Design: zirka&wolf. hello@zirkawolf.com
Bachelor of Fine Art & Master of Arts in Visual Arts Graduate Exhibition 2011
Contents Jewellery and Small Objects
Interdisciplinary Painting
6
Vashti Bardsley
26
Rachael Archibald
7
Eryn Begley
27
Wendy Brown
8
Pippin Blackwell
28
Anna Carluccio
9
Tessa Brown
29
Dianne Cecil
10
Adrianna Collard
30
Ann Copp
11
Jessica Cooper
31
Katina Davidson
12
Mary Davies
32
Sandra Delon
13
Jacqueline Dyson
33
Bridie Gillman
14
Christopher Hardwick
34
Ben Havenaar
15
Pennie Imeson
35
Tara Heffernan
16
Timothy Iveson
36
Kate Kingston
17
Felicia Kube
37
Kate Lamb
18
Emily Lau
38
Dana Lawrie
19
Samuel Lintern
39
Lee Lombardi
20
Gabrielle Morosini
40
Michelle Lonergan
21
Peter Penwarn
41
Allirra Marmo
22
Megan Rowe
42
Llewellyn Millhouse
Ingrid Wind
43
Danny McNamara
44
Mika Nakamura-Mather
45
Deborah Nicholls
46
Tamara Niederer
47
Jessica Rampling
48
Jack Rodgers
49
Ben Rogers
50
Anna Stretton
51
Kaye Stuart
52
Maya Walker
53
Greta Waring
54
Kadee Webber
55
Shayna Wells
23
Interdisciplinary Print Media
Interdisciplinary Sculpture
58
Jessica Allen
82
Rosie Attwell
59
Kim Anderson
83
Rebecca Finnigan
60
Sinead Bongiorno
84
Jessica Flatman
61
Holly Coleman
85
Caitlin Franzmann
62
Erin Dunne
86
Brianna Hopper
63
Claire Fulton
87
Jeanette Lee
64
George Furlonger
88
Catherine Leet
65
Riley Gilloway
89
David Mackee
66
Stephanie Grogan
90
Tor Maclean
67
Keira Kavetsky
91
Penny McIntyre
68
Karryn Lesley
92
Jana Nicholson
69
Laura Richter
93
Nadege Philippe-Janon
70
Jessica Row
94
Melanie Jade Simpson
71
Cherylin Scalia
95
Kylie Spear
72
Susanne Schroder
96
Francisca Vanderwoude
73
Kate Simpson
97
Kathryn Walsh
74
Bevil Staley
98
James Warren
75
Tyza Stewart
99
Gabrielle Wilton
76
Ellie Sweatman
77
Edward Taemets
Master of Arts in Visual Arts
78
Evelyne Upton
102 Jasmine Cannon
79
Jazmin Wilkins
103 Nicola Hooper 104 Dennis McCart 105 Lana Noir 106 Ros Stokes 107 Caro Toledo 108 Tony White Master of Arts in Visual Arts with Honours 112 Sue Preston
1
Foreword 'I am not the voice of authority. I make mistakes. I might be wrong.' Felix Gonzalez-Torres, artist
Mistakes to Miracles Looking back on the events of 2011, it is difficult not to reflect on how the elements of water and wind have hovered over conversations and actions in Queensland. The phenomena of the floods and hurricanes have been the ammunition for personal perceptions and stories that have emerged for interpretation. The site of the Queensland College of Art at South Bank has been a place for students to communicate, debate, work through and reveal their individual perspectives on current and past events and predicaments. Their voices are heard through the created works developed from the investigation and union of ideas and materials. Mistakes are made but then, eventually, visual works reveal individual perspectives of reality. Here is the core of the importance of the QCA site, a place to debate, experiment, and make mistakes, maybe even miracles. The art school studio is transformed into a window to the world, but also a site of introspection and the place where individual and collaborative art forms are conceived and created.
2
In 2011, the Fine Art program watches its largest group of 96 undergraduate students and 10 MAVA candidates leave its South Bank site into a world of unknown futures, possibilities, mistakes and successes. I think back some years when these current students arrived with diverse backgrounds and experiences to be challenged and inspired by knowledge and discoveries that were unexpected. Friendships were formed through the wonderful intoxication of art making.
I cannot imagine all the places that these graduates will venture to, but there is something that I am sure of, they will become the makers of the future, both in Australia and overseas. They will most certainly make strong contributions as artists and arts workers to the wider community through their knowledge, skills and passion. They will no doubt shift attitudes about place and culture through their experience and ideas.
The Fine Art studios have been filled with ideas, arguments, materials, sounds and emotions. What has emerged after three years is the unusual, the peculiar and distinctive work that is presented in the 2011 graduating exhibition. The candidates in this year’s exhibition have come through interdisciplinary approaches in painting, sculpture, print media, drawing and jewellery and small objects. The exhibited work is as varied as the individual rationales behind them. Evident here is a sophisticated use of found materials, the diverse use of what one thinks of ‘paint’, prints that dance with complexity, and the magic of objects to adorn the body in transformed precious and discarded materials. And public projects and exhibitions have come to fruition through the mentoring of staff in a Professional Practice component to their study.
For the artists and academics that have had the privilege of teaching these students, we await with anticipation to see where these students will venture. The Queensland College of Art, reputable in relation to its longevity and dedication to studio teaching and practice, is not only proud of the methodologies acquired by these graduates, but also the level of conceptual dialogue and discourses that now occur between them. It is with respect that Queensland College of Art congratulates and celebrates each of these graduates’ achievements—wishing each a future of exceptional opportunities and successes. To all of the 2011 graduates, Fine Art, Queensland College of Art congratulates you and says thank you—the future is yours, make mistakes—they may lead you to the small unexpected miracles. Associate Professor Debra Porch Convenor, Fine Art Queensland College of Art, Griffith University
3
Jewellery and Small Objects
Vashti Bardsley
My graduate work has been one of journey and collection as an urban gypsy with an interest in story telling. This series has woven together strands from the past and present, using imagery from myths and legends and drawing parallels to our everyday reality. The work explores parts of the human condition in archetypes that contain a reflection of a personal journey, a 'heroes' journey both within and without. vashti-sita.bardsley@griffithuni.edu.auÂ
6
Heroes Journey 2011 Sterling silver 4.5 x 5 cm
Eryn Begley
Lilac dust of a woman’s hair, A wooden cross, A paper prayer, A stone where her body lay, A stack of feathers, A pile of hay... 2011 Etched aluminium, anodised titanium, enamel, found antique books Dimensions variable
I have a long-held fascination with art that has connection to ritual, to tradition, to the mystical, and to non-dogmatic spirituality. This fascination feeds an inquiry into the union of sacred and profane within the everyday, focusing on the importance that this union has in the creation of myth. Choosing to use recycled and found objects in my assemblages, I hope to highlight ‘green’ issues, while making the precious mundane, and the ordinary something valuable. erynbegley@hotmail.com 0410 636 602
7
Pippin Blackwell
Majoring in jewellery and small objects, Pippin Blackwell’s work utilises precious and non-precious metals, developed and displayed for small sculpture, wearable art and contemporary jewellery. Her works attempt to explore humanity on an individual and group scale. This field of study first began as a critique of humanity and the development of mental thought, and now Pippin is assimilating this dialogue into her study of local culture, using Brisbane’s urban and suburban environment as inspiration.
