Canon, the WORLD’S LEADING IMAGING COMPANY, are thrilled to be a SUPPORTER OF THE QUEENSLAND COLLEGE OF ART PHOTOGRAPHY PROGRAM. After years of dedication and determination, the moment of your graduation has arrived - the beginning of a journey in imaging. Australians take and share more photographs each year as testament to both the EXPRESSIVE POWER OF IMAGES and our PASSION FOR IMAGING AS A COMMUNITY. We stand witness to a creative revolution, which is led by the professional photographer. Across the various categories, it is they who set the pace – challenging the boundaries and unlocking the potential of new technology. IT IS THE FEW THAT INSPIRE THE MANY. Canon Australia is DEDICATED TO THE COMMUNITY OF PHOTOGRAPHERS at all skill levels. Our Canon Professional Services (CPS) is designed to offer you the best support service available for working professional photographers internationally. Canon Australia is the MAJOR SPONSOR OF THE AUSTRALIAN PROFESSIONAL PHOTOGRAPHY AWARDS and the CANON COLLECTIVE will INSPIRE and CHALLENGE you as Canon’s locally based ambassadors. CONGRATULATIONS to the GRADUATING STUDENTS OF 2014. We understand your passion and LOOK FORWARD TO BUILDING A PARTNERSHIP AND SUPPORTING YOU THROUGHOUT YOUR FUTURE CAREERS.
OPEN YOUR EYES TO A WORLD OF IMAGING POSSIBILITIES www.canon.com.au/collective
READY FOR ANYTHING Graduating students from the Bachelor of Photography never cease to amaze me with what they achieve in such a short time. I’m certain that when this cohort of students arrived on our doorstep, they could not have foreseen the nature of the concerns that they have photographically expressed in these pages. When they started at QCA, they struggled to convey their ideas in photographic form. And now they have grasped their ability within the medium of photography and they are emerging as eloquent and articulate image-makers. Their clumsy beginnings are behind them, and they are confidently soaring to the heights of what can be achieved with the photographic medium—each in their own very specific way. In the post-internet age, amateur photography is ubiquitous, and 2014 promises to shatter previous statistics with the somewhat alarming predicted figure of 880 billion photos that will be snapped. So what does it mean to be a photographer in 2014 and to have your images swimming in a sea with 880 billion others? How can we ensure that these emerging photographers will survive among the crush of fresh graduates, and make their mark in the world in a context where everyone believes that they are a photographer? Furthermore, how could the photographs included here be important or worthy? Not only is the photographic image the primary conduit for visual communication in twenty-firstcentury culture, but it is also a pathway to discovery and understanding. As any of these graduating students can testify, the practice of photography leads you into unexpected places, both literally and metaphorically. They have been trained to be critical and creative thinkers, unafraid of the uncertainty of a journey beyond well-trodden familiar destinations. You would have heard that the secret of being a great ‘creative’ is to take risks. Taking a risk these days often means daring to think for yourself and deviating from popular assumptions.
