FAM+22 // UWA Fine Arts + Electronic Music and Sound Design Graduate Exhibition Catalogue

Foreword.

Many months ago, staff began to explore the idea of inviting Electronic Music and Sound Design students to join the Fine Arts Major exhibition at the School of Design. How wonderful to have this realised at the end of 2022! In November each year, the School of Design teaching and studio spaces are transformed, filled with student energy, creativity, and aspiration. This year, the range of work is more diverse than ever. It has been cultivated, composed, crafted, stitched, upholstered, plastered, painted, printed, animated, digitised. It exudes texture, warmth, luminosity, colour, transparency, volume,

vibration. This seems a fitting response to the tumult impacting the world over the past three years: the richness of the students’ work has emerged from immersive practice, through an embodiment and expression of sensorial experience. It is in the here-and-now, a projection or filtering of global issues through the lens of personal artistic practice. It is most surely a demonstration of the chance to create artworks, installations, and compositions in a collective setting. This is the exhibition of work by students whose time at UWA has been marked by three years of pandemic.

The exhibition celebrates the achievements of students completing majors in Fine Arts, and Electronic Music and Sound Design, as well as those completing Honours in Fine Arts, and the Master of Fine Arts by research. A highlight is the mentorship that underpins and supports the work, and the continuity that sees many graduates of the Major featured here as Honours or Masters students. Our MFA students are also teachers of undergraduate students, and provide technical assistance in the Design Student Workshop. It is a privilege to share in and encourage students in their development of

practices, careers, and lives in art. We wish them all every success for creative and fulfilling futures. My congratulations to all the students featured in this exhibition, and to the dedicated group of academic, technical and sessional staff who have inspired and mentored the students through their studies.

Dr Kate Hislop Head of School, UWA School of Design

What is the New Normal? Artistic Expression is here to boldly suggest.

It is hard to believe that 2022 is almost over; a year that is, arguably, characterised as post pandemic and a return to a ‘new normal’. Most of the students presenting here, acquired their degree in years of partial lockdown and online learning, and despite or maybe in response to the difficulties they faced, graduated successfully.

What is this ‘new normal’ is still unclear and what lessons have we learnt from the dramatic last three years, when many graduates presenting here began their studies – still needs to be discussed, debated and articulated. This is when artistic expressions are so vitally needed!

The last few years have left us speechless; as if we have not enough words to express what has happened and where to go from here. This poverty

of language is the gap where artistic expression can populate. Artistic expression goes beyond and above the linguistic, make us enrich our vocabulary and enable us to construct new understandings and revelations (or just, humbly, hold our hand).

FAM+22 includes artworks and installations from the graduates of The University of Western Australia Fine Arts major, Fine Arts Honours as well as three graduates in the Master of Fine Art (MFA) Degree. Also, this year we are very delighted to be joined by the graduates of Electronic Music and Sound Design, at the UWA Conservatorium of Music. What a delight to ears and eyes!

FAM+22 is an impressive collection of the new and upcoming creative voices of Western Australia who will shape the cultural landscapes of our local

community, Australia and internationally. I strongly believe that these burgeoning artists’ creative expressions have the ability to start and imagine hopeful, brave and bold futures for humans coexisting in an entangle with natural ecologies and accelerating technologies.

The works presented here ‘discuss’ a variety of contemporary issues, both personal and global – such as environmental catastrophe and the Anthropocene, intersectionality and identity politics, mental health, automation, robotics and the future of work to name only few. The artworks, through their visual, acoustic and tactile sensorial appendages put into surprising juxtapositions, purposely evokes our emotions. They force us to stop for a moment and reflect; maybe share a laugh or shed a tear; to think and dream – in short - to be.

We are so proud of these amazing graduates and their breath-taking artworks. FAM+22 is here to show that this is the place and time when art is necessary more than ever to enable us to make meanings and call for action.

Let us rejoice with this talented cohort and thank the amazing teaching & technical team which supported them!