8
Dialogue 2011 Silver, titanium 8 x 8 cm (each)
Tessa Brown
On the brink 2011 Sterling silver, enamel 2 x 3 x 3 cm
Focusing on the relationship between art and science in my practice, I take inspiration from nature to create miniature sterling silver worlds. By pairing time-honoured silversmithing techniques with a whimsical approach to design, I hope to create an aesthetic that allows each piece to exist symbiotically.
9
Adrianna Collard
Domed Hairy Spinifex Brooch is part of Where the Grass Grows, a series of works investigating the connection we have with places in our lives. Hairy Spinifex is a grass indigenous to the Moreton Bay region in which I live. Grasses that have originated from my region can act as signifiers of that place, as well as a memento and emblem of my identity and location in the world. adrianna.collard@gmail.com
10
Domed Hairy Spinifex Brooch 2011 Sterling silver 4.8 (dia) x 1.5 cm
Jessica Cooper
I do not fear the soldiers 2011 Sterling Silver Dimensions Variable
My aim is to create sculptural forms that exist as wearable artwork. The work I create relates to certain emotional aspects of significant events in my life. I do not fear the soldiers represents a close friend’s fight with cancer. The paradox of a war-ravaged toy soldier identifies the innocence of a young man in the battle for his life. scrapmetaljewellery@hotmail.com
11
Mary Davies
The bracelet is based on the exoskeleton form of a Trilobite, made from linked articulated segments of the same size. Saw-pierced sterling silver links, chenier and hinges create a mechanical aesthetic. This piece mimics the unique capacity for flexibility of the trilobite. Inspired by these fossilised creatures, the theme captures a moment in time forever. My designs are fundamentally about the impression of simplicity with the practicality of form and function. mjd@mjdjewellery.com
12
Trilobite 2011 Sterling silver 17.5 x 3.2 cm
Jacqueline Dyson
Interstices 2011 Sterling silver, fruit seeds Dimensions variable
Jacqui Dyson is interested in making three-dimensional forms. She delights in working with precious and base metals in juxtaposition with organic material, synthetic stones and components of audio-visual technology. Her work is interactive and often articulated. She is an astute observer of human interaction and emotion which can be seen in her work through the idea of creative concept and signification.
13
Christopher Hardwick
In seeking to draw attention to the ‘unspeakable other’ my work brings images of domestic violence, child abuse and suicide into the public arena. The intention is to challenge society to become aware of the increasing incidence of abuse in our community, and to consider the lifetime impact this violence has on the family and on our culture. These toys are a tribute to Dean Shillingsworth, Daniel Valerio and Darcey Freeman, killed by a parent.
14
Untitled 2010 Oxidised sterling silver 300 cm2 (total area)
Pennie Imeson
Untitled 2011 Drinking straws, string Dimensions variable
Everyday materials and low-tech processes combine to create bold and simplistic forms—forms that evolve from the intrinsic properties of the material itself.
15
Timothy Iveson
Damn you stiffened legs, curse these rigid arms, I’m tired and I’ve done my time. Still you’ve kept me, harnessed my quiet, for the killing of time, but there’s none to be done anymore. Time just falls, on the floor, in-front of me. Turn me loose Tim, set me free, let me leap, like that first day, that you bound me, so careful, and so tight.
16
Spiderchair & Sack 2011 Mixed media Dimensions variable
Felicia Kube
It’d Take Too Long To Explain. The Point Is, She’s My Best Friend 2011 Sterling silver 2 x 3 x 55 cm
You are what you wear; you can wear who you want to be. I wear who I am. www.silverandstuff.artworkfolio.com leficia@hotmail.com
17
Emily Lau
Rabbits were portrayed as cute and friendly animals in fairytales but in reality they are not. They ruin crops, are over populated, and have red eyes (evil eyes), big ears and giant feet. So I created a number of evil rabbits for this project to depict the true side of rabbits. To bring my work to another level I’ve written my own version of a fairytale for this series of work.
18
Dark fairytale 2011 Bronze, velvet, wood 21.5 x 14.5 cm (closed) 21.5 x 29 cm (open)
Samuel Lintern
Contrivance MkII pendant 2011 Sterling silver, emerald, photograpic element 5 x 2 cm
Ever since my school days, I have been fascinated by vintage cameras. Collecting photographic equipment is a frequent activity and as a result I have developed a sense of aesthetic appreciation for cameras and lenses. By marrying jewellery and photography, I started seeing gemstones in the optical glass of lenses, and optical qualities in gemstones. Silver in images and images in silver. An obsession within an obsession. samuels.lint@gmail.com
19
Gabrielle Morosini
My jewellery is made with the notion of evoking a sense of the natural world that we, as human beings, were once so linked to. Each piece is intended to awaken the link between humans, the earth and its creatures using silver that is ethically sourced and 100% recycled along with feathers that are also ethically sourced. gab_iz@hotmail.com
20
Untitled 2011 Sterling silver, feathers Dimensions variable
Peter Penwarn
The artist as alchemist; what are we really trying to turn into gold? 2011 Brass, copper, bronze and balsa 30 x 15 x 15 cm
My work investigates my experience of mental illness and spiritual identity. ‘’'Turning base metal into gold,’ alchemy is my metaphor for life; finding the beauty in our selves, the mundane and discarded, and finding the gifts in adversity, the ephemeral concrete; or as Blake put it ‘the infinite in a grain of sand'.’’ Metals’ capacity for manipulation, transformation, illusion, and its beauty in decay, provides the opportunity to explore these ideas.