In a world that seeks to promote uncritical, homogenised communication, these students intend to make a difference through the force of their individual campaigns. For photojournalists and documentists, it is about promoting an independent story in a world stifled by simplistic infotainment. For photographic artists, it is about expressing ideas that don’t conform to the predictable formulaic trends dictated by the art market and interior-decoration industries. For creative advertising photographers, it is about finding new languages to convey new ideas (ironically, often implicitly critical of consumerism). At the heart of all this is the creative individual who now understands that they have a life of change and challenges in front of them. As the aphorism goes: “The only thing that is certain is uncertainty.� In the face of the journey ahead, these graduates know they have the ability to be thinking, fluent, flexible, and resilient practitioners. They have learned to see challenge as an opportunity to break through in unpredictable ways. The graduates of 2014 are beginning important and informed conversations with the world in which they live, and audiences will be the beneficiaries of their individual photographic dialogue. As the Convenor of the Bachelor of Photography, and on behalf of all the Photography staff, I sincerely thank them for their valued contribution to visual art and academia, and wish each individual success for the future. Associate Professor Jay Younger Convenor, Photography Queensland College of Art Griffith University
GRADUATING STUDENTS 2014 CREATIVE ADVERTISING Cherie Blyth
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Joseph Byford
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Morgan Cerche
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Jessica Clowes
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Ellyce Cunnane
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Abraham de Souza
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Lesley Denny
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Carissa Fogarty
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Phi-Hung Le-Vu
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Vanessa Lefebure
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Dominique Mills
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Megan Peacock
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Amber Peiffer
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Charlotte Scobie
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Breanna Sheather
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Adam Thomas
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Hilary Williams
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Andrew Willis
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PHOTOGRAPHY PHOTOJOURNALISM
PHOTOGRAPHIC ART PRACTICE
Simon Hardy
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Samantha Adams
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Vibeke Johannessen
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Jaala Alex
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Lynette Letic
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Erin Ashton
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Jiawei Lin
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Jacqueline Bawtree
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Rachel Long
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Jess Collins
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Zoe Mathers
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Helen Corr
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Chelsea Miller
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Melissa Doolan
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Victoria Nikolova
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Katelyn-Jane Dunn
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Whitney Palmer
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Adam Michael Green
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Eva Turek-Jewkes
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Oliver Hew
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Natasha Walker
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Sophia Joseph
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Cory Wright
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Elizabeth Keleher
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Elizabeth Wyatt
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Vanessa Laverty
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Kelly Morgan
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Stephanie Natoli
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Laura Seeds
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Chris Taylor
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Ashton Worthy
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MASTER OF ARTS IN VISUAL ARTS Dominique Chen
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CREATIVE ADVERTISING
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Cherie Blyth Creative Advertising delacruzphotography.com.au cherie@delacruzphotography.com.au 0400 790 509 The goddess symbolically represents success, fulfilment, and prosperity, which modern women aspire to achieve. Role models are important for bringing out quality female attributes. I intend to capture the mystique of these women with the combination of fashion and movement for the purpose of initiating personal feelings of inner security within the observer.
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Joseph Byford Creative Advertising josephbyford.com.au josephbyford@gmail.com 0421 939 989 There is something melancholic about the obsolete—a physical reference to times that cannot be revisited, despite our constant endeavours to do so. An obsolete object reminds us of our own progress just as much as it does our own mortality. This selection of images is from a series that celebrates the obsolete. I have manipulated the objects, using paint, fabrics, and various lighting techniques to underscore the inevitable demise of these outdated items.
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Morgan Cerche Creative Advertising cerche1.wix.com/mcphotography morgan.cerche@griffithuni.edu.au 0404 345 967 Although I enjoy many genres of photography, my final year has focused primarily on portraits. Previous work explored concepts of fear and the supernatural in the form of character self portraits. My current work focuses on bridging the gap between Aboriginal communities and Western media. Through a series of beauty portraits, I want to raise awareness of the lack of Indigenous models, and convey their true beauty, no matter their size, shape, or colour.
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Jessica Clowes Creative Advertising jessclowes.com jessica.clowes@griffithuni.edu.au 0408 296 319 In our fast-paced digital world, there is always something grabbing our attention. The rise of technology has shifted our focus away from the beauty and simplicity of a sunrise. Instead, we have refocused our attention to the digital screen. This body of work comments on how we isolate ourselves from our natural surroundings in favour of the modern and the new. How long will it be until it completely consumes us?
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Ellyce Cunnane Creative Advertising ellycecunnane@gmail.com 0422 634 995 Advertising needs to be simple, easily read, and attentiongrabbing. I have a minimal approach to my work, using key elements to communicate my idea or message. The scope of my work includes a campaign for Alzheimer’s awareness, music cover art, and a campaign for hair products and services.
