14 MAY 17 JULY - PICApica.org.au/wp-content/uploads/2016/06/Hatched-Education-Notes... · Hatched...

E D U CAT I O N N OT E S

14 MAY– 17 JULY

HATCHED NATIONAL GRADUATE SHOW 2016 – Spark_Lab

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Hatched 2016 (14 May – 17 June) is an exciting exhibition showcasing the best tertiary graduates from all around Australia. Their work spans a vast array of mediums and thematic concerns and is an ideal exhibition for secondary visual arts students, as well as students across other subject areas.

The notes are provided online so that you may distribute them to other teachers and students with ease. You may photocopy sections of notes or ask students to print them out themselves.

The notes are aimed at senior secondary students. However you can modify the text, questions and activities for students as you see fit for your particular students, to best suit their needs.

If any of your students submit written answers and/or art work of a high standard in response to the art/artists or the suggested questions and activities, please forward a copy to:

Minaxi May Education Programs Curator PICA GPO Box P1221 Perth, WA, 6844 or [email protected]

We are always looking for outstanding examples of student work that has been sparked by our exhibition content.

Hatched 2016 Education Assistant, Laura Watts and Education Program Curator, Minaxi May created these Education Notes.

PLEASE NOTE: All images used in the Education Notes are reproduced with the artists’ permission.

CONTENTS

– From The Curator 2 Education Links 3 Artist Pages 4 – 37 Classroom Activities 38 Example Project Outline 39 Image Credits 39


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INTRODUCTION

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Hatched 2016 sees a diverse group of intelligent and committed artists making work about their experiences and understandings of the world we live in. Explorations of gender and sexuality make for a Hatched that is both personal and political. Architecture, geometry and the relationship between the human body and the built environment are strong themes this year with many artworks taking the form of installations or structures.

Formerly rigid divisions between studio practices dissolve as abstract ideas and philosophical concepts are made physical through multi-disciplinary processes: a video and photography installation sits atop a wall painting while a printmaking project is realised by an accompanying soundtrack.

Expressions of personal identity and experience abound, as artists define what it is to be an Indigenous Australian, an immigrant, a long-term casino employee, a queer person. This breadth of art forms, approaches and themes is what makes Hatched so thrilling and current.

2016 marks the 25th year of the Perth Institute of Contemporary Arts’ annual survey exhibition, the Hatched: National Graduate Show.

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Nadia Johnson, Curator

(Extracted from Hatched: National Graduate Show 2016 catalogue. Northbridge, Aust: PICA, 2016), 3.


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EDUCATION LINKS –

Hatched 2016 has links across the entire WACE curriculum. The following key/codes are indicated on each artist’s page in relation to what are the most predominant features in their Hatched art piece and the corresponding WACE links.

ARTS: Dance, Design, Drama, Media Production & Analysis, Music, Visual Arts;

ENGLISH: English, Literature, English As An Additional Language Or Dialect;

HUMANITIES & SOCIAL SCIENCES: Aboriginal and Intercultural Studies Accounting and Finance, Ancient History, Business Management and Enterprise, Career and Enterprise, Economics, Geography, Modern History, Philosophy and Ethics, Politics and Law, Religion and Life;

HISTORY: Historical Knowledge & Understanding, Historical Skills;

HEALTH & PHYSICAL EDUCATION: Health Studies, Outdoor Education, Physical Education Studies;

LANGUAGES: Aboriginal, Chinese, French, German, Indonesian, Interstate Languages; Italian, Japanese;

MATHEMATICS: Specialist, Methods, Application, Essential, Foundation, Preliminary;

SCIENCE: Animal Production Systems, Aviation, Biology, Chemistry, Earth & Environmental Science, Human Biology, Integrated Science, Marine & Maritime Studies, Physics, Plant Production Systems, Psychology;

TECHNOLOGIES: Applied Information Technology, Automotive Engineering and Technology, Aviation, Building and Construction, / Children, Family and the Community, Computer Science, Design, Engineering Studies, Food Science and Technology, Materials Design and Technology;

VET INDUSTRY SPECIFIC: Automotive, Business and Financial Services, Community Services and Health, Construction Industries, Creative Industries, Engineering, Hospitality and Tourism, Information and Communications Technology, Primary Industries, Sport and Recreation


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ADAM ANDERSON –

Adam Anderson is an Israeli born artist from Griffith University, Queensland College of Art.

Themes/Ideas Anderson’s practice is autobiographical, exploring and expressing those aspects of his identity difficult to verbalise. He also engages with universal concepts relating to sexuality, acceptance, beauty, integrity, desire and gender, as well as the physical and psychological traits that divide and unite humankind.

Pluto’s Satellites incorporates humour and absurdity to examines the role of adornment and artifice in the construction of the persona. The term “construction” is significant, as individuals may choose to express themselves as they are, or in a way that causes others to view them as they want to be viewed. The symbolic shedding of one’s identity and the adoption of a new one is, to a large extent, what this work is about.

This piece is a shameless and unapologetic transformation into a psychological, rather than biological, version of the artist. It attempts to find a truer manifestation of his identity, while questioning the values society places on binary gender and natural beauty. It is an extension of an earlier work called Becoming Divine, in which Anderson transforms into a ‘genderless domestic goddess blue alien prostitute’ in an attempt to eliminate the shame the artist felt about his own body and life.

Inspiration Make direct connections to John Waters and Divine in the film Pink Flamingoes, in which transgression and the taboo were exploited to question societal paradigms of righteousness, beauty and gender. Walters’ films which feature Divine were significant in teaching Anderson how to utilize his lack of resources and to see ‘the triumphs in the grotesque, the carnivalesque… the ritualesque and

the abject’. Other influences include Leigh Bowery, for his presentation of and preoccupation with the queer and abject body, and Matthew Barney whose works involve a very obvious transformation, queer and feminist sensibilities and the persistent intrusion of the fantastic and psychological in the world of the banal.

Key Words Identity; Binary; Gender; Construction; Beauty

Questions Does this work challenge the accepted values and beliefs about gender, beauty and sexuality? Oscar Wilde said “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.” Discuss this in relation to the work. What methods, materials and techniques visually had Anderson employed to relate to and extend his themes?

Curriculum Links ARTS: Drama, Media Production & Analysis, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Philosophy and Ethics; HISTORY: Historical Knowledge & Understanding, Historical Skills; SCIENCE: Psychology; TECHNOLOGIES: Children, Family and the Community; VET INDUSTRY SPECIFIC: Community Services and Health.


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NAOMI BLACKLOCK –

Naomi Blacklock is from Queensland University of Technology

Themes/Ideas Her artworks involve an exploration and examination of mythologies regarding wild women archetypes such as sirens, witches and banshees, and the female scream as they have been treated in performance art and feminist psychoanalytic theories. Her recent work enacts the witch figure as a conceptual inspiration used to explore ideas of feminism, spirituality, and questions of identity. Burnt and Rebirthed (Soiled) 2015, aims to challenge historical representations of the female voice and the witch figure, in order to develop a work that is visceral, primal, and ritualised, that enables new ways of representing these wild women archetypes through contemporary visual art practices.

Techniques/Process This work seeks to shatter the oppressing silenced representations of women by conjuring the witch figure, freeing the throat of obstructions by exploring the amplification of the female voice though the primal scream (sound & performance).

Inspiration A multitude of artists, works and concepts including: Yoko Ono’s 2007 work ‘Yes I’m A Witch’, Mary Wigman’s ‘Hextentanz II’ (1926) and American avant-garde composer Diamanda Galas, who has been described as being “capable of the most unnerving vocal terror”.

Outcome Blacklock’s hope for viewers to be confronted by the power of the female voice and to reflect on the female screams in its various forms of fictional horror, pain and suffering, purging and empowerment.

Key Words Feminism; Spirituality; Identity; Voice; Scream; Horror; Empowerment

Questions What materials are used in Burnt and Rebirted (Soiled)? This work began as a live performance. How does watching a recording of the work change the meaning and your experience when viewing this work? In what ways does this work challenge/perpetuate socially accepted ideas or stereotypes of how the feminine body should be seen and heard? Visually, how does Blacklock’s installation represent her themes e.g. the forms?

Curriculum Links ARTS: Drama, Music, Visual Arts; ENGLISH: Literature; HUMANITIES & SOCIAL SCIENCES: Ancient History, Modern History, HISTORY: Historical Knowledge & Understanding; SCIENCE: Psychology


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PAUL BOYE –

Paul Boye is a Perth based artist from the University of Western Australia.

Themes/Ideas Boyé’s practice has been concerned with group-oriented performance, digital video manipulation, graphic novels and the distortion of architectures such as music, figurative drawing, and narrative.

Materials/Media Paul Boyé works to fracture the narrow sutures between mediums, standards and identities, creating experimental meetings of audio/video, analogue/digital/virtual, sound/space, music/sculpture.

Techniques/Process After videoing himself and four others each reading a line from the poem in front of a blue screen, Boye applied a metrical structure that broke down, overlapped and dilated each reader’s line, word and eventually letter. Once the poem has been broken down, it reconstructs in the reverse order. The video is finished with a coda sequence, where every line is played over the top of each other simultaneously.

Inspiration Vertical Poetry resulted from an intimate engagement with Roberto Juarroz’ poetry. His aphoristic approach to language is best described for this context by Octavio Paz – “...language reduced to bead of light. A major poet of absolute moments”. Boyé felt that it would be interesting to see how Juarroz could be translated via digitally manipulated video. Boyé took a poem from Juarroz’ eleventh volume and deconstructed the poem’s architecture, translating the poem into video and subsequently materialising the poetry. This work is also heavily informed by the explorations of serialism in 1960s Viennese formal film. Serialism, both in music and film, involves a rigorous discussion with systematised numerical value.