21
Megan Rowe
In her work, Megan Rowe attempts to create pieces that reflect beauty, sophistication and elegance for the modern wearer. Rowe works with sterling silver and semi-precious stones utilising a variety of techniques, ranging from lost wax casting to bezel settings. meganrowe.jewellery@gmail.com
22
The little pearl 2011 Fresh water pearl, sterling silver 4 x 2.5 x 2 cm-
Ingrid Wind
Bracelet 2011 Sterling silver Dimensions variable
My photographed work comments on the controversial world of transgenics. Transgenics is the process of integrating the DNA of one species into the DNA of another. Science has isolated the gene that gives salamanders their natural regenerative abilities and has now integrated the gene into humans with the hope that we may develop the same regenerative abilities. The clasp on this bracelet is an amputated arm taking away the leg of the salamander. A commentary on the potentially extreme lengths humans will go to, to enhance and/or heal their bodies. ingridwind@live.com.au
23
Interdisciplinary Painting
Rachael Archibald
"If something is boring after two minutes, try it for four. If still boring, try it for eight, sixteen, thirty-two and so on. Eventually one discovers that it’s not boring at all but very interesting." — John Cage rc_archibald@hotmail.com
26
X 2011 Foam core, ink, paper Dimensions variable
Wendy Brown
Consumuseum 2011 Plastic, wood, found objects, mixed media 10 x 30 cm (each)
We absorb a multi-layered life. Random dissection and intersection occur. Images have become the dominant cultural form of an information age. In the blink of an eye, we take in the very nature of our evanescent existence. A miasma of images populate and dominate the mindscape. Wonder and confusion, contemplation and panic drive my exploration into these characteristics of contemporary life. getsmart71@bigpond.com
27
Anna Carluccio
0435 351 924
28
Billy Joel 101 2011 Mixed media on board 66 x 123 cm
Dianne Cecil
The Landscape 2011 Oil on canvas 40 X 50 cm
Landscape is a complex concept with a meaning that reaches beyond mere terrain and topography to embrace metaphysical conditions. I view the landscape as more than an object or land fragment but as a landscape incorporating a relationship between a lived reality and a potential for other ways of being. These may include sensuous experience, aspirations or liberation. A landscape should create a tension, an enchantment or an unruly force. Spending time in the landscape enables you to feel the source of life penetrating your senses. You experience the allusions to the mysteries and contradictions bound up in landscape. I aspire to capture a daunting and humble power of nature when painting a landscape.
29
Ann Copp
Based on visual assumptions, we characterise and box what we see. Our impressions of a stranger are based on the visual. My work is a portrayal of movement, the illusions of motion and light depicting transparent, distorted images. They create an almost abstract composition of reality which is unseen with the naked eye. Captured in a matrix of time and space, they explore modern life's transitory nature, chaotic movement and the fusion of the people in our cities. ann.q18@hotmail.com
30
Transitory 2011 Oil on canvas 92 x 61 cm
Katina Davidson
I always wanted to be one of the boys 2011 Oil on canvas 92 x 152 cm
Katina Davidson’s work concerns issues of the contemporary landscape and the presence of vessels within it. These encounters with notions of ‘place’ have been drawn from an interest in the banal, suburbia and industrial aesthetics. It is the artist’s relationship, and sense of belonging, to these physical and psychological locales that is explored, often alluding to the presence of tension in the work. k.m.davidson@hotmail.com
31
Sandra Delon
Aнaнacoвaя Koрoлeвa 0422 436 604
32
Pineapple Queen 2011 Oil on board 90.1 x 45.2 cm
Bridie Gillman
707, 113, 412 reasons to think of our neighbour 2011 Oil and found objects on board 122 x 204 cm
A rough Indo-English conversation. bridiegillman@hotmail.com
33
Ben Havenaar
An explanation not fulfilling expectations.
34
Self portrait 2011 3.6 x 2.4 cm Oil on canvas
Tara Heffernan
6 am 2011 Oil on canvas 60 x 60 cm
The sky is a celestial sphere; an imaginary field enveloping the earth upon which everything above us is projected. The clouds, moon, planets, stars and sun dance across the sky in an infinite carnival of light and colour. It appears at times beautiful or ominous, eerie or tranquil, its influence powerful enough to completely redefine a landscape.
5 am 2011 Oil on canvas 60 x 60 cm
35
Kate Kingston
"Like Shangri-La, like mathematics, like every story ever told or sung, a mental geography of sorts has existed in the living mind of every culture, a collective memory or hallucination, an agreed-upon territory of mythical figures, symbols, rules, and truths, owned and transversable by all who learned its ways, and yet free of the bounds of physical space and time." —  Michael Benedikt Cyberspace: First Steps, MIT Press, 1991
36
Untitled 2011 Oil on canvas board 30.5 x 22.5 cm
Kate Lamb
Centre of the universe 2011 Polymer clay, acrylic and oil on canvas 60 x 60 cm
“If a rabbit defined intelligence the way man does, then the most intelligent animal would be a rabbit, followed by the animal most willing to obey the commands of a rabbit.” — Robert Brault kate.lamb@griffithuni.edu.au
37
Dana Lawrie
My work acts as an intuitive investigation into ideas of selfhood and the psychological function of self-depiction in art. I paint myself in situations recreated from my personal history— revisiting experiences without a sense of urgency or expectation; but with quiet resignation, as a complacent observer. Self-portraiture becomes a conduit for understanding the interplay of resistance and acceptance involved in the creation of a unified ‘self.’
