal to submit to Ms Ugonotti, to have an Annual Indigenous Round within Touch Football at Loreto Normanhurst. My love for art, has also influenced my passion to collaboratively design an appropriate Indigenous Jersey to be worn at Loreto Normanhurst’s Indigenous Round, which is something I am very proud of and pushed myself to achieve something I never thought I would of. Through my Major Project, I hope it helps suggest to Loreto Normanhurst the importance of recognising and including the rich Aboriginal culture within sport and widen our peer’s knowledge about the importance of Aboriginal culture, whilst also representing those First Nations People within our community.

Ruby Booth

Scarlett Crimmins social media account on Instagram, “hear, share, care” surrounding wellbeing, and young people’s mental health. There is a section that is specifically for First Nations peoples. The section provides stories of Indigenous people who have struggled with For my Major Project I decided to look wellbeing due to racism, discrimination, deeper into the mental health of Aboriginal and the effects they’ve experienced from youth and to investigate the Closing the ongoing effects of colonisation.

Gap Target 14: significant and sustained reduce in suicide for Aboriginal and Torres It aims to inform non-Indigenous strait islanders. Throughout my time Australians about Aboriginal peoples researching Aboriginal Young Peoples’ struggles. And challenge their own mental health I have enjoyed; interviewing, actions, views of people. The Instagram understanding and further developing my account is a community for young people knowledge of the everyday challenges to feel empowered by who they are, they’re Aboriginal Australians face due to ongoing culture and to feel supported by a diverse colonisation impacts, and how racism group of people who can share stories, negatively impacted young Aboriginal sympathy, and empower each other. people.

Rebound Dharawal Wellbeing Camp

By Scarlett Crimmins

I created a Retreat website for an Aboriginal Youth retreat, “Rebound Dharawal Camp” a camp located in southwest Sydney, on Dharawal land.

The camp is a way for Aboriginal youth who have struggled with mental health to go on a camp to take time to try and heal through going back on Country, being surrounded by culture, elders and developing their Aboriginal spirituality and sense of identity. The aim of the camp is to empower culture, share experiences, develop knowledge and spirituality of aboriginal culture, create greater sense of identity and improve overall wellbeing and Through interviewing young Aboriginal mental health. people, youth social workers and doing secondary research I was able to develop a I have been able to see exactly why the gap isn’t closing between Indigenous and non- indigenous Australians. The trend of fighting stereotypes and racism is one of the main struggles as it has been embedded into societies thinking and perspective. Although I knew mental health and wellbeing was a huge struggle for Aboriginal people, I was able to understand and listen firsthand to Aboriginal people who have experienced the struggle with being a young Indigenous Australian and how it has impacted their mental health.

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Scarlett Crimmins

Shayarnee Burns

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First Nations Youth Festival

By Shayarnee Burns For my Aboriginal Studies Major Work, I focused on the theme of “Empowering Youth Voice”. I explored the stigmas facing Indigenous youth and the ways in which our nation can work towards creating a reconciled future. The injustice and prejudices surrounding Aboriginal and Torres Strait Islander peoples that set about during the 1700s is still occurring today. Despite the difficulties my people are faced with they continue to thrive and strive for the best. For centuries now they have been disregarded in our nation, with their many talents going unnoticed. My First Nations Youth Festival will provide a variety of opportunities for youth to be involved in. Culture, leadership and wellbeing are the three main themes that the festival is based around. By providing activities, education and

assistance to the youth who attend the festival I want to work towards strengthening the knowledge they already hold about Aboriginal culture, ensuring they are aware of their abilities and to ensure they become active and vocal members of the Aboriginal community. I want to stimulate a sense of motivation within themselves, to not only provide them the opportunity to acknowledge past and present but to build and deliver a much better future. When you allow a young person to voice their opinions and ideas this empowers them and makes them feel like they are valued and that their contributions matter. These feelings of importance encourage youth to engage enthusiastically and wholeheartedly.

Shayarnee Burns

Xanthe Althofer

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Sacred Songlines

By Xanthe Althofer For my major work I have chosen to research some of the many sacred sites across NSW and look at how the local traditional owners of the areas interacts and maintains their connection towards the land. I decided to base my major work around the sacred sites of NSW as my Year 11 mini major work was based around the sites that are within my hometown. Sacred sites are a site of significance towards Aboriginal or Torres Strait Islander Peoples according to tradition. Knowledge of the site can be restricted to anyone, so research was of the upmost importance. The need to preserve and maintain these sites is imperative as these sites hold strong connections amongst individuals and foster a sense of identity and history. The research I found on those sites were extremely interesting, therefore sparking the idea of delving into sacred sites across NSW and visiting them in order to have a greater understanding on

the diversity within NSW alone. Prior to visiting the sites, I researched the distance of each site from my hometown in Mudgee to see if it was within a reasonable driving distance and if I was disrespecting any traditional aspects of the sites if I were to visit. Through my major work I had also hoped to recognise the lack of tourism and knowledge surrounding sacred sites. Tourism to sites accessible by the public is crucial as there is a need to educate the lack of knowledge surrounding Aboriginal and Torres Strait Peoples. Spending countless hours researching and perfecting my major work I am extremely happy with the outcome and work I have produced. Talking with a of number of Indigenous People from across different nations and finding out about their history, I am amazed at the adversity many small Aboriginal communities had faced in order to gain ownership back of their sacred sites. I am honoured and privileged to present my final product of my major work and proud to be able to share this with you all.

Xanthe Althofer

Dance

We would like to congratulate...

Ava Nalywajko

Alessia Anderson

Molly Coe

Eliza Carolan

Ella Donohoe

Teighan Locke

for their completion of the HSC Dance Course

2021 saw Loreto Normanhurst’s first HSC Dance cohort. The Works which are exhibited within this showcase stem from a collection of the students’ Core Performance (choreographed by myself as the classroom teacher), Core Composition (choreographed by the Year 12 student for another student within the school) or the Major Work (choreographed and performed by the Year 12 students.

Words cannot express how extremely appreciative I am of the immense amount of effort, time and passion each of these dancers have contributed to their Works in such an unprecedented year. I am grateful to have travelled on this journey with them and see them grow in both resilience and confidence.

It’s so exciting to see Dance flourish as a subject at Loreto and provide the opportunity for our students to creatively express themselves through the art of dance.

Marie Bugge Head of PDHPE

From the Head of Department

Alessia Anderson

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The Cold War

By Alessia Anderson My piece The Cold War, performed

by Amelia Windever, aims to portray the aggression and tension amidst these nations’ diplomatic relations to deliver a moral warning against violence, emphasising the value of peace and resisting the barbaric and transgressive behaviours war tempts.

My piece performs the Cold War’s arms race and build-up of momentum with loco-motor movements showing a fight for dominance and space, the war’s climax through high energy, elevated movements and finally the decision for peace. Overall, my piece is unified through the common thread of tension and resistance that all movements convey, highlighting to audiences that although it is easy to ‘pull the trigger’ we must resolve conflicts without violence and our temptation for war must never outweigh our morality.

Alessia Anderson

Ava Nalywajko

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Final Moments

By Ava Nalywajko As a Year 12 HSC dancer my experiences and journey throughout this subject have impacted myself as a dancer.

From starting this subject with not as much flexibility and technique as I would haved liked, dancing unsafely by not stretching and just throwing myself into jumps, in having Ms Bugge as my teacher I have improved my performance skills as well as danced to my full potential. I have enjoyed dance as a subject because we were able to incorporate our own skills into different pieces we created, we got to learn the backbone of dancing by knowing our own limitations and capabilities, and lastly we got to create our own pieces with important meanings behind it.

These include our major performance dance and core compositional in which today you will see my compositional

dancer, Jess Webster, performing my piece “Final Moments” to signify the idea that life flashes before your eyes as it was a theory I had always questioned.

I researched that it’s a transformative effect with memories flying back from all periods of life reflected through heart beats and the circle of life. The inspiration of my piece is from the auditory sounds of an ECG heart monitor heard in hospitals and in movies. I juxtaposed short, sharp percussive movements to stimulate the beating heart with more of a balletic style through high level such as jumps and leaps as well as turns and extensions of the leg. This is used to highlight my overall piece of the patient’s mind slowly escaping the coma state with memories flashing before her eyes, then the patient’s prior joyful life is reflected before entering her coma state then lastly to the patient slowly going back into her coma state.

Please enjoy.

Ava Nalywajko

Eliza Carolan Princess Diana

By Eliza Carolan My dance piece ‘Princess Diana’ is performed by Year 11 student Fenna Swain and choreographed by me. It is based on the narrative of Princess Diana, specifically her struggles throughout her life and her journey throughout her royal life. The juxtaposition of sharp and suspended movement is used to illuminate these struggles, and I have crafted the piece into a narrative form in three sections to elucidate three parts of her life – pre royal life, royal life and the escape from royalty. This idea was stimulated after watching the Netflix series ‘The Crown’ and embodies the processes of Diana’s wellbeing from pre to post ‘princess’. I have thoroughly enjoyed fashioning this piece to tell a story of such an inspirational and iconic woman whose memory is still prevalent today, and I have loved portraying her character and strength through the artform of dance.

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Eliza Carolan

Ella Donohoe

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Unsolved

By Ella Donohoe My Core Composition piece titled ‘Unsolved’ is choreographed by me and danced by Sarah Zammit. It centres around the theme of desperation vs helplessness and is inspired by the Madeline McCann documentary‘The Disappearance of Madeline McCann’. I begin my composition by introducing my motif; hands covering the senses (mouth, ears, eyes). There is desperation and frantic locomotor movements in the first section to highlight the urgency of finding the child and the investigative process. This is accompanied by the motif to show how the child is not seen or heard. The second section involves stillness and non-locomotor movement to illustrate the child losing hope.

Ella Donohoe

Molly Coe An Evening I Will Not Forget

By Molly Coe I will be showcasing my HSC Dance Major Work, choreographed by me, with the help of Ms Bugge. The song I have chosen to dance to is ‘An Evening I Will Not Forget’ by Dermot Kennedy. I came across this song and felt it had a lot of emotion that would be expressed beautifully through movement. From the lyrics and tempo of the song I established the intent of my piece; losing someone you love but finding yourself because of this painful experience. Through the manipulation of the elements of dance, my piece follows the ups and downs of success and failure on the journey to find oneself, ending with the success of self-acceptance and realisation of one’s true identity. My HSC Dance experience has been amazing, the close knit class, constant collaboration and support of Ms Bugge has enabled me to do my best work, while also having so much fun along the way.

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Molly Coe

Teighan Locke

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Heart & Home

By Teighan Locke Throughout my Year 12 HSC Dance experience, this subject has helped me to develop skills and qualities that has made me the dancer I am today.

Ms Bugge has helped me every step of the way from correcting my technique to helping me with choreography for my dances. I have enjoyed collaborating with my peers in group tasks and seeking their opinion on dance choices. Throughout this year we have learnt vital information about the importance of safe dance and technique, working together to create multiple dance pieces allowing us to strengthen our creativity and gain knowledge of our limitations and abilities. This subject has given me the opportunity to tend to my already existing dance skills and foster my

technique and flexibility in ways that have made me a better dancer.

Today, you will be watching my major performance dance piece titled, ‘Heart & Home’. This piece signifies the journey taken by the dancer to find a home amid her surroundings. It is a representation of the struggles and difficulties of trying to find somewhere to fit in, eventually reaching and realising that home is where the heart is. The dance includes a motif of the hands contracting inwards towards the chest, as this is symbolising the notion of finding a place within the heart, and this movement is utilised significantly within the piece. The dance experience that we have gone through this year has been a tough one, however this has not affected the effort and passion that all of us have put into our various dance pieces.

Teighan Locke

Design and Technology

We would like to congratulate...

Claudia Anderson

Bethany Conlon

Teighan Locke

Juliette Denny

Jodhi Merhi

Ella Dwyer

Genevieve Hadwen

Lucy Perosin

Hallebeth Jones

Georgia Robertson

for their completion of the HSC Design and Technology Course

The HSC Design and Technology course requires students to investigate a current need within society and solve it through the development of a Product, System, or Environment.

Students spend the year thoroughly engaged in the design process and use their highly developed project management skills in the development of the PSE. The entire process is recorded in an 80-page portfolio which is submitted for marking. Students have a wide range of technologies available to them, including the use of a range of CAD applications, 3D printers, laser cutter and various workshop-based equipment and machinery. Appropriate technologies are selected by students and used in combination to produce high quality design solutions to real world problems.

The Design and Technology cohort this year have been innovative in their approaches and worked hard in the adverse situation COVID presented to them. They have used technology to adapt to the changing nature of the school environment this year and remained positive throughout the process. I would like to thank them for their flexibility and consistent application throughout the process.

Anthony Horth Design and Technology Teacher

From the Design and Technology Teacher

Bethany Conlon

Table To raise awareness for Indigenous issues

By Bethany Conlon As a Year 12 Design and Technology Student I have enjoyed experiences both inside and outside of the workshop. As part of the HSC course, we are required to design and construct a major project targeting various needs and fulfilling a gap in the market. Excitingly, we’re granted opportunities to integrate our passions and interest into our works, enabling me to utilise Indigenous Australian history and activism as the basis of my work. I was able to utilise the knowledge gained from the content within my Aboriginal Studies course to articulate a design brief; to design and construct equipment/products to assist schools throughout Australia to

become more culturally appropriate and provoke conversations about cultural diversity and acceptance. With this, I commenced the design of a classroom table that will act as a desk during class and a yarning circle during periods of pastoral care. However, after purchasing materials, cutting pieces, and beginning construction, the project was discontinued due to the COVID 19 situation. Whilst disappointing, I was able to practice design, time management and practical techniques to ultimately bring my ideas to life.

Additionally, this was an opportunity to practice independence and grow resilience when things don’t go to plan.

Bethany Conlon

Claudia Anderson The Beta Bed Homeless Shelter

By Claudia Anderson Design and Technology has taught me valuable lessons in time management and organisation. It was crucial throughout the process that I was organised and managed my time effectively as I didn’t want to be rushing my work towards the end, compromising the quality of the finished product. Within the portfolio, the Project Management section allowed me to use various techniques such as a Gantt chart to manage my time. This helped me significantly and I plan to use it in the future.

The inspiration for my product stemmed from my experience volunteering at Studio A. Studio A provides professional support to artists with intellectual disabilities. This organisation’s ability to provide

a specific societal group with opportunities in a safe setting inspired me to target another disadvantaged group. Hence, my target audience is the homeless, specifically singles living in a temperate environment.

The idea behind my design was to incorporate an elevated, comfortable bed and a lockable storage unit in one simple, transportable design. Most of the production process was completed at home, and except for some final details on the cover, my project was finalised. A highlight of my MDP was during the first part of construction, watching my design come to life. The experience of creating my MDP has been extremely memorable and has taught me many valuable lessons.

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Claudia Anderson

Ella Dwyer

Kokoda Track Inspired Table

By Ella Dwyer My major work is a wooden table showcasing the marvellous culture surrounding the Kokoda Track.

Papua New Guinea is a resource in rich country, with 40% of the population living through poverty, violence, and more. I chose to create my major work with the country of Papua New Guinea in mind due to my family’s history in Papua New Guinea. My family had a family business in the capital Port Moresby and were all raised there. My family left PNG due to its violence, thus inspiring me to acknowledge the beautiful culture through my major work. I enjoyed Design and Technology this year as I was given the opportunity to explore family history, language, and culture. Although I was not able to complete my major work, I am very grateful for the experience as I was able to experiment with tools within the workshop whilst learning about a beautiful country.

Ella Dwyer

Genevieve Hadwen

Interior Design Children’s visiting area in hospitals

By Genevieve Hadwen For my major work, I created an infectious diseases safe space for children in hospital. For this project, I wanted to digitally create this interior space, so I used the Google Sketchup program. From the various design on Sketchup, I created a prototype and allowed for the physical model of the visual design. My aim for the project was to create a space that adhered to all COVID-19 restrictions, thus could be a safe place without worry for parents and carers alike. I was inspired by different trends and movements such as minimalism and modernism to help influence the space to provide visitors with an atmosphere to be most helpful to their specific needs. Further, this space was to adhere to the needs of the children, from educating, learning, care, entertainment and play to create a safe, positive environment in a

normally overwhelming, scary place.

Within this project, I experienced many highs and lows, constant changes and revaluations, remodelling, and editing to contribute to the almost completed final product. Working with new machines, techniques, and tools allowed me to gain a greater understanding and experience within the workshop that was used through the process of my project.

Genevieve Hadwen

Georgia Robertson

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Self-Sustaining Water Gardens

By Georgia Robertson As Australia’s population and economy rise, more green spaces are moved or simply demolished to account for the increase in residents. As a result, we are moving to smaller, more compact living spaces like apartments, high rises or townhouses and are being pushed to find alternative and creative methods of sustaining and producing fresh products. This is evident as in the results from the 2010 Census show that the Australian population had increased by 19.5 million or 6.3%. This means that if we continued to grow as a nation and follow the same growth patterns we will need to develop new, innovative strategies to create sustainable harvest and keeping Australia’s overall wellbeing high. My solution to this is through the conceptualisation of a self-sustaining

water garden that is designed to combine the functional qualities of Aquaponics with the aesthetic and material principles of the current design trend of sustainable design. By doing this I have develop a successful product that will not only entice my target market (18-25 year olds) but also encourage individuals and ease the challenges that come with incorporating sustainability into everyday life, by helping users to take their first steps into sustainable practices.

