FAM+24 // UWA Fine Arts + Electronic Music and Sound Design Graduate Exhibition Catalogue
UWA FINE ARTS + ELECTRONIC MUSIC & SOUND DESIGN GRADUATE EXHIBITION
Gallery | First Floor Studios and Gallery | Fine Arts Building | ALVA Hub
Front and back cover image: Germaine Chan, Woe Woe Woe, 2024, Digital print. Front internal: Isabelle Reitze, Walking on Eggshells, 2024, Sculpture. Back internal: Willow Armitstead, Let Me Get That for You, 2024, Photograph. Foreword: Jimi De Priest, Every Bullet Fired, Cuttle bone, HDF cells. Fine Arts Section divider: Roshen Ward, Endurance, 2024, Video still EMSD Section divider: Brandon Petkovic, Velvet & Chrome, EP, Ableton, Udio. ESMD Foreword: Raya Kia, Metanoia, EP, Ableton, EastWest, Live instruments, samples..
Cullity
Foreword
This year’s FAM+ exhibition is a veritable feast of ideas, media, and techniques. Students have deeply explored themes of identity, connection, faith, death, life, energy, ecology and place. The show celebrates the work of students completing majors in Fine Arts, and Electronic Music and Sound Design (EMSD), plus Honours in these disciplines. It also features work of research students from the Master of Fine Arts.
While on the one hand the work is witness to the artists’ moments in time and place – the hereand-now; who and where they are – their art also takes the chance to occupy the realm of the alter ego. In their making of art, they express something of themselves, and something of their other possible selves. We are prompted to
ask questions of the work, of the artists, of their subjects, of ourselves. This is the value of art, of studying and making art, and we are all the richer for their efforts.
Congratulations to all students completing their studies and featured in this exhibition: we wish them every success for creative future practices and lives around art and music. Huge thanks as always to the dedicated group of staff who have mentored, inspired and supported; and especially to Sarah Douglas, Annie Huang, Reegan Jackson and the wider team who have curated and coordinated the exhibition and event.
Associate Professor Kate Hislop Dean/Head of School of Design
Fine Arts Major, Honours & Masters
Creative thinking & the emerging artist
While an undergraduate in Fine Arts, a lecturer once said something that has stayed with me. You have to decide if you’re a believer or not to pursue a career in Fine Arts. I read this as a believer in the language of art as a way to interact with the world around us, and a believer that the language is an important and powerful one. This might include relearning (or unlearning) preconceived belief systems or ways of thinking, holding space for experimentation and the material voice; and a reminder to step back before stepping in. In turn, ultimately, to pose these new perspectives or questions to an audience.
University Fine Arts courses are a perfect place to test this theory; to choose to be a believer and commit to what comes next. Within the playing field of a University degree there are the multitude of resources at your fingertips; from the wealth of knowledge and experience in your art lecturers, tutors and technicians, themselves artists, curators, historians or post graduate candidates, to the exponential connections that open up while linked to a faculty whose friends and collaborators are world wide.
And of course there is also the cohort, your peers, with which the creative voice finds its form. Peer feedback, inspiration and collaboration is integral to the building blocks of your art practice and how this takes shape.
In addition, a pivotal factor in this program in particular is such that the University of Western Australia’s Fine Arts discipline operates under the structure of a major within the Bachelor of Arts. Meaning the School exists within a broad arena, encouraging collaboration with other Schools and disciplines. Allowing, then, all involved to work, create and experiment under a wider lens with multiple perspectives; and ultimately the chance to stumble more readily upon knew knowledge, the holy grail of all Universities.
This year’s FAM-24 Program, or Fine Arts major, Honours and Masters Graduate Exhibition, is more than a snapshot of this creative process; it is a culmination of it. Therein lies a robust belief and trust in the language and process of art, through which to unpack a concept or pursue the otherwise illusive, to a display of highly developed socially and conceptually engaged art practices.
Among the undergraduate cohort, questions and curiosity around intent are being teased out using the language of art, from exploring the environmental, social, or gendered expectations, to the body and endurance, and the politics of the private sphere. All with a willingness to give over to the process — will art help me speak to these things? Will the process of making or participation help me understand.
Or at least pose new questions on the road to understanding? And in turn, will it help me impart this new insight to an audience?
In Practice as Research, Barbara Bolt calls this process ‘material thinking’, or ‘material productivity’ where ‘the materials and process of production have their own intelligence that come into play with the artist’s creative intelligence’. Similarly in Vibrant Matter Jane Bennett explains that embracing the concept of what she calls ‘vibrant matter’ or ‘vital materiality’ requires a shift in mindset towards embracing uncertainty, vulnerability, and openness to the unexpected.