Left
Mother hands 2011 Oil on canvas 90 x 60 cm Right
www.danalawrie.com
38
Alternate 2011 Oil on canvas 90 x 60 cm
Lee Lombardi
Waiting Room 2011 Digital print 25.4 x 30.5 cm
Places of fact and fiction. lee-lombardi@hotmail.com
39
Michelle Lonergan
Perception, behaviour and sexuality are alluded to via painting, film and installation. An opus of self-exploration is created that is at once tense and authentic. Feminine identity and existence are embraced in the way human beings relate to each other, and how they naturally or unnaturally relate to their surroundings. m.lonergan@hotmail.com
40
Liza Bruce Swimsuit 2011 Oil, graphite & human hair on board 80 x 92 cm
Allirra Marmo
Fillings 2011 Oil, oil stick on polyester cotton 1.5 x 3 m
The nature of memory is fluid, changing with experience and distorted by time. Allirra Marmo’s practice explores the often mystifying realm of these notions—the layered, reworked and textured surfaces of her paintings acting as both metaphor and abstract representation of the subconscious. Lirra_13@hotmail.com
41
Llewellyn Millhouse
Our systems of production and material relations have led to a reduction of human relationships and lived reality into performed appearances, aimed to signify exchange-value in the market of spectacular culture. These performances are constructed through the individual’s consumption of spectacular media, the individual performing a mimetic portion of the totality of appearance. Painting is a reclaiming of the power to produce media, existing separately and in opposition to the media produced by spectacular culture. llewellynmillhouse@hotmail.com 0423 725 179
42
Reverse Cowgirl 2011 Oil, acrylic and graphite on canvas 170 x 150 cm
Danny McNamara
Knot storm 2011 Oil and enamel on canvas 70 x 140 cm
My large abstract works are informed by the simplicity, complexity and beauty of knots, ribbons and cords. Tangled and flowing forms in bright and luminescent colours are overlaid with large pools and splashes of dark reflective enamels. Knots and organic shapes intertwine, merge and become imposing masses of colour, chaos and beauty. danny441@yahoo.com 0405 389 264
43
Mika Nakamura-Mather
The city is where worlds collide—where the hustle and bustle of modern life meets the beating heart of the past. Strip back the facade of glass and steel and you’ll find the flesh and bone of history. Look deeper than the crisscross pattern of subway lines and you’ll find layer upon layer of connection. This is what I paint, the interaction between people and place. mikamather@mail.bigpond.com 0404 176 262
44
Tokyo/Above/Below/Between 2011 Oil on cedar 126 x 40 x 4 cm
Deborah Nicholls
Entropy 2011 Oil on canvas 70 x 80 cm
Historically, painting has reflected the cultural conditions of the time. Today nothing has changed. These works aim to invert the standard conventions of painting to describe conditions of our complex world. Employing empirical processes and paring down to basic materials has revealed the friction between order and chaos, tension and calm, strength and fragility. All of which remain part of our daily existence. hidebs@optusnet.com.au
45
Tamara Niederer
"What is it that should trace the insuperable line? ...The question is not, Can they reason? nor, Can they talk? but, Can they suffer?" —  Jeremy Bentham tamaraniederer@rocketmail.com
46
Awkward conversations at the dinner table 2011 Oil on canvas 76.2 x 101.7 cm
Jessica Rampling
Counterpart 2011 Oil on board 25 x 30 cm
As an identical twin, I find that my psychology is intrinsically linked to the idea of the double and my experience of life varies considerably to those who have not been born with their likeness. I’m interested in the psychology of twins and the way the doppelganger can be used as a metaphor for the dark, self-destructive forces within us. The ‘good’ and ‘evil’ twins embody the extremes of light and dark inherent in all people. jessrampling@hotmail.com
47
Jack Rodgers
Each work is a snippet of the text and imagery shoved in our face everyday. An attempt to make the cacophony seem poetic.
48
Year of the blood donor 2011 Acrylic house paint on board
Ben Rogers
Diary of a widow 2011 Oil on canvas 100 x 160 cm
These works explore the relationship between time in its linear form and the romantic notion of living in the moment. Through the use of colour, the paintings reflect an emotion. Whether colour is used harmoniously or in opposition, it offers a depth and texture for the geometric lines. These lines provide an entry and an exit point into the rectangle; they divide and distort the perception of the moment. findbenrogers@gmail.com 0438 789 758
49
Anna Stretton
Skin is our physical identity. It records time through its traumas and aging. Skin changes colour, wrinkles, bruises, is cut and damaged. It scars, permanently creating physical memories and recording events. The body projects its reaction in furious colour, with bruising, wounds and scars. The body recovers and the skin has recorded another experience.
50
Cutaneous 2011 Acrylic on paper Dimensions variable
Kaye Stuart
Flood/Body 1 2011 Acrylic and mixed media on canvas 76 x 101 cm
Kaye Stuart uses paint and mixed media to explore the tension between structure and chaos. Drawing on her own history, she investigates personal and natural dichotomies. Her interests veer between internal and external realities, intimacy and the abject and, more recently, our uncontrollable and unpredictable powerlessness in the face of nature, in particular the 2011 Brisbane flood. koalakaye@hotmail.com
51
Maya Walker
Exposure speaks of covering and uncovering, and of hidden parts. While investigating the mechanics of our bodies, I take a closer look at the intricacies of our insides; usually considered rather grotesque, I explore their beauty. It becomes an opportunity to look inside, where fascia and tissue become metonym for connectivity and permeation. Pathology becomes a defining characteristic of identity and abstract forms function at once as psychological symbol, abstract pattern and monstrous body part. www.maya-walker.com
52
A Pulpy Mass I & II 2011 Oil on board 90 x 60 cm (each)
Greta Waring
Surrealisation with Jodie Foster 2011 Oil on Canvas 60 x 90 cm
My current practice examines dreamlike notions of natural beauty in an increasingly polluted and industrialised world, and highlights our quest to preserve and cherish what is being destroyed. greta.waring@griffithuni.edu.au 0432 608 327
53
Kadee Webber
Sensuality and power pervade these aqueous sirens. The juxtaposition of weapon and woman in an underwater writhing ballet of swirling colour controls the eye and titillates the senses. Surrender to their charms or surrender to their arms? We are at once captivated and held in their sway as they cavort beneath the surface, weightless and waiting. Ready to consume they are poised to strike; killing with a glance, wounding with a smirk, dying to live... kadee_webber@hotmail.com
54
Stick em Up 2011 Mixed media 60 x 50 cm
Shayna Wells
Curtain 2011 Oil on linen 137 x 180 cm
shayna.lee.wells@hotmail.com
55
Interdisciplinary Print Media
Jessica Allen
My practice so far has explored female adolescence and how to keep sincerity and humour alive in a postmodern world. I’m interested in these things because I can use my imagination in a way that lets me explore the world by creating my own. I primarily use art as a way of understanding life which is why I am attracted to communicating a female perspective that is also curious and optimistic. I primarily employ drawing, printmaking, painting and installation.