Georgia Robertson

Hallebeth Jones Custom Van-Life Fitout

By Hallebeth Jones My final design for my Major Work Project has effectively increased my awareness around a human centered design approach. Throughout the project I have been able to interact with the design processes to focus my research on lifestyle improvement. I have engaged with my passion for sustainable design and my enthusiasm for simplicity and functionality to be incorporated into my final product. I have thoroughly enjoyed the entire design process and many challenges. My passion for the ‘hands on’ production phase has allowed me to create a final design that effectively meets my design brief and my personal satisfaction as a designer.

Working with my hands, whether it be with hand tools, a pencil or power tools, I have loved engaging in new skills that

will benefit me in any future design processes I undertake. This particular project has increased my passion, skills and understanding of designing for tiny living situations. I have also benefited directly through my own campervan conversion as it needed a practical and sustainable kitchen unit to complete the entire project. Throughout the year I have enjoyed Design and Technology immensely and have loved the curriculum and the various elements of design that I have learnt about and engaged with.

Hallebeth Jones

Jodhi Merhi

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Colour Therapy Lamp

By Jodhi Merhi For my Major Design Project, I designed and developed a Colour Therapy Lamp.

This is a lamp that performs colour therapy to assist in reducing stress and anxiety from individuals; the two leading factors of mental health issues.

The product is modern, up to date with technology, and is easy for an individual to use. This year, organisation and timemanagement were certainly skills that were put to the test. I was fortunate enough to complete the majority of my project, as well as develop a functional product. Growing up, mental health was constantly emphasised, and with COVID-19 my attention was further drawn to the topic. I conducted some light research, identifying the mental health struggles individuals were facing due to the pandemic restrictions. This

was evidently a trend, thus becoming the inspiration of my project. When developing my MDP, I encountered many challenges, as well as successes.

As COVID-19 restrictions tightened, I struggled with the great amount of replanning that had to be done, which was difficult due to the uncertainty. I was unable to access certain resources as planned, meaning I had to organise to work from home, resulting in completing certain things to a lower quality, such as my model. Completing this project in such a stressful time was an amazing opportunity for growth as I was able to learn the importance of organisation and time management. My greatest achievement was being able to push myself to complete as much as my project as possible, as well as being able to test it with successful results.

Jodhi Merhi

Juliette Denny ĞǀĞůŽƉĞĚ ĞƐŝŐŶ /ĚĞĂƐ͗

Idea 1.

ǀĂůƵĂƟŽŶ͗

WŽƐŝƟǀĞ͗ dŚŝƐ ĚĞƐŝŐŶ ŝƐ ƐŝŵƉ ĚƌĞŶ ƚŽ ŐƌŽǁ ƉůĂŶƚƐ ĂŶĚ ŝŶƚĞ ƉĂŶĞůƐ ĚŝƐƉůĂLJ ƐƵƐƚĂŝŶĂďůĞ ǁ ďĞĐŽŵĞ ĨĂŵŝůŝĂƌ ǁŝƚŚ ĂƐ ƚŚĞ

DŝŶƵƐ͗ dŚŝƐ ĚĞƐŝŐŶ ŽŶůLJ ƵƐĞ ĚŽĞƐ ŶŽƚ ŽďƚĂŝŶ Ă ŚŝŐŚ ůĞǀĞů ďĂƐŝĐ ĚĞƐŝŐŶ ĚŽĞƐ ŶŽƚ ŽīĞƌ ƚŚĞ ŵĂƌŬĞƚ ƚŚĞƌĞĨŽƌĞ ŵĂŬŝŶ

/ŶƚĞƌĞƐƟŶŐ͗ dŚĞ ƐŵĂůů ĐƵďŝĐ Ă ůŝŐŚƚǁĞŝŐŚƚ ƉƌŽĚƵĐƚ ƚŚĂƚ Đ ŵĂŬŝŶŐ ŝƚ ƐƵŝƚĂďůĞ ĨŽƌ Ă ǀĂƌŝĞ Idea 2. ǀĂůƵĂƟŽŶ͗

WŽƐŝƟǀĞ͗ dŚŝƐ ĚĞƐŝŐŶ ƵƐĞƐ Ś ƚŚĞ ƐƚƌƵĐƚƵƌĞ ŝƐ ƐƚƌŽŶŐ ĂŶĚ Ě ƉƌŽǀŝĚĞƐ Ă ǁŽƌŬƐƉĂĐĞ ĨŽƌ ĐŚ ĞĚ ĚŽǁŶ ƚŽ Įƚ ƐŵĂůů ƐƉĂĐĞƐ͘

DŝŶƵƐ͗ dŚĞ ĨŽůĚŽƵƚ ďĞŶĐŚ ŵ ĂƐ ŝƚ ŝƐ ĚŝĸĐƵůƚ ƚŽ ƵƐĞ ĂŶĚ ƚŚ ŝŶũƵƌŝĞƐ͘

/ŶƚĞƌĞƐƟŶŐ͗ dŚĞ ďĞŶĐŚ ƵƐĞƐ ĨĞƌĞŶƚ ƚLJƉĞƐ ŽĨ ƐƵƐƚĂŝŶĂďůĞ ǁ ĐŚŝůĚƌĞŶ ƚŽ ǁŽƌŬ Ăƚ ƚŚĞ ďĞŶ ŽŶ ƚŚĞƐĞ ǁŽŽĚƐ͘ Idea 3. ǀĂůƵĂƟŽŶ͗

WŽƐŝƟǀĞ͗ dŚŝƐ ĚĞƐŝŐŶ ŝƐ ŵŽƌĞ ĨĞĂƚƵƌĞƐ ƚŚĂƚ ŝŵƉƌŽǀĞƐ ƚŚĞ Ĩ ƉƌŽĚƵĐƚ͘ &ĞĂƚƵƌĞƐ ŽĨ ƚŚŝƐ ĚĞ ĂŶĚ ŚŽŽŬƐ ĨŽƌ ƐƚŽƌĂŐĞ͕ Ă ǁŽ ďĞĚ ĨŽƌ ƉůĂŶƚƐ͘

DŝŶƵƐ͗ dŚĞ ƐŚĞůĨ ŵĂLJ ďĞ ŽƵ Ğƌ ĐŚŝůĚƌĞŶ ƚŚĞƌĞĨŽƌĞ ǁŽƵůĚ ŵĂŝŶ ĨĞĂƚƵƌĞ ŽĨ ƚŚĞ ƉƌŽĚƵĐƚ

/ŶƚĞƌĞƐƟŶŐ͗ dŚƌĞĞ ĚŝīĞƌĞŶƚ ďĞĞŶ ƐƉĂĐĞĚ ĂƉĂƌƚ ĂŶĚ ƐĐƌĞ ƐŝŐŶ ƚŽ ĂĐƚ ĂƐ ĂŶ ĞĚƵĐĂƟŽŶĂ ĚƌĞŶ ďĞĐŽŵĞ ĨĂŵŝůŝĂƌ ǁŝƚŚ ƚ ŝŶ ƐƵƐƚĂŝŶĂďůĞ ĐŽŶƐƚƌƵĐƟŽŶ

Children’s Gardening Table

By Juliette Denny I have designed a gardening table for children which acts as an interactive educational resource. The gardening table allows children to grow their own plants whilst becoming familiarised with renewable materials commonly used in sustainable building. Studies have proven that the most effective way children learn is through actively engaging with a task that stimulates all of their senses, therefore I have created a product that includes a gardening bed as it is a physical and interactive way for children to learn sustainable methods, such as growing their own foods. I have also included a mosaic table made using different types of sustainable rocks which are labelled. This creates a contrast in colours and textures engaging children and familiarising them with these materials. The structure of the design is made using Tasmanian Oak and Merbau timber which are both highly sustainable woods and commonly used in modern design due to their renewable nature. Through the use of this product children are educated of sustainable living methods and materials from an early age.

Juliette Denny

Lucy Perosin

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Binder To prevent ‘tech-neck’

By Lucy Perosin My experience throughout this subject has been a positive subject. I didn’t do the subject since Year 8 so I thought I was going to be behind in my work but I had the guidance from my teacher and girls in my class to help me through this process. My highlight of this subject was being able to finish my major work even in the Covid-19 restrictions as I didn’t really need the big machinery that the school workshop provides and I was able to get the plywood cut when we where able to go into school to work on our major projects.

The inspriation for my major work came when I observed my friends using their binders and books to prop up their laptops. Their laptops would always slide off the binder. I too have damaged a lot of binders during high school, so I designed and constructed a product that would protect and hold a binder while raising the laptop to eye height and stopping the laptop from sliding off.

Lucy Perosin

Teighan Locke

Adjustable Height Multi Use Hall Table

By Teighan Locke Over this year I have been developing my major design project, a multi-use desk that can pose as a hallway table/ standup study desk. Throughout this process I have learnt what it is like to go through the design process in order to come up with and produce the final product. The whole purpose behind this design was inspired by the COVID-19 pandemic.

With most people either being forced to or voluntarily working from home, I thought that a desk that could fit into tight spaces and requires even less space was needed for people living in smaller homes/apartments or who don’t have enough room in their home to work.

Along the course of this project, not only have I learnt various joint options,

finishing techniques and the importance of accurate measurements, I have also managed to include 3D printing and CAD design into my development process as well. Throughout this project I have worked hard to produce a product that is functional, aesthetic and fits its need. Overall, the product that I have developed for my MDP, I am extremally proud of and the hard work and effort put into the design process has definitely paid off.

Teighan Locke

Drama

We would like to congratulate...

Eliza Carolan

Charlotte Cluff

Georgia Cluff

Molly Coe

Michaela Iuliano

Sally Kearins

Erin Longney

Ava Nalywajko

Ella Dwyer

Peyton Henderson

Ella Donlevy

Harriette Feilen

Lucy Findlay

Genevieve Hadwen

Apria O’Donnell

Tiana Paul

Thea Whittaker

Ashlea Ahmed

Stephanie Jakic

Tara O’Malley

for their completion of the HSC Drama Course

The HSC Drama course requires students to devise and perform an original Group Performance and complete an Individual Project. For the Individual Project, students can choose a monologue performance, a design project, a critical analysis task, scriptwriting, or video-drama. The scope of the course and wide variety of choice allows students to investigate ideas and concepts that most interest them. It has been a joy to watch the class of 2021 deep-dive into a variety of theatrical styles, investigate topics they are passionate about and collaborate creatively to devise outstanding Group Performances that are moving, thought provoking and laughter inducing. While professional theatre companies around the world had to shut down rehearsals and close their doors to audiences, our students also had to move the creation of their work to their bedrooms and living rooms, continuing to work together and independently in the online space. The work displayed in this showcase allows you an insight into their journey. You will have the

opportunity to watch videos taken during the rehearsal process of their Group Performance and short excerpts of their monologue performances that sadly were not able to be fully realised for external HSC markers. On behalf of the Drama Faculty, I would like to say a huge congratulations to these students.

They have been resilient in the face of many challenges, always adjusting change with creativity and flexibility.

They have supported each other and applauded the work of their peers along the way. Well done girls!

Anna-lea Russo Head of Drama

From the Head of Department

Apria O’Donnell

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The Summer of the Aliens

By Apria O’Donnell The piece I chose to perform was influenced by the play “the Summer of the Aliens”, my character who is a 15-year-old girl is forced to face a cruel world where no one truly understands.

The play is set during the 1960’s at a time where many issues such as sexual and domestic violence were ignored or “swept under the rug”. Within my piece the audience is shown the hardship that my character has had to overcome as she struggles to find herself, as she places a façade of John Lennon onto herself as a way to escape. During my two senior years in Drama at Loreto I have met so many wonderful people and had the opportunity to push myself through my acting. The Drama family has made me welcome and given me the opportunity to build my confidence and friendships. The reason I chose my Individual performance piece was because I wanted to address prevalent issues in or world today as they often go unnoticed. I have always been passionate about sharing people’s stories and this gave me the perfect opportunity to do so.

Apria O’Donnell

Ashlea Ahmed

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The Facts of Life

By Ashlea Ahmed The name of my IP is The Facts of Life, which is a comedic piece that explores the journey of a babysitter who is given the task to explain The Facts of Life to 8 year old Johnny. I chose a comedic piece as this is where my strengths lie and through the crafting of my performance, I learnt that I needed to be more of an entertainer in this piece as I’m talking to a small child, and they enjoy visuals. I loved working on my piece because I was given freedoms when exploring the character I wanted to play. Sandy was a fun, energetic, worrisome 20-year-old girl, and I was able to play with this a lot on stage.

Throughout the last five years I’ve loved studying Drama because it has given me the opportunity to work in groups, which I absolutely love! Although it can be challenging at times, you learn how to deal with a variety of opinions and emotions, whilst trying to create an engaging performance.

Ashlea Ahmed

Ava Nalywajko

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Will I Ever Get My Period

By Ava Nalywajko My performance “Will I ever get my period” is based around a nerdy and ‘TMI’ seventeen-and-a-half-year-old teenage girl who hasn’t gotten her period. Set in a doctor’s office, Sarah walks in to see the doctor to state that something is wrong with her because she hasn’t gotten her first period. The teenager reveals she is obsessed with feminine hygiene products pouring out pads and tampons as well as titling herself as a female product archaeologist. Sarah’s character goes up and down when she realises that if she doesn’t get her period, she would never be able to have children and no one would ever want to marry her. Her quirky and bubbly personality throughout this piece is enjoyable for audiences to watch as we are taken on a journey of the concerns of never getting a period.

Ava Nalywajko

Charlotte Cluff

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Musicals That Explore Historical Events Go Beyond Educating and Entertaining an Audience

By Charlotte Cluff The intention of my Applied Research Project was to explore if musicals that present alternative versions of historical narratives on stage can influence the values of audiences. Being a passionate theatregoer and history student, I have always questioned whether audiences can be impacted by theatre and specifically musicals beyond the theatre walls. After attending musicals that present social and political messages, these experiences have confirmed to me how an audience’s values can be influenced by the key messages presented on stage.

Through my rigorous research process, I discovered that theatre can do much more than just educate and entertain audiences, and rather be used as a reflection of a society, and to impact the

values of a society. Through surveying audience members from the current Australian production of ‘Come From Away’ at the Sydney Capitol Theatre, which aims to promote the values of human kindness amongst tragedy, and Lin Manuel Miranda’s iconic Broadway Musical ‘Hamilton’, currently being performed in the Sydney Lyric Theatre, which aims to challenge the American political landscape, addressing themes on racism, stereotypes, and ethics, allowing me to see firsthand how both the actor and audience’s values can be influenced by a touching musical performance.

Charlotte Cluff

Eliza Carolan

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The Writer

By Eliza Carolan My piece ‘The Writer’ by Anton Chekov surrounds a character named Murashkina who is attempting to sell her play to a well renowned playwright, Pavel. I chose this piece as its comedic elements are thoroughly enjoyable to perform, however it also reflects a deeper representation of women in the industry being turned down and not listened to because of their gender.

This is another reason why the piece appealed to me, as Murashkina embodies the role of a woman who is determined to succeed and to be heard. My piece employs comedy and physicality to present these ideas, and I have greatly enjoyed performing this piece as it is high energy and entertaining. I have

loved drama as a subject and have immensely enjoyed celebrating the arts with my close peers and enthusiastic teachers. I have had numerous growth opportunities through drama that have assisted me with my confidence and presentation skills, and the safe space created within the classroom with my peers and teachers always made me feel valued and generated an enjoyable experience. Overall, my Individual performance has allowed for me to grow in my confidence as well as produce a piece that is enjoyable to perform and comedic for audiences watching.

Eliza Carolan

Ella Donlevy

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Things I Know to Be True

By Ella Donlevy For my Individual Project I selected to perform the opening monologue from Andrew Bovell’s play ‘Things I Know to Be True’. This 2016 play tracks one year in the life of an Australian family and the change in dynamics that occurs as the children grow up. My piece is the monologue delivered by the youngest child, Rosie, at the start of the play and it discusses her overwhelming heartbreak whilst on a trip in Europe that has forced her to not only return home, but question what she really ‘knows to be true’. I loved crafting this emotionally driven piece of theatre, and I really enjoyed the chance to play with comedic characterisation and contrast that to a deeper, sadder emotion. Whilst I never got the chance to properly perform this piece, I have learnt so much in getting to work on it and have had the opportunity to develop my skills over the course of HSC Drama. Overall, the individual project process has been one of my favourite aspects of Drama and I have loved being able to craft a monologue.

Ella Donlevy

Ella Dwyer

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Food Baby

By Ella Dwyer My IP Performance titled ‘Food Baby’ is a comedic piece exploring the relationship between the character of Amy, and her supposed boyfriend Stephen. The performance displays Amy’s desperation for Stephen’s love and acceptance as he understands Amy is not your average girlfriend. I chose to perform a comedic/nervous piece as I found these were my strengths through the creation of my performance and through the progression of our GP performance. I loved working on my IP as I was given the challenge of crafting a piece to my own style and making it my own, whilst playing with the character of Amy. Being a drama student comes with its challenges but overall is so rewarding, as you can share your passion and creativity with students and teachers who have the same love towards drama. Working independently allowed me to discover my own personal limits, and strengths, which allowed me to grow not only as a performer but as a person.