Two works, for example, from an outstanding group of third year students include the bold visualisation of intergenerational gene mutation due to human produced pathogens through the reproductive system in women as manipulated babushka dolls and egg shells; and the invisibility of women’s unpaid domestic labour using the language of craft and textile art. Which were, in a beautiful metaphor, both excluded from ‘high-art’ itself until fairly recently.
Among the Honours and Masters graduates, predominant themes range through those of social critique, exploration and the unsettling. From a personal experience of loss and lingering in the space between worlds, hand-rendered in a display of transient, ephemeral presence in absence; or an investigation into the role, purpose and autonomy of the skin as a metaphor, perhaps, for psychosomatic encasement; to art as a place to play and disrupt the philosophical and institutional contradictions that can arise therein. Then there is a foray into the world, as I read it, of deep fakes lead by a niche fascination in crustaceans using the language of folk art; a narrative of paranoia built on and around the insidious effects and trauma of intergenerational racism; to a critique of automated warfare which employs collected data, technology and the machine.
Overall, let us join together in congratulations, and wish this group of emerging artists and believers all the best on their journey; wherever it may take them next!
Sassicca Bowyer Fine Arts Honours candidate
Bolt, Barbara Practice As Research : Approaches to Creative Arts Enquiry, Chapter 2,
I. B. Tauris & Company, Limited 2010
Bennett, Jane Vibrant Matter: a Political Ecology of Things ; Duke University Press, 2010
WILLOW ARMITSTEAD
Fine Arts
ULTIMATE FANTASY
Let Me Get That for You I Could Be Your Dream Girls
Photographic prints (costumes comprised of repurposed fabric, wire, foam clay and ribbon)
Cerebral
Service Industry (Mother’s Day Bargains)
Single channel video (3 mintues) (costumes comprised of repurposed fabric, wire, foam clay and ribbon)
ULTIMATE FANTASY draws on desire, dreams, connection, and identity. Whose fantasy is it: the subjects, or a fantasy that is projected onto the subject? Dim lighting, purple hues, and esoteric symbols refer to ideas of ‘glamours’ within witchcraft; illusionary spells and (false) aesthetics of opulence. This body of work questions the truth of our own identities within the context of relationships; how gestures of care exaggerate, stretch, and expand. Alongside discomfort there is joy and humour in this series; I do not mind overextending myself for those I love. Everything in moderation, remembering to warm up and stretch after.
SARA CEBALLOS
Anatomy & Human Biology, Fine Art
Liminal
Clothing donated by migrant communities, black stockings, clay
Sara Ceballos’s sculptures are deeply personal reflections on her experience as an immigrant. They explore the multifaceted emotions of migration—the sense of belonging and discomfort, the resilience needed to adapt, and the sacrifices made in leaving behind family and home. Utilizing materials such as immigrant-worn clothing, black tights, and clay, each piece embodies distinct aspects of the immigrant journey. The elements inquire into the sacrifices and emotional weight carried in the heart, questioning whether immigrants are seen as explorers or problems. Sara carries with her the enduring link to her roots which provides comfort amidst the unfamiliar.
GERMAINE CHAN
Psychology, Fine Art
Woe Woe Woe!
It’s The Revelation
Acrylic paint, oil pastels, spray paint on canvas
Fight-time (Series of 7)
Acrylic paint, oil pastels, spray paint, transfer paper on board
Free!
Acrylic paint, oil pastels on canvas
In Plain Sight (Series of 4)
Digital prints
Positioned between historical religious painting and contemporary urban art, Woe Woe Woe! presents a world where flesh and spirit collide. This series highlights tensions between freedom and suppression within the context of spiritual and existential conflict. Drawing inspiration from the Book of Revelation, the works explore themes of faith, morality, and humanity’s relentless search for meaning.
…I heard an angel flying through the midst of heaven, saying with a loud voice, “Woe, woe, woe to the inhabitants of the earth, because of the remaining blasts of the trumpet of the three angels who are about to sound!” Revelation 8:13 (NKJV)
AUDREY CHIA
Human Geography, Fine Arts
Consider the Wildflowers FDM 3D printed sculptures, transfer paper, transparency film, wood, spray paint
As morning dawns, creation awakens. Flowers bloom and lift their faces to their golden source of life. With each petal that unfurls, they reveal a geometrical symphony for us to behold.
To bloom is a flower’s function. In its unique shape and size, colour and scent, the blossom of a flower attracts pollinators of its kind. And so, sitting in the middle of its petals lies its purpose, its life
But as seasons come and go, so do flowers bloom and wither. Yet, in their short time of blossom, what fleeting beauty they present for our eyes to ponder.
