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Contemporary Art Awards 2018
Finalist Exhibition
Exhibition:11 January - 11 June 2018
Congratulations to the 2018 Winners
First Prize: Kym Frame (QLD)
Highly Commended: Carmel Louise (VIC), Amandeep Kaur (ACT), Rhys Knight (VIC)
Adam Pearson, Al Roberts, Alberto Monte Rego, Aldona Kmiec, Alejandra Sieder, Amalea Manifis, Amandeep Kaur,
Amber Countryman, Amica Whincop, Anastasia Parmson, Andy Mullens, Anna Russell-Smith, Annalise Fogg, Arjang
Razzazian, Carmel Louise, Danae Thyssen, Daniel Kneebone, Daniel O'Hanlon, Daniel Sherington, Ella Baudinet,
Elmari Steyn, Eugene Rubuls, Greg Flynn, Helen Oprey, Hugh Kerr, Jae Hyun Kwon, James Gardiner, Jan Bird, Janelle
Amos, Jeramie Scahill, Jonathan Garcia Mainou, Jude Hotchkiss, Julie Hollis, Kate Bender, Katrin Terton, Kay Armstrong,
Kym Frame, Lauri Smith, Leah Doeland, Leah Jeffries, Leah Mariani, Leonie Scott, Lilli Waters, Logan Moody,
Mark Bagally, Matthew Portch, Mehrnoosh Ganji, Michael Burgess, Michael Dyson, Miho Watanabe, Noriko Sugita,
Rhys Knight, Robin Wagenvoort, Rochelle Alahendra, Rodney Greenstreet, Roger Callen, Rosie Lloyd-Giblett,
Ruby Purple, Sally O'Callaghan, Samir Hamaiel, Sandra Cipriotti, Sheilla Njoto, Shereen Mahmoud, Silvia A Sellitto,
Skye Tranter, Stephen Tiernan, Susannah Paterson, Virginie Senbel-Lynch, Wade Goring, Wayde Owen, Wendy Goodwin,
Ken Goshen, Peter & Molly, and Youjia Lu.
Adam Pearson
New South Wales, Australia
This self-portrait is essentially a multi-layered and multi-faceted exploration of balance. I have explored the concept of balance through colour, shape, dark & light and also the aspect of balance within myself. Having had a long and tumultuous relationship with a variety of forms of self-expression, I have stumbled across a style of creating that I feel embodies my wish to create something beautiful, unconventional and controversial in its aesthetic. This work combines my love of folk-art & decorative elements, with the desire to explore spiritual aspects of myself, concepts of idealism and juxtaposition. Self Portrait in Winter (2017) is a pivotal or climactic piece in a series of abstract and surreal pen drawings.
Self Portrait in Winter
Mixed media on canvas
91 x 122cm
2017
Al Roberts
Tasmania, Australia
Every day, when I put my work shirt on I quickly contort my body into peculiar positions, so I do not have to undo any of the time-consuming buttons. I save approximately forty seconds per day putting on and taking off my shirt this way. Over the average working person’s life, it can save forty seconds per day, three minutes and thirty-three seconds per week, 2.66 hours a year, which equates to five full days over a 45-year working career. That’s a lot of time you can save from merely not wasting your time with buttons.
David
Bronze
61 x 19 x 26cm
2017
Gripping for Life
Archival inkjet print
70 x 46cm
2017
Alberto Monte Rego
Queensland, Australia
Like a lot of my work, this piece began with an intended play with simple photographic techniques to bring movement and life to the subject. Secondary, through the editing process, a phase of revelation begins, when appreciable lines, shapes and colours combine to create a narrative. "Gripping for Life" reflects those elements and appearing forms, a dark, deep, perhaps damaged picture of our depressed forests. But, it also reveals a strong, resilient and alive state. Focusing on aesthetic values, the image is intended to stimulate our visual senses and encourage reflection on our relationships with nature.