Ella Dwyer

Erin Longney

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Five Women Wearing the Same Dress

By Erin Longney For my IP performance, I chose to perform a compilation of excerpts from Alan Ball’s 1993 play, ‘Five Women Wearing the Same Dress’. I chose to perform this play as I was drawn to the multifaceted and complex character, Meredith, who outwardly presents a confident and boisterous personality, which ultimately breaks down to reveal the true burden of her childhood trauma and experience with sexual assault.

The main challenge I faced with my IP was choosing a piece to perform, as it was challenging to narrow down all the available plays and monologues to one that I felt really drawn to. I initially began working on a completely different piece and ended up changing to a new one in the middle of the process, which was challenging to start completely afresh, though rewarding to see the final piece come together by the trial exam and comforting to know I had found a piece where I was more confident.

Performing and building this piece, it was interesting to portray such a complex character, who appears extremely confident and brazen, yet is masking hidden vulnerabilities.

Erin Longney

Genevieve Hadwen

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Educating Rita

By Genevieve Hadwen I have chosen to perform a compilation of scenes from Willy Russell’s play “Educating Rita”. My aim for this piece was to explore themes of social classes leading to the crisis of identity for the main character, Rita. The 1980’s play, set in the early 80’s, explores Rita’s determination and grit to attend summer school in order to receive an education that will enable her to create her ideal life.

During this IP process, I experienced many highs and lows for the overall performance. Working with ex-students allowed for clarity and growth in my acting style as well as providing ‘Rita’ with her purpose and stance on each element of the conversation. I found that during the conversation, Rita was reacting to her teacher, Frank, allowing for Rita’s character development throughout the piece.

During this time in England, the working class had limited access to any education, thus Rita attends university to escape from her background, gain confidence and independence so she is in control of her life and able to make her own decisions. I was inspired to play the hard-working Rita to highlight the treatment of women in England and provide an understanding of her motives and her view on the world.

Genevieve Hadwen

Georgia Cluff

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The Power of Community Theatre in Central West NSW to Create Positive Change in Times of Crisis

By Georgia Cluff The intention of my applied research project was to explore the ways that positive change can be created through community theatre in times of hardship for individuals and communities in Central West NSW. As someone who is passionate about theatre and resides in rural NSW, I have attended many local community theatre productions including some which were performed in the midst of crisis, where the connection between cast members and the joy that radiates within their audience was profoundly evident. My research into this topic, particularly primary research through interviewing

actors and directors who are directly involved in rural community theatre programs allowed me to gain great insight into the way in which community theatre allows for significant personal growth and development of strong networks for participants. I thoroughly enjoyed working on this project which was something of great interest to me. It allowed me to discover the great impact that community theatre can have, not just on the individuals who are directly involved, but the wider rural community as a whole which is particularly important in times of collective hardship.

Georgia Cluff

Harriette Feilen

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Muriel Heslop

By Harriette Feilen Hi, I’m Muriel Heslop and this is my drama individual performance. My performance was based on the young outcast, Muriel Heslop from the one and only ‘Muriel’s Wedding’ who went through some rough challenges in her journey to finding herself. Although lockdown threw a spanner in the works, the drama students never failed to have a little fun in their bedrooms whist practising their IP. It was a challenging journey, but I loved every bit of it.

Harriette Feilen

Lucy Findlay

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The Real Inspector Hound

By Lucy Findlay My piece ‘The Real Inspector Hound’ is an inside perspective of the comedic and exaggerated detective who aims to solve a “whodunnit” murder case. As a clumsy, overconfident and ironically incompetent inspector, I thoroughly enjoyed the physicality, pace and farcical nature that came with playing this character. Throughout the piece as the murder mystery unravels, the audience is provided insight and even develops a sense of empathy for Hound; beneath all of the costuming, gags and proclamations, we discover that he too somtimes feels fearful and scared of the unknown. When choosing an IP, I wanted to pick something completely unrelatable, outside of my comfort zone, that would be a challenge but equally as rewarding when performed.

After 6 months of creating the piece it’s safe to say that Hound and myself now have a very special bond which I will remember forever.

Lucy Findlay

Michaela Iuliano

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Slow Girl

By Michaela Iuliano I have chosen to perform a compiled version of sections from Greg Pierce’s play “Slow Girl”. My intentions for this performance was to explore the complexity within societal conformity to protect status and the struggle my character goes through as a result of this. In this performance my character Becky is discussing the situation with the school counsellor. This circumstance heighted the situation and her pending plea for help which grows as she realises before our eyes, that she could be guilty while presenting a somewhat conflicting case to the audience. Thus, in this

piece I placed emphasis on role and character by drawing on her bluntness and insensitivity occasionally which can leave audiences with a distinct impression of her however this allowed me for the peeling back of her layers, revealing that she only uses her “popular girl” charisma and attitude as she feels it’s something she needs to latch onto. Throughout the piece I have made staging choices to draw on the complexity within her character and revealing more of the heart Becky actually has buried beneath the persona.

Michaela Iuliano

Molly Coe

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Dr Fiona

By Molly Coe My Individual Performance piece ‘Dr Fiona’ follows an eccentric psychologist as she provides career guidance for ‘normapath’ Brendan. I developed Dr Fiona’s character to be repulsed by Brendan’s normalcy and act as though this is worst thing that could happen in order to highlight Dr Fiona’s irregularity.

Performing this piece, I have the intent that Dr Fiona is genuinely trying to help Brendan become abnormal while unintentionally making things worse. As Dr Fiona becomes more frustrated with Brendan, I manipulate body language and tone to gradually become more unhinged, meanwhile Brendan becomes increasingly resentful due to the frequent insults and patronising. As the relationship changes, Brendan questions Dr Fiona’s beliefs, causing her to break down.

The unravelling of Dr Fiona’s character throughout the piece combined with her condescending nature, constant insults, and unnecessary emotional manipulation, ultimately drives Brendan to pull out a gun on Dr Fiona.

The shocking and unexpected ending and leaves audiences with the irony the Brendan was far from normal the whole time.

Molly Coe

Peyton Henderson

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There is a Place for Theatre that Shocks Audiences in 2021 and 2022.

By Peyton Henderson My inspiration for my Applied Research Project was my love, interest, and enjoyment of dark, controversial and taboo topics. I wanted to dive deeper into the shocking things that could be performed onstage. I chose to do applied research as I was given the freedom to choose what I wanted to learn more about. I enjoyed working and completing my IP and it felt so rewarding when I submitted it!

I have studied Drama for 5 years and I have thoroughly enjoyed the journey.

I have developed my teamwork skills and learned that everyone’s idea can be a good idea. I learnt how to perfect my PEEL paragraphs and research skills which has helped me in every subject and I’m sure will be useful later on in my life. I was given so many opportunities by my teachers, whether it was going to plays or being able to perform in the Shakespeare Carnival, my teachers were always there, wanting the best for me.

Peyton Henderson

Sally Kearins

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Death and the Maiden

By Sally Kearins My HSC piece is a compilation of moments from Ariel Dorfman’s tensiondriven, ‘Death and the Maiden’ play that explores the tumultuous political chaos and regimes in Chile 1990. I take on the character of a 38-yearold political prisoner, Paulina Salas, who is convinced that the guest her husband brings home (Dr Miranda) is the same man who tortured and abused her years ago. Highlighting the vitality of social justice to victims of political conflict and the importance of internal reconciliation, my piece retains a “global relevance” (Ariel Dorfman) in which I aim for the audience to cultivate empathy for the distressed and manic character. During the creation of my piece, I loved uncovering the intricate ways in which Paulina’s traumatic past still haunts her, whilst also breaking out of my comfort zone to navigate her authentic and uncomfortable reality in attempts to expose the truth and achieve her justice.

Sally Kearins

Stephanie Jakic

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Rise and Shine

By Stephanie Jakic My performance is called ‘Rise and Shine’. Written by Dario Fo and Franca Rame, this highly comic and physical piece explores the challenges of a working-class mother who struggles with the daily routine and demands of motherhood. She is retracing her steps to find the key to her front door so that she won’t be late to work and can send her baby to day care. Through this, we can see a day in a life of this mother and the complications she faces.

This piece is a comedic monologue which I loved working on as it allowed me to portray my strengths in comedy, furthermore, allowing me to challenge myself through incorporating a voiceover whilst focusing on my physicality on stage.

Through the study of Drama, I have developed my self-confidence on stage and when working with others. I have also learned to be adaptive to issues, think critically and quickly on my feet, and develop my problem-solving skills in rehearsal and on stage. This is a very beneficial learning opportunity and one that I will be able to use in future years when working in a team.

Stephanie Jakic

Tara O’Malley

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Lamb to the Slaughter

By Tara O’Malley For my HSC Drama Individual Project, I chose to do the monologue ‘Lamb to The Slaughter’ by Roald Dahl. This monologue is about a 1950’s housewife who kills her husband with a leg of lamb after she discovers he is leaving her. The performance explains how it happened and how she got away with it. My inspiration involved seeing ex-Loreto girls’ work from previous showcases, which helped me choose the genre of monologue I wanted to do.

My experience throughout this IP has involved multiple ups and downs, the start was definitely the most difficult trying to find a monologue that suits you and then blocking the one you

choose. However, without the help of the amazing drama staff, I wouldn’t have been able to get my performance to where it is now. Pre-lockdown, the entire Drama Year 12 cohort were extremely encouraging with helping each other with their projects and making it as amazing as possible. The biggest growth opportunity I had was the Drama Trial performance, it helped me with confidence in performing as well as giving me feedback on where I could improve and excel more to receive the best mark I could.

Tara O’Malley

Thea Whittaker

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The Curious Incident of the Dog in the Night-Time

By Thea Whittaker

My performance is a theatrical reworking of the well-known book and play “The Curious Incident of the Dog in the Night-Time.” I play the main character Chris, who struggles to comprehend other human beings. One day when she finds her neighbour’s dog lying dead on the lawn, she decides to take the matters into her own hands and track down the killer in order to write a murder mystery about it, however her lack of communication pins her as the main suspect. Set in a police cell, Chris is being interrogated and questioned about the events which have unfolded.

One of the main challenges I faced over the journey of my IP was the fact that I had to restart on a new piece, as my old piece wasn’t really working.

Thea Whittaker

Tiana Paul

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Necessary Targets

By Tiana Paul For my IP monologue performance in the style of realism, I have selected to perform a previous constructed script from the play ‘Necessary Targets’ written by Eve Ensler (1996), the story of two women who travel to Bosnia to be with the women living amongst the traumatic conflict.

My monologue intends to highlight the importance of sharing the stories of victims, whilst also emphasising the corrupt manipulation of the media. My piece retains significance in our modern context by exploring the horrendous impacts of civil war, specifically in Bosnia, and how Serbian armies are ‘using rape as a form of genocide’.

My performance explores the experience of one of the female writers and her fight to have the outcome of these war atrocities included in ‘The Daily Telegraph’. My monologue character ‘Melissa’, an ambitious young writer who once had no empathy, feels compassion for the women whose tragedies she has been sent to expose.

In a moment of revelation, Melissa realises the hypocrisy of her chief editor, exposing his skewed morals when publishing stories that are likely to improve reading rates rather than informing viewers of the detrimental impacts of war.

Tiana Paul

The Broomettes

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The Broomettes

By Eliza Carolan, Erin Longney, Harriette Feilen, Sally Kearins, Thea Whittaker For our Group Performance, we explore the journey of an enthusiastic cleaning company, on a mission to retrieve their most prized possession: a missing cleaning glove. Brunette family members; Jessica, Sandra, Cheryl, Ruth, and the shunned redhead, Penny, are eccentric cleaners carrying on the family business, keeping everything from your local toilets to Parliament House squeaky clean. When retracing their steps through Parliament to find Penny’s missing glove, they uncover more than they realise, the dirty reality of the current parliament. The story follows the journey of the family through comedic language and physicality, whilst discussing serious concerns within society that are prevalent today. As a group, we learnt the value of collaboration and teamwork, and created a piece that encapsulated all our combined ideas.

The Broomettes

The Good Wife’s Guide

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The Good Wife’s Guide

By Ashlea Ahmed, Ella Dwyer, Peyton Henderson, Stephanie Jakic, Tara O’Malley The name of our Group Performance was titled, The Good Wife’s Guide and explores the role of 1950s women who find ways of solving their difficult marriages through crime and comedy.

We loved working as a group and creating our performance because it allowed us to explore crime fiction, which is what we’re interested in, in an engaging and theatrical manner.

Whilst group performance has lots of challenges, such as staying focused and dealing with a variety of perspectives, we found that the laughs and successes we had along the way, made it worth it. We even got to include our much-desired dance moment!

Whilst COVID-19 threw a spanner in the works, we learnt how to work creatively with each other, think on our feet, problem solve all whilst becoming much closer friends.

The Good Wife’s Guide

Mother’s Group

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Mother’s Group

By Apria O’Donnell, Genevieve Hadwen, Michaela Iuliano, Molly Coe, Tiana Paul Our GP performance follows 5 mothers as they try to figure out why they have been called to the principal’s office. The Step Mum, Tiger Mum, Conservative Mum, Spiritual Mum and Wine Mum engage the audience as they recall the events of the previous week that may have caused them, the self-appointed ‘perfect parents’, to get in trouble. Our inspiration for our group performance stemmed from the imperfections of every parenting style that both children and parents can relate to. As we showcased how the mothers only focused on themselves, blinding them from the fact that their children were achieving great things.

Our Group Performance developed and changed significantly over time going from a serious, issue-based piece, to a comedic piece about these eccentric Mothers. Each group member contributed new ideas and we all worked together to create a cohesive and entertaining piece.

Our performance begins with a ferocious cat fight at the kid’s soccer game followed by a bake sale gone terribly wrong. These scenes became fictional and exaggerated as we manipulate the elements of drama to transform the soccer match to a boxing game and the bake sale to a Shakespearean witch brew.

Mother’s Group

Twinkly Twinkles

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Twinkly Twinkles

By Ava Nalywajko, Charlotte Cluff, Ella Donlevy, Georgia Cluff, Lucy Findlay The intention of our piece was to comically explore the extent to which ‘political correctness’ has become overemphasized in our society, and whether this has contributed to a loss of meaning in traditional didactic tales, especially children’s nursery rhymes.

As a hopeless collection of misfits who form an amateur theatre group, the journey of our piece follows our quest to find a nursery rhyme which fits the ‘politically correct’ standard of our society. Throughout the piece we encounter a plethora of issues within the traditional nursery rhymes, including assumptions such as the ‘racism’ within ‘Baa Baa Black Sheep’, ‘sexual consent’ in ‘Jack and Jill’ and ‘Sizeism’ in ‘Humpty Dumpty’, highlighting the absurd ridiculousness of over analyzing traditional moral tales which occurs all too frequently in our society. Our group has really enjoyed the process of crafting our performance ‘The Twinkly Twinkles’, and loved the chance to take creative license and experiment with a variety of concepts and present them in a comedic way including through the use of rhyme, singing and movement.

Twinkly Twinkles

English Extension 2

We would like to congratulate...

Eloise Carey

Leila Mangos

Olivia Holmes

for their completion of the HSC English Extension 2 Course

‘Error!’ - Olivia Holmes

The English Extension 2 course provides students with the opportunity to further strengthen their understanding of how and why aspects and concerns of texts from the past have been carried forward, borrowed from and/or appropriated into more recent cultures.

In Extension 2 students undertake independent investigation to develop a sustained composition and document this process in their Major Work Journal and Reflection Statement. These major works are opportunities for students to find joy and challenge in the creation of something new, and to learn and reflect as part of a continous process of ‘re-imagining their ideas and pieces.’

This year has not been without its challenges, however all of our Extension 2 students should be incredibly proud of the work they have produced.

Rosanne Timmins Head of English

From the Head of Department

Eloise Carey

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The Grey Minutes

By Eloise Carey My final major work explores the role that storytelling plays in the way we construct meaning surrounding and attribute purpose to our lives. Exploring this though the voices of three different elderly protagonists, my piece challenges the audience to question whether the value of a life is lost when it is not communicated in traditional narrative form i.e. beginning, middle, and ending.

The Extension 2 journey, although challenging, has fuelled my passion for The narrators of my piece are inspired English Literature, as well as creative by individuals I came to know in my writing, allowing me to extend my skills grandmother’s nursing home – as well as through composing a piece longer than herself – and thus pertinently reckons I had ever written before. As a writer I with the prospect of experiencing life have gained invaluable experience in when on the verge of death. Despite planning, composing, revising and reits heavy themes, my piece still hopes revising a singular piece, and analytically to retain a playful aspect, which can be I have gained not only skills but also especially seen through the absurdist a deeper interest in the intricacies of voice of ‘Iris’. texts, and the way in which they are shaped by context and research.

Eloise Carey

Leila Mangos

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Ink

By Leila Mangos My year 12 English Extension 2 major work, entitled Ink, is a performance poetry piece that aims to expose the ongoing social meta-narrative and, furthermore, the way in which disadvantaged minority groups are positioned within it, responding to my own experiences as a neurodivergent individual to provide my major work with authenticity and relevance.