NILMI ANURADHA CHANDRASIRI
Fine Arts (Honours)
body as a collective (an individual experience)
Mixed media, insects, clay, photography, video, sound, found objects
This work explores the visual effects of racial trauma on Black and Brown bodies, illustrating how internalized trauma distorts perception and identity and takes a toll on the body. It highlights the struggle of navigating generational trauma, marginalization, and daily microaggressions, creating a cycle of inherited wounds and new scars. The resulting paranoia, fear, and depression shape coping strategies, reflected as symbols in the artwork. While society engages in discussions about race, the work critiques the limitations of external perspectives, urging viewers to reflect on their privilege in understanding the deep, destructive impact of racial trauma.
KAHLIA DAVIDSON
Fine Arts
“Don’t
pick the sturt pea...” - Mum Copper foiled glass
“Don’t pick the sturt pea...”Mum explores the relationship between light and colour, as a representation of childhood memories and love for the country she grew up in, embellishing a spiritual connection to home. Influenced by past experiences of personal growth and emotional nurturing throughout her childhood, the casting of soft light through glass mimics sunsets, mountainscapes and wildflowers of the Pilbara. The installation challenges conventional depictions of landscapes to communicate the feelings of existing in an atmosphere dominated by the colours and forms of the Pilbara.
MILLA DE LACY
Fine Arts, Psychology
In search of self
I Spy
Acrylic on MDF
Wishlist
Textile work, hand stitched patchwork
Fragments of play
Collected objects from childhood
How do the objects we cling to reveal the stories of our past? “In Search of Self” delves into the interplay between memory and selfhood, intertwining textiles, acrylic mediums, and collected items to evoke nostalgia and the weight of personal desires. The playful “I Spy” element becomes symbolic, reflecting how we seek meaning in our memories. This act of searching mirrors how we sift through the objects of our past, piecing together fragments of identity. By exploring the bonds we form with our belongings, the work highlights our memory’s role in shaping who we become.
Silicone, plastic tubing, motorized air pumps, electronics, acrylic
Autonomous Propaganda System
3D printed plastic, DIY projector, film
Every Bullet Fired
Cuttle bone, HDF cells
Fusing inspiration drawn from Tactical media and soviet propaganda posters, this body of work combines DIY electronics, film, cell culture and robotics into sculptural automata which critically digest the imperialist war machine. Through rendering antiwar ideologies into symbolic 3D forms, the works address social tensions in the imperial core which abstract and normalize the ongoing atrocities committed through automated weapons systems.
Probing the deflated revolutionary spirit which proliferates throughout the imperial west, reflections on the material reality forged by fascist appropriations of automation technology beckons towards a communist dismantling and reimagination of its implements.
DELANI EARL Fine
Arts
Cultivated Serenity
Cyanotype prints on silk, cotton, linen, muslin, wire sculpture
In Cultivated Serenity, Delani Earl explores life’s fleeting nature by capturing cyanotype prints of blooms and botanicals sourced from a retirement village garden, a space designed to provide calm for the elderly in their final stages of life. The cyanotype process, which permanently captures moments of light, echoes the impermanence of both nature and human existence. Earl’s work invites viewers to reflect on the relationship between light, life, and the passage of time. It serves as a quiet tribute to the cyclical nature of existence, where gardens - both personal and shared - become spaces of beauty, memory, reflection, and transition.
MATILDA FLETCHER
Fine Arts, History of Art, Curatorial Studies (minor)
Sound design in collaboration with Arnav Sinha (theboycasa)
Only Time Won’t Heal
Wire, plaster cloth, jointing compound, tulle
Only Time Won’t Heal stems from firsthand experiences living with an autoimmune disease, which refers to a tree of diverse health conditions, branching different experiences and symptoms and the consequent feelings and challenges associated with them. When your own vessel is no longer a protector, but rather an enemy working against you from within.
This sculptural installation explores the contradictions of what it’s like to be human, living with a system inflamed. Not only is the experience a physical one, but it is also a complex web of medicinal, social, and personal narratives.
JAMIE FLORENCE
Fine Arts
Idiomania!
Self-published comic book, risograph prints
If it actually rained cats and dogs whenever someone said it, we’d have a bloody great big mess to clean up. But that’s not quite what it means. But where did it come from? And why?
Idioms can be found in virtually every language in the world. Linguists are stumped and amazed when investigating how these phrases come into being, but it’s certain that a culture’s history and values shine through. Made by the most amateur of linguists, these works put a literal spin on how we as humans use our languages.
Stay tuned for volume two.