Associate Professor, Ionat Zurr Discipline Chair - Fine Arts

NAZILA JAHANGIR ANBARDAN Fine Arts (Masters)

Forget-Me-Not

A Midsummer Night’s Dream Oil paintings & Sculptures

The arrogance of the armchair

Oil paint, Canvas, Hand-made Paper, Polymer Clay, Found objects, human hair, plant seedpods

@nazila.jahangir www.nazilajahangir.com

Inspired by pioneer women botanical artists, Nazila Jahangir explores interconnections among feminist art, botanical illustration, and environmentalism. Her creative practice is an extended form of botanical art. Besides focusing on an accurate presentation of plants’ anatomy, she also experiments with planting her flowers or seedpods in different contexts, and various narratives, playfully troubling the human/non-human divide. The diversity in subject matters, and painting styles, as well as the grotesque imaginary are the axils of Nazila’s work. She deploys these elements to make an intriguing and whimsical form of story-based art making.

SAMUEL BEILBY Fine Arts (Masters)

Workwelt Logistics

Robots, steel, concrete, assorted packing materials, laser etched acrylic, video, field recordings, generative audio, vinyl decal, corporate brochure.

@samuelbeilby

‘Workwelt Logistics’ explores the volatile relationship between neoliberalism, automation technologies and the natural labour systems that they appropriate. The project seeks to amplify the fundamental qualities of swarming (biological and machinic) and showcase how it manifests through material voicings, mechanical agency, and historical legacies within the contemporary e-commerce fulfilment centre workplace. Through using the motif of the industrious ant swarm, robotics, insect field recordings, various AV components, construction materials and mediaarchaeological aesthetics this site magnifies an archaic labour spectacle that has been revived through artificial and machinic form to extract and embellish its presence and worldliness.

ANNIE HUANG Fine Arts (Masters)

Inside, Outside

Projection mapping on multimedia forms; stoneware ceramic bowls, mdf board, and spandex; graphite pencil stop-motion animation and 3D rendering. @annieh.art anniehuang.myportfolio.com

This exhibition seeks to create an intersectional space where the viewer navigates a narrative that is both inviting yet alien and strange. In this exhibition space the audience is subject to a spectrum of experiences that are reflective of the insideroutsider narrative that informs the second-generation migrant subjective. Where understanding, and non-understanding can exist simultaneously together.

Each installation combines multiple forms of narrative telling mediums including animations both handdrawn and digitally rendered. What is highlighted, are the intersections between what we know and what is unfamiliar - an awareness of the empty spaces and the gaps that inform our perspectives. What we are familiar with, can all at once become imbued with a narrative that is unfamiliar and alien.

JUDITH BODGER Fine Arts (Honours)

Cloak of Curiosities Stitched textile judybo@bigpond.com

Cloak of Curiosities explores the fascinating world of microbes, using the cloak as a metaphorical reference to the pervasiveness of their miniscule forms. We simultaneously love and loath them; for adding culture to our beer and cheese, and for infecting our throats and blocking our nares. Exploring essential relationships such as the usually invisible microbe through their magnification provides endless imaging opportunities for the artist, and a constant challenge for creative imagination.

AIDAN BOWDEN Fine Arts

M.E.T.A (Modal Environmental Therapy Aid)

Projection installation, virtual reality installation

@aidanbowden aidanbowden.com

With an ever-growing effort in the pursuit of perfecting a simulated reality, monolithic tech corporations are driving humanity towards a dark future devoid of any real connection with the natural biomes we sacrificed in the name of progress.

M.E.T.A is an imagining of the ersatz solution that technology offers to sate our longing for a connection to place and nature, and challenging the effectiveness of our simulated realities in that pursuit.

CATHERINE BRINDLEY Fine Arts (Honours)

The reunion of forgotten things

Found objects, nylon thread, acrylic yarn, wire, tape, projected light, mixed media.

What will your objects think of you, after all this time?

In The reunion of forgotten things, objects come together to reimagine childhood memories in a new light.

The reunion invites us to remember the treasured objects of our childhood; the things we could not part with, and asks where are they now? Using a process of personal reflection and analysis, the work examines childhood attachment through a series of experiments to understand and communicate the complexities of our relationship with objects, while honouring their vitality and separateness.