I have communicated my interpretation of the societal meta-narrative through my stylistic choices, allowing me to adapt the flexible nature of spoken-word poetry to best reveal my purpose, utilising the creative skills I developed in the Stage 6 English courses.

According to Susan B.A Somers-Willett, published poet, the purpose of contemporary slam poetry is to, “reveal new understandings about… identity”, demonstrating the importance of contemporary spoken poetry in providing an authentic and revealing perspective of experiences that are disregarded by the social meta-narrative.

Throughout my poem, I use the motif of ink and the way it creates – or stains – stories, communicating the nature and consequences of the societal meta-narrative on those it disadvantages: “Maybe we all have ink But only some have the cannisters to use it Barrels to shoot it Use my Skin as paper Layer Your ink within me Throughout me About me Without me Doubt me If I shout a word against you How lucky I should feel to be tattooed!”

Leila Mangos

Olivia Holmes

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Click image to view

Error!

By Olivia Holmes My Major Work depicts a dystopia in which who you love and how you present yourself is predetermined and fixed, and any attempt to break from conformity only ends in punishment.

In ERROR, I intended to challenge the structures within our society that limit self-expression and freedom of choice.

In my animatic dystopian short film where the protagonist lives in a futuristic world in which you are given a “SoulM8”, someone to marry and have children with. The prescriptive and restrictive nature of the world, and the problems that arise around gender, sexuality and freedom invite my audience to question the relationship between the individual and society as the dystopia holds a mirror to aspects of our world.

My experimentation with a new and innovative film medium, the animatic challenges traditional conventions and modes of behaviour and communication.

The animatic is characteristically sketchy and unfinished looking, and accordingly my film acts as a prediction and a warning against complacency. My Major work is intended for an audience interested in social justice issues, especially regarding LGBTQ+ issues and equality and experimental animated films.

Although the current circumstances surrounding the creation of my major work have made the process quite difficult to sustain, I am proud of the work I have put into it and how it has improved my craft as a storyteller.

Olivia Holmes

History Extension

We would like to congratulate...

Eleanor Adlam

Breahna Akerboom

Elizabeth Bronk

Sophie Earle

Anna Garnsey

Ashlyn Horton

Tia Ranftl

Zoe Redwin

Caila Cicchini

Charlotte Cluff

Ella Donlevy

Ella Kissick

Erin Longney

Monique McEnearney

Anna Singh

Eliza Vardy

for their completion of the HSC History Extension Course

The History Extension course focuses on the construction of history from ancient times to the modern day. As part of the course, students write a thesis on a topic of their choosing that relates to the construction of history and historiography. During the research and writing process the girls maintain a log of their research journey and are mentored and supervised by a member of the History Department who they regularly check in with.

The final works must reach the highest academic standards and comply with the formal expectations of work done at a tertiary level whether it be for an Honours, Masters or PhD dissertation in History.

At the completion of the process, the students submit two items: - Their final, fully referenced essay which includes a bibliography and source analysis - A physical logbook that they have maintained during their research journey This year, because of COVID-19

lockdown, the girls were asked to create video summaries of their logbooks which aimed to capture the essence of their journey. These videos are what are included in this year’s HSC showcase.

We are very proud of all the works completed by our History Extension students in 2021. They have selected a range of fascinating topics from varied time periods of history and have all grown immensely, both academically and personally, through engagement with the process.

Marco Scali Head of History

From the Head of Department

Anna Garnsey Remembering the Cultural Revolution in China

By Anna Garnsey

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Anna Garnsey

Anna Singh Historical Neglect on the Role of Parental Influence in the Rise and Reign of Alexander the Great

By Anna Singh

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Anna Singh

Ashlyn Horton Polish Historians and their Influence on Nationalistic History in Poland

By Ashlyn Horton

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Ashlyn Horton

Breahna Akerboom The Politicisation of Tasmanian Indigenous History

By Breahna Akerboom

Click video to play

Breahna Akerboom

Caila Cicchini The Influence of Ancient Archetypal Narratives in Modern National Histories

By Caila Cicchini

Click video to play

Caila Cicchini

Charlotte Cluff The Historiography of the Motivations for the American Revolution

By Charlotte Cluff

Click video to play

Charlotte Cluff

Eleanor Adlam Historical Perspectives on the Ways in Which the French Revolution Was Received in Britain in the 18th and 19th Centuries

By Eleanor Adlam

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Eleanor Adlam

Eliza Vardy American Historical Perspectives on the ‘opening’ of Japan in 1853

By Eliza Vardy

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Eliza Vardy

Elizabeth Bronk The Impact of Religion on the Historical Representations of the Islamisation of Coptic Egypt

By Elizabeth Bronk

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Elizabeth Bronk

Ella Donlevy Racism and Pandemics: The Persecution of the Jews During the Black Death

By Ella Donlevy

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Ella Donlevy

Ella Kissick The Whitewashing of African-Americans in American History

By Ella Kissick

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Ella Kissick

Erin Longney The Influence of the ‘Lost Cause’ Narrative in Distorting the History of the US Civil War

By Erin Longney

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Erin Longney

Monique M Enearney c

Historical Neglect of the Long Term Reasons for the Collapse of the Tokugawa Shogunate

By Monique McEnearney

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Monique M Enearney c

Sophie Earle The Mitscherlich Thesis on West German post-WW2 Trauma and its Application to Post-War Japan

By Sophie Earle

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Sophie Earle

Tia Ranftl Revisionist Perspectives of the Italian ‘Risorgimento’

By Tia Ranftl

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Tia Ranftl

Zoe Redwin An Analysis of Herodotus and Sima Qian as the ‘Fathers’ of History

By Zoe Redwin

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Zoe Redwin

Music 1, 2 & Extension

We would like to congratulate...

Rana Evans

Grace Gillies

Sabrina Haaf

Eliza Carolan

Harriette Feilen

Tara O’Malley

Elizabeth Travers

Clara Briggs

Matilda Hardy

Vivien Li

Isabella Leonardi

Olivia Lukac

Yasmin Say

Chloe Oong

Jordyn Richards

Anne-Maree Swanson

Maya Vander Meeden

Veronica Vella

Joanne Yi

for their completion of the HSC Music Course

The HSC Music 1, 2 and Extension courses provide students with an opportunity to develop and refine their skills as musicians, in the areas of performance, composition and musicology. This year, our students have chosen to share a selection of their performances and compositions from the core and elective components of their course.

The Music department are exceptionally proud of the adaptability and resilience exhibited by our students throughout their HSC Music studies, particularly in Term 3. Students were required to navigate their practical Trial examinations, submit final compositions and present their HSC performance program, either at school with restrictions or by submitting recorded performances, which our Boarders completed with such professionalism.

Our Music students’ Showcase provides an insight into different points in their journey in 2021. The musicality, confidence and creativity on display is a testament to each student’s hard work and determination. Thank you to our Year 12 Music teachers, Mrs Helen McIntyre and Ms Nicky Abkiewicz, and to our Music Tutors and accompanists for their constant guidance and support this year.

Congratulations to our HSC Music students!

Sarah Ashton Head of Music

From the Head of Department

Anne-Maree Swanson

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Good Morning Baltimore

By Anne-Maree Swanson Throughout my few years at Loreto, I have been immersed in many opportunities to be able to perform.

With the help of my singing teacher, Mrs Bruce, I was able to choose four songs that showcased my abilities and talents. By performing in Concert Practice and rehearsing with the band, I felt I was becoming more confident and comfortable with the songs. However, due to COVID, this changed. Whilst I can say that I never imagined I would be rehearsing my songs over Zoom, I can say that the support received during this hard time was constant. Being a boarder, it was hard to learn that I would have to perform my HSC performance pieces over video and upload them.

Whilst I felt disheartened, I trusted the Music Department’s decision. With the help of my singing teacher, Mrs Bruce, my music teacher, Mrs McIntyre, and my accompanists, Ms Miller, Joey, and Chris, who sent me through completed recordings of my accompaniment, I was able to produce my four HSC music songs. Whilst it was hard, I completed the songs to the best of my ability, and I am very excited to be able to show you the song I was most proud of.

Anne-Maree Swanson

Chloe Oong

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Nothing Stops Another Day; Ghost the Musical I’ll Be Here; Beriscia Talking to the Moon; Bruno Mars Bound to You; Christina Aguilera

By Chloe Oong Through my extensive exposure to music before and during my Loreto Normanhurst education, it was in my Music 1 class where I learnt new ways to express music in theory and practice.

My singing teacher of 5 years, Mrs Karen Bruce, has taught, guided and improved my singing and performance immensely.

There were many difficulties that the pandemic presented, experiencing online Zoom singing lessons and Concert Practicals. Although it was difficult transferring my musical tuition online, every experience so far has led me to become a better musician holistically. Thank you to my teachers Mrs McIntyre, plus Mrs Irik in Year 11 for their knowledge and kindness. I have decided to showcase all four of my songs, including Nothing Stops Another Day (Ghost), I’ll Be Here (Ordinary Days), Talking to the Moon (Bruno Mars) and Bound To You (Christina Aguilera). The last three songs are from my Trials

Click video to play performance in July, with my amazing accompanists Amanda Miller and Joey McCoy. I dedicated my Trials and HSC performances to my grandfather who always had an immense passion for music, as he passed away two days before my Trials Exam. Through experiencing Trials, we successfully fine-tuned and improved my songs for my final HSC performance. Overall, I am grateful for the opportunities I have been given to fully reach my potential and share my love of music with my family and friends.

Chloe Oong

Clara Briggs

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Sonate for Klarinette, Op 107: 4th Movement; Reger Pastorale: for Clarinet and Piano; Carmichael Black, White and a Little Blue, Clarinet Sonata: First Movement PalmerInfestation; Own Composition

By Clara Briggs From Year 11 to 12 I’ve experienced a lot Another element of this growth as a of growth as a performer, clarinetist and musician was through composition. For me musician. One of the biggest obstacles I faced

composition has always been a challenge, it

was my nerves when performing, however seemed like I could never really compose a you learn quite quickly as a performer that it

piece that I liked. So, in Year 12 I sought out

is important to have confidence in yourself

many different sources of inspiration that all

and your abilities. I’d practice for hours every eventually assisted me in creating the final week, apply feedback from markers, have composition I have now, but I was particularly lessons with my clarinet teacher, rehearsals struck by one composer, Igor Stravinsky in with my accompanist, and once you get

his piece “Rite of Spring”. I was struck, not

the opportunity to perform it’s important to

just by the incredible sound and atmosphere

realize that it’s a time to show what you’ve

he was able to craft in such a big orchestral

accomplished. Once I learnt this, I was able

ensemble, but his use of the Clarinet and

to grow so much as a performer. I remember Bass Clarinet. This was when I realized, ‘I when I performed my piece, “Black, White

play Clarinet and I know what this instrument

and a Little Blue” by George Palmer in is capable of, so why aren’t I writing like it?’ concert practice I got the biggest round Realizing this I was able to create a piece with of applause from my classmates in Music

an atmosphere like Stravinsky and a sound

2 and a big smile from my accompanist. In that was so unique, but so satisfying and that moment I was able to believe in myself

new, to a clarinetist like myself.

more than ever before. I believe that this growth is evident through this showcase of my trial performances, even since trials I have continued to grow as a performer, through my tone, rhythmic accuracy and expression for my HSC program held just seven weeks later.

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Clara Briggs

Eliza Carolan

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If You Want Me; ‘Once’ the Musical Autumn Leaves; Cassidy Cry Me a River; Fitzgerald

By Eliza Carolan Over my musical education and singing prior to my education at Loreto Normanhurst I have always had an immense joy and thrill from not only singing, but the performance opportunities I have acquired and completed.

For my HSC Music 1 repertoire, I chose songs that I felt connected to and supported my voice, and the incredible band who accompanied my performance made the experience all the more enjoyable.

Although completing three performance major works for my HSC (Dance, Drama and Music) has been challenging, I have enjoyed every second of it, and I greatly appreciate the opportunities I have been given to perform, as it has allowed for growth in my confidence and performance skills, especially under exam conditions.

I feel privileged to be able to share my pieces via Loreto’s showcase, and I have loved perfecting these songs over the last year.

I am so grateful to have had the opportunity to perform my pieces live regardless of this year’s circumstances, and I want to also thank my teacher, Mrs McIntyre, my singer teacher, Danni Da Ros, and the entire Music Department.

Eliza Carolan

Elizabeth Travers

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A Trip to the Library; ‘She Loves Me’ the Musical Quiet; ‘Matilda’ the Musical

By Elizabeth Travers Loreto has given me many opportunities to grow as a musician, including numerous performance opportunities and amazing teachers. My Flute playing has significantly improved thanks to my Flute teacher, Adrienne, and the time she spent with me developing my tone after my braces were removed earlier this year.

Through attending Choir and encouragement from my Tutor at the time, Mrs Irik, I also started Vocal lessons. Thanks to my singing teacher Mrs Bruce I have discovered a lot more about my voice and my preferred singing style, which is reflected in my HSC repertoire, one song being ‘A Trip to the Library’ from the musical ‘She Loves Me’ which follows a girl recounting her first experience at the library. The character is funny and a bit awkward at times as she falls for a boy she meets at the library; this song took a while to perfect due to the vastly different sections and complex rhythms, but we got there in the end.

I also perform ‘Quiet’ from ‘Matilda’ which I only started in Term 2 as another song wasn’t working. It encapsulates the overwhelming emotions Matilda is feeling, and through contrasting dynamics it allows for a more interesting song than my previous one. I want to thank my teacher Mrs McIntyre for supporting me the past two years and to Mrs Miller and Chris for accompanying me. I have improved a lot since these Trial videos you are about to see and used them as an indicator of what I needed to improve on.

Elizabeth Travers

Grace Gillies

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Suss and Sassy Sway; Vine Sonata; Woods

By Grace Gillies Doing the Suss and Sassy Sway by Nicholas Vine piece was the most challenging for me to learn because of its difficult rhythms and how it worked with the accompaniment, but as I improved it became the piece I most enjoyed performing in my HSC program.

It is a contemporary piece composed in 2014 and is the composer’s personal farewell to life in inner-city Sydney. It makes use of time changes, complex rhythms and catchy melodic hooks which were difficult to master. I would say that I surprised myself with how I performed this piece in my Trials, considering I went into it feeling a little underprepared in relation to the time I had spent practising with my accompanist. Post trials, we spent more time understanding the way the piano and saxophone moved together in a contrary motion and the piece felt almost like a rap battle. Overall, I was proud of the rhythmical improvements I made for the HSC performance and the expressive techniques I implemented throughout to convey an exciting and interesting piece.

Sonata by Phil Woods was one of the first pieces my Saxophone tutor and I chose for my HSC program and was a piece I enjoyed playing from the very beginning. It was composed in 1849 and uses long emotive phrase lengths which work toward melodic peaks, reflecting the Romantic period of the time. I loved playing the beginning of the piece because of the slow tempo, which meant I could really think about the expressive techniques and dynamics. The piece increases in tempo as it progresses and there are very few chances to stop and take a breath, so I did find it a tiring process to play it through fully, and especially being the last piece on my program, I was usually very out of breath by the end. However this certainly made it all the more rewarding to finish and with the implementation of a jazz solo in the middle I thought of it as a bit of showstopper for the markers. As the piece was still a work in progress when I performed for Trials, I spent time using the metronome in order to get my fast runs in time with the accompanist and worked with my tutor to exaggerate the jazz style, particularly through the swung rhythms.

Grace Gillies

Harriette Feilen

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Gravity; Bareilles My Mind; Yebba Natural Woman; King

By Harriette Feilen At the start of my journey at Loreto Normanhurst I decided to expand my horizon and step out of my comfort zone, started singing lessons with the amazing Mrs Bruce. From the time I stepped into the music cells I knew I had a strong passion for performance and showcasing my singing abilities.

From Concert Practice in the Curran Theatre to Trials and HSC Music performance it was an amazing experience, every minute of it. With the help of Mrs McIntyre and Mrs Bruce I picked four songs in Term Four and have been working on them ever since. There has been challenges along the way with COVID 19, Zoom concert practice and self-doubt, but the Loreto Normanhurst Music Department helped me gain the confidence, resilience and passion that I now have as a result of my time as a Year 11 and 12 student studying Music 1.

Harriette Feilen

Isabella Leonardi

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Concerto for Two Cellos in G Minor; Vivaldi Song Without Words; Mendelssohn

By Isabella Leonardi My journey through music has been challenging however in the past few months my growth in not only the practical performance, but the aural side as well has improved. I worked with my Cello tutor along with Ms Abkiewicz to achieve my fullest potential in both aspects of music. My first piece titled “Concerto for two cellos in G minor” written by Antonio Vivaldi, was created for a duet and the minute I heard it, I was drawn to the harmonies and the rich tone colour created from the cellos and piano. The first movement which we play, Allegro, begins with the two soloists, imitating each other in fast succession, with virtuosic passages. Karl Heller noted that “the dark colour of the two deep-toned instruments perfectly matches the serious expression, which is devoid of all virtuosity”. My trial was a work in progress. I was somewhat happy with the result but I knew I could do better. After trials I practised every day and my final result for the HSC is exactly what I wanted.