ABBY GLEADHILL
Fine Arts, Gender Studies, Curatorial Studies (minor)
me when i have a thought (Series of 5)
GIRLS WILL BE GIRLS
I’m just a girl
Leading the people it’s giving delulu hey siri how to exist
Photographic prints (costumes comprise of textiles, ribbon, craft materials & body paint)
me when i have a thought exists to explore identity politics and societal expectations, focusing on how marginalised groups, particularly women, navigate white, patriarchal, capitalist systems. Informed by cyberfeminist theory, the series critiques how capitalism and social media intensify societal pressures, leading to alienation. Using photography, textiles, and the colour pink, humour and irony are employed alongside symbols like pageant sashes to explore the performative nature of femininity. The juxtaposition of protest and performance invites reflection on judgement, empathy and the lived realities of those “othered” by dominant societal structures.
AMILIN GOH
Psychology, Fine Arts
Grounded in Familiarity
Beads, glitter, glass, nail polish, resin, rhinestones, tulle, wire
As a fourth-generation Singaporean Chinese, Amilin Goh’s cultural heritage often feels like a quiet undercurrent – present but not always emphasised. Grounded in Familiarity reconceptualises Chinese lanterns, representing the inherited decorative traditions during festivals. Reflecting how heritage is sometimes valued solely on the surface, the fragility of the meticulous beading echoes the delicacy of Goh’s cultural roots. Infused with her love for nail art, the work explores connections between ethnicity, culture, and identity.
GRACE HOUE
Fine Arts
Once we were, still we are
Grace Houe’s mixed media animation, Once we were, still we are, explores the layered complexities of intergenerational trauma within a Korean immigrant family. Weaving her childhood videos with aged photographs of her parents as children, Houe blends bilingual audio in English and Korean, featuring her family’s individual reflections on their childhood experiences. Sharing intimate moments spanning generations, Houe portrays her parents as more than figures of authority - they are individuals marked by inherited traumas. Her work invites viewers to reflect on the echoes of the past, cultural identity, and the intricate ways family dynamics shape our present selves.
Animation
AMY JOSEPH
Fine Arts, History of Art
I wish you were here
Oil paint on canvas and textile
I wish you were here is a mixed media artwork using oil paint, textiles, and wool. It explores the artists experience with grief and loss after the passing of their dad. This artwork reflects how there is no simplified approach to processing grief as it is so complex and varies between individuals. The artist meditates on how grief has impacted their identity by altering the way they view themselves, their environment, and the way the pain will continue to impact their future.
RICHARD JORDAN
Fine Arts (Honours)
Counterfactual Crustacea
Taxidermy
Ant Food
Video, sculpture
Elemental Fish, Curiosities from the Depths & Sensory
Scales
Sculpture
Wet Synthesis. Using taxidermy techniques, the artist recombines body parts from 4 animals (Panulirus cygnus, Corvus coronoides, Thenus orientalis, Portunus pelagicus) into 4 new fictional composite beasts or chimeras of Counterfactual Crustacea – each complete with biographies of speculative ecology. This creative approach is then inverted into using synthetic materials to make sculptural works inspired by real animals. From sculptural facsimiles of marine life presented together - Curiosities from the Depths - to more abstract artworks including Sensory Scales, Ant Food and Elemental Fish. Collectively these artworks are expressions referencing Australian fisherman folk-art and the European kunstkamer (cabinet of curiosities) tradition.
SIMONA KRSTIC
Fine Arts
mother’s milk
Textile installation (mixed media)
Once, my mother told me I was gifted a double-edged sword. What a blessing and a curse it is, my lamb, to feel things too deeply. ‘mother’s milk’ is brimming with intimacy, domesticity, and feminine melancholy; memories of faded past and dreams of inherited prophecy. This bittersweet textile installation piece explores the tangled threads of intergenerational love, being born of a deeply personal torture that I could spend my whole life trying, and yet never feel worthy of either motherhood or daughterhood.
Accumulation, overconsumption, littering, and poor waste management are some of the leading causes of land pollution. Twisted Visions is a commentary on waste accumulation and reflects on how easily plastic waste can be produced and discarded. The work is made by abstractly connecting accumulated plastic, wire and other household waste to loosely mimic the chaotic mass of landfills that are ultermately contributing to the down fall of our environment. The installation stems from the artist’s own experience working in waste management and the every day contemplation of our world developed from within the waste management society.
JACINTA POSIK
Fine Arts (Honours)
embedded, embodied Linen, cotton, thread
passing embrace
Stainless steel nails, linen, cotton, thread
(saw) dust
Jarrah sawdust, Tasmanian oak sawdust, wood glue
transient trace Plaster of Paris
Positioning personal experiences of grief and the anxiety of forgetting, the work addresses the universally felt experiences of death, grief, and life cycles. The shed’s a site that holds the presence of artist’s father despite his passing. Objects stored within the space perform the processes of memory. Departing their original functionality as carpentry tools and supporting benchtops, the contents transform into anchors of time, obtaining a duality of roles. Embedded knowledge of the space is recontextualised, reuniting one with the presence of a missing body. Place becomes more than a physical structure, it’s a transient site that harbours otherworldly encounters.