ELEONORA BRUSASCO Fine Arts, History of Art

Katashi and Friends

Cat fur, dog fur, feathers, clay, mycelium, flora

@eleonorakedi eleonorakedi.com

Katashi and Friends explores our connection with our (extended) kin, encompassing themes of reciprocity, care and companionship, as well as investigating autonomy and agency.

The starting point is Katashi, the artist’s fat white cat, whose lovingly brushed fur is fashioned into organic forms, sometimes interwoven with dog fur, and juxtaposed with clay forms, and living mycelium and flora. The works endeavour to allow the materials and living beings to speak for themselves, and seek to encourage a closer examination of quotidian ‘lesser beings’, hoping to cultivate increased respect for our fellow creatures.

Katashi and Eleonora wish to thank their collaborators/contributorsHoney, Archie, Casper, Dukey and Benji (dogs), as well as the many (as yet) nameless entities (mycelium et al).

JOHN HERNE Fine Arts, French Studies

Chromasutra

Nitro-acrylic spray paint on canvas and steel, wood, aluminium composite, magnets and nitro-acrylic spray paint

@honeysmuralco

As my forearm clenches, causing my index finger to press down on the nozzle of my spray can, I elongate my out-breath to match the length of the stroke. This attention to my breath helps ground me in the here and now. Chromasutra forms a pictorial representation of this meditation. The TEST paintings derive their name from their purpose, namely, to test out colours next to each other and consist of two columns consisting of five squares, each coloured with a different colour of spray paint.

These paintings can be reproduced quickly allowing for micro-meditations through-out the day.

DEBORAH HUTCHISON Fine Arts, History of Art

Back to Back

Wool, cotton wadding, calico, twine, linen, muslin, warping thread

Side to Side

Wool, cotton wadding, calico, twine, Zweigart canvas

@hutchison_deborah

The desire to investigate natural fibres and their applied processes has led artist Deborah Hutchison to further explore this medium and utilise household and garden waste to dye these fibres to create a muted palette and to discover how colour is impacted upon fibre type. The time-consuming journey of scouring the raw wool, hand spinning on a wheel, through to non-chemical dyeing, and then finally weaving upon a hand loom or knotting – allowing and being in awe of each step and noticing how the narrative of the form takes hold in the process. It is through this multilayered practice that the initial fibres are altered in shape, colour and texture, using conventional skills and techniques to evolve.

ELOISE LEVY Fine Arts, History of Art

Borderless Hope

Archival and portrait photography, audio installations

@_levyart

Borderless Hope is an audio installation based upon former refugee Kim Lim’s difficult journey to freedom in Australia. Visitors are invited to listen and reflect upon a series of recorded interviews with Ms Lim and two lawyers involved in her fight for asylum. Informed by Grant Kester’s dialogical aesthetics, the artist has created an environment for active listening. The recordings, together with a collection of images of the interviewees, reveal intimate and confronting details of Ms Lim and her family’s long road to asylum. Through this work, the artist hopes to generate conversations about the humanity of Australia’s refugee processes.

Special thanks to Kim Lim, Chu Kheng Lim, Nicholas Poynder and Vanessa Haigh.

Photographic Assistance: Patrick Boeré.

EMILY MCGUIRE Fine Arts (Honours) M G D C

charcoal, spray, synthetic polymer on canvas

@emilymcguire__

Code in Abstraction explores the idea of symbolism and inscription through abstract painting, using rule making to develop composition. Through the development of a personal coding system, code utilises text, grid, mark making and line work to explore themes of body, space, materials, neuroaesthetics and the sensory. Working at scale, the gestural mark and line are central to the idea of symbol making and re-inscription. Spray, charcoal, kaolinite, graphite, oil and polymers are used to develop composition working primarily with line, space and form. Research on processbased artists formed important background to the work.