58
Untitled girls 2011 Watercolour and pencil 60 x 80 cm
Kim Anderson
The sewing mistress 2010 Screenprint 102 x 66 cm
There is a common thread running through my work and that thread is intrinsically linked to our human emotions, our desires and our domestic environments. Contained within these works there is a strong sense of the whimsical and a distinct appreciation of the feminine. My studio practice investigates these themes through contemporary print media and installation. kimputafiles@yahoo.com
59
Sinead Bongiorno
Throughout the eras of fashion the corset has come and gone. These fashionable undergarments not only resemble high couture but also express the constraints women have enforced upon them, both physically and emotionally. Their impact of tightness and breathlessness can cause life threatening injuries, but yet they are worn by many. Today corsets are available as a lingerie garment used to enhance sex appeal and are also commonly worn by the gothic sub-culture as a statement item. This work resembles the impact of societal expectations and constraints on women, no matter what era or how beautiful. s.a.bongiorno@hotmail.com
60
Les Courbes Parfaites 2011 Drypoint etching 30 x 25 cm (each)
Holly Coleman
Paddington Exteriors 2011 Watercolour, screenprint on Stonehenge 245gsm 28 x 20 cm
Marks within the home represent the tension between homogeneity and individuality within the suburban environment. It is these marks, signifying the passing of time and the creation of memory, which transform the repeated suburban house into an individual home. Photography featuring the interior and exterior of a house speaks of individual experience as well as the broader concept of suburbia.
61
Erin Dunne
My practice is an investigation of space (both physical and conceptual) and language, through drawing, installation and sculpture. I am interested in the poetic resonances that can be found within the familiar, banal and abstract. erin-dunne.tumblr.com 0407 692 605
62
Untitled 2011 Steel pins, magazine pages, foam core 19 x 14 cm
Claire Fulton
Earthling 2011 Watercolour and ink on paper 86 x 60 cm
My work is reliant on the consistency of human error from which I gain insight and meaning. I tend to focus on the negative and strange habits and faults of the human condition and attempt to transform them into even stranger artworks. My goal is to attract the audience with something visually confronting and to hopefully challenge their preconceptions of art and its relevance in modern thinking.
63
George Furlonger
My drawings are from plein-air sketches in the Samford Valley. The landscape is a simple line of trees and bushes, flanked by mountains. I enjoy the technique in the etching process and combine this with the picture to form a variety of effects then print this on paper.
64
Samford no.1 2011 Intaglio etching 30 x 15 cm
Riley Gilloway
Left
GLOOM 2011 Screenprint on butcher’s paper 4 x 6 m
"Whatever code we Hack, be it Programming Language, Poetic Language, Math or Music, Curvez or Colouringz, we create the possibility of new things entering the world... In Art, in Science, in Philosophy and Culture, in any production of knowledge where Data can be gathered, where information can be extracted from it and where in that information New Possibilitiez for the world are produced, there are Hackerz hacking the New out of the Old." — Mackenzie Wark, ‘A Hacker Manifesto’ 2004
right
Operation 4 2011 Digital video 720 x 1280 px
rigillo@gmail.com
65
Stephanie Grogan
My current practice contains a range of printmaking disciplines, drawing and painting. With support from this broad range of media, I try to provoke emotion and sentimentality in my imagery with portraits and portrayals of relationships. I seek to evoke a sense of passion in all of my work. http://stephaniegrogan.artworkfolio.com
66
Very Safe but Very Alone 2011 Charcoal and watercolour on paper 56 x 152 cm
Keira Kavetsky
Untitled 2011 Mixed media 36 x 27 cm
My work is a visual exploration of the simplicity and pure experience that connects us all. It is very much about a release of constructs, a stripping back to what is naked, bare, and unrefined in us all. It is about revealing the freedom and honesty which lies curled at the base of human truth.
67
Karryn Lesley
Exploring familial relationships within a domestic context, I offer a critical response to the human condition from a feminine perspective. My work stems from observations on identity, gender, inequality, vulnerability and self-esteem in contemporary society. Using varying techniques and materials, with a focus on drawing, I often choose to depict banal objects that have nostalgic, kitsch or sentimental attributes that appeal to both the emotions and the intellect. This reinforces an ambiguity that can be freely interpreted by the individual viewer according to his/her own experience.
68
Tip me over pour me out 2011 Charcoal and ink on paper 100 x 70 cm
Laura Richter
The cabinet (selection) 2011 Monoprints on torn and stitched paper 20 x 10 cm
The custom of taxidermy is rife with contradiction. It seeks to commemorate whilst actively participating in destruction. It is an indifferent scientific method, yet the object conveys a beautification in murder. The act is a refusal to allow decay. However, it attempts to commemorate the ephemeral. My practice examines the relationship between the animalistic and everyday social behaviour. I attempt to interrogate taxidermy and its associations of human superiority through reviewing the processes involved with collection. Laura.richter@live.com.au
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Jessica Row
Jessica Row’s art practice explores the concepts of identity, memory, nostalgia, mortality and legacy. She seeks to celebrate ordinary things and everyday people, to connect with anonymous audiences and involve herself in moments that are not her own. Her work involves printmaking, interactive installation and social experimentation as a means to engage people with themselves and each other.  www.jessicarow.com
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Internal portrait (of a head, chest and pelvis) 2010 Screenprints on perspex encased in custom made light boxes 38 x 33 x 9 cm 52 x 59 x 9 cm 59 x 52 x 9 cm
Cherylin Scalia
Colliding spaces no.20 2011 Etching and lino print 35 x 25 cm
Deleuze and Guattari theorise that smooth and striated space is continuously reversing into its opposite state. Smooth into striated and striated into smooth. The artwork that Cherylin Scalia produces examines this theory in the context of the natural and built environment, investigating specifically the tension that is created between the two spaces. By combining various printmaking techniques, she has the freedom to explore the multiplicity of the subject in a way that identifies her own experiences within these spaces. Scaliagc@bigpond.net.au
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Susanne Schroder
‘Flow’ is an ongoing series of works on paper which is based on the concept of tidal currents. Water is the key component in subject matter and medium. Liquid and pigment combine to create rhythmic impressions of reflections and refractions. The ebb and flow of tidal water forms its own narrative in the sand by effacing, scraping and abrading. History will be reflected in the layers of sand formations from tidal flows.