Outcome Viewers could find themselves equipped to approach texts with the intention of actively participating via a similar dissection that performed with Juarroz, or simply allow them to meditate on the poem.

Key Words Poetry; Translation; Serialism; Dialogue; Text

Questions In narrative, there is often a distinct beginning, middle and end. Does this work require you to view it from the start until completion, or is a sense of duration not needed in a video such as this? Does the figure in these works (the ‘speaker’) act as another textual element that is broken down? Does the work pose as a new approach to reading or reciting poetry? What sound a video techniques has Boye used to visualize this piece?

Curriculum Links ARTS: Drama, Media Production & Analysis, Music, Visual Arts; ENGLISH: English, Literature;


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EUGENE CHOI –

Eugene Choi is from the University of Sydney.

Themes/Ideas Her work explores the nature of physical movement and habitual memory. Choi’s practice engages the body in unfamiliar yet constructed situations, relying on live physical and emotional responses. By demarcating her practice within the relationship between the body and object, structural and material analogies become integral, referring to the systems of geometry.

Materials/Media Constituting the virtual images, Choi’s analogic use of the materiality of steel becomes a representation of stability, weight, strength and power. She suspends the screens within this structure, visually linking her suspended body to a Tesseract.

Techniques/Process Choi became engaged with physical movement by suspending her body on a scaffolding structure that is unseen within the frames. She focused on how process can be represented within performance when a thought becomes actualized in the body.

Inspiration The creations of early performance artists and dance choreographers from the 60s and 70s provided great guidance with their approach to everyday tasks, gestures and expression (or lack of) within the body. French artist and choreographer Xavier Le Roy focuses on the process of transformation, and more simply with the notion of process. The writings of Brian Massumi helped Choi to further theorize her work. Large-scale industrial and half-finished construction sites offer her aesthetic and geometric inspiration for her structures.

Outcome Choi encourages the viewers to walk around the work with a 360-degree view, engage with the work as a video, and also understand the importance of what the scaffolding structure adds as a metaphor in relation the videos. She wants the audience to have a newfound understanding of what choreography can be when engaging the body in unknown situations.

Key Words Body; Object; Structure; Choreography; Geometry

Questions Could this work function as a live performance? How is physical movement explored within this work? Describe the relationship between the body and the scaffolding structure. How are the videos linked to the scaffolding structure? How does this make you read these works?

Curriculum Links ARTS: Dance, Media Production & Analysis, Visual Arts; HEALTH & PHYSICAL EDUCATION: Physical Education Studies.


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KRISTEN COLEMAN –

Kristen Coleman is from the Adelaide Central School of Art

Themes/Ideas Kristen Coleman is an artist who believes that sensorial recognition can occur within even the most unfamiliar of settings, due to real or imagined experiences. She considers the cinematic landscape in relation to memory through her video installation practice.

Materials/Media Her work creates a mediatory space that is neither filmic narrative or pure recollection, but a new reality of imagined memories.

Techniques/Process Through the process of exploring cinema as a raw material, Coleman searches for brief moments within a film where the reception and experience of personal affect unexpectedly emerge. Coleman reworks the duration of each sequence to suspend these moments. Coleman’s work seeks to explain that meaning and narrative are not fixed; instead they may be constructed through a culmination of a person’s memories or experience with visual culture. Lull presents as an illogical and improbable landscape that reflects the nonsensical way in which thoughts, memories, and chains of association occur. It suggests that a single scene can trigger sharply realized or incomplete memories, or provoke new ideas and imaginings.

Inspiration The notion of the ‘intentional landscape’ and the ‘spectators landscape’ presented in Martin Lefebvre’s On Landscape and Narrative Cinema. Roland Barthes’ idea that meaning is constructed by the individual and can never be predetermined also forms the basis from which Lull was created.

Outcome To prompt the viewer to recall their own past experiences, to find a personal narrative that is somehow tethered to the images themselves.

Key Words Sensorial; Nonsense; Memories; Imaginings; Narrative

Questions In your opinion, what is the dominant mood in this piece? With its focus on combining the real and imagined, which style, period or art movement could this work fit into? Are any spiritual (religious, secular) or philosophical beliefs explored in this work? Are any elements appropriated from another source?

Curriculum Links ARTS: Drama, Media Production & Analysis, Music, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Geography; SCIENCE: Psychology


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SELENA DE CARVALHO –

Selena de Carvalho is from the University of Tasmania.

Themes/Ideas Her practice responds to notions of personal ecology and human interaction with the environment. Ecological Haunts specifically responds to a perceived lack of empathy and the social denial of grief regarding the legacy of ecologically destructive behaviours.

Techniques/Process The project was developed through a series of tasks that expanded her sense of, and connection to place. She later began visiting sites scheduled for destruction and collected audio and video recordings from these places. Following human initiated ecological disturbance, de Carvalho returned to these sites and collected non-human ‘witnesses’, such as plants, soil, and moss. She spent a lot of time in the studio working with technologies that allowed her to key these samples in an interactive, bespoke system; fine-tuning the work through audience testing, trial and error.

Inspiration Carvalho was 15 when she travelled to Easy Gippsland and encountered her first logging coup, witnessing the visceral drama and immediacy of destruction. The act of bearing witness has been formative to her perception of value in connection to (and empathy for) non-human entities. The projects inquiry, process and subsequent outcomes have been framed by a variety of theoretical readings by intellectuals such as Jane Bennett (on the agency of ‘things’), Erin Manning and Brian Massumi, Rosalind Krauss (for historical context) and Armin Medosch (regarding experimental new media practice). Also among these influences are Timothy Morton’s theories of ecological intimacy and dark ecology. Morton (2013) states ‘whether or not you feel that there is value in coexisting - the reality is we already are’.

Outcome Understanding of a paradox inherent in our contemporary relationship with the natural world; how we yearn for the untamed and yet so often seek to control it.

Key Words Interconnectedness; Ecology; Destruction; Co-existing; Possibilities

Questions Do you share a connection with any non-human entities such as plants? What makes human/non-human connection possible? What symbolic value do the elements and objects in the artwork convey? Does the artwork take a political stance? How has having the audience interacting with the artwork (pressing moss buttons) contributed to the experience of this work? Carvalho has used a variety of materials and processes in this work. How has she utlised them to bring her concerns and the themes in this work together as a contemporary artwork?

Curriculum Links ARTS: Media Production & Analysis, Music, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Geography, Modern History, Philosophy and Ethics; SCIENCE: Earth & Environmental Science; Psychology; VET INDUSTRY SPECIFIC: Primary Industries;


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ALEX DE GARIS –

Alex De Garis is from The University of South Australia

Themes/Ideas Alex DeGaris creates works that explore the intersections between gender, sexuality and networked media. Instigated by the lived experience of coming out as queer online before openly identifying as such in the real world, If only we could truly touch references a specific queer use of networked media and describes the artist’s own engagement with identity construction and online communication.

Materials/Media DeGaris’ practice often uses computer-generated imagery, computer glitches and networked performance to present queer readings of networked media.

Techniques/Process A bodily form taken from 3D scans of the artists body is used to reflect the simultaneous connective and isolating qualities of networked media, describe the queer closet and facilitate queer representation.

Inspiration Contemporary artist Micha Cardenas produces mixed reality performance art that utilizes the differing experiences of virtual reality and lived reality to describe queer experiences and has greatly influenced the development of the artists work. The practice of sound artist and composer Holly Herndon has influenced the use of sampled hardware as a means of creating sound that reflects the internal workings of associated technologies.

Outcome The viewer mediating on their own use of networked media and related technologies and taking away an understanding of the way in which marginalized youth engage with networked media.

Key Words Network; Media; Technology; Queer

Questions What is your emotional reaction to this piece? What cultural group, race, place, identity is depicted? Why were these signs and symbols selected? What do they mean? How has De Garis reflected on how queer individuals feel safer identifying as LGBTQIA + online than in real life?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; SCIENCE: Psychology; VET INDUSTRY SPECIFIC: Information and Communications Technology


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ELOISE GENNER –

Eloise Genner is from the Central Coast, NSW, University of Newcastle.

Themes/Ideas Her practice revolves around domestic and interior spaces. She explores forgotten, overlooked or nostalgic spaces to highlight the relevance they still hold.

Materials/Media The trace of home is a series of photographs of architectural models that look like rooms in an old house. The architectural models were created using simple materials such as cardboard, fabric and paddle pop sticks, and are made up of two walls and a floor to create a corner.

Techniques/Process The designs for each room were combinations of places Genner had lived in and seen. A table lamp was used to create the warm, atmospheric light of early morning or late evening and it is the light that dictates the mood of the piece.

Inspiration Gaston Bachelard’s The poetics of space (1958), as it explores the interrelations of the imagination and the house. James Casebere is an American artist who photographs fabricates model spaces, such as domestic spaces, prisons, synagogues and asylums. Korean artist Do Ho Suh’s work focuses on displacement and global identity. Australian born photographer Annie Hogan works with ideas of people, space and confinement. Australian artist Samantha Small is an Australian artist who works with ideas of the miniature and place.

Outcome The work is intended to remind people of places which they have lived or seen. It is the viewers own experiences which adds meaning to this work. This work is relatable to all but specific to none.