In the Process of Healing (2017) is an immersive installation of photography, sound and space which attempts to remove the stigma around trauma and normalise conversations that are difficult. In the Process of Healing (2017) tells a story of hope and survival. Responding to the stories of institutional abuse and growing rates of suicide, I have worked with a local refugee family to create a moving and respectful collection that reflects the process of healing. My vision is to give hope. To document the invisible lives, drowned by society's attempts to maintain normalcy through keeping their eyes shut, pretending that lives don't exist, referring to them as numbers. These are important conversations to have in our community, and this installation provides a contemplative and physical space for conversations about trauma and moving forward in life. "
The room with the 'Chair of Nails' is terrifyingly effective and heightens a physical sense of traumatic experience within the body and the mind. The floating images on fabric depict a family of refugees with their faces hidden, conveying a sense of fear, hope and the journey towards healing.
Aldona Kmiec
Victoria, Australia
Invisible Lives (From the Process of Healing Series)
Installation View
2017
Invisible Lives
Photograph on fabric
120 x 300cm
2017
Invisible Lives - Chair of Nails
Antique chair, old barb wire and nails
Variable
2017
Alejandra Sieder
New South Wales, Australia
I am here in front of you. My soul is a fire, brilliant and powerful as yours. I control my thoughts, and I convert them into real evidence that is created from my mind. I have the potential to create everything I want, like you, in harmony with the Universe... All my thoughts are like seeds, they have life itself, and through my magical hands, they become realities when the environment is perfect to materialise them. I have my own power as you have yours. We are together through the path on this same Earth. I invite you to go on a journey inside your mind, your soul, and your skin and then find your own extraordinary gift. Have you realised all the power you have in your cells?
Shaping thoughts into physical manifestations
Acrylic, oil and ink on canvas
150 x 120cm
2017
Amalea Manifis
New South Wales, Australia
Anamnesis in classical philosophy is the act of significant remembering; it does not simply refer to the past, but its resonance within the present. Anamnesis and its antithesis (historical amnesia) are central to the work of Amalea Manifis. Her work is an active reconstruction of the past from the fragmentary remains of an original trace. Amalea focuses on her own ancestor’s history, particularly the genocide in Smyrna in 1922. Without the individual and collective memory, narratives between generations can be silenced, barred from entering the field of history.
Anamnesis
Oil on board
90 x 90cm
2016
Amandeep Kaur
Australian Capital Territory, Australia
Amandeep Kaur experiments with digitally created photomontages that have layers of deliberately fabricated liminal spaces in which the idea of the self is explored. Amandeep creates the works using digital photographs of various local and foreign spatial environments that she has visited in the recent past. Her work is often women-centric and questions the displacement, dislocation and also the connections and negotiations of women through the journey of transmigration. Her current works are titled ‘Liminal Mindscapes’ as they explore possibilities of belonging to multiple places and the merging of local and global environments through multiple auto-ethnographic narratives.
Liminal Mindscapes (Aussies Clouds in Tokyo)
Digital print - limited edition of 9
118.9 x 84.1cm
2017
Amber Countryman
Queensland, Australia
I realise a dirty old piece of coal, and white satin gloves don't usually have much in common, but what connects them? MONEY. This coal jewellery is meant to represent wealth and excessiveness. I wanted to inspire questions of cost...not to the wearer, but to the environment. I want to ask if the economy, jobs and personal fortunes hold more value than the environment we rely on to sustain us. I want to suggest renewable, long-term energy sources as a more viable option than this dirty old piece of coal...leave it in the ground.
What's the Cost
Coal, jewellery findings, stand, satin gloves and fabric
30 x 20 x 30cm
2017
Amica Whincop
Queensland, Australia
"If I should die this very moment, I've never known completeness, like being here with you" - Lamb (Gorecki)
It is a constant effort to find balance amidst the unpredictability and chaos of life. Nature becomes the place I turn to where the chaos becomes calm, and the contradictions find balance. My art-making reflects this constant search to capture the beauty, tranquillity, and balance inspired by the rhythms and energy of the natural world. The mystery and the wonder that emerges within the natural world are sources of endless inspiration.