In our post-industrial society, environmental pollutants permeate our bodies. Heavy metals, microplastics and synthetic chemicals have been permitted to leach into our environment; wreaking havoc on our hormonal function and DNA. Due to systemic neglect and challenges observing oogenesis, research into the effect of pollutants on female fertility is lagging. The (Dam)ned is an evolving body of work investigating the impacts of contemporary life on female reproductive structures, gametes, and maternal lineages. These corrupted cultural artifacts are at once hostile and fragile, materialising the vulnerability and wrath of female bodies constantly at the mercy of corporate greed and bureaucratic negligence.
ISABELLA RICHMOND
Fine Arts, History of Arts
Look Both Ways
Digital animation
Crossed Paths
Lino on paper, spraypaint
Corpus Lino on felt, embroidery
Look Both Ways, Corpus and Crossed Paths explore the intersection of empathy and grief, focusing on the often overlooked trauma of nonhuman roadkill. In a human-centric society, these works visualise the emotional weight of such deaths. The prints depict a mangled kangaroo marked with a bright ‘X,’ a distinctly Australian practice indicating that its baby is also dead. The animation examines the cyclical and inevitable nature of these losses. Blending abstract and representational imagery, the pieces investigate how human empathy can bridge the gap between species, urging viewers to confront life’s fragility and the shared trauma of the natural world.
MARAYA TAKONIATIS
Honours in Philosophy & Fine Arts
Institutional Breeding Fumage (drawing with candle smoke)
The Defector
Animation & mixed media
The works Institutional Breeding and The Defector consider the tensions between internal and external boundaries within art institutional spaces. Institutional Breeding draws parallels between the domestication of plant and animal species and the internalisation of institutional norms by the contemporary artist. Institutional Breeding ponders what it means for contemporary artists to depend on art institutions: is it a spirit-giving or spirit-destroying interaction? The Defector juxtaposes iconic institutional symbols, the philosopher’s armchair and a research dissertation, against a field of wild Western Grey Kangaroos. The jarring boundary this constructs provokingly considers what and whom may be excluded from institutional spaces.
Home is a vulnerable subject, within it living a dichotomy. A home can be built, owned, and cherished; a source of great comfort for its inhabitants. Yet, it can be demolished and lost in an instant. The home is precarious by nature and exists in constant flux. It represents a space to be attached to and a place to form attachments. Make Yourself at Home provides an intimate look into the nooks and crannies of the places we dwell. It explores how we move between transient spaces and how we seek to contain our identity(s) within them.
VANDANA SELVAKUMARAN
Fine Arts, Communication & Media Studies
Observations from a passenger Coloured pencil on sticky note paper
An accumulation of everyday documentation. Each drawing depicts a momentary observation of Vandana Selvakumaran’s daily commute through Perth. The artist explores the mundane, cityscapes, commuting, and pedestrian movement.
Ordinary fleeting moments, often left unappreciated in the hustle of life’s deadlines, are encapsulated through a delicate frame. Sticky notes allude to stressful routines of work and study, while nostalgic stills reflect sonder. Viewers are invited to visualise narratives as they imagine links between scenes.
A reminder to slow down and find art in the everyday.
ELLA TENNANT
Fine Arts, Humanities in Health & Medicine
Her Labour
Embroidered cotton gauze, cyanotype prints on paper, dyed with tea, coffee, wine and turmeric
Disrupting the gridded weave through stitchwork, Her Labour restructures systems with a sensitivity to the natural world, while examining the historical undervaluation of domestic labour and textile arts. Organic forms reflect patterns found in insect colonies, where collective effort builds complex, interconnected communities. Balancing destruction, resilience and endurance, Her Labour honours the quiet hands and unseen threads that uphold our social fabric, reinvesting these practices with renewed cultural significance.
ROSHEN WARD
Fine Arts, History of Art
Endurance
Performance work, video projection, audio
Running a marathon is often perceived as a physical, mental, and emotional challenge. Ward’s journey with long-distance running was a relentless battle against limits, testing perseverance and discipline over many months. Through performance and video collages, this work captures the raw moments of struggle and triumph, showing the true nature of endurance. It’s not just about running; it’s about the human ability to endure and overcome. By focusing on perseverance and discipline, the artist celebrates the quiet strength that helps us push beyond our limits, highlighting the resilience and determination within us all.