Key Words Domesticity; Architecture; Interior; Models; Memory

Questions Which elements are real? Which are constructed? This work is a series of photographs of architectural models that the artist built. Discuss the dual nature of contemporary photography as artwork vs. recording device. By using constructed models how has Genner changed the reading of the “rooms” in her works and the fictional versus the non-fictional? Genner intended for viewers to be reminded of places they have lived. How successful was she in this goal? How has the use of lighting affected the mood, colours and shapes in these works?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; MATHEMATICS: Methods; TECHNOLOGIES: Building and Construction, Materials Design and Technology; VET INDUSTRY SPECIFIC: Construction Industries


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PASCALE GIORGI –

Pascale Giorgi is a Perth based artist from Curtin University of Technology.

Themes/Ideas Drawing on her own cultural identity as a second generation Italian, Giorgi’s work investigates ideas of alienation, being, and the performative nature of culture. Her art methodology is based on language, and how humankind uses it to understand their lives and experiences, influenced by ancient and modern philosophy. Italo-Australian National Anthem was part of a larger group of works in which the artist considered how she could act out being Italian even though she was born and live in Australia. Giorgi is interested in the difference between pretending and being.

Techniques/Process While researching the history and culture of Italians living in Australia, Giorgi encountered the 1980 song Shaddup You Face by American born, Australian singer/songwriter Joe Dolce in which Dolce sings in English while pretending to be Italian. Giorgi experimented with the song in lots of different ways and recorded many different versions before she decided on the final work.

Inspiration Ancient Roman architecture and statuary, especially by the Pantheon – the incredible endurance of this building that has stood proudly for almost 2000 years. The Arte Povera movement, particularly the work of Giulio Paolini, because the Italian artists involved responded to the magnitude of Italy’s visual history by relating to art in a more humble and experiential way and Maurizio Cattelan’s irreverent, funny and beautifully crafted works L.O.V.E. (2010) and La nona ora (1999).

Outcome There is a sincerity and depth to Giorgi’s work that allows spectators to investigate their experiences of belonging to

a culture through a series of carefully selected images. She hopes that viewers want to watch the work over and over again, and encourages them to sing and dance along.

Key Words Performing; Pretending; Being; Belonging; Culture

Questions How does the artist use appropriation to share her message about belonging to a cultural group? How has Giorgi integrated elements of layering the create depth in this piece? Using sound, music and performance in this video, how does this relate to popular forms of media such as music videos? How have the elements of culture been historically placed into the context of contemporary Australian culture e.g. the outfits?

Curriculum Links ARTS: Dance, Drama, Media Production & Analysis, Music, Visual Arts; ENGLISH: Literature; HISTORY: Historical Knowledge & Understanding; LANGUAGES: Italian, Japanese; SCIENCE: Psychology; TECHNOLOGIES: Building and Construction, Children, Family and the Community,


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SEBASTIAN HAEUSLER –

Sebastian Haeusler was born in 1990 and raised in Warragul, country Victoria. He currently lives in Melbourne where he studied at RMIT University.

Themes/Ideas Household: A Place investigates how individuals interact with the objects in their homes.

Materials/Media Haeusler’s point and shoot camera gathered snapshots that determined the framing of the photographic works, before a rig consisting of Canon 5D II, Canon EF 50mm f/1.4, tripod, and electronic shutter release was used to capture high quality image files.

Techniques/Process The image files were edited using Bridge and Photoshop software. Concurrently, the sculptures housing the photographs were developed based on the object captured within each image. The object was studied and then revised to a minimal format, still implying the essence of its function. The spatial arrangement was developed in order to allow a free flow of movement around Haeusler’s mixed media spatial composition.

Inspiration French theorist Marc Auge’s seminal text Non Places: An introduction to supermodernity was central to Haeusler’s considerations in regards to place and space; while Auge’s recent ethno-fiction No Fixed Abode prompted Haeusler to investigate spatial relations. Jeff Wall’s work Diagonal Composition resonated with Haeusler especially, contributing to the development of his own visual style. Weniger, aber esser (less, but better) and gutes design (good design), principles developed by industrial designer Dieter Rams, have both been crucial to the development of Haeusler’s sculptural design process. The principles of minimalism and functionalism are explored through

Haeusler’s work, as they assist him in conveying his artistic aims.

Outcome For the audience to consider their relationships with the objects they encounter ¬— confronting and querying their ideas on space and what governs their movements in and through it.

Key Words Interaction; Objects; Place; Spatiality; Function; Domesticity

Questions How do you interact with the objects in in this work? Do the different compositional elements work together to tell a story or create a mood that is familiar to you? What decides the route you choose to take when walking around and through this installation? How has the combination of sculpture, photography and installation influenced your reading of these pieces?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; MATHEMATICS: Application; TECHNOLOGIES: Building and Construction, Design


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AARON HOFFMAN –

Aaron Hoffman is a graduate from the University of Melbourne: Victorian College of the Arts.

Themes/Ideas Untitled (Installation) 2015, consists of four works varying in scale, installed in such a way as to highlight the emptiness of the space and suggest a state of anticipation and anxiety. Each of the elements installed has become a re-activated object. Untitled is characterized by its stillness and its precise operation of connecting with the surface of the room, demonstrating how the functions of both object and space can be altered.

Materials/Media Aaron Hoffman’s studio practice utilizes sculpture, installation, and video to generate images that explore the absent body and psychological states of loss and restraint. When working with found objects or furniture, he explores the interventions of open and closed systems.

Techniques/Process He engages in a haptic and intuitive way with forms and materials that make use of domestic objects, furniture, plaster, concrete and corporeal matter. By employ casting and construction techniques, Hoffman hybridizes and disrupts characteristics of the original objects or site.

Inspiration Surrealism for the challenges it presents/confronts, as well as Arte Povera for its reduced palette and reference to domesticity. Robert Gober’s work is influential as it engages with concerns of loss, sexuality and religion through the dislocation of everyday objects, while Mona Hatoum’s uncanny and corporeal approach to exploring the body and her life in exile has also contributed to Hoffman’s thinking. Doris Salcedo’s engagement with the trauma of loss, mourning and bearing witness stimulated new ideas.

Outcome To perceive the room as having a surreal and uncanny quality, where a state of change has rendered the function of objects as useless, immobile, and unsettling.

Key Words |Installation; Intervention; Domesticity; Psychological; Object

Questions How do the choice of objects contributes to the meaning of the work? How has the installation of these objects created a relationship between the works? How does this effect your viewing of the pieces and the work as a whole? How do the meanings of the objects change when placed in the context of a gallery? What aspects of the everyday and influences such as Art Provera and the Readymades can be seen in Hoffman’s works?

Curriculum Links ARTS: Design, Visual Arts; SCIENCE: Psychology; TECHNOLOGIES: Building and Construction


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ANITA HOLLOWAY –

Anita Rose Holloway studied at the University of Wollongong, NSW.

Themes/Ideas Holloway believes in the equality of all beings, and her work often contains scenes in which humans and animals interact.

Materials/Media -

Techniques/Process She wanted to create an open-ended, dreamlike narrative, and the subsequent piece invites the viewer to use their own imagination to create the rest of the story.

Inspiration She believes that in a world where we are bombarded with mass production and over production of imagery, it is vital to take time to appreciate art and the experience it can facilitate. Holloway values art’s ability to enable people to see beyond their own world and invent new worlds and stories which can be shared with future generations.

Contemporary Artist Graysen Perry informed Holloway’s work through his exploration of broad contemporary issues such as war, identity and politics. Using ceramics, tapestry, sculpture and painting filled with text and unexpected and often unconventional imagery, Perry tells stories that all people can relate to.

Outcome Holloway hopes the viewer can create create stories, before knitting them together in new and interesting ways.

Key Words Dreams; Narrative; Imagination; Familiarity

Questions What do you feel when looking at this artwork? Compare looking at one piece, groups, or the work as a whole. Can you make meaning from each individual piece of the artwork, or must all elements be combined? Are there multiple possible meanings? How has Holloway used painting and construction in these works? How has the hanging of the pieces on the wall changed their reading from the traditional function of ceramics as object on a horizontal surface? Is this a contemporary use of ceramics? What themes and stories can you see in these pieces?

Curriculum Links ARTS: Visual Arts; SCIENCE: Psychology


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TIESHA ITA-ULIMA –

Tiesha Ita-Ulima is a graduate from Deakin University, Vic.

Themes/Ideas Present a deeply personal engagement of site where the natural and cultural merge. She plays with characters and identities, allowing her to explore the concept of ‘human camouflage’; what people do knowingly and unknowingly to fit in, how social pressures create a desire to affiliate with the dominant group.

Techniques/Process For Camouflage, Ita-Ulima chose a site where she felt she could be alone with the energies and environment of a place. Utilizing props, costume and scenery, Ita-Ulima created and recorded intensive rituals that read as ‘secret women’s work’. She also explored the ‘trickster’ character, which she believes is present in everyone as a mechanism by which people ‘do what they have to do’.

Inspiration Jill Orr’s potent performances and video collaborations have helped shape some of Ita-Ulima’s ideas when working as a female in landscapes. Surrealism played a significant role in Ita-Ulima’s earlier paintings, while Jung shaped some of her views on consciousness and soul development. The Mexican artist Frida Kahlo used her traumatic psychological life events to paint bizarre and disturbing themes, which were particularly influential in Ita-Ulima’s early career. The subliminal messages in her paintings reference Biomorphism, dreams and the emotionally charged unconscious.