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Abraham de Souza Creative Advertising abrahamdesouza.com info@abrahamdesouza.com 0400 448 801 I am a Brisbane-based photographer. With a multi-layered approach, I create quality imagery, drawing from fashion and commercial influences. In 2014, I developed an online fashion magazine called HOLD DO NOT DESTROY. The magazine showcases emerging talent in Australia, predominately focusing on male youth culture.
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Lesley Denny Creative Advertising junejuly.com.au lesleydenny@hotmail.com 0405 752 750 These works and their titles are based on beautiful moments spent observing people with white hair. White hair has been seen in Western culture as an undesirable consequence of ageing. Should youth be forever, or is honesty and knowledge just as attractive? The inspiration for my practice is always taken from observing the everyday, the things that occur around us,and inside us. Life is absurd, and that is OK!
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Carissa Fogarty Creative Advertising carissajayne.com info@carissajayne.com 0457 823 788 Take a step back in time to the fabulous ‘50s.
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Phi-Hung Le-Vu Creative Advertising plvphotography.info phihung_levu@hotmail.com 0450 260 618 Imagine.
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Vanessa Lefebure Creative Advertising vam-photos.com nessa_contressa@hotmail.com 0477 895 368 This work is an advertising campaign for shoes, “Fairy tale Film Fantasy Shoes�. Each shoe image is inspired by different fairy tale film characters. It is based on the idea that these shoes can make you feel like you are in or living your favourite fairy tale film. I want these images to evoke the viewer’s inner child and believe again in happy endings.
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Dominique Mills Creative Advertising dominiquemills.com waste.of.paint@live.com 0410 090 740 My images delve into the surreal world of George Orwell’s Animal Farm, exploring a menagerie of dystopian creatures that are half-evolved, neither human nor animal. The portraits each highlight a specific, human trait to create feelings of unease. The creatures have been placed in basic yet evocative environments, not definitive of era, to create timelessness. The projection of human customs onto these animals forces the viewer to ask “What is it that makes us human?�
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Megan Peacock Creative Advertising birdypeacock.com megan.peacock@griffithuni.edu.au 0401 075 211 When people first view this series of images, they may think I am trying to make a negative statement about fashion and consumer culture because the featured dresses are all made out of ‘trash’. The reality is somewhat different; this series of images was borne of necessity. I wanted to be a fashion photographer, but as a university student, I did not have access to the unique, high-end fashion dresses I wished to capture. Thus, making the dresses myself was a way to engage audience’s attention as well as to fulfil an underlying ambition of making high fashion accessible to all.
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Amber Peiffer Creative Advertising a.peiffer@bigpond.com ambersphotography.com.au 0417 018 060 My two projects take on two sides of human nature: war, and the illusion of fashion. What we wear is not a statement about who we are but a projection to society of who we want to be seen as. By giving my subjects a theatrical appearance, I ask the viewer to recognise the faรงade fashion provides. Additionally, I have explored the unchanging nature of war and reasons for fighting.
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Charlotte Scobie Creative Advertising charlottescobie.com scobie_c_93@hotmail.com 0423 683 863 This body of work explores the common stereotypes of Western women: that they are nothing but sex objects; slaves to men’s desires; that they should be seen and not heard. They are basically seen as mindless robots, here solely to serve men and children.
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Breanna Sheather Creative Advertising breannasheather.com info@breannasheather.com 0423 683 863 This series investigates the ideologies and discourses depicted throughout Louis Vuitton’s advertising. It demonstrates the side effects of being a luxury brand consumer, and aims to examine consumerism and how it can affect women. Each image is designed to question its audience and create discussion.
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Adam Thomas Creative Advertising adamphotographer.com adam.thomas5@griffithuni.edu.au 0421 212 357 This work shows glimpses of a science-fiction world where the natural environment is at near-extinction. The plant life that remains is a highly desired and protected commodity, more valuable than gold. We learn to speak the language of advertising from a young age, understanding that marketing dictates a product’s purpose and audience. That idea is explored by showing the product as irrelevant.