My second piece “Song Without Words”

by Felix Mendelssohn was challenging at the beginning for me as it involves a lot of intonation changing as well as using the upper register of the cello which I struggled with. This piece involved a change in tempo and it was a challenge for me to play with sweetness in the beginning while moving to a more harsh tone in the middle. However, while practising it, I found a video of cellist Jacqueline du Pré performing. I listened to other performances, but I kept coming back to this one because of the richness and sweetness of tone, and the expressiveness of the playing.

My aim was to try and replicate her style for the HSC. My trial performance of this was rocky and not my best but it was one of my favourites to play. Looking at my HSC performance of this song, in my eyes, it was as close to perfect as I could have hoped.

Isabella Leonardi

Joanne Yi

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The Fountain; Hyde Reflets dans l’eau (Images); Debussy Romance; Sibelius Turbulence; Own Composition

By Joanne Yi Throughout my journey in preparing for the Music 2 and Music Extension program, I have not only learnt new skills, but it has also provided me an opportunity for growth and has impacted me in a whole range of ways.

As a person who loves music, choosing both the Music 2 and Music Extension subjects has positively impacted me during my HSC year as most of my time was spent preparing for the course.

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The pieces that I’ve decided to showcase are ‘The Fountain’ (1928)

by Miriam Hyde, ‘Romance’ (1903) by Jean Sibelius and ‘Reflects dan l’eau (Images)’ (1905) by Claude Debussy.

‘The Fountain’ was part of my Music 2 program which consists of rapid exchanges between the left hand and right hand semiquavers, ultimately mimicking the movement of the ‘fountain’. ‘Romance’ was also part of my Music 2 program which includes a highly Romantic melody line and contrasting scenes between different sections of the piece. ‘Reflects dan l’eau (Images)’ was part of my Music Extension program which provided me with the ability to express the Romantic style music as it consisted of a variety of themes with contrasting and unifying dynamics along with expressive techniques.

Joanne Yi

Jordyn Richards

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Skinny Love; Birdy Piece by Piece; Clarkson

By Jordyn Richards Since partaking in Music not only at Loreto but at my previous school, I have seen myself immensely grow not only as a performer but as an individual.

Practicing my songs individually and with the band I have seen myself and my voice continually develop over the past two years.

Since not being able to perform my HSC performance live this year, it has definitely been difficult to continually strive for perfection, however through the support of each girl partaking in music and the continuous check-ups This is a testament to my singing from teachers it has made it easier to teachers, the Music Department and remember why I choose music and how the bands who all put in the hard work it helps me connect more with myself. to help us each individually work on our strengths and weaknesses.

The songs I chose to sing this year harnessed my individual qualities in learning to take something bad and turn it into something positive which have been shown in ‘Skinny Love’ and ‘Piece

by Piece’. I hope through these videos you see my growth from a years’ worth of hard work.

Jordyn Richards

Matilda Hardy

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Fantasia Extravaganza (Amazing Grace); Golovko La plus que Lente; Debussy Carousel; Own Composition

By Matilda Hardy Music 2 has been the highlight of my Year 12 experience because I was able to learn in the best environment in the close-knit music community.

The most rewarding parts of the year have been the steady improvements and growth in my performance pieces and composition as well as the spur of the moment choices that changed my work for the better. Even though I have become my own harshest critic throughout the year, it still feels so rewarding knowing that I have put in so much work to reach a mark that makes me proud and memories that will last a life time. I have grown so much during Year 12 and I am incredibly proud of how far I have come.

piece for the additional topic, Music 1900-1945. For my marimba pieces, I was lucky enough to be able to play for the composers, Robert Oetomo and Sergei Golovko, and receive feedback and workshop the pieces with them.

It was an amazing experience and I couldn’t be more thankful for my teachers who helped organise and connect me with these amazing Australian composers. Even from the trials performance that you will have seen, improvements were made in the seven weeks we had before our HSC performance. Trials provided us with amazing feedback from the markers and meant that we were able to finesse our pieces to finally play for our HSC.

The inspiration for my performance and composition works stemmed from many hours of scrolling through YouTube and Spotify finding pieces I loved and that inspired me to play beautiful music. I settled on two marimba pieces for the mandatory topic, Music of the Last 25 years (Australian Focus), and a violin

For the 2021 Music Festival I played Fantasy No. 5 by Robert Oetomo, one of my marimba HSC pieces, on the International Convention Centre stage.

It was the most amazing experience and I am so lucky that I was able to play for the school community. I enjoyed it so much and loved every minute of it!

Matilda Hardy

Maya Vander Meeden

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Melusina’s Dream; Draeger Deep Blue; Ian Clarke tomber; Own Composition

By Maya Vander Meeden I can honestly say that my experience of Music 2 at Loreto has been one of my favourites. As a class, we are all very close friends, and have helped and challenged each other to do our best, fuelling each other’s passion for the subject which has created a fun and vibrant environment in the classroom. I have so enjoyed working with all of them, and with Ms Ashton; every class has been a highlight and I am so grateful to have been a part of such a wonderful group of girls. I feel as though I have been able to broaden my understanding of the musical world, from the Baroque to the Classical to the Romantic eras and have pushed myself to excel in every aspect of the course, be it theory, performance or sight singing, and have been able to grow in not only my confidence but also my capabilities throughout the course of these past years.

The pieces I have decided to showcase are my HSC trial performances of Melusina’s Dream by Cristine Draeger and Deep Blue by Ian Clarke, as well as my HSC composition, tomber. Draeger’s piece is very fun and I have enjoyed the technical challenge it has afforded me, and Clarke’s piece has become one of my favourites - the emotion and delicacy behind the piece is beautiful and I truly love playing it. Both videos are from my trials performance, and the growth I experienced from that time to my HSC performance seven weeks later was, I believe, immense. In the scheme of things, seven weeks is not a long time, but that time allows you to correct and refine all the little nuances of the pieces. My HSC composition musically describes my experience tearing my ACL both in 2018 and in 2020, and part of my journey through both of those experiences.

Maya Vander Meeden

Olivia Lukac

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The Wooden Broomstick Scherzo; Carlson Forgotten Blues; Own Composition

By Olivia Lukac The Wooden Broomstick Scherzo by I chose to write a composition for part of Rosalind Carlson was one of my favourites my HSC in music, as I was quite interested that I performed out of my HSC repertoire, in creating my own music. My comp went as it has a lot of opportunity to show such through a few changes throughout the a unique character throughout that my writing process. I initially wanted to emulate other performances didn’t have. I originally a contemporary jazz style and wanted to played this piece for a performance in include 2 saxophones with piano and drum Year 10 and brought it back for my HSC accompaniment. I changed the saxes to programme, so when I began working a clarinet and bassoon later and was able on this piece again towards the end of to make many changes to my original draft 2020, I already had quite a clear idea of of my comp, altering the registers and what I wanted it to sound like for my final articulation of the instruments playing the performance. The mood of the piece is melody. Working with instruments I know quite upbeat, but also mysterious, thanks well allowed me to utilise the different to the minor key, and fast paced and short affects each instrument can have on a notes. I really lean into this idea when I’m piece, for example, as the bassoon has a performing and try to capture that tone very lyrical affect in its upper register, I was in my playing. There are many tempo and able to use it to emphasise the smooth dynamic changes throughout the piece, phrases of my comp. Since the bassoon is which by working with my accompanist, not commonly used in jazz, it inspired the gave me an opportunity to show clear name of my comp “Forgotten Blues”, which communication and initiative in leading the is a play on the Croatian word for bassoon. piece. When I performed this piece in my Recording my comp, I was really happy with Trials, it was still a work in progress leading the final product. The clarinet and bassoon up to my final HSC, and I was able to improve were able to blend well together with the a few aspects of my performance. I feel drums and piano, and hearing it all played that my final performance showcased the together live, I felt quite proud of the work improvements that I made between this I put into my composition over the year. video and HSC.

Olivia Lukac

Rana Evans

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Click video to play

Lay Me Down; Smith Sunstreams; Clarke

By Rana Evans Lay me Down, by Sam Smith, is significant to me as it helped me grow my confidence immensely. I originally refused to sing for my HSC, however, through the journey of learning and polishing the art of storytelling and technical skills, I came to really enjoy performing this piece. Lay me Down allowed me to explore my range and to improve my ensemble skills, stage presence, and use emotions to tell stories. Even though this version of lay me down was a HUGE work in progress at the time, 7 weeks later, I performed it for my HSC, and it was one of the best performances I have ever done.

By looking back on this video, and the provided feedback, I was able to focus on specific parts to improve, not only my marks, but my performance skills for the future, which all contributed to my enjoyment of performing this song.

Originally I did not like Sunstreams at all. I found it difficult to play as it was so technically challenging, whilst also trying to replicate the style of the piece and bring it to life with dynamics and expressive techniques. However, as I got a clearer image in my head of what I wanted to portray, and what Ian Clarke (the composer) wanted to portray through this piece, the growth that not only myself, but others around me noticed leading up to the trials, and then in the couple of months afterwards leading up to the HSC, I began to love the piece. I found that the more I began to enjoy the piece, the better I performed it, and was willing to improve, teaching me to push through, even when it gets tough, because the outcome will always be better. Ultimately, I am really happy with the final performance!

Rana Evans

Sabrina Haaf

Click video to play

Click video to play

Sonata in F Minor, K.239; Scarlatti All of Me; Schmidt

By Sabrina Haaf

This year’s journey through music has been challenging, with trials in the midst of lockdown and limited rehearsal time. However, I have managed to grow as a performer the most given these uncertainties. I completed this piece for my Grade 7 Piano exam last year, and thoroughly enjoyed it as it was technically challenging yet enjoyable to play and ended up being one of my highest marked pieces for my trials.

Leaving the Curran Theatre after my trials performance, I was most happy with this piece as I was very familiar with my score and put hours of practice into it.

This piece is by far one of my favourite pieces in my HSC repertoire as there is it one of my more modern pieces and enjoy playing it. My trials video was definitely a work in progress as when playing this piece for my actual HSC, I performed it without the music and had a steadier hand as I had already performed it under exam conditions and pressure.

Composed by Jon Schmidt, the piece consists of modernist techniques and more contemporary styles of playing the piano, contrasting the rest of my more traditional and classic pieces.

Sabrina Haaf

Tara O’Malley

Click video to play

When She Loved Me; McLachlan

By Tara O’Malley During my time at Loreto, I started Elective music in Year 9 and have felt more and more confident as the years went on. Through the help of my music teachers, Ms Ashton, Mrs Irik, and Mrs McIntyre. I have been given multiple opportunities to allow me to grow as a singer and in my theory work. My highlights of Music 1 would definitely be Concert Practice, where once a week we gather in the Curran Theatre and perform to our peers what we have been working on. Since starting this in Year 11, it allowed us to watch our peers grow and succeed to their fullest potential and watch as they became stronger singers and performers.

My first time singing these all together with markers watching was the Trials. As nerve-racking as it was, it allowed me to focus on what I needed to improve on and work on my confidence when being faced with markers.

In between the trial period and the ultimate HSC performance, I believe was the time where I most improved. I sang every day and tried to perfect my songs as much as possible. With the help of my teachers, Mrs Bruce, my accompanist and band, I felt confident with my HSC performance and felt I gave it my all.

For my HSC Major, I chose to perform 4 songs; Love Story by Taylor Swift, Fever

by Peggy Lee, When She Loved Me by Sarah McLachlan and Control by Zoe Wees. I chose these 4 songs as I felt singing them all together portrayed an interesting storyline for the audience, as they are also each from different genres.

Tara O’Malley

Veronica Vella

Click video to play

Click video to play

Click video to play

A Blackbird Singing; Head Where’er You Walk; Handel Own Composition; Spellbound

By Veronica Vella My musical journey to Year 12 at Loreto has been one that I will forever cherish most deeply. One of the wonderfully memorable aspects of my experience this year is the accompaniment both in a musical sense - the way in which our teachers accompanied and supported me as a singer in a musical capacity, be it Mrs Matcham on the piano or Mrs Eagling on clarinet - but also in a wider sense, that they have accompanied me on the journey to Year 12, to realising my ambitions, dreams and goals for the future. All the music teachers I’ve had the privilege to learn from over the years have really fostered my enjoyment of the subject and have helped me perform to the best of my ability. The videos I have selected to share for the HSC Showcase are from our trial examination and are a work in progress. Although singing six pieces straight was challenging, the end result was certainly worthwhile

as all the practice resulted in an improvement in my breath support, maintaining stamina and growth as a singer. I’m incredibly grateful to have had the chance to perform my repertoire live despite the challenging circumstances that came with this year. In particular, I would like to extend my gratitude to Ms Ashton and Mrs McIntyre for their unstinting support in the classroom as well as the opportunities that I have been afforded over the years to participate and perform in a wide variety of events both in and outside of school. It is their ongoing support combined with these opportunities offered that have really assisted in developing my confidence and performance skills.

Veronica Vella

Vivien Li

Click video to play

Click video to play

Click video to play

Toccata; Khachaturian Mephisto Valse; Prokofiev Annandale Waltz; Edwards Altitude; Own Composition

By Vivien Li As I chose performance as my elective for my HSC Music 2 course, I performed a total of three pieces. One of the things I am most proud about my program is the diversity of my repertoire, and I have enjoyed embodying the distinctive style of each piece in my performances. Whilst ‘Toccata’ by Khachaturian is a Russian-style piece that features speedy passages and crashing chords, the second piece, ‘Annandale Waltz’ by Edwards, is a stark contrast as the piece focuses more on the emotional aspect of performing rather than the technical aspect. The third and final piece of my program is ‘Mephisto Valse’ by Prokofiev, which is a dramatic work that is both technically demanding and lyrical. This piece is by far the most terrifying to perform, as it involves frequent and rapid jumps up and down the piano which leaves a lot of room for error. The aspect that surprised me most about my pieces is the amount of time I dedicated to

‘Annandale Waltz’, and appreciating just how difficult it is to perform a slow piece while balancing different melodies and connecting with the emotive aspect of performing. My favourite piece to perform is ‘Toccata’, as it involves a high level of focus that allows me to channel my stress and nerves and ultimately go wild on the piano. For my composition, ‘Altitude’, I have drawn from my knowledge of both cello and piano in order to create a piece that explores the development and fragmentation of a melody, which progresses across three different sections.

Click video to play

Vivien Li

Yasmin Say

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Romance (Movement II) from Piano Concerto No. 1 in E Minor; Chopin

By Yasmin Say I have loved doing music as a subject for HSC because it is a subject I am genuinely passionate about. Overall, the best part of it was getting to be part of the best class. I loved how small our class was because it felt like a secret club - I loved how passionate we all were about playing our instruments, getting to perform to each other, and play for fun together - we all became extremely close as a result, leaving me with the best friends. I especially loved when we got to go to the city together, wonder around and eat dinner together, then watch spectacular performances at the Opera House. Our teachers were always really supportive and offered feedback and advice whenever it was needed. There were also overwhelming experiences were it got really hard to stay motivated and felt like I was completely knocked down, but I was able to push through that and get back up with the support of my friends, teachers and family.

The piece I chose to appear on the HSC Showcase is called “Romance”

by Frédéric Chopin, and was the first piece I learnt how to play out of all my repertoire. Chopin was a composer who invented the concept of instrumental ballade, and “Romance” was written for solo piano, seen through its distinct melodic line and expressive phrases. It is a really beautiful and relaxing classical piece and was different from anything I had played before. I definitely improved a lot from the trial performance to the HSC performance, especially with the help and support of both my piano teacher and music teacher. I was able to play it a lot more in the style of classical piano, and felt an overall sense of achievement from the growth I had.

Yasmin Say

Textiles and Design

We would like to congratulate...

Neana Bonaccordo

Jemima Davidson

Claire Evans

Chanelle Kong

Vivien Li

Erin O’Brien

Veronica Vella

Anabel Waldock

Zoey Hartshorne

Michaela Iuliano

Tilly Rose Keogh

Scarlett O’Kane

Sophie Roche

Laura Rushe

Abbey Williamson

Lauren Withnell

for their completion of the HSC Textiles and Design Course

‘Haute ’ - Chanelle Kong

The Textiles and Design exhibition of 2021 showcases the diverse range of creative and innovative projects across the focus areas of costume, apparel, textile art and non-apparel. We would like to congratulate all of the students on their tireless efforts and the dedicated approach in which they worked towards completion of both their practical and supporting documentation.

Across the projects there is a diverse range of inspirational sources that the students carefully considered at the commencement of their Major Textile Project. The students have challenged and extended their textiles skillset through extensive experimentation which is showcased throughout their works.

Through their journey they have taken time to document the design process through both written and graphical formats which is demonstrated throughout the professional layouts of their supporting documentation which harmoniously links to their practical work.

We are proud of the commitment the students have given this year and hope you enjoy viewing their works.

Jenelle Minto & Elizabeth Williams Textiles and Design Teachers

From the Textiles and Design Teachers

Abbey Williamson

A Wall Hanging Inspired by the landscape of Menindee Lakes

By Abbey Williamson My Major Textiles Project consists of a wall hanging crafted from 8 unique panel pieces fitting within the textile arts focus area. My Textile art is designed to be hung in a gallery in Broken Hill to demonstrate the beauty and significance of the Australian bush in central New South Wales and its everchanging landscape. My wall hanging is inspired by the landscape of Menindee Lakes, natural dyes, and the Hernandez sisters’ artworks.

from my time spent at Menindee lakes.