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Flow 2011 Mixed media 42 x 59 cm (each)
Kate Simpson
Untitled (Facebook) (Detail from 50 drawings) 2011 Graphite, charcoal and pencil on craft paper Dimensions variable
Mythology. Representation. Masquerade.
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Bevil Staley
I reflect on the human condition the past and the present the socio-political, to make a difference in the future for all
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A banknote invasion (A brief history of land ownership in Australia) 2011 Artist’s book 22.5 x 30.5 cm
Tyza Stewart
Holding myself in the sea 2011 Lithographic print on paper 100 x 70 cm
My images express and question thoughts that stem from a naive childhood idealisation of masculinity and male homosexuality. I use photographs of myself at various ages, stories or notes to myself written while I was a child and found images. With these I construct prints and paintings that allow me to more freely articulate and analyse ideas concerning perceptions of childhood and sexuality. tyzatyzatyza@hotmail.com www.tyzatyzatyza.tumblr.com
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Ellie Sweatman
The most insignificant stimuli can spark the most poignant memory. My work traverses how we respond to specific stimuli collectively as well as personally. I am collating my vivid recollections, the accompanying emotions and the situational triggers, within a specified time frame, to draw some conclusions about what triggers what and why. By mapping the web of recent recurring memories, emotions and triggers I seek to piece together a projection of my mental landscape.
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Desirable sloth 2011 Oil on plywood 60 x 90 cm
Edward Taemets
Goddess of time 2010 Lithograph on grey paper 27 x 19 cm
My works, at their core, deal mainly with fundamental binaries within the human condition, and the ways in which they affect us. Through the heavy use of symbolism and visual allegory, I try to depict vices and virtues within the context of these binaries. I use an aesthetic style that borrows from both classical renaissance painting and neo-old-school tattooing, taking the monumental and placing it into a more personal, intimate setting. My works are created using lithographic printmaking techniques.
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Evelyne Upton
We are more and more dependent on each other and our environment, yet we have not learned to live in harmony with others and our planet. I am responding to these issues with the conviction that the resources of the world are finite and that nothing lasts forever. My current work questions the idea of fishing as a sport and the devastating effects commercial fishing is having on fish stocks in our oceans. An incalculable number of fish and other sea creatures are scooped up in nets, allowed to suffocate and dumped overboard as waste.
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Wasted II 2011 Charcoal on Fabriano paper 50 x 65 cm (each)
Jazmin Wilkins
Sand Mining 2011 Etching and aquatint on paper 38 x 28.5 cm
My current practice explores the relationship that humans have with the environment, as well as the impact that humans have had on our planet. I am interested in confronting the viewer with the often harsh realities of humankind’s desire to conquer the land, and the effect that it has had on the Earth. Found objects, both natural and man-made, are often incorporated into the works. jazminwilkins@hotmail.com
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Interdisciplinary Sculpture
Rosie Attwell
The voice of authority can inform, persuade and influence people. Employing the aesthetics of educational productions, Rosie Attwell uses mimicry of the documentary style in her performances to produce an institutional displacement. The way history is recorded, the place and the position from which one speaks, is integral to this body of work. rosie.attwell@hotmail.com www.rosieattwell.wordpress.com
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White Face Vernacular 2011 Performance
Rebecca Finnigan
Untitled (work in progress) 2011 Hairnets, white string Dimensions variable
Rebecca Finnigan's practice is based upon discovering the phenomenological aspects of an everyday material and then amplifying them through scale and repetition. Her pieces are process-driven, resulting from hours of physical contact and experimentation. Finnigan constructs environments and sculptures that are designed to be insubstantial or transient and yet engulfing or giving the feeling of solidity. Her aim is to create ethereal beauty out of the mudane.
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Jessica Flatman
To understand divinity, to comprehend infinity and to obtain the unattainable is to transcend limited existence and see.
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Breathe 2011 Video still 12 min loop
Caitlin Franzmann
Soniconerators 2010 Performance and participatory installation
Combining video, sound and installation, Caitlin Franzmann creates immersive environments that explore the physical and social reality of everyday life and encourage the viewer to actively question their experiences rather than merely see the world around them. Franzmann uses her art practice as a platform to transport unnoticed moments, places or actions into view and to defend the natural slowness and autonomy of individual experience. caitlinfranzmann@gmail.com
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Brianna Hopper
Brianna Hopper’s practice explores society’s allocation of worth, by investigating the latent capabilities and highlighting the unrealised beauty in disregarded, forgotten and overlooked objects. Hopper’s art practice centres around the exploration of found objects and often results in sculptural and installation work.
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Untitled 2011 Mixed media 200 x 60 x 25 cm
Jeanette Lee
Sallie Gardner 2011 Glass, wood, ink 30 x 38 x 57.5 cm
Jeanette Lee’s sculptures resonate with themes concerning relationships, impermanence, fragility, contemplation and memories. Gaston Bachelard writes, in The Poetics of Space, 'The resonances are dispersed on the different planes of our life in the world.'
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Catherine Leet
Catherine Leet's work is influenced by nature, especially her botanical work. It is also very attentive to detail. The drawn designs incorporate new and or old objects, whether it be for sculpture or jewellery. Exploration of the use of wire and old paper has resulted in very tactile results. Catherine.leet@griffithuni.edu.au
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Book work 2011 Paper and wire 22 X 17 cm
David Mackee
Reflective space 2011 Reflective paper bags, glue, wire 1500 x 2500 x 20 cm
For me, art is a way to explore, to try new things and to discover the boundless possibilities of the imagination. My sculptures are one way I explore what is possible, and through the process of working with them I discover more and more about myself. With each new discovery I find a new reason to push on, and new avenues to explore. For me it is less about the end result and always about the journey.