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Hilary Williams Creative Advertising hilarywilliamsphotography.com hwilliams_25@hotmail.com 0448 212 540 As is the case with most of my work, I tend to explore the story behind the scene presented, and allude to the human emotion and mentality, whether it is within the genres of fashion, portraiture, product, or food. Through this, I always work to present a strong element of visual aesthetic—whether it is to present the mood and tone, or to give the image a strong sense of design.
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Andrew Willis Creative Advertising extrememultimedia.com.au willis@extrememultimedia.com.au 0414 448 426 I view the photographic process as an opportunity to uncover worlds hidden beneath layers of imagination. Much of my personal work revolves around themes of dystopian underworlds, dark fairy tales, and disturbing yet beautiful futures. I aim to create a cinematic image that allows the viewer to question what has led to this moment and where it could go from here—questioning the unknown and opening the doors to the imagination.
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PHOTOJOURNALISM
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Simon Hardy Photojournalism simonhardyphoto.com schardy89@gmail.com 0449 269 952 Drawing parallels from my own experience as a young Australian male, these images work as a reflection upon my journey towards adulthood. Through various social groups, I have studied the notion of what it is to be a young post-pubescent male, highlighting the pressure, bonding, and frictions of this momentary period.
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Vibeke Johannessen Photojournalism vibekejohannessen.com vibeke.johannessen @griffithuni.edu.au 0422 390 761 Female culture has never been more intriguing in a society that is obsessed with displays of material wealth, success, and freedom of sexual expression. The ease with which we self-promote or self-broadcast our own image is unrivalled. This body of work is an exploration of how it is to be a woman in today’s society. It investigates the dynamic relationships between females of different ages, and communicates ideas about sexual currency and competition.
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Lynette Letic Photojournalism lynetteletic.com lynette.letic@gmail.com 0405 799 181 As a first-generation SerbianAustralian, I am interested in the idea of living between two countries and, ultimately, how one reconciles and defines their cultural identity in an Australian context. Through conversations with Serbian migrants, feelings of nostalgia, displacement, and pride were voiced. I sought to document these experiences through the visual, archival and textual. Between the Two is a dual narrative that attempts to communicate what it means to be Serbian in Australia today.
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Jiawei Lin Photojournalism oolphoto.com terrixlin@gmail.com +65 9630 1238 Behind the facade of people keeping cute wildlife animals at home is many hours of blood, sweat, and tears. Powered by passion, and sacrificing hardearned cash and many hours of sleep, it is no easier than taking care of a human baby. All of this is driven by one purpose—to put the wildlife animal back into the wild. Do they feel sad as their ‘baby’ leaves them? No, it’s the thing they desire most for the animal.
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Rachel Long Photojournalism rachellong.com.au rachel_l_long@hotmail.com 0412 615 620 Inscription is a quiet series that explores notions of memory and personal curatorship. Through documenting belongings owned by my great aunt, and personal objects passed on to myself, I seek to not only discover connections between our lives, but also create a lasting record for future reflection. Regularly visiting my great aunt has been a rewarding learning experience—I have realised that our shared desire to catalogue the world around us connects us.
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Zoe Mathers Photojournalism zoemathers.com zoemathersphotography@live.com 0403 957 501 At the beginning of this year, I set out to create a series of images that explored the intricacies of being a single father. Through documenting Jeremy with his daughters Ula and Saffina, I’ve realised that Jeremy’s compassion and devotion to them is more than I ever could have anticipated. Jeremy devotes every breath to his girls and I have seen them overcome such adversity together with a tenderness that is testament to single parents everywhere.
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Chelsea Miller Photojournalism chelseamillerphoto.com chelsea.miller@griffithuni.edu.au 0435 803 408 As a conservationist and documentary photographer, I endeavour to make change in the way that humans interact with the environment. This project investigates the destruction of the Leard State Forest for the construction of a coal mine in Maules Creek, NSW. The devastation of a critically endangered forest for the construction of a coal mine begs the question: What will coal revenues be worth when we’ve destroyed the air, water, land, and biodiversity of the planet?