I journeyed over the lakes at sunset and was inspired by the beauty of the trees standing still in the waters against the sunset. The rich palette of colours that extended from the sky all the way to the water beneath the boat I was in, contrasted to the harshness of the dry ground surrounding the lakes. My story has been represented through the natural dyes, contemporary techniques, and the sheer size of my project with each aspect of my The natural landscape of Menindee wall hanging telling my story of lakes is a strong source of design Menindee lakes. inspiration for my MTP. This is reflected in the different shades of pinks, clays, white and creams which are seen in the region. Incorporating natural dyes of Menindee lakes in my MTP creates different patterns, shapes, and textures and depict the irregular and beautiful colours that are presented through dyes which I have made from leaves, bark and vegetables. My story of my MTP comes

Abbey Williamson

Anabel Waldock

A Bodice, Cape and Culottes Designed to be worn during a magic show

By Anabel Waldock For my Major Textiles Project, I designed and created a costume piece which relates to my overarching theme of ‘Women in Magic’. ‘Illusions’, comprises of threequarter culottes, with godet panels, an embellished bodice and a digitally printed reversible cape. My costume adopts a feminine aesthetic mirroring the transformation of female magicians stepping out of the shadows of being a magician’s assistant, into a female lead role, therefore it is designed to be worn by a female magician during their stage performance.

‘Female magicians throughout history’ is a primary source of my design inspiration.

Over the past 150 years there has been an incredible sparsity of women in magic as it is such a male dominated industry.

Adelaide Herrmann, known as the ‘Queen of Magic’, was a lead female act over her male counterparts for over 25 years, from the early 1900’s up until her death in 1932. She is a significant historical role model and through my MTP I hope to further inspire female magicians to take the spotlight. The bodice component of my costume is heavily influenced by Adelaide’s feminine aesthetic. It features satin fabric with a black and gold lace overlay which has been adorned with

gold, amethyst, and clear crystals. Another strong source of inspiration for my costume is the evolution of culottes. This textile garment has been around since the 16th century and was originally part of menswear. Once the feminist movement strengthened during the Victorian Era, culottes became a popular womenswear piece that was still modest, however gave women more freedom of movement and the ability to partake in more physical activities. I have taken this inspiration into my garment by creating wide legged culottes that are modest, however allow for greater flexibility when worn during a magic performance. A further source of inspiration for my costume can be drawn from contemporary Japanese Fashion Designer, Issey Miyake, specifically his Fall 2016 Ready-To-Wear Collection.

It showcased a range of free-flowing garments that combined geometric lines, patterns, and coloured prints that created elaborate optical illusions. His garments are very versatile and can be worn in a variety of different ways. I have specifically taken inspiration from Miyake’s signature hypnotic concepts and versatile garments by creating an original optical illusion digital print that forms one exterior of my reversible cape, therefore creating illusions for the eye, similar to magic.

Anabel Waldock

Chanelle Kong

Haute Couture Gown and Traditional Jeogori Inspired by Chanel and Dior

By Chanelle Kong My Major Textiles Project consists of an Haute Couture gown and an upper garment called the Jeogori.

My inspirations celebrate traditional Korean clothing (hanbok 한복), comprised of a dress (chima 치마), and an upper garment (jeogori 저고리) that has been created with an influence of French Haute Couture, particularly from Coco Chanel and Christian Dior. Designs from Chanel’s 2015 Spring/Summer Haute Couture collection designed by Karl Lagerfeld have heavily influenced the development of my design.

Lagerfeld’s floral implementations from the collection have inspired me to feature 3-dimensional fabric flowers throughout the skirt of the dress.

I have surrounded the skirt with over 200 Mugunghwa shaped fabric flowers which is the Korean national flower and an important symbol of Korean culture. The centre of the fabric flowers have been embroidered with sequins and beads to mimic the pollen.

The silhouette of the skirt has been inspired by the three-layered dress from the Chanel 2017 resort collection hosted in Cuba. My skirt has been constructed with multiple layers of organza and tulle in order to achieve a voluminous skirt silhouette.

The bodice design has been influenced by the Miss Dior dress designed by Maria Grazia Chiura. The bodice I have created has been prompted by the gathered tulle bodice with embroidered flowers from the Miss Dior dress. I have designed a gathered tulle bodice with free machine embroidery of Mugunghwa shaped flowers sewn on top of the tulle. I have contemporised the traditional jeogori upper garment by implementing organza as the material.

The collar is embellished with sequin and beading embroidered flowers.

Chanelle Kong

Claire Evans

Robe a la Francais Inspired by Marie Antoinette

By Claire Evans My Major Textiles project is a robe a la française inspired by Marie Antoinette.

The focus area which my project fits into is costume as it is a distinctive piece of clothing that reflects class and gender of a specific time (the 1890’s), a specific place (the palace of Versailles, France), a specific style and movement (rococo) and a specific person (Marie Antoinette). The robe a la française was the staple court dress in the palace of Versailles under Marie Antoinette’s rule. The inspiration for my costume is the rococo style and movement of 18th century Paris in the palace of Versailles. This style was used in France for elaborate ornamental, asymmetrical and theatrical architecture and art providing an aesthetic of ethereal, lighthearted, warm soft pastels, youth and playfulness. Another major source of inspiration that harmoniously ties with rococo is Marie Antoinette, who was a ruler as well as a leader in the rococo style. The robe I have created is an extravagant demonstration of Marie’s fashion in the 18th century and how lavish her clothing was, never wearing the same thing twice.

The Robe itself has many different techniques linking to my inspiration whilst displaying my innovative and creative abilities. The purple fabric is a cotton sateen which possesses a nice lustre and drape. The colour choice is pastel lavender linking again to Marie Antoinette as lavender was her favourite colour, and the pastels linking to rococo style. The other primary fabrication is a digital print that I designed myself through digital manipulation then had externally printed. The design displays overlapping images of purple roses, the flower linking to Marie Antoinette as the rose was her favourite flower. The gold brocade detailing in the print links to 18th century French rococo detailing.

The stomacher is the other main facet of my robe, elaborately decorated with hand embroidery of green foliage as well as handmade lavender roses stitched onto the design. Beading is also individually hand stitched throughout the stomacher tying the gold colour of the brocade detailing on the digital print to the gold of the beads.

Claire Evans

Erin O’Brien

A Range of Bags Inspired by Australian native flora

By Erin O’Brien I have created a collection of bags for my Major Textiles Project which have been designed for a trip to the Australian bush, supporting local businesses as they recover from the recent bushfires of 2019/2020. The aim of creating these bags is to encourage and raise awareness about rural and regional communities in Australia impacted by the catastrophic bushfires, particularly focusing on the Blue Mountains in NSW. My collection of bags includes a medium sized duffle bag, a small makeup bag and a plastic lined and covered toiletries bag. All three bags feature a unique Australian native flora design which I have created to symbolise the vibrant wattle, bottlebrush and eucalyptus blossoms coming through the charcoal and burnt background. After painting the design with watercolours, I then edited it on Photoshop before having it digitally printed externally onto fabric. The colour scheme of my MTP involves bright earthy tones of yellow, red and charcoal as well as the natural brown colour of the leather work. I have hand tooled and stamped the top of the leather straps on the duffle bag to continue the floral theme of my bags. I also hand saddle stitched the durable leather straps to the body of the duffle bag.

All three of my bags feature leather piping between panels.

After seeing the devastating effects of the bushfires on the Blue Mountains I wanted to use this as inspiration for my MTP. The main sources of inspiration for my collection of bags have been contemporary designer Julie Paterson, the recent bushfires of 2019/2020 and Australian native flora.

Julie Paterson is a designer, painter and printmaker based in the Blue Mountains in NSW, where she takes inspiration from the natural environment around her and uses this in her fabric designs. Julie creates her own designed fabrics which capture the beauty of Australian natives. The recent bushfires of 2019/2020 in the Blue Mountains, had a sad and devastating impact on the community, not only the physical damage but also the emotional strain and struggle.

Hence, why I have taken this as inspiration to encourage and promote an overnight stay in the Australian bush raising funds for the local community as they continue to recover. Australian native flora has been a major source of inspiration found in my bag collection through the digital print. I have drawn from the beauty of the landscape particularly the vibrant colour of wattle, the bold colour of the bottlebrush, and the unique shape of the eucalyptus blossom. I wanted to show the regrowth of the natives after the fires as they emerge from the charcoal backdrop.

Erin O’Brien

Jemima Davison

My final source of inspiration is corsetry,

Bodice and Skirt

which was included as both a contemporary

Inspired by The Great Barrier Reef

rich history of intricacy when it comes to

and historical factor. This is due to the corsetry, having evolved from a restricting undergarment to a popular item of outerwear.

By Jemima Davison

I have incorporated elements such as lacing as a closure method from the 15th century,

My major textile project is a two-piece

which demonstrated wealth, as well as silk as

ensemble that consists of a cropped bodice

the fabrication, from the 19th century.

and a mini skirt, with a chiffon extension. The end use of my project was to be worn at the

My project is made out of 100% silk, this was

Australian Logie awards. My main source of

so I could make a product that was made to

inspiration was the Great Barrier Reef. I chose

a high quality, with highly lustrous properties,

this landmark because I wanted to create an

to ensure the product would be suitable for

ensemble that contains visually recognisable

a red-carpet event. The fabric used for the

elements so that I am able to bring awareness

exterior of my garments is a silk dupion in

to the reef in a public environment, where the

the colour cornflower blue, the lining is a

wearer would have an opportunity to discuss

silk satin in the colour powder blue, and the

the contemporary impacts on the Reef,

extension for my silk is made from a double

particularly coral bleaching. My silhouette and

layer of ombre silk chiffon in the colours

visual design techniques have been inspired

sky to ivory. I used a woven-heat fusible

by

Autumn/

interfacing to make the silk dupion sturdier

Winter collection ‘The Nutcracker’ and Vera

and to create a backing for my surface

Wang and her 2020 Spring and Fall bridal

decorations that would not affect the quality

collections. This is due to the unique and

of the fabric. A surface decoration technique

strong silhouettes used which are combatted

on my ensemble is free-machine embroidery,

with soft, ethereal techniques, such as

as mentioned above, on the bottom edge of

beading and embroidery. I have included

the bodice and skirt. I have also attached

subtle free-machine embroidery in the shape

beads and pearls onto the top of the bodice

of coral on my design on the bodice and

and waistband of the skirt, to represent the

skirt. This is representative of the Reef and

pearls in the Reef and the shimmer of the

the corals that have been stripped of their

water. These surface decoration techniques

life and colour. My skirt has been closely

are placed the same on the bodice and skirt,

inspired by Vera Wang’s 2020 Fall collection,

to marry the pieces and to create a cohesive

particularly combining mini skirts, with sheer

design. Similarly, I have attached a navy blue

extensions. My bodice has been inspired by

satin bias binding on the bodice as the casing

Paulo Sebastian ‘The Nutcracker’ through

for the boning and decorative binding on the

the use of monochromatic hues and ethereal

skirt to demonstrate the different depths of

Paulo

Sebastian’s

2018-19

the Reef.

Jemima Davison elements achieved through lustre and fit.

Laura Rushe

Tailored Blazer Inspired by Melting Ice Glaciers

By Laura Rushe I was inspired to design and create a tailored blazer and short set that would represent the melting ice glaciers and caps in Antarctica due to global warming through the use of crystal beads, Angelina fibres and the technique of tailoring. My aim was to highlight the variety of colours of the ice caps through the different beads and textures of the fabrics used. I also created small ice cap designs using Angelina fibre and crystal beads to create the effects of the melting caps along with choosing a blue, aqua and green tweed fabric for my blazer to highlight the colours and textures of Antarctica.

These pieces have specifically been designed as Haute Couture garments which could be worn to a red carpet event, specifically an event that raises awareness for Global Warming. My two-piece tailored blazer and shorts incorporate contemporary inspiration from the two haute couture labels Dior and Zuhair Murad. The surface decoration embellishments include beading and Angelina fibres. The melting of the ice caps and glaciers in Antarctica caught my attention as an issue becoming more prominent in the media through reading the news and observing what has been happening to the ice caps in Antarctica for the past while. I believe that we need to preserve our environment for the future generations and for the environment, thus my MPT is designed to raise awareness about the prominent issue.

Laura Rushe

Lauren Withnell

A Blouse and Skirt Inspired by the Nymphenburg Palace

By Lauren Withnell My MTP consists of a backless blouse with blouson sleeves and a kneelength skirt with flounces, completed in a navy polyester satin. The lining fabrication used for the bodice is polyester satin in navy blue and the skirt is comprised of navy blue bemsilk. My MTP is greatly inspired by the cultural inspiration, Delftware. This movement features hand-painted objects coated in a ceramic glaze, often admired on tiles, pottery, or statues. The colours of fabrics and threads chosen clearly link to my inspiration of Delftware pottery, commonly comprised of navy and white paint. This inspiration has been further exemplified through the inclusion of a floral digital print I designed myself, printed on polyester chiffon, which also mimics the work of Simone Rocha.

The contemporary designer, Simone Rocha also inspired various aspects of my project. In particular, her 2020 Spring Collection, which draws insight from Irish wren-boys, St. Stephen’s Day and Delft China, combining elements of

masculinity and femininity to present a collection of exuberant yet elegant garments. I have been inspired by her elaborate tulle skirts, comprised of multiple layers of varying lengths to create interest in a unique method.

I have imitated this aspect with two layers of digital printed chiffon to create a similar effect.

My garments are also inspired by the architecture of Nymphenburg Palace, located in Munich. The palace is embellished with gold trim and Dutch Delft tiles. My MTP’s silhouette, including a high neckline and deep V-neckline, represent the lavishness of the palace. Moreover, my garment is functional and can be easily laundered, thus relating to the apparel focus area.

The elegant features of my MTP, such as the chiffon blouson sleeves and knee-length skirt adorned with digital print, make my garments suitable for its intended end use; an afternoon tea held at Nymphenburg Palace.

Lauren Withnell

Michaela Iuliano

Dress for Fashions on the Field Inspired by Monet

By Michaela Iuliano My major textiles projects consist of an A-line dress which is inspired by the concepts of the fashions on the field event which is held at the Melbourne Cup every year, Claude Monet’s artworks and Dior’s Spring Summer 2017 collection. Abiding by Melbourne Cup etiquette while also adding a unique flare, my dress is aesthetically pleasing with a pastel and enchanting floral theme that reflects the elegance and colours seen and worn at the Melbourne Cup. I have drawn my inspiration from Monet’s paintings Woman in the Garden, Lilacs in the Sun, and The Artists Garden at Giverny which all encompass the beauty in nature and soft movement it creates.

Dior’s spring summer 2017 collection was a strong inspiration for my MTP as the collection represents elegance and an ethereal aesthetic through the use of delicate draped fabrics and the hourglass silhouette featuring cinched waistlines.

The bodice of my dress consists of a silk satin with a silk habutae lining, the skirt of my dress also features a silk satin with a silk satin habutae lining as well as a polyester organza overlay.

My dress also features a waistband which was heavily embroidered using a variety of different stitches to create the floral and garden symbols. My dress features balloon sleeves made of polyester organza to create a sheer aspect, as well as embroidered cuffs, with pearl buttons and rouleau loops acting as the closure method. The main feature of my dress was the handmade organza and pearl bead flowers that I stitched along the neckline of the bodice; this process was very time consuming as each individual flower took 45mins to 1 hour to complete.

Michaela Iuliano

Neana Bonaccordo

Corset and Skirt Inspired by The Butterfly Foundation

By Neana Bonaccordo My major textiles project consists of a corset bodice, paired with a long elastic waist skirt. My inspiration is drawn from the Butterfly Foundation, a foundation which represents and supports all people affected by eating disorders and body image issues. I have taken further inspiration from the Mexican Day of the Dead festival, as well as contemporary designers Paolo Sebastian, Alexander McQueen and Christian Dior, which all influence how I have incorporated butterflies and reflected the Butterfly Foundation throughout the apparel items.

The bodice has been constructed using my own digitally printed fabric, where I drew a Monarch butterfly design and repeated it as a pattern to be printed on the chosen fabric. The corset silhouette is inspired by Christian Dior as well as Paolo Sebastian, as their designs celebrate women’s figures,

which further ties into the Butterfly Foundation. The use of monarch butterflies was inspired by the Mexican Day of the Dead. This traditional Mexican festival is marked by the migration of monarch butterflies, which is believed to be the spirits of those who have passed returning for a duration of time when the festival is celebrated. The butterfly inspired printed fabric is also used for the lining of the skirt. The skirt uses a light satin silk fabric which has excellent drape and gives the overall outfit a free-flowing silhouette, as reflected in Paolo Sebastian’s designs.

The origami butterflies arranged on the skirt are made from linen cotton which aid the butterflies in keeping their shape. The origami butterflies reflect the Butterfly Foundation, and show how every individual is different, and their incorporation into the outfit reflect Alexander McQueen’s influence as he used a range of innovative techniques in his ‘butterfly collection’.