Outcome Set off a chain reaction of new events, thoughts and feelings.

Key Words Camouflage; Socialization; Rituals; Trickster; Subliminal; Biomorphism

Questions What do you think the artist is saying about women and “women’s work”? Which perspectives are left out? Look closely at the construction and sculptural elements of the clothing with pouch. How has this been constructed? What does having a pouch remind you of and how has this given meaning and use to this object? In the photographs Ita-Ulima has covered the faces. What is she saying about identity and photography as portraiture? What elements of culture can be seen in her body of work? How has she represented it?

Curriculum Links ARTS: Drama, Media Production & Analysis, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Philosophy and Ethics, Politics and Law


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REBECCA JENSEN –

Rebecca Jensen is a migrant from Canada, and the daughter of parents who migrated to Canada and Australia respectively. She studied at Edith Cowan University, WA.

Themes/Ideas Australia’s immigrant history, speaking to those aspects of Australian culture which both advertises and deny the country’s multicultural ties.

Techniques/Process Jensen’s practice is largely entwined with social media and she began the process by trawling through online forums in order to source material, which she then set into a letterpress. This process is incredibly slow and tedious but allows her to engage with each text for a significant amount of time, perhaps in contrast to the original author’s intended engagement.

Inspiration She is interested in projects that actively shine a critical eye on culture with an ultimate goal of inciting change. Her work, For Those Who’ve Come Across the Seas, has been impacted by such artist as Santiago Sierra, Ai Wei Wei, Renzo Martens and more recently Amar Bakshi. Bakshi’s work Portals aims to create connections between people across the world who would otherwise never meet. His work actively humanizes people who we can often consider distance and/or irrelevant.

Outcome To encourage the viewer to consider how they actively refer to, or allow others to refer to, refugees and immigrants and provoke discussion about refugees and immigrants as well as intolerance more generally in Australia.

Key Words Migration; Multiculturalism; Interaction; Refugees; Immigrants; Racism

Questions Has this work challenged your perception of migrants or refugees? How? Social media can have immediate and far reaching impact. How has this been represented in Jensen’s art piece? What do you think the artist intended by slowing this process down and using a letterpress to reflect on the social media content she sourced? How has the use of white text on white paper and the repetition of paper as an installation affected aided/deterred your reading of this work?

Curriculum Links ARTS: Visual Arts; ENGLISH: English; HUMANITIES & SOCIAL SCIENCES: Geography; HISTORY: Historical Knowledge & Understanding; VET INDUSTRY SPECIFIC: Information and Communications Technology


18

DAISY KNIGHT –

Daisy Knight is from the University of Sydney

Themes/Ideas Daisy Knight is a self-described “dweeb”, who spent a whole year making neon junk and thinking about eternity. A Christian since the age of 12, Knight’s work is an attempt to untangle and represent some of the holy mess inside her head. Her love of kitsch and shiny things sees her creating pop music, delighting in pop culture and making creepy crafts of devotion.

The Christian creation story inspired her to make works that would embellish and layer her own “dweeby realm”. The elements in CHRIST ME$S are a somewhat frantic, improvised and joyful series of mistakes and experimenting. Through this work she explored her faith and searched for her own alternative Christian role models or Saints. Knight has focused on visions of the future and Heaven, as to her the concept of eternity is “delightfully terrifying”. CHRIST ME$S explores the tensions between the ideal faith and the human interpretation and implementation of faith on a daily basis.

Inspiration Self-taught Christian artists such as St James Hampton, Prophet Royal Robertson, Rev. Howard Finster and Leonard Knight offered insights into spiritual devotion and the daily routines associated with living in faith. Knight looked to clichéd science fiction representations of the future, citing Barbarella (1968) and Zardoz (1974) as particular influences, as she felt they evoked feelings of the unknown while also inspiring wonder.

Outcome Feel the overwhelming joyfulness that she feels when thinking about the stories of God’s abundant creation, and seeks to evoke some of the confusion and delight she feels when exploring her own faith.

Key Words Christianity; Faith; Creation; Interpretation; Joy

Questions What does this work reveal to you about one perspective on contemporary Christian life? Does this work challenge your beliefs about Christianity/religion more widely? What are the elements and principles that have been used in the installation? How has the use of colour and the conglomeration of materials impacted on your reading of this work? How do you feel when viewing this piece? Knight has used many aspects of popular TV and animations in her video sequences, together with dressing up and performing as a band. How does this relate to devotion, iconography and ideas of faith? How do these aspects add to her ideas of being a Christian and the representation of this in her artwork? How does the title give meaning to this piece by Knight? What context does it give to the work? Do you see this as a glorification of God or a pastiche on idea of faith and religion?

Curriculum Links ARTS: Dance, Drama, Media Production & Analysis, Music, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Ancient History, Philosophy and Ethics, Religion and Life; TECHNOLOGIES: Materials Design and Technology;


19

NADINE LEE –

Nadine Lee is a Larrakia artist from Darwin. Larrakia people are the traditional Aboriginal owners of the Darwin and Cox Peninsula region. She graduated from Charles Darwin University, NT.

Themes/Ideas Lee’s work focuses on personal and symbolic narratives, which pay homage to cultural heritage and country and can sometimes be delivered with biting humor and satire. Healing was made as a way of expressing and dealing with loss as an emotional and cultural state of being.

Materials/Media Lee wanted to work with tactile mediums and with materials that evoke strong cultural and emotional connections. Her use of mica, muslin and driftwood is intended to encourage viewers to reflect on touch, memory and loss.

Techniques/Process The mica in this work comes from Mica Beach on the Cox Peninsula in Larrakia country, where the Indigenous- owned and operated Balunu Foundation runs spiritual and cultural healing programs for Indigenous youth and families. The work’s fabric support is muslin which Lee likens to a skin that breaks down over time, like our own skin. Staining the muslin with tea is a tribute to her paternal grandfather who only drank black tea.

Inspiration From jewellery, music, fashion, textiles, with diverse cultural references. She found particular inspiration in the textile-based installation and oral history storytelling in the work of Murri Aboriginal artist Dale Harding, as well as in the large-scale mixed-media memento mori works of fellow Murri artist Danie Mellor.

Outcome That the viewer may have an emotional response to the work, taking away an enhanced sense of self and social awareness, of empathy, compassion and grief.

Key Words Culture; Heritage; Materiality; Movement; Healing; Loss; Memory

Questions The artist used textiles, reflective mineral material and driftwood in this work. What is the significance of each material in relation to the concept of healing? Does this piece have elements of art as therapy? Look closely at Lee’s work, describe the shapes, textures, scale and form. How do these work together to create this artwork?

Curriculum Links ARTS: Design, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Aboriginal and Intercultural Geography


20

YI-WEN LIU –

Yi-Wen Liu graduated from North Metropolitan TAFE, WA

Themes/Ideas Liu is interested in translating her personal philosophies and experiences into visual form, revealing what can be sensed beneath the layers of verbal language. This work is an expression of fearful thoughts and feelings that she could not speak out loud.

Materials/Media Yi-Wen Liu uses dance and performance in her visual arts practice, skills she acquired through prior training in choreography. Liu creates works combining an innovative and experimental blend of dance, performance, photography, ceramic sculpture and installation.

Techniques/Process Much of Liu’s work begins with her own thoughts and feelings, and the ways in which her body has received and interpreted information from the world around her. She explores this through a series of experiments and tests, which help her to find new materials and media that allow her to express her ideas.

Inspiration Pina Bausch and Marcel Duchamp as key inspirations, as each of these artists uses their own philosophies to create dance and art pieces that enable people to consider their own thoughts and feelings. The artists raise questions that seem obvious, but are not easily answered. These conceptual considerations allow Liu to conjure atmospheric and emotive scenes in her mind, which she then translates to choreography. Photography, especially fashion photography and textiles influence Liu’s choice of materials and the techniques she uses to create her sculptures.

Outcome Feel an emotional connection

Key Words Philosophy; Movement; Body; Translation; Expression; Emotion

Questions What are the compositional and spatial elements in this work? What cultural group, race, place or identity is represented in this piece? Could the work represent anyone? How has Liu visualised elements of choreography in her work?

What varied media has Liu used? How does this add/detract to the meanings embedded in this work?

Curriculum Links ARTS: Dance, Drama, Design, Visual Arts; SCIENCE: Psychology


21

ANNIE MACINDOE –

Annie Macindoe is from Queensland University of Technology

Themes/Ideas Annie Macindoe makes art in order to understand her lived experiences, expressing the complicated spaces between how public and private experiences of trauma are narrated.

Materials/Media In her work It felt like…, Macindoe collected fragments of text from personal journals, writings, conversations and reflections, and reconstructed them to create new bodies of language that read as non-linear narratives.

Techniques/Process She aims to echo the disruptive quality of traumatic experiences, as well as question the nature of language as a means of articulating complicated feelings. Fragments of text are layered onto short snippets of video captured in the artist’s everyday surroundings. These images evoke a sense of familiarity while also reflecting Macindo’s feelings of displacement and disconnect within her own surroundings.

Inspiration Artists Tracey Emin, Jenny Holzer, Michael Snow and Gary Hill inflormed Macindoe’s practice, allowing her to examine the potential of narrative and representation using language as the basis of her work. The writing of Jill Bennett on Affect, Trauma and Contemporary Art was of further influence. Literary theorist Roland Barthes provided a contextual framework for Macindoe’s use of language and the processes in which she fragments and reconstructs text to create new meanings. She also take inspiration from film, and employs the cinematic tropes of contemplation (like sky and water) as a means of creating a sense of familiarity with the viewer.