MoriARTy Junior Fine Arts, Archaeology

Pompom Parlour

Yarn, pins, reclaimed furniture

Pompom Parlour echoes a popular tapestry era in nineteenth century Europe, presenting an eclectic, modern twist on a Victorian parlour, where tapestries and artworks took pride of place. The tactile colour and play system designed by the artist is named ‘pompomism’ and presents as a contemporary counterpart to the analogous handcrafted work of traditional tapestry. Each pompom is made by the artist from a collection of synthetic and natural yarns of varying brands and origins. Using semi-permanent fastening techniques, the pompomism system can adapt to new and diverse installations as the collection perpetually grows. The installations bring the system to life as the pompoms spread one by one across a wall or onto the furniture in an almost organic form.

@professor_moriartist www.professormoriartist.me

AGATHA OKON Physical & Analytical Chemistry, Fine Arts

Outside of Truth Video and paper

Self-portrait with fruit DNA on MDF, 8x9 cm

Entities can be described in terms of pure information, yet we are unable to comprehend this information. In the obsession with data, we have forgotten that information is not the same as reality. Informatic residues of real objects have been created by processes such as photogrammetry, inscription of information onto paper, and extraction of DNA, with the mangled conversions placed into a constructed world mimicking reality. Is it reasonable to treat this extracted knowledge in the same way as the originating object? Are my DNA, scans, and writing the same as me? Obviously not. Yet, highly personal intimate information, like DNA and demographic characteristics, are regarded as being equivalent to, and even superior to, an individual.

HANNAH PEETZ Fine Arts

@havantgardeaclue

Archive: 19752022 is a dual collaged work made from cyanotype printed linen. Stitched together is the artists’ life, past and present – depicting her own histories. The artist has imagined the idea of archiving her memories – a feeling most can resonate with, especially with the rapid use of social media and the need to share our lives online. Remembering how her mom used to want to capture every moment, the artist uses the process of cyanotype printing to recreate these memories. The film photographs, captured by both her mother and herself are reprinted on the linen sheets that she formerly slept in, and have been restitched together by hand just as her Ouma and mother taught her to as a child.

JACINTA POSIK Fine Arts, History of Art

Resting in Place

Hessian, naval uniform, ballpoint pen @jacintaposikart

Resting in Place explores how matter stores memory. Using a naval uniform and hessian as a plane for commentary, the artists’ material explorations mimic those of her late fathers. The objects retranslated in ballpoint pen remain in the place they were left, bringing forward a mark of life. An intimate trace of care and a trajectory towards healing, a recollection of his speech is hand stitched as a labour of love. As an attempt to articulate a life that the artist was both present for and absent from, the work is woven with ambiguity, in which the objects in focus guide their own recollections.

CEDAR RANKIN-CHEEK Fine Arts (Honours)

Beige-ness

Found objects, upholstery fabric, thread, glue, cardboard, wood, wire, foam, PET fill

@fertile_objects

Cedar Rankin-Cheek’s work explores the parallels between the organising of domestic spaces and the organising of bodies and the history of cleanliness as a tool to organise and control. Beige-ness is a soft sculpture installation that explores notions of cleanliness as classiness and how capitalism has harnessed the oppressiveness of neatness to sell furniture, positing that you can purchase and organise your way into a better life. The monochromality of the work is satisfying yet overwhelming, the oppressive ‘beigeness’ a reference to the ‘covering’ of culture with Western ideals of cleanliness and valuableness. The uncanny ambiguity and indecipherable functionality of Beige-ness offers a representation of the exclusion of communities through carefully coded symbols of wealth and class.

SARAH SOULAY Fine Arts

Quotidian Overload: Revised and on Repeat Stop-motion animation

GAD Break

Acrylic on linen and plastic

@sarah.s_contemporaryart sarahscontemporary.wix.com/sarah-soulay

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Quotidian Overload: Revised and on Repeat’, is a 2D stop-motion animation depicting everyday ordinary actions in a non-linear narrative. The oversaturated colours, jarring sounds and pointof-view illustrations insidiously build tension, while creating a sense of panic and unease in the viewer. The intention is to mimic the sensations that someone with Generalised Anxiety Disorder (GAD) might experience when going about their everyday life.

GAD Break’ is a series of six large-scale paintings that represent a reprieve from this overwhelming narrative, and presents how the artist grounds themselves during times of anxiety.