TARA WILSON
Fine Arts Honours
Skin and Void
Handmade paper, charcoal, thread
Balm
Bisque fired clay, honey
Coated
Honey, resin, beeswax
16000 cm2
Graphite on paper
Skin. The thin layer of tissue forming the natural outer covering of the body of a person or animal. Oxford English Dictionary.
A thin layer, insubstantial yet expansive and complete. Tissue, a distinct cellular material with specific properties and functions woven together. Natural, it occurs without human intention, according to our biology. Covers a body, creating a distinct entity, separating and protecting from the world. Honey, wax, clay and paper are all traditional materials of healing and depicting skin, these materials examine the underlying limitations we impose as an expression of our insecurity of our own protective covering.
SHARON ZHANG
Landscape Architecture, Fine Arts
Blooming Fears
Yarn, stone clay, baby clothes, baby toys
Blooming Fears explores the intricate emotions of fertility, balancing hope and anxiety. Central to the tapestry is a massive butterfly wing, symbolising transformation and freedom, alongside blossoming flowers, an infant’s face, and the shape of a womb. Together, these elements reflect the beauty of new life and the fears that accompany parenthood. The butterfly’s movement signifies the fleeting nature of moments and the unpredictability of the journey. This work invites viewers to confront their own experiences, encouraging dialogue about the challenges and joys of creation while acknowledging the complexities that often remain unspoken.
Electronic music & sound design
Foreword
The Electronic Music and Sound Design program continues to thrive, and this year’s exhibition of 3rd year and honours students is no exception. Students have explored diverse themes, using music to express personal experiences, cultural identity, and social commentary. From introspective indie rock to immersive electronic compositions, the works blend traditional and modern influences.
We’re honoured to be included in this special event, thanks to the School of Design’s invitation. It’s wonderful to see how the students have pushed their creative boundaries this year, experimenting
with audiovisual integrations, adaptive soundscapes, and AI-generated music.
This exhibition is a testament to the program’s commitment to nurturing exploration and artistic growth. The students have crafted unique sonic journeys that invite listeners to discover new dimensions of sound and storytelling. We congratulate them on their achievements and look forward to seeing how they will continue to shape the future of electronic music.
Dr Chris Tonkin and Dr Tracy Redhead
ELIJAH JUHAS
Electronic Music and Sound Design
Transmission
5 track EP, Ableton, Live Instruments - Guitar, Bass, Drums, Vocal and Synth
My project is a 5 song indie/ alt rock EP that will eventually become a full length album intended for commercial release. They are a collection of songs that I have written over the last couple of years during a tumultuous period of growth in my life that not only explore my personal experiences with the world but also branch out into broader social and philosophical topics that are prevalent with today’s youth, especially young men. This project involved collaboration with members of my band Blame The Dog.
DANIEL SCOTT (LIFE OF DAN)
Electronic Music and Sound Design, Computer Science
Synaesthesia
Realtime audiovisual for DJ mixing, Ableton, Rekordbox, Resolume, Beat Link Trigger, Blender
My work shows the potential of how music producers using DJ equipment can synchronise their visuals to their tracks to create a more immersive experience for the viewer. This allows production to be easier to guide the viewer into a cohesive idea and/or story. To show this I made a Drum & Bass EP along with custom visuals rendered with Blender 3D, then imported them into Resolume and coded the connection to the tracks within Rekordbox using Beat Link Trigger.
FINN LUMSDEN LOWE
Electronic Music and Sound Design, Sports Science
Being Around Me
EP / audiovisual installation, Ableton Live 11
Being Around Me is a 5-track alternative/electronic EP that blends hypnotic vocal loops with dense layers of instrumentation. Each track features intricately programmed percussive elements, creating a strong rhythmic foundation that complements the vocals, which are treated as an additional instrument rather than traditional lyrics. The interplay between the vocals and the rhythmic structure gives the EP a polyphonic texture, offering a captivating, immersive listening experience. The EP draws inspiration from the natural landscapes of Western Australia, which is reflected in its visual presentation. Field recordings are subtly woven into the tracks, adding organic sounds that enhances the overall atmosphere.
ANNA BABRIECKI (CHILD 306)
Electronic Music and Sound Design
AISLING GREEN KISSED THE FAERIE QUEEN
EP, Ableton, live vocals
AISLING GREEN KISSED THE FAERIE QUEEN is the 4-track EP debut of Child 306, a folkelectronica music project singing songs of blood and rust from the steel-strung depths of a FAE-infested apocalypse. Using a combination of live vocals, electronic instrumentation, and industrial foley recordings, this work aims to bridge the gap between traditional folk ballads and a modern retrofuturistic techno-fantasy queer apocalypse – through lyrical music, the way all good tall tales are told. Listen on, dear friends, listen on.