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Victoria Nikolova Photojournalism victorianikolova.com info@victorianikolova.com 0450 150 431 Bred for the killing. Hunting is inextricably linked to evolutionary themes of survival, ritual enactment, and response to biological directives. Yet, in the absence of necessity, the drive to hunt for ‘pleasure’ has led to the remarkably streamlined construction of a ‘sport’ that callously strips these magnificent creatures of any form of competing agency. For the right price, any person— regardless of skill or ability—can purchase a ‘kill’ for their next Beautiful Trophy.
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Whitney Palmer Photojournalism whitneypalmerphotography.com wpalmerphotography@gmail.com 0451 049 406 It is often assumed that physical disabilities inhibit character, and prevent personality from being visible. This couldn’t be further from the truth. Jake Morrison is incapable of talking, walking, and eating without assistance, yet possesses a joy and positivity that is undeniably contagious. This photographic series moves from the expected to the unexpected as it attempts to challenge preconceived stereotypes of differently abled people; it seeks to celebrate the heart of a six-year-old boy.
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Eva Turek-Jewkes Photojournalism evaturek-jewkes.com eztopdown@yahoo.com.au 0406 589 748 Rebel Gender ‘Faggot’, ‘tranny’, ‘sissy’—ugly words from small minds. I watched friends and family turn ignorant and moralising based on no cues other than someone’s dress or gestures. Driven by intolerance where words marginalise others, I photographed transgender people in their chosen location, emerging into the light— representing a special place in their life’s journey. We then realise—being transgender makes you no different to every person finding their way in life.
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Natasha Walker Photojournalism natashagracephotos.com ngphotography@live.com.au 0430 157 282 This story is an exploration of a mother/daughter bond. Separate lives that reveal shared traits, beliefs, rituals, and mannerisms, passed down through generations. Bound by their similarities and experiences, they remain united. While I have a familial relationship with these women, documenting their lives has forced me to look past what I take for granted. Without Regrets has allowed me more intimate access to their daily existence and to record the connection that I witnessed.
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Cory Wright Photojournalism coryjwright.com cory.wright@griffithuni.edu.au 0468 316 040 Has an offender’s debt to society been paid upon their release from prison? At what level can one reintegrate back into a society from which they were excluded? This series tells the story of one individual’s circumstances postrelease. Its aim is to challenge the social stigma intrinsically linked with incarceration while asking the viewer to consider the residual effects of prisonisation and the challenges faced by those attempting to reintegrate into society.
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Elizabeth Wyatt Photojournalism elizabethwyatt.com.au info@elizabethwyatt.com.au 0418 733 696 As many incidents, including accidental deaths, suicides, assaults and murder, are forgotten and often go underreported or are eclipsed in the news by other events, we generally do not realise the proliferation of these acts. I hope, by photo documenting these sites of disturbance, to create a greater awareness in the community. Imprints seeks to document those traces left behind while challenging the complacency we have towards safety in public spaces
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PHOTOGRAPHIC ART PRACTICE
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Samantha Adams Photographic Art Practice samiadams.com samiadams@optusnet.com.au 0434 528 038 I am a Brisbane-based photographer who enjoys exploring darkroom and other traditional photographic practices. My current work, Toxic Is Our World, explores the way that virtually everything we buy is made through mass production, which has a negative impact on our lives, health, and the environment. The series outlines the alteration between an item’s traditional and commercial forms. The series explores these matters through its use of symbols, imagery, negative space, and vivid colours.
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Jaala Alex Photographic Art Practice jaalaalex.com jaalaalex@gmail.com 0415 632 522 This body of work emerges from my inquiry into feminine identity. The still-life genre has been employed to interplay the domestic with playful and simplified references to femininity. The decorative notion of the feminine role here is critiqued and usurped to become somewhat ridiculous.