Together, these works create a dialogue that aims to develop a greater understanding of the experiences of GAD and other anxiety disorders in everyday life.

MADELEINE STUCKEY

Human Biology and Anatomy, Fine Arts, Women’s Health

The Body Paper, Video, Photographs

@maddy_long_leg

The Body is documentation of performative sculptural mark making. This work explores a collaboration between the artists own body and the paper; allowing the body to be used as an art medium itself as opposed to a tool or vehicle for medium. Presenting the body in extreme contorted positions explores the limitations of what the human body is capable of and allows the viewer to explore their own perception of what a body ‘should’ look like.

The Body is a series of paper 178cm tall (the same height as the artist) presented alongside a photographic series and video documentation of the performative creation of the paper works.

YIHAN SUN Landscape Architecture, Fine Arts

Flow and Halcyon

Water, liquid soap, salt, sand, watercolour paper, rice paper, Chinese ink, candles, audio

Flow and Halcyon is an artistic installation of sound and light therapy. The mixing, flowing and blooming of ink and wash on rice paper is like a free-flowing river. The sand painting on the ground echoes the flowing ink painting, which reminds people of the sea, mountains, and rivers. It reflects the principle of harmonious coexistence between people and nature. Epidemics, wars and inflation make people feel anxious. When we light candles, listen to music of about 20 decibels, sit close to the sand painting and communicate with the ink paintings, the whole world will calm down and we slowly enter a state of meditation to self-heal.

donelle toussaint Biomedical Science, Fine Arts

Forget Your Perfect Offering

Pewter, bismuth, glass, crystal, photography

We are each a product of our environment. We are shaped by our experiences - the ones we choose and the ones that happen to us. Our imperfections and the broken parts within us make us unique and beautiful, yet we often hide these parts from others and even ourselves.

Using unwanted metal vases and mugs, and recreating them with (at best) semi-controllable methods, Forget Your Perfect Offering is a collection of small sculptures in metal, glass and crystal, that visualise the invisible; symbolising these hidden aspects of the self, and embracing them to portray the beauty of imperfection and brokenness.

TARA WILSON Fine Arts, History of Art

The Time Between Sleeping and Waking Coloured pencil, paper Daylight Fire Coloured pencil, tracing paper

Memories of Flowers Ink monotype, handmade paper

@twillow_artist

There are spaces within dreaming in which remembered and imagined landscapes are suspended together, overlapping, merging and separating. They form new layers and environments that we have not experienced before, despite their intimate familiarity. Through superimposing landscapes and blending them together, new landscapes emerge within these drawings, and multiple landscapes can be viewed concurrently in their entirety. A form of world building occurs when people experience landscapes. Despite having the same visual information, people perceive and re-experience these environments differently every time they are recalled, revisited or dreamed about, so that eventually, the memories become a fantasy place rather than the original location.

MATHILDE WURM Medical Humanities, Fine Arts

Suspended Articulation

Plaster bandage, raw mulberry silk, hand-spun silk thread, cane

@mathilde_sinclair_art mathildesinclair.com

In the clinic, exposed vulnerabilities are confronted with clinical coldness. Suspended Articulation echoes personal experience of care landscapes, drawing comparison between lighting as a core structure of the clinic, and bones as an intrinsic structure of the body. The work references the tension that exists between the self v. the institution in controlling ‘the body’ and ‘the experience’ in medical contexts. Where the structures of the clinic are the foundations of its coldness, bones are warm and active and healing. Bones arch and stretch through the limbs, attaching and resisting forces of the body; supported and supporting. Reproducing five of the eight carpal bones as suspended illuminated forms, Suspended Articulation explores the extent to which lighting shapes experience of the clinical landscape.