PAUL STONE
Electronic Music and Sound Design, Human Geography and Planning
the long life
Ambient & audiovisual 5-track EP, Ableton Live 12, Final Cut Pro
the long life is a collection of ambient music. Each song is directly inspired by a real-world environment, influencing the style, composition, and tone of the music. The result is five unique tracks, that together are a chronicle of life: birth, formation of identity, establishment, sadness, and hope. Albeit their musical differences, these songs are intertwined to create a continuous soundscape, alike the evermoving nature of time itself, that when coupled with visuals and diegetic sounds produce an immersive experience. It is hoped that you, the listener, will be able to project your own narratives and experiences onto this music.
RAYA KIA
Electronic Music and Sound Design, Psychological and Behavioural sciences
Metanoia
EP, Ableton, EastWest, Live instruments, samples
Metanoia is a sonic reflection of Raya’s personal musical journey, merging the Western sounds she grew up with and the Persian heritage that shaped her roots. This EP is a unique fusion of Western and Persian musical traditions, blending the contemporary Western sounds with the timeless essence of Persian music. Each track works to showcase navigating between two worlds in a story-like fashion. Through this fusion, Raya has aimed to express the duality of her identity and invite listeners to explore the spaces where cultures meet, intertwine, and create something uniquely personal.
TUI DOUGIAMAS
Electronic Music and Sound Design (Honours)
Theodore Video Game, Ableton Live, Unity, FMOD
Theodore is a short video game that tells Theo’s story through the eyes of his dogs. As each dog accompanies Theo throughout different stages of his life, players assist, protect, and provide loyal companionship as they watch him grow. Developed as a solo project, Tui has managed every aspect of the game’s production, from coding and art to music. As a composer, Tui has leveraged full creative control to craft complex player-audio interactions, exploring how music can deepen emotional connections to narrative.
JOSH LOMMA
Electronic Music and Sound Design, Business Management
this game doesn’t exist
OST, FL Studio
A soundtrack. For a videogame. That doesn’t exist. Inspired by 90s RPG soundtracks, it’s made almost entirely from SoundFonts and MIDI. Listen and create your own story - or don’t.
CHRISTINA CHARTERIS
Electronic Music and Sound Design
A Typical Family: The Musical Concept EP, Ableton Live 12, Mackie Blackjack 2x2 interface, Universal Audio Solo 610 Pre-amp, Shure SM7B microphone, Nectar 4, Vocals and Free Samples
Collaborators: Vocalist - Kian Hart (Average Kind of Guy), Vocalist - Insiah Riaz (Let Go of Control). A Typical Family: The Musical Concept comprises of four tracks, outlining an idea that will later develop into a full musical. An array of music genres were used for inspiration, including disco, pop, drum and bass, rock, funk and soul. Vocals were recorded live in the studio, whilst all instruments were either synthesised or sampled. The tracks explore the impact of gendered societal expectations on family dynamics. This work seeks to inspire empathy and understanding as we navigate our increasingly polarising political climate.
LUKE PEACHEY
Electronic Music and Sound Design, Political Science and International Relations
SET
IN STONE
EP + Visualiser, Ableton, Live Recorded Instruments, MIDI
Set in Stone is a collection of tracks stemming from the mind of Luke Peachey, consisting of raw and passionate depictions of frustration, confusion, elation and exploration. Using a blend of live recorded instruments and synthesis to convey his message, Luke Peachey’s EP “Set in Stone” takes inspiration from artists in various genres such as King Krule, Bon Iver, Tame Impala, Men I Trust and Fontaines D.C. From hard hitting guitar riffs to calming soundscapes “Set in Stone” seeks to take the listener from moments of epic psychedelia and raging rock to solemn folk and reflective indie.
BRANDON PETKOVIC
Electronic Music and Sound Design, Computer Science
Velvet & Chrome
EP, Ableton, Udio
Velvet & Chrome reflects my passion for house music and explores the fusion of AIgenerated sounds with traditional production techniques, offering a modern take on this vibrant genre. Disco and house share essential elements, with early producers bouncing disco tracks into new creations. By leveraging AI as a creative tool, I generated unique and exciting disco creations to sample into house music. This approach deepened my understanding of AI’s role in creativity, helping me overcome writer’s blocks and reinvigorating my inspirations, while honouring the rich legacy of both genres.