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Erin Ashton Photographic Art Practice erinashtonphotography.com erinashtonphotography @gmail.com 0423 353 366 The self is a fluid and evermorphing entity. This body of work comprises representative portraits that move past just the face and into a representation of this fluidity. It aims to entice the viewer to decipher the clues left for them within the image. Through the repetitive use of flesh, shape, overlay, and abstraction, the body becomes a new canvas of investigation and meaning.
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Jacqueline Bawtree Photographic Art Practice jacquelinebawtree.com jacqsb@live.com.au 0404 037 144 My final project reflects on the experience of grace. Deep darkness interspersed with light and the ‘Caravaggesque’ tradition of chiaroscuro play a key influence in my photographic art practice, as I explore my own response to the profundity of emotions wrought by deep spiritual connection. I understand grace as the unmerited peace of God given to the restless, often best understood in the midst of suffering and brokenness, when struggle overpowers and need is greatest.
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Jess Collins Photographic Art Practice jesscollinsphotography.com jesscollinsphotography @gmail.com I am an Australian photographer based in Brisbane. My work explores the different relationships between the natural environment and human beings to question the ideologies of society and culture.
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Helen Corr Photographic Art Practice helencorr.com helen.corr@griffithuni.edu.au (07) 3355 7772 These works interpret my experiences of limbo—a kind of space-time I experienced through grief. The videos and stills represent vignettes into my ‘everyday’ life in which everything and nothing is the same. Exploring this, I use hypnotic repetition, montage, and distorted soundtracks. Physical forms become abstracted into light and shade, while movements are slowed down or sped up. The stills are printed on hand-primed cartridge paper and digitally scanned for reproduction.
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Melissa Doolan Photographic Art Practice melissadoolan.com melissa@melissadoolan.com 0408 197 767 These images are a personal and nostalgic journey into the Australian bush. The process of image manipulation detaches the location photographed from the photographic record and moves it towards a dreamlike place reminiscent of childhood adventures and memories. I am drawn to these places where time seems to stand still, at least in my memory.
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Katelyn-Jane Dunn Photographic Art Practice katelynjanedunn.com katelynjanedunn@gmail.com 0407 645 473 Raised in various parts of regional and metropolitan Queensland, my experiences as a woman in a male-dominated culture define much of my current practice. Responding to hypermasculine and feminine ideals, my work explores tensions within femininity, womanhood, and the inheritance of gendered familial identities. Combining performance and tactile materials, I work to reconcile, reclaim, and reflect upon a multidimensional femininity, asking, “What is it to be feminine?�
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Adam Michael Green Photographic Art Practice amgphotography.zenfolio.com adamgreenfilm@gmail.com 0402 266 151 Celebrity and the artist are a brand. My background as an actor and filmmaker allow me to perform, parody and appropriate. I present the viewer with a sense of the familiar, while questioning the validity of originality and fame.
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Oliver Hew Photographic Art Practice cargocollective.com/oliverhew oliversmhew@gmail.com 0427 463 430 Brother + Muse = Proxy. This body of work is an exploration of the phenomenon of ‘selfies’, using my brother as a proxy to explore my own identity. The portraits are autobiographical, therapeutic, and a valid means of selfexploration and narcissism. The continual sloughing and digital reconstruction of image requires the adroit capture of a certain knowing self-awareness and pose.
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Sophia Joseph Photographic Art Practice sophiaejoseph32@gmail.com 0410 101 034 The Light Is On This series captures illuminated rural spaces, which suggest the presence of life. The Light Is On explores the notion of emptiness within space occupied yet incredibly isolated. The radiating light lures the viewer to search for human existence—yet nobody’s home.
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Elizabeth Keleher Photographic Art Practice lizzykeleherphotography.com e.keleher@hotmail.com 0427 452 967 The Diminished Focussing on the effects of feminine illnesses, my series aims to explore the ruthless invisibility of these conditions. Themes of femininity, isolation, and discomfort are highlighted in the barren landscapes and continually changing opaque bodies, while the fleeting nature of life is captured in the diminishing of the painted work. The interplay between natural and synthetic questions the role of the mind and what control we have over our own bodies.