ANNIE ZHUANG Landscape Architecture, Fine Arts

From Above

Various fabrics, various yarns, polyester fibres, glass/ plastic beads, freshwater/imitation pearls, thread, string, oak wood Surrounded

Various yarns, polyester fibres, glass/plastic beads, freshwater/imitation pearls, thread, string, wire, metal crimps

@art.anniez

As a first-generation ChineseAustralian, the natural landscape has always helped the artist build their cross-cultural identity. Informed by their Chinese culture, traditional philosophical beliefs about the environment and the idea of “Oneness with nature” shared with the Western ideals about nature and garden design. These objects are representations of imagined nature biomes informed by known surroundings and unique features of Australian flora to capture the sense of place. Explored through textiles and informed by landscape architecture, memories, sense of place and materiality. The contemplative, intricate process invites the audience to move in, to contemplate the work and to derive an understanding of the artists underlying message and arrive at their own conclusions about their sense of place within the natural environment.

We are excited to be able to showcase our third year and honour’s Electronic Music and Sound Design (EMSD) students as part of FAM+22. Our students have worked hard to produce a professional project during such challenging times. Students chose their own creative music project to focus on over a 12-month period. There are a range of final projects being exhibited this year, including professional EP recordings across a range of genres, multi-speaker sound works, installations, video games and animation compositions.

Our talented students have composed, produced, and mixed their own works to a professional level. We are very proud of what they have achieved and wish them all the best in their future careers.

We thank The School of Design for this exciting new collaboration.

Dr Christopher Tonkin and Dr Tracy Redhead Electronic Music and Sound Design (EMSD)

NATHAN ARDILL Electronic Music and Sound Design

Miner Gun Builder

Live 11 suite, FMOD, Novation LaunchKey mini, Analog Lab

The game is a light-hearted version of an arcade space shooter which has substantial depth regarding the mechanics. If you like to tinker around and optimize stuff, this is the game for you.

Taking inspiration from synthwave and ambient music, the audio design for this game aims to immerse you in a world of space exploration and adventure.

SHARON CHONG

Electronic Music and Sound Design

The Passenger

The Passenger will be exploring electronic music and its subgenre which includes chiptune, synthpop, synth-wave, and pop music. This E.P. aims to lead listeners to experience the past and present of electronic music. It also aims to bring out different musical style of electronic music. There are four songs included in The Passenger, three songs are instrumental, and one song is accompanied by vocalist Shernei Lam. Each music piece represents a different time period of musical style from 20th century to the present.

CADMON COCLIFF

Electronic Music and Sound Design

Take Two

Ableton Live 11 suite, Keyboard

Classically trained as a vocalist, Cadmon made a jump from performance to learning how to produce his own music in 2022. Take Two is a blend of all his favourite genres, creating a sonic amalgamation of love, loss and hope to the future. Take Two began as a mechanism for Cadmon to reflect on past relationships and situationships. Each piece examines a moment of thought at moments in his past relationships. Hiding with You, Try, Hey Friend, and Take Two follow the arc of emotions surrounding a particular ex-relationship, progressing from the highs of being in a secret situation in ‘Hiding with You’ to the lows of losing a friend and a lover in “Hey Friend.”

BEN DEACON Electronic Music and Sound Design

Spirit Within Ableton Live 11 suite, Ableton Push 2, Roland Keys

Spirit Within looks to bring a popular house music spin on current day issues lots of us face. The E.P provides works looking at real world issues and struggles while playing lightly to the ear. The Artist’s realworld experiences allows them to facilitate enjoyable yet thoughprovoking experiences for the viewer.

ONLY LONELY Electronic Music and Sound Design (Honours)

Disco Eternal Ableton Live 11 suite, Archival Recordings (musical and spoken word)

Disco is eternal. Not the music itself, but the dance scene that emerged from it which was the spark that grew into today’s club scene. From funk and soul, to disco, to house music and onwards. Disco Eternal is a walkthrough of the music history that follows this journey, with a combination of music and erarelevant samples.

HAYLEY HEWGILL

Music and Sound Design, CompSci

Angels Hide Their Wings

Collaborators: Lachlan Turner

Angels Hide Their Wings is a 3 track EP in a blended hip-hop x electronic style with my own vocal performances. As a transgender female I wanted to capture and package the relatable elements of this experience in an artistic form, as accomplished by openly gay artists (Troye Sivan, Frank Ocean, Kevin Abstract). Transgender acceptance is a road of hardships and euphoria which are expressed on the EP.