Outcome The heavy drone and heart-beat soundtrack permeates the viewer’s body in the space. These sounds may be simultaneously anxiety inducing and calming, as one might find themselves beating in sync with the work. Through these processes, the work draws an emotional connection with the viewer whilst imposing an immanent disconnect through the use of an incomplete narrative of text, image and sound.

Key Words Trauma; Experience; Displacement; Disconnect; Public; Private

Questions How does this work compare with a movie you might watch at home or in the cinema? What do you think makes this art? How is your experience of the artwork altered when viewing the two videos side by side, compared to watching a single channel video (one video)? Non-linear narrative is considered to be a Postmodernist concept. Describe Macindoe’s use of abstracted narratives. How does this affect your interpretation of this work?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; ENGLISH: English; HUMANITIES & SOCIAL SCIENCES: Philosophy and Ethics;


22

LOUISA MAGRICS –

Louisa Magrics graduated from The University of Newcastle, NSW.

Themes/Ideas Louisa Magrics is an experienced musician who explores the relationship between rhythm and form in her fibre art creations. Influenced by geometry, music and ambiguously biological forms, Parabola is a ‘soft, internal cavity’. In her process of collecting and collaging found materials in a painterly manner, particularly those traditionally associated with the domestic space, Magrics ultimately pays homage to the unspoken integrity in historical pursuits of ‘women’s work’. The title of the work refers to the mathematical concept of a two-dimensional, mirror-symmetrical curve, and alludes to links between fiber-art and mathematics dating back over 100 years.

Materials/Media The materials used have been largely collected from op-shops in a conscious attempt to utilize excess supplies and curb potential contribution to consumer demand for plastic-based products.

Techniques/Process She is motivated by her Latvian and Italian heritage in adopting the medium of crochet, a skill taught by her Mother and Grandmothers. Crotchet forms the basis of Magrics’ large-scale sculptural experiments. Built from a bottom panel and a corresponding tetrahedron frame of equilateral triangular shapes, this symmetrical vessel took over 270 hours to complete. The ambiguous nature of the form seeks to create an environment where viewers can project their own interpretations upon womb-like structure.

Inspiration Magrics cites P. Alexander Crum Brown’s knitted models of interpenetrating surfaces (circa 1885) as an example of linking textile and maths. Recent works by Latvian

mathematician Daina Taimina sparked a new interest in the potentials of crotchet as a medium for exploring scientific and biological modeling.

Outcome Consider crochet as a vehicle for exploring ideas of creative expression and self-identity.

Key Words Biology; Relationships; Ambiguity; Interpretation; Expression

Questions How are the scale, texture, colour and medium used in this piece? How do they effect your viewing and interaction of this piece? Consider the concept of composition both in relation to music and the design principles. How has Magrics related and combined the artmaking with musical composition and performance? How would you describe the significance of ratio, proportion and symmetry in the overall design? How do these concepts relate to music and how are they visualised? What do you feel when you stand in the centre of this piece?

Curriculum Links ARTS: Music, Visual Arts; MATHEMATICS: Application; SCIENCE: Biology; TECHNOLOGIES: Materials Design and Technology;


23

LYNNE MAKINGS –

Lynne Makings is a graduate from Federation University Australia, Vic.

Themes/Ideas Illness and the threat of death have played a significant role in her family life, and making art has been a major form of solace and retreat.

Materials/Media 102 azure, 110 lily is a continuation of the themed series Continuity by a Thread, a considered and intellectual body of sewn architectural works that formed the basis of her third year studio.

Techniques/Process Makings experimented process.

Inspiration Inspired by Rosalie Gascoigne and Louise Bourgeois, both considered that ‘seeing’ happens after a process of continual searching over time. The works of Emily Kame Kngwarreye and Cy Twombly’s lyrical and loose but controlled lines. As well as the philosophy of Robert Irwin – a sense of knowing, or ability to identify, helped to clarify perception whereby art becomes a series of aesthetic inquiries, an opportunity for cultural innovation, a communicative interaction with society and as compounded historical development.

Outcome Stand still, breathe and feel.

Key Words Continuity; Knowing; Seeing; Inquiry

Questions What do you see in this piece? What aspects of process are visualised in this work? 102 azure, 110 lily is a work which comprises natural specimens. Could this work be considered a landscape or is it abstract? Are there aspects of death in this work? How do you relate and interact to the scale and intimacy of this work?

Curriculum Links ARTS: Visual Arts; SCIENCE: Psychology;


24

GRAHAM MATHWIN –

Themes/Ideas Graham Mathwin is optimistic, but judges harshly and takes judgement hard. Dreaming and imagining remain the core of his being. 2015 was the happiest and most difficult year of his life thus far.

A bit more love and affection please is a work about empowerment. It is a plea, not for the artwork, but for our sensibilities. Our world is becoming obsessed with quantifying everything, as is particularly evident in the rise of excessive economic rationalism, and because of this it also becomes more and more irrational, failing to perceive the qualities of such intangibly valuable things as human life. This work is an attempt to both make an intangibly valuable thing, while defending and upholding the nature of such things.

The lake and the shop are metaphors for a broader relationship Mathwin perceives in the world: that images; those intangible, ghostly mirages, inform the manner of our engagement in the world, but that the world also informs the images we construct of it. The flower shop and lake is a microcosm and a metaphor, a condensed example of this relationship.

The work attempts to describe what Mathwin sees happening: that every time you dress yourself, or check your watch, or perform one of the endless menial tasks that you do every day, you create the world. Of course, the world is also the creator of these tasks and ideas, and there is therefore transference between these things, yet it is between learning from the world and changing it that he wishes people to see their role.

Techniques/Process The film was started by chance, but was informed by a great deal of thought, through filming and re-filming, and post-production (editing). The decision to use film was a conceptual decision, appropriate because of our

contemporary context, as digital media is on the rise, both in production and consumption.

Inspiration Agnes Varda, Chris Marker and Patrick Keiller. Pierre Huyghe is the most important influence, and Mathwin has since begun to make work that bears certain re-semblances to his. Jeanette Winterson’s vivacious and passionate writing and fragmentary style have been of great significance.

Outcome People come to see their role in the construction of the world, by the images they create and consume.

Questions On approaching Mathwin’s installation, what are your first thoughts and impressions? How has he tied all the different elements and media together through the use of colour, composition and installation? What aspects of ‘engagement with/in the world’ are visible in Mathwin’s work? How has he visualised the relationship between the world and himself? Marhwin describes the use of video as a media that relates to ‘contemporary context’. How is this integrated into his work? What do you see and feel when watching the video?

Curriculum Links ARTS: Design, Media Production & Analysis, Visual Arts; HISTORY: Historical Knowledge & Understanding, Historical Skills; SCIENCE: Psychology;


25

RHIANNON MCAULIFFE –

Themes/Ideas Portraiture and the use of scientific and social research, her recent work seeks to interpret how and why people perceive the world around them.

Techniques/Process The Fine Line Between Portraiture & Prosopagnosia employs a method of drawing known as ‘blind contour’, a process of drawing whilst looking solely and intensely at the subject of the drawing but never at the drawing itself. Many weeks of material experimentation evolved into this combination of permanent marker on plywood with a polyurethane sealant. The drawings were then cut into the many shapes of different peoples faces.

By installing the works as suspensions, McAuliffe has highlighted the way different faces speak to each other and considers spatiality in context of identity. Using spotlights, she created obscure shadows that reflected her research into Prosopagnosia or ‘face blindness’, a rare medical condition that prevents people from recognising faces. The use of spotlights also speaks of how society is obsessed with the ‘selfie’ and how online applications such as Facebook and Instagram provide a platform for this obsession.

Inspiration New York artists Ian Sklarsky and Kayti Didriksen, who use the blind contour drawing method both as works in their own right and also as base drawings for paintings. Mikala Dwyer, installation artist and lecturer at the Sydney College of Art.

Outcome How relationships between objects within an installation create tangible meaning.

Key Words Relationship; Spatiality; Identity; Face blindness; Selfie; Obsession

Questions Does the installation evoke any particular mood? Would installing the works differently change the mood? What differences and similarities can you see in the faces? How has blind contour contributed to the look and feel of these pieces? McAuliffe has purposely hung the sculptural elements to create an installation. How do you see these pieces working together as an installation? Individually? How do the shadows add to the work? How would you read this differently id the faces were attached to the wall? What do you feel and think when seeing the many faces? McAuliffe has used techniques and processes to cut into the wood. Look closely. What are the qualities in the individual pieces e.g. line, shape? How doe they add/detract from the faces?

Curriculum Links ARTS: Visual Arts; SCIENCE: Human Biology, Psychology; TECHNOLOGIES: Design, Materials Design and Technology;


26

HEATH MCCALMONT- PARKINSON –

Heath McCalmont Parkinson graduated from the National Art School, NSW

Themes/Ideas Heath McCalmont Parkinson grew up on the Far South Coast of NSW in a fairly small and narrow-minded community, where he was ostracized for being openly gay from a young age. This drove him to consider his worth and the way society functioned around him, eventually leading him to be very comfortable with his sexuality. In his works McCalmont Parkinson deeply contemplates the way sexuality, intimacy and human relationships function. Better Than One/You and Eye delves into the artist’s relationship with his partner.