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Tor Maclean
welcomes 2011 Mixed media 12.5 x 8.5 x 13.5 cm
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Penny McIntyre
Reaction 2011 Timber, clay, feathers 27 x 45 cm
The insecurities inherently experienced when leaving a familiar place, or people, often expose one to seek out that which holds the promise of good fortune or safety. We have for millennia, searched and held fast to the belief in something bigger than ourselves using charms, amulets, crucifix or voodoo fetish. Whatever we use, all have a common thread, that of protection and the need to belong.
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Jana Nicholson
The Internet is serious business.
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Digital image in 'To that which is' 2011 Digital image 500 x 500 px
Nadege Philippe-Janon
Untitled 2011 6 channel video, tins, plants Dimensions variable
earth is but a glint in a dark and vacant sea yet i’ll still subject myself to reality tv nphilippejanon@gmail.com
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Melanie Jade Simpson
melaniejadesimpson@gmail.com
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Untitled 2011 Performative installation
Kylie Spear
Left
Cabin Fever 2011 Felt tip pen on arches paper 42 x 59.4 cm
Kylie Spear is concerned with drawing and mark making as bodily gestures intrinsically linked to the human experience. She explores these actions through various platforms, including the use of delicate, repetitive strokes to construct intuitive patterns, dripping viscous materials or tracing the path of the sun. Spear views the creation of a line, whether executed on paper or through video or installation, as an aestheticism of the fluxing boundaries between physical and metaphysical phenomena.
right
Wax 2011 Film still 1’32�
www.kyliespear@hotmail.com www.kyliespear.blogspot.com
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Francisca Vanderwoude
With a focus on the archive and related processes, Francisca Vanderwoude’s work explores themes such as ritual and transmutation, memory, death and archetype through an autobiographical lens. Vanderwoude works across a broad range of media, including printmaking, photo-media, video, sound and installation. The tensions between these different media create a conversation across the body of her practice. Her surname is Dutch, meaning ‘from the forest’ and she was born in Gympie, just north of Brisbane.
Left
From installation ‘Grandma’s letters’ 2011 Collograph, etching, collage and vegetable oil on mulberry paper 60 x 43 cm
fvanderwoude1@gmail.com right
Ivy May Dillon 2011 35 mm slide
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Kathryn Walsh
P56, The Exploration of Arts and Crafts Ideals 2011 Found object 15 x 16.5 cm
A deep curiosity informs much of Kathryn Walsh's work as she explores the significance of overlooked signs and hidden artefacts. Interested in the traces that individuals leave behind, Walsh collects fragments of strangers’ histories: scratches on furniture and underlined passages in library books are richly imbued with the psychological stamp of their creator. Her work proposes an intimate encounter that looks beyond the shallow transactions experienced within urban space. kathrynwalsh.art@gmail.com 0417 704 616
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James Warren
My artwork explores the repressed child-like parts of the human psyche and seemingly ‘dark,’ but innately natural, thoughts and emotions. The symbology of the monster is used abundantly in my work, not as a representation of evil, but as a realisation of desires for freedom and identity. By encouraging the audience to engage with, or become the monster through the use of masks and costumes, I endeavour to grant them a greater freedom of expression.
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Untitled 2011 Video still 3 min
Gabrielle Wilton
Movements in art since 1945 2011 Deconstructed book, finishing line, cardboard 516 x 7.5 cm
Quirky: curious observations of everyday objects, interactions and moments. Small: collecting forgotten, unnoticed and discarded material. Multiples: observe, collect, play, process and repeat. Fragile: surprise, perplex, suggest and offer alternative understanding.
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Foreword More than any other program at the Queensland College of Art, the nationalities, backgrounds and experiences of those entering the Master of Arts in Visual Arts (MAVA) are diverse and rich in cultural capital. And while the reasons for undertaking this program vary, all MAVA students seek scholarship through visual practice. Twenty-five centuries ago Aristotle observed the joy a person derived from viewing objects that imitated life—texts, sculptures, paintings, theatre, etc. It was through viewing these objects that people came to know and understand their world. The greater the authenticity of the object, he argued, the greater the delights derived from this understanding. Of course today, not only do we have more opportunity to view our world through the traditional modes of visual communication but also through contemporary media such as photography, film and design. Importantly, through viewing the products of these disciplines we have come to understand our world as much more than the tangible bodies which form its structures. Scholarship is about rigorous inquiry, disciplined reflection and tested understandings that are given form through the mastery of craft. Scholarship in visual practice is no different. It is about knowledge from which objects (tangible or intangible) may be fashioned that lead others to understand their world and to delight in that understanding.