YI XIAN HOO

Electronic Music and Sound Design

Dear Myself

Ableton Live 11 suite, Pro Tools, Keyboard, Acoustic Guitar, Zoom Recorder https://soundcloud.com/yxianh

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Dear Myself’ is an instrumental ep with four songs based on my story being in Perth from 2018 till present, with me being bad at putting feelings and thoughts into words, composing is the greatest way to express myself as it reinvents things that I felt in my own voice. The inspirations fall around uncertainties, frustrations and regrets during the pandemic period, reminiscence and dedication to my family. For example, the 1st song of the ep titled Away 2.0, is an extended version of the very first song that I composed here with zilch knowledge about emsd as a classical pianist. Listening back and comparing both, also indicates on how my artistic attainment have grown throughout the years.

SYZYGY

Tapestry

Winter’s Tapestry is an ambient ode to the universal human experiences of isolation, melancholy, and contentment. Each tape loop represents a delicate thread of the human psyche enduring the cold brutality of Winter. The composition implores listeners to attune to these emotions which shape us and our experiences, for they are what make us human. The spools of tape which stitched Winter’s Tapestry have been measured, cut, altered, and reattached by Nick himself.

Prior to his final project, Nick has been exercising his improvisational skills with sound. He has performed live with Perth/Boorloo newmusic initiatives such as Resonant Fields and Tenth Muse. His widely acclaimed headlining show at Strange Festival 2022 housed a night of ambience and improvised music for his audience.

JARRYD WITHA-Y

Electronic Music and Sound Design

The Many Colors of a Cowboy

Logic Pro X, Native Instruments Keys Piano, Acoustic Guitar, Electric Guitar, Kids percussion set, voice, bass

https://linktr.ee/jarrydwithay

The Many Colors of a Cowboy set out to achieve harmony between my musical influences and heroes. It aimed to find balance between the storytelling of country, pop and soul music in order to take you on a journey. The E.P. Is 100% my own work, I’ve written, produced, recorded, mixed and mastered the E.P. myself. These four songs are all my story, one of love, one of sadness, one of determination, and finally one of desperation. I hope these stories speak to you the same way they spoke to me while writing them.

KIT PARKER

Electronic Music and Sound Design (Honours)

In Spite Of Darkness

Ableton Live 11 suite, Ableton Push 2, Grand Piano, Double bass https://linktr.ee/kitparker

In Spite Of Darkness aims to blend the worlds of minimalism and ambient music. The ethos behind the composition of this work was that each piece should provide listeners with a space to think. Since its release the E.P has received wide acclaim, having been played on BBC Radio, Radio 1 Prague and Radio Hannover among many others and is now under contract to London based record label, Drut Recordings. The E.P also features performances by Bob Tweedie (piano) and Cass Evans-Ocharern (double bass).

JEREMY SEGAL

Electronic Music and Sound Design (Honours)

Voice, Rhythm, AM, Drone Max MSP, vocal samples, sine tones, 6.1 surround https://jeremysegal.bandcamp.com/

Voice, Rhythm, AM, Drone is a collection of multi-channel works exploring algorithmic treatments of voice. My compositional process involved designing generative systems in Max/MSP and refining them through listening and response. In each piece a pre-determined structure was used to determine the generative possibilities of moment-to-moment details. Each piece uses the same set of five vocal samples (sung by Annika Moses) as well as a small handful of sine tones.

CASA

Electronic Music and Sound Design

IT’S JUST US @theboycasa linktr.ee/boycasa

Casa is a multi-disciplinary HipHop & Rap music producer.

Having worked with the likes of Lil Mosey, Castillo, ALEE & Jireel, his sound is a unique blend of R&B and the darker flavours of rap. His first EP “IT’S JUST US” is a reflection of his experiences with luxury and love. The project tells his story; seamlessly weaving rich, pop melodies with diverse, trap elements. Featuring the talents of local artists, 88YAMI & Que, Casa’s purpose for the next year is clear: Put Perth on the map.