Techniques/Process Working from within his apartment meant that McCalmont Parkinson was always considering new photographs for the series from within their setting. Photographs were taken on either a hand-held medium format camera, for fleeting images using natural light; or a large format view camera for slower shoots. Images were hand printed in the darkroom, and the artist would often work outside printing conventions to create prints with visible traces of the objects he worked with, such as dust from the negatives, scratches and chemical residue.

Inspiration Francesca Woodman, who photographed herself in her New York apartment. Hannah Maynard, who produced a bizarre series of multiple exposure self portraits depicting her playing out different actions involved in “women’s work”. Duane Michals as his images often involve apartment spaces as settings for unusual sequences. McCalmont Parkinson also pays tribute to Felix Gonzalez-Torres’ Untitled bed photograph.

Outcome Despite potraying a heavily intimate, personal space in a public gallery space, the artist’s intention is not to intrude, nor to be intruded upon, but simply to show something familiar, bare, for all to see.

Key Words Intimacy; Sexuality; Familiarity; Domesticity;

Questions In his photographs, the artist captures intimate moments from his relationship with his partner. When looking at these photographs do you feel comfortable in your role as voyeur, or do you feel you are intruding? How has he used photography to shape perceptions of intimacy? McCalmont-Parkinson has arranged the photographs in a particular order. How does the placement affect the relationship of the photos to each other e.g. the stories in the photos? How do you see and read the works within the space? Why has the artist chosen to use black and white photography? How does this add/detract from the themes and his intentions? How has the artist portrayed himself in the photographs? Does he seem comfortable with himself as a male, his sexuality and in his environment?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; HUMANITIES & SOCIAL SCIENCES: Philosophy and Ethics; SCIENCE: Psychology;


27

CAT MUELLER –

Cat Mueller is a graduate from the Australian National University, ACT

Themes/Ideas Her high-key work investigates intense colour relationships and optical effects. Her aesthetic is informed by an interest in online culture, the playfulness of childhood, 1990s kitsch, femininity, psychedelia, cult craft crazes and natural phenomena from microbes to sunsets.

Materials/Media In LOOM-inious, Mueller’s love for cheap, colourful objects is contrasted with the realization of the wastage and environmental damage it causes. The tangled form of the installation references natural forms but is rendered with synthetic materials, creating a juxtaposition of the formulaic and intuitive; the organic and geometric; the ordered and chaotic; the calculated and spontaneous.

Techniques/Process Cat Mueller’s practice bounces between vibrant acrylic paintings, dense fluorescent paint-marker drawings, craft, and installations using plastic dollar store items.

Mueller’s large-scale acrylic paintings developed out of meditative drawing techniques informed by processes such as beading and embroidery. Brush marks were repetitively applied using spontaneous modulating colour systems that encourage continual movement of the eye. The large-scale of the works surround the viewer’s peripheral vision. Her playful installation, LOOM-inious, emerges as the physical painted mark, using Rainbow Loom Bands for each stroke of the linear composition.

Inspiration The artist is concerned with investigating vision and flaws in the brain’s processing systems when information is received from the eye. She relates to 1960s Op Artists, as well as Yayoi

Kusama whose works employ optical devices to describe her personal narrative and motifs. She references the Pointillists, who mixed new colours within the eye. Her visual language is informed by aesthetic trends seen on social media platforms.

Outcome That the buzz of complimentary colour relationships will transport the viewer to an altered state.

Key Words Optical devices; Illusion; Movement; Modulation; Colour; Craft

Questions How does your vision react to the illusions created by the colour relationships? How do the elastic bands create this optical sense of colour and movement? How do the aesthetic decisions made by the artist contribute to the meaning of the work? How do the paintings and sculpture complement or detract from each other? Consider the techniques and materials Mueller has used? How has she used them? What effect has using mass produced materials had on the paintings and the sculpture and how you interpret the works?

Curriculum Links ARTS: Visual Arts; TECHNOLOGIES: Building and Construction, Design, Materials Design and Technology; VET INDUSTRY SPECIFIC: Communications Technology


28

ALICE O’CONNOR –

Alice O’Connor is a graduate from Monash University, Vic.

Themes/Ideas O’Connor enjoys the freedom and potential of inter-disciplinary research, contingency and chaos. Conceptually, two decades of experience working as a croupier at a Casino have generated a practice that considers mechanisms by which space is controlled and delineated.

Techniques/Process O’Connor’s work is intuitive and process driven, drawing from a strong desire to construct things herself. Wood structures become the ground for a laborious finishing process involving high gloss enamel paint. The large piece came about through a process of scale model constructions, in which she experimented with different configurations. Many of the trialed models contained traces of design elements recalled from her immersion in the elaborately constructed casino environment. On a trip to Las Vegas, O’Connor became aware of the specific scent each casino had, as though it was a part of their brand. Her inclusion of a specific olfactory element is intended to trigger the memory of institutional ritual.

Inspiration Rem Koolhaas’ essay Junkspace inspired the title for O’Connor’s work. Koolhaas describes how a meltdown of modernization has reconfigured the politics of space, resulting in the proliferation of an architecture that is shallow and manipulative. Also of importance to her research is Michel Foucault’s notion of Heterotopia; an ‘other space’, a counter site to utopia. Gail Hastings’ ‘sculptuations’ (sculpture-situations) create encounters that activate the social and communicative potential of space. Hastings’ elaborations of perception and experience have the ultimate objective of making space itself perceivable, a quality that O’Connor endeavours to achieve in her own practice through the use of architecture and construction.

Outcome See the work as an awkward interjection, a tardis like imposition that tries to impress with its facade of monumentality.

Key Words Space; Architecture; Institution; Control

Questions How do the scale of these works make you feel in the space? Included or excluded from the environment it creates? Look closely at the forms. How has O’Connor created them? Look and describe the design elements and techniques used. Consider the inclusion of scent. Can you smell anything particular in these works? What is O’Connor saying about the olfactory sense by using it in her artwork? How does the use of white on white impact on your interpretation and experience of these pieces? These pieces become part of the architectural space. What relationship do the individual pieces have to each other by their placement in the space?

Curriculum Links ARTS: Design, Visual Arts; MATHEMATICS: Methods, Application; TECHNOLOGIES: Building and Construction;


29

LAETITIA OLIVIER-GARGANO –

Laetitia Olivier-Gargano is a graduate from Monash University, Vic.

Themes/Ideas Laetitia Olivier-Gargano has always been interested in biological specimens, the cases and jars of curious objects that fill museums, collecting dead insects since childhood. She is also influenced by writing down her dreams; especially the strange, frightening bodily dreams such as having her teeth fall out.

Techniques/Process Olivier-Gargano surrounded herself with mounds of collage material, particularly images of nature and the body. This process helped her to formulate ideas and play with compositions. Through observing and drawing cadavers at the Monash University Department of Anatomy, she was astounded at the detail of the human body and the aesthetic similarities it has to plants and fungi. Olivier-Gargano started to cast natural objects in silicone, emulating the look and feel of human skin. From there, she began to add hair. Throughout the year, she also learned how to preserve specimens using formaldehyde and how to bleach animal bones.

Inspiration Films by David Cronenberg and Jan Svankmajer. The seductive, abject, fleshy forms and ideas in Cronenberg’s films directly reference bodies and attitudes towards them. His scenes make viewers squirm and squeal in both disgust and pleasure – a response Olivier-Gargano explores in her artwork. Svankmajer’s ability to humorously display the uncanny is something Olivier-Gargano took on board when creating her own work.

Outcome Hope the audience feels more aware of their own bodies when viewing her work and is simultaneously curious and repulsed.

Key Words Collection; Disgust; Specimen; Cadavers; Funghi; Body

Questions Do you think the artist was successful in making the viewer feel simultaneously curious and repulsed? What natural or artificial materials have been used? When viewing The mushrooms between my toes, how does it make you feel about your own body? Do any of the forms in the work feel familiar? How do the colours, materials and forms impact on ideas of everyday objects? How does the installation of the pieces related back to ideas about science, collecting and specimens?

Curriculum Links ARTS: Visual Arts; SCIENCE: Biology, Human Biology, Psychology;


30

JANE PALMER –

Jane Palmer graduated from TAFE, South Australia

Themes/Ideas Ad Libitum is about cross-modal interaction, concentrating on auditory and visual experiences such as synesthesia.

Techniques/Process Jane Palmer spent time a lot of time in the percussion section of the orchestra at the Elder Conservatorium of Music before she began to study Visual Art in 2010. She now works towards finding pathways to amalgamate music performance and visual art.

The sonic potential of the visual image leaves endless possibilities. By re-purposing her percussion mallets into mark making tools, Palmer experiments with sound, movement and spontaneous action. This has resulted in quirky sound recordings that explore the human voice, while her performance art pieces are created by playing percussion directly onto sheets of metal normally used for printmaking. When playing directly onto the metal, marks are created which are later etched and printed. Palmer re-visits much of her old percussion training, recreating the movement used to play the drums with pencils instead of drumsticks. These movements then transfer measured marks onto paper.

Inspiration John Cage is influential in both Palmer’s music and art careers. His 1959 work Water Walk is a piece of music, but expressed with visual components so it can be experienced as theatre. Cage places particular importance on the musical score itself, making it large enough for the audience to read. Cage explores chance encounters of sound production, sometimes relying on others to create sound for him through their own movements.

Outcome In musical performance, there is an element of sound, movement (as the instrument is played), and a narrative. Combining these elements results in what we commonly know as a performance, however Palmer hopes to explore what will happen if one or more of these elements is left out.