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But achieving this is a team effort and thanks must be given to the academic and administrative staff that gives generously of their time. Specifically the Convenors of each program should be acknowledged. They are; Assoc. Professor Debra Porch (Fine Art); Philip Whiting (Design); Assoc. Professor Jay Younger and Angela Blakely (Photography); Professor Herman Van Eyken (GFS); Jennifer Herd (Contemporary Australian Indigenous Art); Assoc. Professor Trish FitzSimons (Film); Dr Louise Harvey (Animation) and Matt Ditton (Games Design). Also thanks must go to Jennifer Hansen the School Administration Officer who tirelessly ensures the processes remain thorough and formalized. But fundamental to the success of any graduating cohort are the graduates themselves, for it is the students who ultimately determine the quality of any program. Their input, curiosity and tenacity are the ingredients of the scholarship achieved. Congratulations on your success demonstrated in this exhibition and your graduation. David Lloyd Deputy Director (Learning and Teaching) Queensland College of Art, Griffith University Poetics: Aristotle translated by S H Butcher (2000) 49th Printing, Macmillan & Company Ltd
Master of Arts in Visual Arts
Jasmine Cannon
My work is concerned with the space between experience and memory. Current works relate to the sense of place that is Fortitude Valley, Brisbane. I reference fragments of the urban fabric that record marks, both incidental and deliberate, left by people and weather over time—graffiti and stencil art, gouged brickwork, corrugated iron and rusted drainpipes. I have realised my perception through both representational and evocative, abstract approaches. www.jasminecannon.com
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The Wall Series: I wonder where he is now 2011 Ink, gouache, graphite, charcoal, acrylic tinted gesso on archival paper 76 x 168 cm
Nicola Hooper
Untitled 2011 Pen and ink drawing on mulberry paper 100 x 76 cm
My current work draws on a botanical metaphor to examine both the disfunction of the human body and the existence of plant-based remedies. In my female family lineage, three generations have lived with an auto-immune disorder. Physiological and anatomical flaws in my family and the associated treatments are referenced through piercing, embroidery and bruise-like staining. Lithography, painting and drawing, which all relate to the measure of time, are used to parallel the generational nature of this disorder. nic_dave66@hotmail.com 0418 183 358
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Dennis McCart
Dennis McCarts’s work investigates urban alienation and decay, consumption, waste, consumerism and repetition within the urban environment. Power-poles act as surrogates for trees retaining the ghostly essence of their former manifestation. Power-poles metaphorically signify the motif of the Christian cross and thereby notions of sacrifice and servitude. This transfiguration from living tree to non-living power-pole, and its destined role of servitude to the hegemony of mass consumption, metonymically signifies the Christian ideology of sacrifice and service. www.dennismccart.com.au
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Servitude 2011 Oil on canvas on MDF Board 48 x 29 cm (each)
Lana Noir
The Second Hand (1/14) 2011 Type C digital print 25.4 x 38.1 cm
You are invited to my dining table in The Second Hand. It is black tie and we will be dining on each other’s desires. I am serving sumptuousity in colour and texture in this series. If you are hungry, you can have seconds or even thirds in my character-based narrative centred around a buffet of double lives. For flavour, there is a seasoning of choice and consequence. RSVP, pull up a chair and of course, BYO gun. lana@lananoir.com www.lananoir.com
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Ros Stokes
"It’s a pleasure to share one’s memories. Everything remembered is dear, endearing, touching, precious. At least the past is safe… though we didn’t know it at the time. We know it now. Because it’s in the past; because we have survived." — Susan Sontag (1933–2004) If only this were true for all of us. This body of work consists of three ethereal artists books which explore the human journey into a significant illness. Issues central to my work are relentlessly infiltrating the very fabric of our society. Through video, I use light as a metaphor to signify life force.
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Into the silence Book Three 2011 Video still 2.8 min
Caro Toledo
...with the chicken and those other things 2009 Mixed media collage 30 x 21 cm
I started collaging to make sense of the new world I found myself in after immigrating to Australia from France. It was an immediate, tangible way to transpose emotions and observations. My work scours the domestic realm and the games of intimacy, looking at relationship dynamics and the spaces between reason and emotion. Text collides with imagery, squeezing humour and ambiguity out of clichĂŠs. carotoledo@optusnet.com.au
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Tony White
Tony White’s practice examines the notion of an ecological metaphor created through the use of multiple abstract images construed as a single work. His work is concerned with mark making and materiality, ecology and nature, including the landscape. Small in size, these works force viewers to slow down and notice the details within the images. White’s practice is informed by his background in marine biology and animation. www.tonywhiteart.com
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Cluster One 2011 Ink on arches paper 14.5 x 9.5 cm (each) 20.5 cm x 15.5 (display case)
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Master of Arts in Visual Arts with honours
Sue Preston
“So much of what we do is informed by absence” — Akiko Busch 2010 The invisible within the visible My body of work, ‘At what price?,’ is designed around the language of life, culture and ‘being’ in Brisbane. It calls upon me, as maker, along with wearers, owners and viewers to explore our inner selves—to find that which is absent, to see the ‘invisible within the visible.’ susangpreston@gmail.com
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At what price? 2011 Sterling silver, marble 7.5 x 4 x 2.5 cm, chain 85 cm
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Staff QCA Executive Prof. Paul Cleveland QCA Director Mr Earle Bridger Deputy Director (Development) Mr David Lloyd Deputy Director (Teaching and Learning) Prof. Ross Woodrow Deputy Director (Research and Post Graduate) Assoc. Prof. Donal Fitzpatrick Deputy Director (Gold Coast) Fine Art Staff Assoc. Prof. Debra Porch Convenor Prof. Mostyn Bramley-Moore Mr Russell Craig Dr Donna Marcus Mr Sebastian Di Mauro Prof. Pat Hoffie Ms Catherine Large Mr Robert Mercer Ms Susan Ostling Mr Alan Owen Ms Elizabeth Shaw Ms Sandra Stocker
Fine Art Sessional Staff Dr Chris Bennie Ms Jo D’Hage Ms Julie Fragar Mr Ian Friend Mr Joachim Froese Dr Miles Hall Mr Chris Howlett Ms Jennie Jackson Ms Madeleine Kelly Ms Alice Lang Mr Tim Mosely Ms Jennifer Sanzaro-Nishimura Mr Glen Skein Mr Arryn Snowball Ms Jenny Watson Ms Susie Woodhouse Art Theory Staff Dr Jess Berry Dr Laini Burton Dr Craig Douglas Assoc. Prof. Bonnie English Dr Rosemary Hawker Dr George Petelin Ms Aileen Randle Prof. Maura Reilly Dr Ashley Whamond
Art Theory Sessional Staff Dr Stephen Hobson Ms Glenda Orr Ms Coral Gilett Mr Nasan Pather Mr Bill Platz Fine Art Technical Staff Ms Ann Chadwick Mr Nathan Corum Ms Renata Fojtikova Mr Andrew Forsythe Mr Luke Kidd Ms Bibi Locke Ms Clare Poppi Mr Dave Sawtell Ms Lynden Stone Mr Jonathan Tse
Fine Art Committee 2011 President: Rosie Attwell Vice President: Kaye Stuart Fine Art Administrator: Sandra Stocker Treasurer: Felicia Kube Secretary: Riley Gilloway Catalogue: Maya Walker, Jessica Flatman Studio Reps: Greta Waring, Cherylin Scalia, Samuel Lintern Fundraising: Mika Nakamura-Mather, Penny McIntyre, Tamara Niederer, Caitlin Franzmann, Wendy Brown, Tor Maclean Bridie Gillman Jazmin Wilkins Stephanie Grogan Jeanette Lee
Thank you The 2011 Fine Art Graduating Committee would like to thank
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To that which is, a selection of work from graduating Fine Art students at QCA. Published in Australia in 2011, by Queensland College of Art 226 Grey Street, South Bank Qld 4101 Copyright Š 2011 All rights reserved by the individual artists published in this catalogue. National Library of Australia Cataloguing-in-Publication data available on request. ISBN 978-1-921760-58-7