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Vanessa Laverty Photographic Art Practice vanessalavertyphotography.com vanessalavertyphotography @gmail.com 0407 623 498 This body of work seeks to explore the relationship I have with the land, particularly my personal environment. This typographical series positions objects found on my rural property. My choices are framed by a personal relationship to that environment and thus the typology explores a personal portrait about a human relationship to rural environments.
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Kelly Morgan Photographic Art Practice kelly.morgan2@griffithuni.edu.au 0458 291 191 To me extreme things are like miracles. There is nothing as boring as a person who is just okay. But I could easily live in a world populated with these disjunctive, bizarre things‌I operate out of confusion, towards clarity. —Joel Peter Witkin My series reveals human vulnerability by exploring the tension between body language and identity through fictitious characters. By investigating femininity through masculinity, I am discovering the freak show in a beautifully grotesque way.
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Stephanie Natoli Photographic Art Practice stephanienatoli.com stephanie.natoli@gmail.com 0415 369 787 Fading Touch explores the notion that intimate connections, especially physical, in the postmodern family are fading or non-existent. As family is very important to me, I have chosen to question and challenge some of the preconceived ideals and glorifications of Western society, such as independence, consumerism, career success, etc. My process has involved documenting my own family at various gatherings, then applying paint on top to create a symbolic erasure of close connection and intimacy.
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Laura Seeds Photographic Art Practice lauraseeds.com laura.seeds@gmail.com 0421 471 587 The work Heartbeats approaches the long-standing tradition of classic portraiture but explores the genre by pulling it apart. By using printmaking techniques and the artist’s own hands to manipulate and mark, the original photographs become unique physical objects that address the nature of traditional posed portraiture. The cathartic process engages the artist physically and emotionally with each individual work to re-engage with the human element of the portrait.
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Chris Taylor Photographic Art Practice c.taylor299@gmail.com 0404 946 164 Photography is a unique way to document a time and place. At first glance, photographs appear to be simple recordings; however, upon closer inspection, they can often show us things about ourselves that may go unnoticed. They can freeze time, tell stories, and create narratives where they never existed. I travelled to the annual Brisbane Exhibition in order to document the people and events. What I ended up with forms a snapshot of Australian culture.
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Ashton Worthy Photographic Art Practice ashtonworthy.com ashton.worthy@griffithuni.edu.au 0406 631 040 Through the use of digital manipulation, repetition, and textiles, my mosaics seek to examine some of the more subtle aspects of the female form in order to recontextualise and destigmatise the stereotypical male view of the female body.
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MASTER OF ARTS IN VISUAL ARTS
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Dominique Chen Master of Arts in Visual Arts (MAVA) walkingstory.com.au dom@walkingstory.com.au 0413 207 615 On the Nature of the Familiar explores society’s physical and ideological disconnection from nature within a domestic context. Taking organic and inorganic domestic waste objects and re-presenting them with common domestic scenes, the work questions where ‘nature’ meaningfully resides. While it is closed off behind doors and fences, and its representations are internalised through adornments and motifs, ‘nature’ is hybridised, abstracted and dislocated from the physical realities of an impacted and disappearing natural world.
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PHOTOGRAPHY STAFF AND SUPPORT 2014 Full Time Lecturers
Support Staff
Assoc. Professor Marian Drew
Ms Lisa Brown
Mr David Lloyd Mr Peter Wanny
Mr Steve Godbold Mr Tony Hamilton
Assoc. Professor Jay Younger
Mr Charlie Hillhouse
Part Time Lecturers
Ms Christine Ko
Ms Angela Blakely Ms Amy Carkeek Dr Ray Cook Mr Alan Hill Mr Bruce Reynolds Mr Martin Smith
Sessional Lecturers and Tutors Ms Michelle Bowden Ms Renata Buziak Mr Gerwyn Davies Mr Mike Hallson Ms Elise Hilder Mr Charlie Hillhouse Ms Kelly Hussey-Smith Ms Christine Ko Ms Emma Leslie Mr Louis Lim Mr Josef Ruckli Mr Shehab Uddin
Mr Greg Hoy Ms Emma Leslie Mr Louis Lim Ms Carol Marron Mr Dale Patterson
External Assessors Mr Gordon Craig Mr Jose Da Silva Mr Phil Tamblyn
THANK YOU
BLURR CLUB 2014
The 2014 Bachelor of Photography graduates would like to thank all the lecturers and tutors who have supported us throughout our years at Queensland College of Art, Griffith University. Your knowledge, guidance, and passion have inspired us to become great photographers. Without your encouragement, we would not have been able to push ourselves to produce the quality of work on display here.