Key Words Sound; Movement; Performance; Theatre; Production

Questions Can this work be viewed as a performance, despite only of the sound and printed paper components remaining? The marks made on the paper are initially quite spontaneous, but the process of etching and printing is time intensive. How does this process change the meaning of the work? How do the elements of sound, printmaking and installation converge to make a complete artwork? What are you hearing when placing the headphones on? How does this make you feel? What do the sounds make you think about in relation to the wall piece? Look closely at the printed paper. What design elements and principles had Palmer utilised?

Curriculum Links ARTS: Music, Visual Arts; SCIENCE: Psychology;


31

MICHELLE POWELL –

Originally from the WA Wheatbelt, Michelle Powell resides in Hobart, Tasmania and graduated from the University of Tasmania.

Themes/Ideas Prompted by her relocation from one distinctive landscape to another, her practice explores the indivisibility of place and identity, and the cultural construction of ‘landscape’. Powell’s recent work focuses on identifying and revealing cultural narratives through which an individual’s responses to place are filtered.

Powell identified Tasmanian Gothic as a cultural narrative that significantly influenced her responses to real places in Tasmania. Tasmanian Gothic is a genre of Tasmanian literature that merges the traditions of Gothic fiction with the history and natural features of Tasmania. Powell recalls how, early in her travels, coming across road signs for ‘Mount Horror’, ‘Dismal Swamp’ or ‘Pirates Bay’ changed her experience of these places.

Techniques/Process Powell edited a government database of 32,000 Tasmanian place names to create an online ‘Gothic map’ of Tasmania, before traveling to locations with toponyms that triggered Gothic narratives. Key to making this work was research into the Aboriginal history of Tasmania and the colonial history of the places she photographed. Powell collected (often contradictory) information from government databases, colonial and modern texts, local historical societies and colonial newspaper articles found on the Trove online database.

Inspiration Rebecca Dagnell’s series In Tenebris (2012) and Jane Brown’s Australian Gothic (2009), which challenged Australian Gothic narratives by prompting the viewer to question the role they played in projecting cultural narratives onto the

landscapes depicted. Julie Gough’s postcards of modern road signs and maps, containing names referring to colonial interactions with Aboriginal people, illustrate how place names continue to actively reinforce outdated colonial stereotypes within contemporary society.

Outcome Question how and why their responses to the images change are dependent on the names of the places.

Key Words Landscape; Toponym; Gothic; Narrative; Construction; Interaction; Colonial

Questions Do the titles change how you view the works? Would you view the images differently if these places were still known by their Aboriginal names? Does the text in these works trigger or disrupt Tasmanian Gothic narratives? How has Powell utilised photography to emphasise the themes of place and identity? Consider aspects of landscape and the traditions of landscape painting. What aspects of landscape are depicted in these photographs? What photography techniques have been used to add to your reading?

Curriculum Links ARTS: Media Production & Analysis, Visual Arts; ENGLISH: Literature; HUMANITIES & SOCIAL SCIENCES: Geography; HISTORY: Historical Knowledge & Understanding


32

JANE SKEER –

Jane Skeer is a graduate from Adelaide Central School of Art.

Themes/Ideas Collecting and assemblage

Techniques/Process Constantly aware of what is around her, she gathers materials from the world quite accidentally as she goes about her daily chores. Skeer is sensitive to the agency that already exists in ‘things’ and works ‘collaboratively’ with the material to achieve a liveliness of form.

Quiet Square is the result of cutting a whole videotape ribbon to door height and suspending it from a door frame so it resembles a fly screen. Skeer would observe its material qualities, its movement, and responsiveness to the sense of touch, smell and sound. As entering her studio required walking through the ribbon, Skeer was able to study and document how people entering the room would interact with the work, allowing her to imagine what it would be like to be totally consumed beneath this tape.

Inspiration Contemporary artists Tara Donovan and Thomas Rentmeister’s methods of re-presenting the familiar in cleverly animated ways. Donovan transforms everyday items into topographical installations, using single objects and a repeated single action to create environments with emotional or affective impact. Skeer is particularly drawn to the preciousness and poetic movement in Donovan’s landscapes. Rentmeister’s installations allow audiences to engage with notions of ‘play’, a concept which very relevant to Skeer’s process. Further, Skeer enjoys the way Rentmeister allows the material to retain its own identity as an everyday object, while also being part of an artwork.

Outcome Create an interactive work that would allow visitors to engage in a playful way

Key Words Collection; Assemblage; Materiality; Interaction; Response;

Questions Does the material the work is made from elicit a particular response when you interact with it? What do you feel when you are inside the installation? Was there hesitation to enter? The artist carefully selected each VHS video tape, ensuring they were all family friendly films. Does knowing this change how you engage with the work? How would films with adult content change the meaning of this work? How does the scale effect how you feel? What does this work make you think about in relation to collecting, throw-away culture and the use of the everyday in art? How has Skeer successfully used these elements?

Curriculum Links ARTS: Visual Arts; TECHNOLOGIES: Materials Design and Technology;


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SAMANTHA SOMMARIVA –

Samantha Sommariva graduated from RMIT University, Vic.

Themes/Ideas Using both sculpture and film to create ‘spatial encounters’, Sommariva investigates how consumer culture impacts human behaviours and relationships.

Samantha Sommariva’s outlook was forever changed when she deferred her studies to travel overseas for a year. Taking with her only minimal belongings, she suddenly became hyper aware of how entrenched consumer culture had become in her social interactions and mentality.

Materials/Media Seeking sustainable solutions in order to create her work, a satirical fashion campaign titled The Fetishism of Consumption, Sommariva turned to plastic due to its reusability, recyclability and accessibility.

Techniques/Process The installation of Sommariva’s work was thoughtfully considered to guide the viewer through a range of emotions. Three plastic wrapped booths, each fitted with a single chair and headphones, rouse curiosity in potential viewers, while onlookers may be left waiting, feeling frustrated at the booth’s single-person capacity. As the viewer watches, Sommariva hopes they will feel something between fascination and unease.

Inspiration Marxist theory of commodity fetishism was the starting point from which Sommariva’s work departed. Nicholas Bourriauds’ theory of relational aesthetics played a part in her consideration of the gallery as a space of social exchange. However, Santiago Sierra ultimately prompted Sommariva’s decision to deliberately isolate the viewer, highlighting social disconnection under the influence of consumption. Sommariva’s practice has also been shaped by an admiration of self-proclaimed ‘body architect’, Lucy McRae

Outcome To question how consuming the work influences behavior and the behavior of others.

Key Words Consumer; Fetishism; Isolation; Eroticism; Plastic

Questions What is the significance of packaging the human body in plastic? What does this imply about the human body as a consumable object? What about the plastic wrapped setting? Objects are more commonly becoming disposable and replaceable. Are any aspects of human relationships as disposable and replaceable seen in this work? What methods, techniques and materials has Sommariva used? How has she integrated these aspects to portray her themes and ideas? How did you feel when sitting and viewing this work? What did you feel and experience in relation to consumer culture?

Curriculum Links ARTS: Drama, Media Production & Analysis, Visual Arts; TECHNOLOGIES: Materials Design and Technology; VET INDUSTRY SPECIFIC: Creative Industries;


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ATHENA THEBUS –

Athena Thebus is a graduate from the University of New South Wales

Themes/Ideas Her practice is driven by the desire to generate an atmosphere in which queer life is sustainable.

Athena Thebus sees the world through the lens of a queer person of colour, inflecting a particular tenderness on the way she views race, gender, class, and sexuality.

The sculptures and immersive spaces shecreates are reminiscent of middle-class banality, but interjected with moments of clumsy, slippery disobedience. This gesture, to Thebus, is loaded with queerness.

Techniques/Process The materials used in Angry Angel are decidedly middle class in connotation. Thebus’ approach to making is determined by how her queer body resists, negotiates or complies with capitalistic materials (such as office ceilings). She explores the shame induced by capitalism and its restrictive outcomes. With addressing points of shame, the option emerges to sympathize with the uncomfortable feelings or react in a way that affirms this white patriarchy (as alluded to in the use of materials with capitalistic signifiers). She is committed to a practice that surrenders to full feeling, pivoting from shame to imagine the possibility of queerer futures.

Inspiration Ryan Trecartin’s use of everyday, middle-class objects was inspiring. AL Steiner’s extensive photographic archive lays out the intricacies of being queer, telling of the queer body’s acute awareness of capitalism and its effects, and how this body might able to continually exist in varying bodily dimensions within the capitalist structure.

Outcome Experience ideas of queerness and reactions to these as present in the installation

Key Words Queer; Capitalism; Shame; Discomfort; Object; Middle-class; Banality

Questions What can you see and experience in this work? What is your reaction? How do you interpret the relationship between the hole in the ceiling and the chair? What is the mood? What could the liquid surrounding the chair be? What is the relationship of the print on the wall to the installation? What does the word “Angel” make you think of in relation to queerness? How has Thebus symbolically visualised here ideas through the materials she has used?

Curriculum Links ARTS: Visual Arts; HUMANITIES & SOCIAL SCIENCES: Philosophy and Ethics; SCIENCE: Psychology;


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WARRABA WEATHERALL –

Warraba Weatherall is from the Kamilaroi Nation, of south-west Queensland and graduated from Queensland College of Art, Griffith University.

Themes/Ideas Through various mediums, his practice disrupts social normalities and critiques colonisation as an ongoing process within Australia; where social, economic and political realities perpetually validate Eurocentric ideologies. Weatherall responds by referencing Indigenous knowledges, which contributes to a cross-cultural dialogue and a reassertion of cultural pride and knowledge.