LACHLAN S

Electronic Music and Sound Design

Hadal Tones

Godot

Collaborators:

Hadal Tones is a game demo where you explore a dark underwater world brimming with musical creatures and contraptions. The game is a proof of concept for a platformer with useful diegetic music, so use your musical ear to help you learn patterns and overcome obstacles as you find your way through mysterious ruins and overgrown reefs.

TEAGAN TRINH

Electronic Music and Sound Design, Music Specialist Studies

Rescoring Blender Studio Short Films

Ableton Live 11 suite, EastWest virtual instruments (OPUS plugin)

Collaborators: Open-source films produced by Blender Studio

Sound effects provided by Blender Studio and The Cue Tube

A suicidal sheep given a new chance at life.

A llama and a pesky penguin battling over the last remaining berry.

A hero trying to save his city. A shepherd girl and her dog facing ancient spirits.

A group of rowdy teens confronting an unexpected enemy.

The rescores for these Blender Studio films aim to meet the musical demands of each of the films. Using EastWest’s library of virtual instruments, the composed scores set the tone for each of the animated films, syncing to the sound effects and movement on the screen, shaping the soundscape and driving the action.

LACHLAN TURNER

Electronic Music and Sound Design, Music Studies

Baggy Sweats

Ableton Live 11 suite, Serato DDJ-SB3, Akai MPK mini keys MK3

Collaborators: Tracklib

Baggy Sweats is a single-track Frankenstein of my favourite compositions from this year. This Mixtape utilises traditional Hip-Hop sampling techniques inspired by the likes of 9th Wonder, J Dilla, Dr. Dre, The Alchemist, Havoc, DJ Premier and more. I used my Serato DDJSB3 alongside various Ableton Live Effects to string together the various elements of each instrumental into a single front to back experience.

We acknowledge the traditional custodians of the land we meet and create on; the Wadjuk people of the Noongar nation. We value and respect their continuing culture and contribution to community and the arts of this city and regions.

We thank the School of Design staff for their support and guidance.

Head of School of Design

Dr Kate Hislop

Adjunct Staff

Sohan Ariel Hayes

Erin Coates

Curtis Taylor Laetitia Wilson

Visiting Artists/Curators

Elham Eshraghian-Haarkansson

Dr Sally Quin

Abdul-Rahman Abdullah Emilia Galatis

Pip & Pop

Dr Donna Franklin Olga Cironis

Stewart Scambler Discipline of Fine Arts Staff 2022

Dr Ionat Zurr (Discipline Chair)

Dr Vladimir Todorovic

Paul Trinidad Sarah Douglas Andy Quilty Paul Boyé Annie Huang Samuel Beilby Bina Butcher Mark Tweedie Harvey Mullen Jo Darvall Andrew Christie Reegan Jackson

We thank the Conservatorium of Music staff for their support and guidance.

Head of School, Conservatorium of Music

Dr Alan Lourens

Conservatorium of Music and Digital Arts Learning Staff

Sarah Brittenden

Pip White Danielle Loiseau Jesse Stack Mitchell Chiappalone

Chloe Wiggers

Electronic Music and Sound Design Staff

Dr Chris Tonkin (Chair of Electronic Music and Sound Design)

Dr Tracy Redhead

Dr Michael Terren

Elise Reitze – Swensen

We would also like to thank IT for their ongoing assistance. Special thanks to our third year EMSD students on the sponsorship, marketing, catalogue and event committee’s and your involvement in organising the event.

Many thanks to Tanya Schultz, Sacha Barker, Donna Franklin and post graduate students Paul, Annie and Sam for their generous contributions and support in reviews. FAM+22 organising committees would like to thank Sarah Douglas for her outstanding coordination of the exhibition, to Andy Quilty for overseeing the catalogue production, to Reegan Jackson for his excellent assistance with installation. Thanks to the workshop staff, Guy Eddington, Ollie and Sam for additional technical support.

Many thanks to the third year Fine Arts major students for their commitment to marketing, for event organisation, didactics and special mention to the catalogue committee, donelle and Annie collating information and to Aidan for the layout and editing of the catalogue.