Electronic Music and Sound Design
māyā
EP, Ableton Live 12, Splice, Arturia Analog Lab V, Kontakt Glaze Library, Duck, Pitch Monster, BBC Symphony Orchestra, live tabla, live piano
māyā is a 4-track EP produced by artist māyā, combining her South-Asian culture with all of the genres that she loves the most, from soulful RnB jams to high-energy dance tracks. The compositions throughout her project involve recordings of live Indian drums, such as the tabla, and sampling Middle-Eastern string and woodwind instruments such as the Oud and the Duduk. This EP was produced in Ableton Live 12, whilst also using samples from Splice and external plugins. This project was inspired by all of the sounds that māyā loves the most, paying homage to her culture and heritage.
LIBBY COOK-BOWDEN (PETALPATTER)
Electronic Music and Sound
Design, Digital
Creativity (minor)
Caveland: Potion Prelude
Text-adventure game, Ableton Live, FMOD, Unity, Inky, Visual Studio Code
Caveland: Potion Prelude is a text-based game set in the silly world of Caveland, where music is magic and the inhabitants are intelligent cave critters. The player is a child trying to make a magical potion. There are four different endings, with ending music entirely dependent on the player’s brewing decisions. All music is dynamic, unique upon each listen and loop, and inspired by hardware-constrained retro game sounds.
TEAGAN TRINH
Electronic Music and Sound Design (Honours)
Scoring
Short Films from BIFSC
Short films, Ableton Live 11, EastWest virtual instruments (OPUS plugin), Arturia Pigments VST
As part of her final honours project, Teagan scored two short films provided for the 2023 and 2024 Berlin International Film Scoring Competition. The scores for the two vastly different animations aim to meet the musical demands of each film. Using EastWest’s library of virtual instruments, the composed scores set the tone for each film, syncing to the sound effects to shape the soundscape and drive the action onscreen.
HARIPRASAD
KANNAN
Electronic Music and Sound Design, Marketing
Metropolis Reimagined
5 Scene Film Score Composition, Ableton, Plugins
(East West Composer Cloud, BBC Symphonic Orchestra Discover)
Metropolis Reimagined presents a fresh musical interpretation of five key scenes from the 1927 sci-fi silent film Metropolis. The core theme of this project was to delve deeper into film composing thereby enhancing the visual storytelling experience for audience. Blending orchestral elements along with modern sounds, this project aims to deepen the emotional impact while preserving the film’s core values. The composition provides a fresh take on the classic film, highlighting how music can enhance storytelling and redefine the cinematic experience for audiences, while reconnecting them with the roots of contemporary sci-fi.
MISSY Electronic Music and Sound Design
Missy’s Room
EP, Ableton Live 11, Shure SM7B
Missy’s Room is the muchanticipated brainchild of Norah Harkin (Missy). The four tracks comprise what will be her first musical release – and she introduces herself boldly. With a blend of Alternative RnB, HipHop, Neo-soul and electronic music influences, Missy’s Room tackles the pain and pleasure of love and sexuality.
DARCI BELLIS
Electronic Music and Sound Design, Creative
Writing (minor)
SEASONAL
EP, Ableton Live 11, Vocals
SEASONAL, A short EP exploring the ebb and flow of human emotions and thoughts, mirroring the changing seasons and their deeper symbolic significance.
MODAL JOURNEYS
Electronic Music and Sound Design
Modal Journeys
4 track EP, Ableton Live 11
Modal Journeys consists of MIDI compositions that avoid the traditional Ionian and Aeolian modes, using uncommon modal and alternative scales. Some tracks are consonant, while others are dissonant. The MIDI instruments come from Ableton’s packs, with differing instrumentation and orchestration in each track to create different soundscapes. Defining a genre is difficult, the soundtracks are neither avantgarde nor experimental. The goal of the project is to simply explore unconventional usages of scales and modes.
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
Discipline of Fine Arts Staff
Dr Ionat Zurr
Dr Vladimir Todorovic
Paul Trinidad
Sarah Douglas
Andy Quilty
Annie Huang
Samuel Beilby
Leyla Allerton
Mark Tweedie
Dr Donna Franklin
Julie Ziegenhardt
Esther Forrest
Reegan Jackson
School of Design Workshop Staff
Guy Eddington
David Marie
Khaynan MacCarthy
Thank you to the third Year FIne Arts major students for their commitment to marketing, event organisation, sponsorship coordination, didactics and special mention to the catalogue team, Bella, Izzy, Nalinie, Ella, Amilin, Simona, and WIllow for the collation, proof reading, layout and editing of the catalogue.
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
Anita Krsnik
Mitchell Chiappalone
Jack McFerran
Aimée Donaldson
Electronic Music and Sound Design Staff
Dr Chris Tonkin
Dr Tracy Redhead
Dr Michael Terren
Elise Reitze - Swensen
David Friedrich
Julian Peet
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.