President
The Blurr Club would also like to send out a special thank you to Jay Younger and Amy Carkeek for your invaluable assistance and support. To Jacqui Hancox and the design team at Liveworm, thank you for your patience and professionalism in putting together such a fantastic catalogue. A great appreciation also goes out to our sponsors, without whom none of this would be possible; from the bottom of our hearts, we thank you for your generous contributions. Graduates of 2014 . . . We have finally made it!! Congratulations and may there be many fantastic opportunities in your future photographic careers.
Cherie Blyth
Vice President Peter Frankland
Secretary Vanessa Laverty Melissa Doolan
Treasurer Melissa Doolan
Vice Treasurer Lizzy Keleher
Hospitality Lizzy Keleher (Team Leader) Vanessa Lefebure Vibeke Johannessen Jared Finlayson
Marketing Rachel Long Victoria Nikolova Breanna Sheather Jacqueline Bawtree Adam Green Sam Adams Sophia Joseph
Catalogue Tegan Corey Cherie Blyth Kelly Morgan
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STUDENT AWARDS 2013 Ariel Cameron
Jasmin Felstead
Ariel Cameron
Anna Smith Portraiture Award
CameraPro Award
Presented to the graduating student with most innovation in Portraiture
Presented to a graduating student in recognition of excellence in an advertising body of work with a strong conceptual framework
The Queensland Centre for Photography Award
Melanie Flanagan Allchromes Award Presented to the graduating student who produced the most creative folio
Christopher Hoopmann ADFAS Youth Arts Photography Prize —Winner Presented to a graduating student for artistic merit
Dante McCoy (Huang Yu) ADFAS Youth Arts Photography Prize—Runner Up Presented to a graduating student for artistic merit
Marianne Henriksen AIPP Photography Business Mentoring Award Presented to a student with the highest standard of visual and lighting ability
Sarah Osborn APJ Award Presented to a continuing or graduating student for the best example of social documentary photography
Presented to a graduating student for experimentation and innovation within Photographic Art Practice
Alban Vinevel
Athena Zelandonii
DES Beyond Creation
St Aiden’s Anglican Girls’ School Award
Presented to a graduating student in recognition of print mastery within a conceptual framework
Presented to a graduating documentary student continuing into Honours
Denise Schilk
Chloe Bartram
John McKay Memorial Scholarship
St Margaret’s Anglican Girls’ School Award
Presented to a graduating student with the highest GPA continuing into Honours
Presented to a graduating documentary student continuing into Honours
Callena Brenchley
Jacqueline Gith
Kayell Australia Award
Street’s Imaging Award
Presented to the graduating student in recognition of excellence in advertising for a single image
Best overall series from any major, presented to a graduating student going on to Honours
Madeline Wray-McCann
Ella Fitzgerald
RGB Digital Prolab Award
Presented to a graduating student demonstrating technical and conceptual clarity within the politic of the practiced stream
Presented to a graduating student in recognition of excellence in Creative Advertising
Sun Studios Best Image Award
Athena Zelandonii Jacky Owens Photography Staff Award Presented to a student for significantly adding to the culture of the department 117
PROUDLY SUPPORTED BY
PROUDLY SUPPORTED BY
John McKay Memorial Scholarship
ADFAS Brisbane Inc. The Association of Australian Decorative and Fine Arts Societies
PRICE $10