Gorecki
Ink, acrylic, enamel, aerosol on canvas
152 x 76 x 3cm
2017
Anastasia Parmson
New South Wales, Australia
I want to take drawing past its conventional two-dimensional format by combining it with other mediums such as sculpture & ready-made, video & performance, social media & augmented reality. To not just seen – but experienced.
Stripping everything down to the line - that is the most basic form of every drawing. A way to simplify, to blank out heavy implications and make things more light and approachable. Ultimately, I want my work to be about drawing people together. Perhaps creating a world in drawing can strip away enough preconceived notions to allow for a new space of co-existing.
Untitled (My space at May Space)
Ready-made objects, paint, paint marker
82 x 151 x 127cm
2017
Andy Mullens
Australian Capital Territory, Australia
Hear! Hear! (2017) is a sculpture featuring two megaphones pressed face to face. This piece was born out of my frustrations at contemporary political and social attitudes. I repeatedly found myself feeling futile despite my efforts to campaign for what I believe. Driven by an interest in the phenomenon of echo chambers and social media algorithms that only serve to reinforce one’s beliefs, this work questions these modes of communication and consumption. I also interrogate the effectiveness of trying to convince “the other side” of our own beliefs: it seems no-one wants to have their mind changed, including myself.
Hear! Hear!
megaphones and timber
70 x 30 x 20cm
2017
Anna Russell-Smith
Queensland, Australia
Inspired by my love of the earth and to make use of everyday disposable materials my series of ‘Tyred Forrest’ artworks were born. The tyres used were found on the side of the road and from this an art piece transpired into something appealing. Interestingly, the steel cable inside the tyres is used to make the tree branches.
Each year in Australia, the equivalent of 48 million tyres reach the end of their life, only 16% of these are domestically recycled. Around two-thirds of used tyres in Australia end up in landfill, are stockpiled, illegally dumped or have an unknown fate.
Tree of Hope
Recycled tyres
80 x 105 x 8cm
2017
Annalise Fogg
Queensland, Australia
Growing up in beautiful sunny Queensland, Moreton Island became our annual camping holiday. There is something about the clear blue waters, fresh air and abandoned beaches that relaxes me. Each trip we trek up to the lighthouse at the end of the island. The array of blue hues that spread from coast to coast is filled with an abundance of marine life. As the waves crash up onto the rocks below, the sea turtles become clear in a cloud of white foam. I get to see this view every year as I sit on the seat that overlooks the island.
This piece is a response to the movement, colour and calmness that I feel at the lighthouse. Although the waves may crash, the sounds of the water hitting the rocks from a distance are mesmerising. Combining acrylic with water and manipulating the angle of the canvas while wet, I was able to portray a calming movement that takes you from one edge to the next. The closer you look, the more you will see. Separating forms, developing cells and intricate dots create a piece that allows you to look close, close your eyes and hear the ocean.
Beneath the Ocean Current
Acrylic on canvas (solid oak frame)
125 x 65 x 10cm
2017
Arjang Razzazian
Victoria, Australia
Universal Punk (2017) puts together the visual icons that once belonged to a counterculture; to bring to attention that it is now fed by consumer fashion industry and homogenised to be a part of the mainstream market. So, if the counterculture still exists, it cannot be defined by such clichés.
Universal punk is made of everyday advertisements objects: mannequin, leather necklace, ice cream cone, stilettos and headphone.