Neana Bonaccordo

Scarlett O’Kane

Corset and Headpiece Inspired by Dion Lee, to create awareness of the Breast Cancer Angels

By Scarlett O’Kane I have chosen to create a wearable textile art piece that is inspired by expressing the importance of breast cancer awareness. It is important to raise awareness of this issue as it is the most common type of cancer affecting women in Australia with a predicted 20,825 Australians to be diagnosed in 2021. The focus area for my textile major project is a wearable Textile Art Piece.

The design is focused on empowering women and increasing confidence around the issue of breast cancer through creating a wearable art piece that can be showcased at relevant events. Through the aesthetical design features, it will create awareness and increase understanding for individuals on how to better protect themselves against the disease and how to provide support for family and friends. This will be achieved by the use of various shades of pink to represent the foundation. This design is a unique statement piece that is aesthetically pleasing and is a visual

link and reminder to the importance of breast cancer. Surface decoration techniques will be representative of the breast cancer foundation through the use of colours and embellishments, highlighting and capturing the essence of the foundation. Other key inspirations that have contributed to the design of my wearable pieces include the Victoria’s Secret angel wings and pom poms. The aim of these is to represent confidence and uplift victims of breast cancer by depicting them as angels and survivors. This links to the Breast Cancer Angels Organisation that supports and empowers women who have survived the cancer by providing immediate assistance with everyday tasks such as housing, shopping, food, as well as offering a social worker to give relief and offer legal advice for the individual and their family.

Scarlett O’Kane

Sophie Roche

Corset and Skirt Inspired by Giambattista Valli, to raise awareness of breast cancer

By Sophie Roche My major textiles project consists of a from a handmade pink ribbon fabric in layered organza skirt and a corset, which a plain weave configuration ironed onto fits within the apparel focus area (defined interfacing to allow for structure. The side as any textile item that can be worn, in back and back panels consist of hand functional and is easily cared for), to be embroidery and ribbon embroidery. The worn to a Pink Lady fundraising event. My embroidery consists of French knots, back inspiration draws from breast cancer as stitch, stem stitch, lazy daisy. Different women within my personal life have battled shades of pink and white are used as or passed away from this terrible disease. the pinks represent love, kindness and Therefore, I wanted to raise awareness feminity, and the white represents purity, through my MTP, by my garments being a wholeness, and completion. The hand and talking piece, which will allow conversation ribbon embroidery links to the inspiration of breast cancer to happen. Giambattista of breast cancer, each flower embroidered Valli is another strong source of inspiration has meaning behind it, for example roses for my MTP, in particular his 2019 Haute represent grace and purity and lilies Couture Collection dedicated to “City represent admiration, feminity, and love. The of Light” and to the support of the Art of butterflies represent softness and freedom, the Ateliers. In Valli’s 2019 collections and the dragonflies represent change and a large amount of organza was used transformation. All these represent what and this inspiration is seen through the women go through after breast cancer, and pink organza overlay layers on the skirt links to how women’s journeys are different of my MTP.

for every woman. The skirt consists of pink and dusty pink silk satin and the gathered

The corset was constructed with seven overlay is made of organza in pink, apricot, panels, the front panel is a digital print and dusty pink. The waistband consists of created on procreate and printed by Digital the digitally printed fabric and is interfaced Fabrics

Boutique

Printing,

consisting to add structure and stability, the bodies

of flowers and butterflies, which I hand of the butteries are beaded with pink and drew. The front side panels are made clear beads.

Sophie Roche

Tilly Rose Keogh

Corset and Skirt Inspired by 1920s surface embellishment and architecture

By Tilly Rose Keogh

Tilly Rose Keogh

Veronica Vella

Opera Gown Inspired by ‘La Traviata’ by Verdi

By Veronica Vella For my major textiles project, I constructed an apparel item, a gown intended to be worn at the Opera using peach coloured polyester taffeta and tulle. My inspiration draws from the contemporary designer Oscar De La Renta’s Spring 2020 runway, particularly the use of taffeta and ruffles in the collection. I have drawn from historical influences, namely the Opera, ‘La Traviata’ by composer Verdi. Different embellishments and construction techniques have been incorporated in my MTP including: 3D fabric flowers attached with invisible thread, beading, floral trim, gathering, boning in the bodice and the inclusion of an invisible zip on the side of the gown, increasing its functionality. My intentions when designing the gown were to utilise tulle as the top layer to create a subtle and symmetrical wave-like effect. The 3D larger flowers on the lower half of the taffeta skirt were strategically placed between and just under the highest point of the top layer of tulle to further emphasize the wave-like effect and symmetrical aspects of the gown.

Smaller fabric flowers were placed in between and on both sides of the large

flower, following the “wave” of tulle.

I have also included one beaded 3D fabric flower on the front left side of the gathered bow, creating a focal point.

Other aesthetical aspects of my gown would include the floral trim on the edges of the bodice and the inclusion of the floral trim on the back of the bodice in a criss-cross pattern. I have also included a gathered ruffle at the bottom of the gown, inspired by the use of ruffling in the 2020 Oscar De La Renta collection. My gown’s hidden features include a threetiered gathered underskirt underneath the top layer of taffeta made of tulle to increase the fullness of the taffeta skirt.

Additionally, another layer of taffeta is used underneath the tulle underskirt, which is used as a lining for the gown, providing a neat finish. My choice of the peach-coloured taffeta for my gown is inspired by the gown worn by Anna Moffo in a poster for a La Traviata film.

The Opera gown is also inspired by one of the gowns featured the Spring 2020 Oscar De La Renta collection and the choice of pink reflects themes explored in La Traviata as pink is symbolic of love.

My garment is ultimately a fusion of modern and historical influences.

Veronica Vella

Vivien Li

Corset, Skirt and PVC Overskirt Inspired by the landscape and architecture of the Gardens by the Bay

By Vivien Li My Major Textiles Project consists of a strapless bodice with peplum, a short skirt, as well as a full-length transparent PVC overskirt. My inspiration draws from the landscape of the Gardens by the Bay, a nature park located in Singapore that forms the culmination of global horticulture and 21st century architectural design, as well as the silhouette of Christian Dior’s 1947 iconic ‘Bar Suit’ and the contemporary use of PVC within Annakiki’s F/W 2018 collection.

The bodice has been constructed using solvy, where I used untwisted acrylic yarns, multicoloured embroidery threads and free machine embroidery to create my own fabric. The purple silk peplum, which is attached to the bodice, has been double-interfaced with

extremely thick interfacing to obtain its stiffness in order to reflect the peplum padding that was used in Dior’s ‘Bar Suit’ designs. Additionally, the short silk skirt is worn underneath the transparent overskirt, which is heavily embroidered with plants that are found within the Gardens by the Bay, including the bright orange Bird of Paradise plant and the red Kangaroo Paw. This was probably the most challenging and timeconsuming aspect of my MTP, as embroidering one plant alone took many hours to complete; a single pink King Sugar Bush plant took me three hours to embroider. The act of embroidering directly onto the PVC was also extremely challenging, as PVC is a very stiff and unforgiving material.

Vivien Li

Zoey Hartshorne

Patchwork Princess Coat Inspired to create awareness of the Orangutan Project

By Zoey Hartshorne My MTP wearable Textile Art is a fulllength patchwork, 1940s princess coat. My textile art piece reflects my inspiration of deforestation in Borneo and its impact on orangutans, critiquing the issue of deforestation. My purpose is to create an artistic statement piece designed to be worn to a ‘Orangutan Project’ charity event, with the aim to raise awareness through the eyecatching design. Deforestation is reflected in the coat’s colour scheme and the patchwork’s transition of colours from green to black to represent deforestation. Deforestation and its impact on orangutans are further highlighted in innovative laser engraving technique, showing healthy orangutan habitats in amongst the green patches and scenes of deforestation amongst the black patches. The princess coat is lined with poly charmeuse satin featuring a digital print of leaves on a dark green background highlighting the inspiration of the Borneo rainforest.

The coat’s outer patchwork fabrics include velvet, wool, suedette and other fabric blends. Velvet is a prominent fabric amongst the patchwork and creates a tactile texture. Woven patches are included in the patchwork coat acting as a focal point as it allows for a transition of colours from green to black by the blending of different coloured ribbons, allowing for a cohesive design and rhythm. My inspiration from orangutans is illustrated through the use of oranges amongst the patches and weaving. Depicting the impact deforestation has on orangutans the orange in the patches and weaving is more prominent at the top of the coat and fades out, featuring none at the bottom of the coat. Overall, my MTP illustrates the impact of deforestation on orangutans in an innovative and artistic way, raising awareness of the issue and inciting change.

Zoey Hartshorne

Visual Arts

We would like to congratulate...

Ella Angell

Charlotte Black

Ruby Booth

Grace Callanan

Olivia Holmes

Chanelle Kong

Kate Law-Whitting

Monique McEnearney

Elizabeth Bronk

Isobel Chambers

Caila Cicchini

Claire Evans

Charlotte O’Keefe

Chloe Oong

Anna Singh

Scarlett Crimmins

Lily Daley

Emma Flaherty

Lauren Herbert

Scarlet Pidcock

Emily Stockwell

Lydia Thomas

Brynnin Barr

Annabelle Garing

Ciara Hartnett

Elyse Lorimer

Leila Mangos

for their completion of the HSC Visual Arts Course

‘The Me in You’ - Grace Callanan

It is my pleasure to welcome you to the showcase of our Year 12 Visual Arts Bodies of Work. This exhibition is a testament to the perseverance, imagination and insight of our students, and is the culmination of many months of art-making and refinement.

It is with pride and awe that I regard both the breadth of creative practices on display in these works – from printmaking and Digital Media to drawing and painting – as well as the young women behind them. The Visual Arts cohort of 2021 has demonstrated extraordinary courage and agility when channelling the uncertainty of recent times into deeply personal and reflective Bodies of Work. These students grew in their confidence and their ability to resolve complexities in their artmaking by using trial and error, critical thinking

and experimentation. The Class of 2021 encouraged and supported each other, sharing in their combined achievements with graciousness and empathy.

I thank the Visual Arts staff for their dedication and gentle guidance of these students. I invite you, our audience, to savour the storytelling, beauty and technical mastery on show.

Monica Boardman Head of Visual Arts

From the Head of Department

Anna Singh

An Ageless Soul is Only Wrinkled By Onlookers

By Anna Singh It is my personal belief that the earlier years and lives of our elders should not go unacknowledged due to our absence in the experience itself. It is because of this collectively shared stigma surrounding aging and as a result undermining of the elderly’s value, that older generations feel an inherent disconnect from society as the world they so greatly contributed to in their earlier years rapidly evolves around them, no longer dependent on the aid they once contributed. A sense of helplessness comes to mind when this stereotype of the elderly growing increasingly redundant should be empathised with, which encompasses the underlying concept behind this piece. Through my compositional choice and subject matter (2 portraits of the same individual at different stages of life), I wish to invoke in the audience an understanding that the two aren’t dissimilar, rather evolved.

Anna Singh

Annabelle Garing Memento Vivere

By Annabelle Garing Through my work, ‘Memento Vivere’, I have appropriated practice of 17thcentury Vanitas still life and ‘Memento mori’ theology in both my technique, material, and form. Traditionally, symbols of death and mortality existed in these works, instead I have included symbols of nature and beauty reflecting personal growth and positive thinking as a reflection of the result of treatments like CBT (Cognitive Behaviour Therapy) or DBT (Dialectal Behavioural therapy) that aim to reverse or change certain thinking patterns inherent within mental illness into seeing things as opportunities and part of life. This ultimately challenges the historical narrative of the impermanence of life and instead creates a narrative of growth and opportunity through the postmodern to manipulate historical ideas and established ideology throughout time.

Personally, my artworks reflect my own resilience and determination and the effects reflective practices have had on me, including the effect sensory reflection on nature has, helping me appreciating life and hardships that have made me who I am.

Annabelle Garing

Brynnin Barr

Jimiyu, Nyota and Zaraffa

By Brynnin Barr My body of work ‘Jimiyu, Nyota and Zaraffa’ is a response to my own first enclose encounter with these beautiful giants. Within my work I wanted to| portray my own experiences and investigation of these beautiful giraffes to highlight the quirky nature of these creatures as well as their unique features through my three art pieces using the medium of lino. I have chosen this medium to portray my intentions as I believe that through my marks, I am able to subjectively portray the softness of the creature, through its fur and quirky features. My aim for the response from the audience is to highlight the quirkiness of this animal, and to subjectively change the audience’s perspective of this creature, to highlight the quirky nature of this amazing animal.

An example of this is a giraffe sleeping, all curled up. I’m hoping the audience feels adoration once they see this piece as the juxtaposition between an African giant can also look small and harmless.

Brynnin Barr

Caila Cicchini

Click video to play

Più Australiano che Italiano…

By Caila Cicchini My body of work explores the emotional challenges that Italian migrants endured throughout the ‘Populate or Perish’ program, in order to ensure opportunities for their future families.

The film I produced called Più Australiano che Italiano… acts as a retelling of my Nonno’s journey, and more importantly, his ability to prevail over the trauma of leaving his entire family and starting afresh in a foreign country. When curating the film, I took inspiration from Michele Grigoletti and Jumana Manna, as their compositions within interviews and use of overlay provided an industrygrade example to guide my videography.

Furthermore, in utilising home videos of the Cicchini family and their 54-year owned ‘West Ryde Fruit Market’, I was able to pay homage to the hard work of my Nonno; particularly the tireless hours he put in to provide a legacy for his kids, and eventually grandkids. By ending on the quote “which today, I feel more Australian, than Italian”, my film evokes happiness and joy to showcase that my Nonno has achieved his journey; by overcoming the struggles of migration and raising a family that will forever be grateful for his sacrifices.

Caila Cicchini

Charlotte Black Zio, Oom, Uncle.

By Charlotte Black My Body of Work is an expressive series of portraits exploring the concept of racial diversity, and the complexity of family trees. My unique mark making through the impasto technique, inspired

by Lucian Freud and Vincent Van Gogh, metaphorically represents the complexity and interconnectedness of multiculturalism in my family. The title of my work, ‘Zio (Italian), Oom (Afrikaans), Uncle (English)’, meaning ‘Uncle, Uncle, Uncle’, is a direct representation of the racial diversity in my family as three of my uncles are from different countries.

Racial diversity is a main theme in my Body of Work as I wanted to enlighten audiences on the importance of different perspectives and understandings of other cultures. I also showcased the importance of multiculturalism in my family as it has taught me to appreciate the richness of other cultures and how people’s values differ across the world.

Charlotte Black

Charlotte O’Keeffe

One Woman With Many Faces

By Charlotte O’Keeffe My Body of Work pieces, ‘One Woman with Many Faces’ centres around feminism and the injustices women are faced with today and have been facing for many centuries. Each of my 3-print works consist of an intaglio and a paper plate print, all depicting a different woman figure of Greek Mythology and setting of the Australian Parliament House. The romanticisation of feminist issues such as rape and harassment are not only present in Greek Mythology, but in many ancient cultures as well, however my Body of Work exposes the dissonant truths of sexual assault and its perpetual presence in our world. My 3 pieces portray the stories of Daphne, Medusa and Cassandra, whose stories express the unjustifiable acts against women over time and disgusting romanticisation of their sexual assault.

The artworks share a controversial theme of background, being the Parliament

House, which relates to the sexual assault allegations made previously against elected officials and politicians.

This choice of setting conveys the underlying motif in my Body of Work, being the undying and clear presence of sexual assault against women in today’s society. Ultimately, ‘One Woman with Many Faces’ conveys the everlasting nature of the vulgar injustices made against women, which have endured through time, from ancient periods to our present day.

Charlotte O’Keeffe

Chanelle Kong

어머니에게 (To My Mother)

By Chanelle Kong Mother. The most beautiful word in the world in every language. The importance of motherhood is represented through my body of work as I have portrayed the matriarchal relationship between my grandmother, my mother and myself. In Korean culture, the image of a mother is resembled as a bird in many traditional folk stories. A mother bird, when raising children, does not eat anything all day; she is busy catching worms and feeding her babies in the nest. Like a mother bird, Korean mothers are willing to sacrifice themselves for their children. Therefore, in Korean culture the word “mother” always evokes the sweetness of care and affection, mercy and sacrifice, home and nostalgia. I dedicate my artwork to the most important female figures in my life whom I have depicted in my paintings: my mother and her mother, my grandmother.

Chanelle Kong

Chloe Oong Declining Fallacy

By Chloe Oong Mental health in teenagers has rapidly worsened due to the Covid-19 restrictions and lockdowns in the past two years. The main focus of ‘Declining Fallacy’ is to visually display the pain and turmoil in the mental health aspect of a teenage boy. This is demonstrated through the motif of clouds in my two oil paintings, foreshadowing the negative effects in the 1st painting. The clouds and the emotions portrayed are derived from the literary technique ‘pathetic fallacy’, meaning “the attribution of human feelings and responses to inanimate things or animals”. Inspired by the works of Susie Dureau and El Greco, my clouds successfully exhibit the overwhelming abundance of negative emotions, and how it can affect the way an individual can view the world, expressed through the wide range of colours used in the 2nd painting. Through this exploration, my BOW portrays the effects mental health can have on teenager’s emotions and mindsets, through the environment and clouds.

Chloe Oong

Ciara Hartnett

‘Don’t you remember?’