Techniques/Process His works are often created through employing simple metaphors in order to convey a deeper message. Research and conceptualisation dominate his process. Primarily, Weatherall’s works are informed by his Kamilaroi heritage and the social, political and economic realities that have historically positioned Aboriginal peoples within a marginal state. Local and global street-art culture remains a continual reference point within his practice, and he is particularly interested in where institutional politics are rendered invalid when utilizing public spaces.

Inspiration Artists who challenge the status quo with anti-colonial and Indigenous knowledge are influential to his artistry; the Proppanow collective, Fiona Foley, Karla Dickens, Kara Walker and Ai Wei Wei. Whilst these artists deliver piercing provocations, they critically inform Weatherall’s intuitive possibilities for experimenting with applications of both tried and untested mediums.

Outcome His work is intended to extend alternative understandings and experience to the Australian status quo. Weatherall wants his work to disrupt and question the social normality

of racism, the power structures which support it and the individual’s compliance to such beliefs.

Key Words Aboriginality; Identity; Street Art; Culture; Racism; Power

Questions What are your preconceived ideas of Aboriginal art? How do they compare to this work? What cultural patterns/ icons are utilised in Weatherall’s work? What is Weatherhall commenting on by using urban art with ideas and understanding off his culture? What is your reading of the symbols of the spay can sprayer, yellow diamonds and the clasped hands? How are these metaphors? What compositional, colour and textural elements can you see in this piece?

Curriculum Links ARTS: Visual Arts; HUMANITIES & SOCIAL SCIENCES: Aboriginal and Intercultural Studies Philosophy and Ethics, Politics and Law;


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MADISYN ZABEL –

Madisyn Zabel graduated from the Australian National University

Themes/Ideas Madisyn Zabel investigates the dynamic relationships between three-dimensional objects and their two-dimensional representation, and the growing dialogue between Craft and digital technology.

Techniques/Process Zabel began by casting various geometric glass shapes, before they were cold worked using various surfaces finishes to make the pieces appear two-dimensional. Activated by the material properties of glass; its optical qualities, density and translucency, the cast forms appear to shift between volume and flatness. From these cast forms, she created wireframe drawings of glass pieces using CAD (Computer Aided Design) before they are rendered in string, seeming to exist at once as image and object.

Multistable Perception challenges the viewer’s apprehension of form and space through the use of illusionistic imagery and translucent material. The glass and imagery combined explore positive & negative spaces and the possibilities of shifting perception within and between object and drawing.

Inspiration Influenced by works that explore illusions of depth and flatness. Richard Blackwell, Julie Brooke and street artist Spidertag and their use of geometric imagery and the illusionistic qualities of their pieces were influential. Louis Albert Necker’s Necker Cube (1932) was also a strong reference for her work because of its bistable visual potential. Bistable illusion is a visual illusion that has more than one possible interpretation. Other artists include Richard Whiteley, Heike Brachlow and Jiyong Lee for their use of cast glass or the strong use of surface finish.

Outcome -

Key Words Spatial; Relationships; Geometry; Illusion; Perception; Interpretation

Questions What are the various compositional elements that make up this work? How does this artist create a connection between three-dimensional objects and two-dimensional imagery? What processes of treating the glass and other materials do you think are contained within the work? What compositional elements has Zabel utilised in this work? How is this site-specific?

Curriculum Links ARTS: Visual Arts; MATHEMATICS: Application;


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EMMALINE ZANELLI –

Emmaline Zanelli is a graduate from TAFE, South Australia

Themes/Ideas Her practice explores and critiques the absurdity, sensuality, humor and violence in human interactions. Zanelli translates these interactions by encoding people in objects, and events in processes.

Zanelli’s images examine ideas of privacy, power, connection and sexuality.

Techniques/Process She uses an experimental working process where sculpture and photography are deconstructed, merged and layered – the photograph becomes an object, the object becomes a sitter.

Macro photographs of tiny sections of the artist’s own skin were printed on a variety of materials including satin, tyvek, vinyl, paper and faux suede. These prints were then used to make sculptures, to act as bodies to connect with, and to be worn as costumes in a series of private performances for the camera. The work is a tactile process of layering prints, symbolic items, performance and self-portraiture to explore the relationship between photography and the experience of body.

Inspiration Zanelli was influenced by German filmmaker Hito Steyerl’s idea of a photograph as a mysterious, desirable body, and her concern with the global circulation of images, what an image actually is and how it can be used. Sarah Lucas’ playful, surreal, absurd work explores sex, gender and the objectification of the female body.

Outcome To reveal relationships between a photograph and what it represents by physically re-engaging with an image once it has been printed.

Key Words Photography; Tactile; Body; Physicality; Relationships

Questions Why did the artist choose not to show faces in this ? Do you see the work as violent, playful, or a combination of the two? How does Zanelli’s work consider self-portraiture through photography? What techniques of light, colour and form has the artist used in combination with photography? How do you feel when you see the bodily textures on the objects in the images? Why do you think Zanelli has done this?

Curriculum Links ARTS: Drama, Visual Arts; SCIENCE: Psychology;


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CLASSROOM ACTIVITIES –

There are many themes, processes and materials in Hatched 2016, showing a cross-section of emerging contemporary art practices. These aspects are the inspiration for this activity.

The following classroom activity gives flexibility to the teachers and/or students depending on how the activity is initiated.

The categories are quite loose in order for teachers/students to narrow or expand the focus. E.g. The teacher may choose from A to D for the entire class or a few aspects spread across several groups or individualised projects per student.

Choose ONE aspect from each of the categories A, B, C and D. For a shorter activity and less choice, leave out D and in C just focus on visual arts.

After Selecting from A to D create a project outline like the example on page 39, use this to focus the art making. Remember to look at the work of the Hatched 2016 artists and other inspirations you may have.

Use a visual diary for your ideas, notes, sketches, research and experiments (documentation). When completely finished, critically analyse the outcome. Did you include A to D in the work? How successfully? What is the conceptual idea behind the art? Finally, create a clean environment and document your work.

A: Stance

1. Personal e.g. personal identity/experience e.g. Anita Holloway, Nadine Lee and Tiesha Ita-Ulima 2. Political 3. Gender/Sexuality e.g. as seen in the works of Adam Anderson, Naomi and Athena Thebus 4. Cultural e.g. Daisy Knight’s, Pascale Giorgi and Rebecca Jensen 5. Aesthetic e.g. Cat Mueller

B: Themes

1. Architecture, space &/or geometry e.g. Eloise Genner , Aaron Hoffma 2. Human body and/or built environment 3. Landscape, ecology and/or nature e.g. Selena de Carvalho

C: Arts - Techniques and Materials

1. Dance 2. Design 3. Drama 4. Media 5. Music 6. Visual Arts a. Installation b. Sculpture c. Painting d. Digital Media e. Photography f. Performance (sound, drama, dance) g. Printmaking h. Fibre/Textiles i. Interactivity j. Multi-disciplinary

D: Research Area - Curriculum Links

1. English 2. Humanities & Social Sciences 3. History 4. Health & Physical Education 5. Languages 6. Mathematics 7. Science 8. Technologies


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EXAMPLE PROJECT OUTLINE – The following were chosen from A to D:

A. Gender/Sexuality e.g. as seen in the works of Adam Anderson, Naomi and Athena Thebus B. Human body and/or built environment C. Visual Art - Digital Media D. English

By researching the representation of women (A) through contemporary representations of women in art-house and Hollywood films (D), I hope to get a sense of how these women as “characters” are represented (gender stereotypes) and how they engage within their environments (B).

Are they in traditional “female” roles, representations, environments, and/or situations?

Following my research I will explore visual arts through the medium of video (C). I will look at artists such as Soda-Jerk to create postmodern pastiche of one perspective of women in the world today.

IMAGE CREDITS –

Cover: Emmaline Zanelli – Please Touch All works created in 2015 unless specified. Adam Anderson – Raven Naomi Blacklock – From the series Burnt and Rebirthed Paul Boye – Vertical Poetry (After Roberto Juarroz) Eugene Choi – Body Scaffold (Tesseract) Kristen Coleman – Lull Selena de Carvalho – Ecological Haunts Alex DeGaris – If only we could truly touch Alex Genner – The Trace of Home series Pascale Giorgi – Italo-Australian Anthem Sebastian Haeulser

Aaron Hoffman – Untitled (installation) Anita Rose Holloway – Wholes to be filled Rebecca Jensen – From Those Who’ve Come Across the Seas Daisy Knight – CHRIST ME$S Nadine Lee – Healing Yi-Wen Liu – Persona series Annie Macindoe – It felt like… Louisa Magrics – Parabola Lynne Makings – 102, azure, 110, lily Graham Mathwin – A bit more love and affection please Rhiannon McAuliffe – The Fine Line Between Portraiture and Prosopagnosia Heath McCamont-Parkinson – Better Than One/You And eye Catherine Mueller – From the series Colour Cluster Alice O’Connor – Junkarama Laetitia Olivier-Gargano – The mushroom between my toes Jane Palmer – Ad Libitum Michelle Powell – From the series Nominis umbra Jane Skeer – Quiet Square Samantha Sommariva – The Fetishism Of Consumption Athena Thebus – Angry Angel Tiesha Ita Ulima – Camouflage Warraba Weatherall – Bora Madisyn Zabel – From the series Multistable Perception, 2015 Emmaline Zanelli – From the series Please Touch, 2015

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