Universal Punk
Glass, resin, found objects
34 x 34 x 22cm
2017
Carmel Louise
Victoria, Australia
This artwork consists of 8 hand cut layers mounted to create one piece. This process emulates many levels of the gentrification process occurring across Melbourne. It begins with acquisition/demolition of defunct warehouses, then construction of “contemporary apartments”. As a result, the traditional industrial flavour of the area has been transformed by a new demographic. The businesses now sell gourmet everything, to provide for the population boom which in turn drives the need for more housing. The result becomes a metaphor for both the deconstruction process/ reconstruction of our neighbourhoods into something new, contemporary and divergent from its past.
Constructional No.1, V1 in 3D
Mixed media
100 x 100cm
2017
Beyond the Illusion of Hope and Despair
Boxed frame with Giclee Print on photo rag
90 x 60cm
2017
Danae Thyssen
South Australia, Australia
When we let go of the illusion of hope and despair, we recognise there is only love. Challenges are just misguided reminders that we can adapt and overcome. We can survive any situation that presents itself.
Transformation begins when we relinquish fear and open ourselves to the magic of possibilities. The time for change is here, the time for change is now. Let go of the old self, let go of all things holding oneself back. Now is the time to manifest our divine purpose and live in the power of true identity. It is time to step into thine most authentic self and awaken the soul.
Daniel Kneebone
Victoria, Australia
The Jewelled Rose II, takes a luxuriously illustrative look behind the curtain at the opulent and sensuous world of burlesque. This image portraying renowned burlesque performer Zelia Rose a leading Australian burlesque performer who actively contributes to the vaudeville scene in Australia and Internationally. Therefore, the aim of the work is not only to shed light on the burlesque industry but to reveal the artists who continue to cultivate this genre in Australia. Capturing a moment of evolving drama, creating a sense of wonder and intrigue, bringing the viewer to a foreign midpoint between reality and illusion and revealing the freedom of expression that is burlesque.
The Jewelled Rose II
Archival digital print on galerie prestige gold fibre silk - edition of 10
100 x 80cm
2017
Angel Peacock portrays Lola Ramone an Australian burlesque performer through narrative art. While society worships archetypical heroic male football images, there is no female equivalent — but for me, the answer is burlesque. Strongly influenced by women’s attitude and spirit, the artform comes to life through theatricality and strong visceral archetypes. Angel Peacock aims to shed light on the burlesque industry and how these performers inspire women to embrace their femininity, as well as shine a spotlight on the artists who make this unique cultural scene what it is in Australia.
Angel Peacock
Archival digital print on galerie prestige gold fibre silk - edition of 10
100 x 74cm
2017
Daniel O'Hanlon
Queensland, Australia
Torn was a vision I had for some time, by using metal slugs from a metal punching machine that is left to waste I created this sculpture with these slugs which enabled me to created this piece with all the curves and details in this piece of art work. The name Torn has come from this piece as it has an incomplete look about it is exactly what I visioned
Torn
Metal slugs from CNC punching machine
52 x 30cm
2017
Daniel Sherington
Queensland, Australia
Transition 4 (2017), is a drawing that highlights the beauty that lies within the transitionary movement of Ballet: as performed by my sister. The piece captures my sister seconds before a ‘Grand Jette’. Decontextualizing her from her surroundings, and floating her on the page, she surreally exists just within that moment: the moment of the in-between; of freedom; and of the free fall. For each movement in dance to be complete, there exists a transitionary stage. These stages, which precede and follow the movement, are something that appears completely raw: moments of duality where freedom dilutes the immense amount of concentration and discipline to create what everyone is waiting for.
Transition 4
Ink on Arches paper (300gsm)
90 x 113cm
2017
There's something ironic about making an endangered animal entirely out of plastic. Blowing air in it - to pretend that it's there.