By Ciara Hartnett The disconnection of memory catalyses grief and guilt within the individual.

Through my impressionist work ‘Don’t you remember?’ I have strived to portray the fester of guilt and longing stemming from personal alienation from memories of my childhood in Ireland. My clear presence within the photographic memories becomes increasing impressionistic and fragmented throughout my plates, signifying a lack of understanding and subsequent loss of identity. Frustration is projected through the nostalgic and progressively distorted recollection of memories from my Irish family, and the forced questioning ‘Don’t you remember?’ alluding to the title’s work. I hope to convey the intense and overwhelming guilt I feel when prompted to recollect memories that provide such joy for others, to which I feel an undeniable disconnection. I strive to provide audiences insight into the emotional turmoil of one who experiences disconnection, providing voice to my concerns that are often restrained by fear of hurting those around me.

Ciara Hartnett

Claire Evans

Disorder

By Claire Evans My BOW Disorder is 1 large ceramic bust and 4 small ceramic figures that express what it is to experience a mental disorder.

My aim is to shock the viewer into an understanding and to then connect to the experiences depicted through my figures. as someone who suffers from multiple mental disorders my figures are an expression of my experience and others who also suffer. Gestures of comfort e.g. foetal position, knees close to chest explores the human response to pain and how we self-consciously resort to protecting ourselves, as well as the play on the idea of the safety we feel as a child. The emotion of suffering and pain is explored through the gestures, surface treatment and elements added onto the bodies. The reason of the little bodies are the representation on a smaller scale showing how one can feel in that moment, and in proportion to the bust which is a life size that is in a resting state. The material of clay through the subjective frame reflecting the way it is used, it is beaten into shape, fired, hardens, then can go softer. This concept explores emotion just through the material I am using.

Claire Evans

Elizabeth Bronk

Medjool

By Elizabeth Bronk This Body of Work is a testament to my family, and their history. Titled Medjool, my three-piece oil on canvas collection is an exploration of Egyptian culture, passing time and the blooming relationship between my grandparents in their youth. Drawing upon aged black and white photos as my reference, I seek to reinvigorate the history of my family and its formation within Egypt, captured through various portraits of my grandparents constructed in the grisaille method of painting. Most importantly, I capture the proud native status of my grandparents through spiralling date palms and fruits, symbolic of Egyptian culture and the relationship cultivated between my grandparents as they set out upon a new journey in life together. Amidst this drastic change, their Coptic Christian faith provided them the strength and protection they required to prosperous against the odds. This is moment in which their everlasting story begins.

Elizabeth Bronk

Ella Angell

Written in the Lines

By Ella Angell My artwork ‘Written in the Lines’ expresses the emotional implications markings and scars on the body can have on an individual. My artwork draws on the idea of rejecting society’s idea of beauty being flawless, smooth skin and instead uses these marks to communicate stories of struggles and experiences humans encounter. The skin acts as a canvas in which the stories of people’s pasts are displayed. Written in the lines commemorates these marks through a beautiful form. My artwork further defies the perception of beauty to reveal that beauty is not defined by the superficial appearances of individuals. Due to the marks and the emotions that may arise the artworks can be confronting to some due to its raw and honest commentary; on the way skin works and the type of marks bodies can hold. I wanted to create ‘written in the lines’ to form a conversation on how amazing the human body is, celebrating the true beauty of each individual revealed through what is written within their skin. Celebrating the stories held on bodies to demonstrate the strength each individual has in living with their past even in the toughest of cases.

Ella Angell

Elyse Lorimer

Poppy Arthur Before the Tremors Hit

By Elyse Lorimer Through my body of work titled Poppy Arthur before the tremors hit, I explore the narrative of my grandfather’s adventurous and active lifestyle prior to his Parkinson’s diagnosis which left him stiff and overcome by the debilitating impacts of the disease. In these realistic paintings I aim to capture the moments in time when my Pop was immersed in the Australian landscapes, such as down by Jindabyne Lake, the place where he spent most of his time both skiing and enjoying the serenity as an independent individual. The vignettes gradually appearing throughout the work represent the ability for one’s life to slowly fade away and be overcome by a disease so physically and mentally

tolling on an individual. These photos were all collected from albums he left behind which showcased his adventures and memories throughout his life, thus, I have sought to replicate these through the delicate use of oil paint on canvas. Thea Anamara Perkins has greatly influenced my concept of remembering and honouring the life of my Pop through her work Poppy Chicka whilst my application of paint was largely influenced by Renaissance techniques.

Elyse Lorimer

Emily Stockwell

The Great Forgotten

By Emily Stockwell Critically endangered sub-species in the Sydney basin are overlooked by many. In ‘The Great Forgotten’, the title adapting Daniel Quinn’s idea of a collective loss of knowledge about humanity’s natural history, I intend to illuminate the species beyond those we see on the edges of our bush walks, to those that are withering, forgotten by society. Inspired by Tim Maguire, I have crafted my pieces through layering the fundamental colours of printing – yellow, magenta, cyan and black – in translucent oil paint, in order to create works similarly suspended between abstraction and representation.

Through the portrayal of the Caley’s Grevillea, Sunshine Wattle, Regent Honeyeater and Orange-bellied parrot, I encourage the viewer to perceive the fragility of the exquisite natural world in our local environment, which extends to the national and global degradation of our relationship with nature. This work additionally serves as a tribute to those who are working towards the preservation of Australia’s endangered species, as well as to the life of the species themselves.

Emily Stockwell

Emma Flaherty Daisy Bud

By Emma Flaherty My Body of Work consists of 3 paintings with the title ‘Daisy Bud’ which is a combination of both my dogs’ names, Buddy and Daisy and a link to a bud of a daisy which is a new cycle of life and a beautiful thing. The meaning behind my body of work is about the support animals, significantly pets can give their owner and family. This is extremely important to me as both my dogs have helped save me many times when my mental health would be at an all-time low, and they would ultimately save me. I believe that pets give a support system to their family that you cannot receive anywhere else and because of that I wanted to create 3 artworks that would display that.

Emma Flaherty

Grace Callanan

The You in Me

By Grace Callanan My artwork, ‘The You in Me’ represents my experience being a twin, reflecting the latent journey of individuality experienced by twins within a society which commonly disregards their diverging characteristics. I intend to espouse the internal struggles I have faced in creating a personal image, distinct from that of my twin.

My desire to exemplify this through the contrasting drawings within my work, challenging traditional ways that drawings are presented. The various works with organza fabric stretched on alternating cotton voile and stretched linen displays the multifaceted nature of emotions experienced within my own life and the interconnectedness of such emotions akin to my twin.

Through my series of printed drawings, using dye sublimation, I explore the complexity associated with diverging from the social preconceptions of twins which precludes individuality.

As such, a sense of detachment from self is captured through the individual gestures, naturally emotive movements and positions which signify a loss of familiarity.

Grace Callanan

Isobel Chambers

Palingenesis

By Isobel Chambers ‘Palingenesis’ refers to the Greek philosophical notion of returning human qualities to where they once were, but had since been removed from. Three oilon-wood depictions of the Hellenistic sculpture ‘The Pasquino Group’ challenges the increasing ‘irrelevance’ of distant antiquity by humanising the marble figures. In selecting the statue as the studied work, I have drawn on my personal connections to Homer’s ‘The Iliad’, focusing on Achilles as paramount; communicating to the audiences that even the most heroized figure can remain relevant through emotional complexity, despite the hesitancy of a cultural disconnect. The appropriative nature of colour, either flesh or cold stone, reinforces my purpose to hold on to history within a digitalised modernity. My body of work reflects the emphasis I place on antiquity as a source of cultural richness and epic humanity. Overarchingly, the oil painting reinvigoration of humanity within sculptural history mirrors my value of such history and my drive to challenge labels of irrelevancy.

Isobel Chambers

Kate Law-Whitting

Suspended Between Thoughts

By Kate Law-Whitting Every individual perceives and is impacted by various parts of the day inversely, yet all are seemingly connected by its permeating presence within our lives.

My Body of Work primarily reflects how individuals respond to the corporeality of night and day, expressing their emotive associations tied to each through intense, pigmented colour variations. Drawing influence from Edward Hopper, I have depicted each figure as suspended between one moment and the next, operating within domesticised settings to highlight the true nature of their psychological responses. The first painting of my suite, titled Solicitude, utilises an allusion to Edvard Munch’s ‘The Scream’ to convey an anxious response to darkness, one where the individual is overstimulated

in and out of their personal space.

The second painting of my suite, titled Speculate, explores the intimacy of a domesticised setting, portraying a figure at peace with and embracing the morning light. The final painting, titled Social Disengagement, operates to tie the two previous works together, highlighting the isolation of the centre figure, even whilst amongst a crowded landscape. Through the materiality of the work, I allude to the operation of individuals within identical spaces, ultimately informing each other’s intimate responses and experiences.

Kate Law-Whitting

Lauren Herbert

Baptismal Renewal

By Lauren Herbert My body of work “Baptismal Renewal” consists of 5 artworks, two expressing the idea of cleansing and 3 smaller paintings showing the joyous times that I am reflecting on in the bath and shower. In formulating the idea behind my artwork, I aimed to express personal feelings of loneliness and sadness that I experience after going out and enjoying time spent with friends, then coming home and being alone with my thoughts. The intention of my body of work was to express the collective experience that I, like many others, face; emotions of sadness, loneliness, regret, and the desire for renewal. I have used

symbolism of baths and showers in the series to show this idea of cleansing and renewal, as these are used in everyday life for physically cleansing oneself.

In creating form through my artmaking, I chose to use dark colours in order to depict the emotions loneliness, sadness, and isolation. I aimed to confront the audience and make them feel a sense of uneasiness in order to express what most people don’t feel comfortable talking about. By doing this I aim to connect with my audience on a personal, deeper level that is often kept hidden.

Lauren Herbert

Leila Mangos

Mirage

By Leila Mangos My body of work, titled Mirage, is an acrylic painting on canvas, in which I challenge the concept of self-portraiture to depict the conflict between my intense internal world and the remainder of reality. My intense imagination, sensory sensitivity and emotional depth is a result of my neurodevelopmental disorders, ADHD and ASD, which have caused me to grow up with a creatively inclined sense of reality. The external world can feel bleak in comparison to my vivid internal experiences, and I find beauty in my atypical perceptions, which I believed can only be expressed through surreal artistic practise. Neurodiversity and neurodevelopmental disorders have been represented in a negative and pitiful light by neurotypical society throughout all forms of media, and so I aimed to draw on my lived experiences as a neurodivergent individual to claim autonomy over my own representation within my body of work, communicating the profound and valuable beauty of my neurology.

Leila Mangos

Lily Daley

Rexmar

By Lily Daley For my Body of Work, Rexmar I have tried to embody the love I have for my family property and the history behind it.

My grandfather, John, had a mushroom farm and after he died my father took over and ran it, although it is not around anymore, I know how much it meant to them and how hard they both worked to keep it running. So, it was important for me to use materials that best expressed this deep appreciation that I have for the property so have chosen to use paper and plastic plates. I feel like this best fit with what I was trying to do. Using the plates allowed me to be expressive in my mark making which I feel best correlates with my idea.

Lily Daley

Lydia Thomas My Places… Empty

By Lydia Thomas Through my Body of Work entitled My places… empty, I explore the serene, simple, and natural magnificence of the Australian landscapes I was surrounded by during the COVID-19 pandemic lockdowns. Extending upon Australian contemporary artist Rachel Milne’s focus on ‘seeing the beauty in the everyday’, I aim to communicate to my audience that without people, ordinary places thrived and there was greater opportunity to cherish and appreciate the stillness of such scenes in their simplicity. Thus, I have chosen the three quotidian scenes of my clothesline, the local train station, and my street, in order to highlight the wider shared experience of an upbringing in the Australian suburbs which is characterised by the beauty in the ubiquity of a suburb. Through my vivacious colours and purposeful

emptiness of the scenes, I aim to allude to the still time of the 2020 lockdowns in which I was able to reflect, notice, and more deeply consider the minor beauties found within Australian suburbia, both natural and artificial as represented through the lush flora, bright blue skies, and coloured lid bins. Thus, my work My places… empty acts as a timeless reminder of the empty yet beautifully simple scenes of the Australian suburbs which the period of isolation during the COVID-19 pandemic identified.

Lydia Thomas

Monique M Enearney c

Vale Aunt Val 2020

By Monique McEnearney My body of work ‘Vale Aunt Val 2020’ criticises the influence of the issue of COVID-19 on the collective ability to cope with grief and loss in a restricted time, and thus its universal impact on mental health. My piece focuses on my own experiences and responses to the confined legislations due to Covid-19 and the death of my Great Aunt Val French, confining my family to an online funeral service. During this time, I felt lost in overwhelming sorrow; I couldn’t bring myself to watch the funeral leaving me with the inability to accept the death of such a close loved one.

I have utilised these shared feelings of sorrow and resentment through my largest work. The work emulates a screenshot of the online funeral service. My piece depicts an almost empty funeral, omitting the subject of the memorial and leaving the audience

to question the scarcity of people in the piece. Thus, my body of work shows the universal impact of Covid through the cancellation of events, specifically funerals and the lack of ability to honour past loved ones. My piece will also introduce the universal issue of mental health, as overwhelming feelings of loneliness began to rise across the pandemic. I have constructed two individual pieces. The first displays a hand sanitizer bottle, the second Val’s oil pastel box; an object my family associates with her. The juxtaposition between both elements, the pristine hand sanitiser and old and tattered oil pastel box underlines the impact of the pandemic as the overbearing nature of the pandemic undermines the tranquillity of her death, and ability to accept her loss.

Monique M Enearney c

Olivia Holmes

They’re Such Good Friends

By Olivia Holmes The title of my suite as a whole is called ‘They’re Such Good Friends!’ which is a postmodern photo digital media suite that challenges our historical erasure of LGBTQ+ couples from history through the medium of appropriation. This suite includes three pieces that are all recreations of pre-Raphaelite artwork:La Belle Dame Sans Merci by Frank Bernard Dicksee, Lovers in a Garden by Charles Edward Perugini, and Springtime PierreAuguste Cot. Each artwork has been renamed to similarly ironic titles such between my appropriation and the as Friendship Goals, Gal Pals and Best original artworks is that the heterosexual Buds. However, the main difference couples featured have been changed to feature two women instead, and the style of the pieces changed to a more illustrative and modern aesthetic.

What initially drew me to this concept was my research into LGBT+ couples and figures of the past and how little regard they had in history, even actively disregarded entirely. This rang true even more for sapphic women. I wanted to create my piece with the similar colours and atmosphere of the original works; however, I wanted to bring them into the modern era with a slight air of irony, all while critiquing said erasure.

Olivia Holmes

Ruby Booth

My Very Own Lifeline

By Ruby Booth In my BOW, I have depicted 6 stages of my dad across a landscape piece of canvas to reflect the experiences he has faced throughout his sickness. I have replicated the use of tubes to depict my dad’s sickness, as the first figure of my dad is presented with tubes, to then link to the last figure on the end which also has tubes. This also represents the pureness of painting a raw but also truthful experience, of someone who has managed the hardship of a disease.

However, through portraying my dad through a college of images within my artwork, it communicates how ultimately his disease does not define him or is the main purpose of who he is. As well, I have decided to focus on the lifesize portraitures of my dad within the artwork, to communicate how he not only is a physically big person, but also the largeness of his emotion and his journey with his sickness has affected him and the lives around him.

Ruby Booth

Scarlet Pidcock Bond

By Scarlet Pidcock My conceptual practice derives from the strength in the connection of a horse and human partnership, whilst also being a friendship. Such intimacy with an animal is made overtime in the delicacy of their communication and humans being able to respond with listening. In my experience with horses, I have come to learn their expressive nature, in which I aim to convey in my works, in their movement and sensitivity. With a range of materials such as progresso pencil, graphite aquarelle and other led pencils, each offered an ability to represent the softness of a horse. A softness that allows humans and horses to relate with an true art of listening to one another.

Scarlet Pidcock

Scarlett Crimmins The Newly Weds

By Scarlett Crimmins My artworks demonstrate a deep value for family and family connection through the use of drawing. “The family planner” artwork is a representation of my mum’s own planner, a rich demonstration of how family plays such a large part within my life. As one of twelve I want to express the amount my siblings have impacted my life and how much their own personal lives have played a part in mine as much as mine has impacted theirs. Each of the siblings look down and at one another to reinforce the family affiliation and connection between each one. The drawing shows the full-on schedule my parents and particularly my stay at home mum takes on as mother of 12.

“The Newly Weds” is my oil paint portrait of my Mum and Dad on their wedding day holding their first born. I portray this painting to be quite traditional in a sense that the mother is sitting down with the baby but the Dad is standing above, this shows the traditional sense of family but by incorporating the baby, we are exposed that having a baby before marriage would have been “frowned” upon in society during the time, and even though this was the case, it enforces that family is stronger than “societal expectations”. The connection is portrayed through all figures holding one another to show a close family bond between newlyweds and the excitement of new life and family for them.

Scarlett Crimmins

A special thanks goes to our Year 12 teachers, whose leadership, creativity and adaptability allowed us to overcome unforseen circumstances in order to complete our major projects during the COVID-19 pandemic to see the works we have today.

Special Thanks