Hippo in Plastic
Ink on Arches paper (300gsm)
87 x 113cm
2017
Ella Baudinet
Victoria, Australia
Ella Baudinet is a Melbourne based artist working primarily with oil paints. Baudinet's work focuses on the individual’s unique perceptions of abstract expressionist aesthetics. Combining elements of expressionism, abstraction and pseudo-surrealism, she explores the parallels between the conscious and subconscious mind. While we sleep, we are submerged in an environment created and perceived simultaneously by our own minds. Our brains are a virtual reality system, providing us with sensory stimuli based on our own experiences, emotions and the person’s characteristics. Our subconscious mind is highly active while awake and determines how we perceive our surroundings. As dreaming transports us from one state of mind to another, Baudinet's paintings provide a parallel platform by inviting the viewer to envision representational characteristics in the work, thus creating the individual's unique experience.
Genesis
Oil on canvas
76 x 122cm
2017
Elmari Steyn
Western Australia, Australia
Eyrie: S28o37.595’/E116o25.327 (2017) is an abandoned eagles nest tree at Gullewa in Western Australia. It is part of my current printmaking project that explores the interaction that we allow ourselves with nature, through trees, especially unusual, individual and expressive trees, even misshapen trees. Every tree expresses its own unique narrative, character, size, shape and function. Whether in untouched wild places or in urban settings, trees retain their individuality, their true form and nature; their connection and relationship to an area, with its climate, wind and setting. Each work is of an individual tree, reproduced as a copper-plate line and aquatint etching.
Eyrie: S28o37.595’/E116o25.327
Etching and aquatint on archival paper
20 x 30cm
2017
Umbra: S33o38.347’/E115o01.567 (2017) is a unique tree located in a car park at Yallingup in Western Australia. It is part of my current printmaking project that explores the interaction that we allow ourselves with nature, through trees, especially unusual, individual and expressive trees, even misshapen trees. Every tree expresses its own unique narrative, character, size, shape and function. Whether in untouched wild places or in urban settings, trees retain their individuality, their true form and nature; their connection and relationship to an area, with its climate, wind and setting. Each work is of an individual tree, reproduced as a copper-plate line and aquatint etching.
Umbra: S33o38.347’/E115o01.567
Etching and aquatint on archival paper
15 x 30cm
2017
Eugene Rubuls
Queensland, Australia
“Nature is my religion, and the earth is my temple.”
My paintings express my infinite admiration for the diversity of colour, form and textures of the natural world. This is something I want to share with everyone who is ready to see it.
My artworks are inspired by some of the most spectacular visual images of the underwater world that have not only aesthetic impact on the viewer, but can also trigger emotions and important questions. When you love something, you naturally want to protect it so I would like my art to be a window into a world not everyone has the opportunity to see. My goal is to capture and preserve unique habitats and scenes, exquisite moments and create a visual depiction of the natural world - an endangered world, which sadly may not be here in the future.
Clown Fish
Oil on Canvas
60 x 75 x 1.5cm
2017
Chasing Coral
Oil on Canvas
122 x 92 x 3.5cm
2017
Greg Flynn
Queensland, Australia
This acrylic painting is in memory of those families of the 'FV Dianne' boating tragedy. This fishing vessel sank in wild seas off the town of 1770 in October 2017. Only one survived, two bodies recovered and four bodies unaccounted. This piece combines the underpainting tinged with red representing hope and despair, but also fear, isolation, hopelessness and the tempest at the time. The limited palette and the intensity of the angles express the torment of those on board and the families left behind.
Always Remembered
Acrylic on Canvas
40 x 40 x 3cm
2017
Helen Oprey
New South Wales, Australia
I play with paint, colour, texture and proportion in an attempt to portray work that is beautiful, unique and intimate. My style is emotional and not constrained by the limits of realism. Each artwork is an experiment and adventure to push my learning which creates something new to me, but always, in the end, the painting has to hold together. Thus I never get bored, and it helps to keep my work fresh.
The Lived in Room
Acrylic and textured paper on Canvas
102 x 102cm
2017
Letter to my Daughter (2017) is an emotional artwork depicting my daughter as she endures inevitable life struggles. It is what all mothers know of their daughters - that although life is sometimes hard, unkind, unfair and confusing, they are ALWAYS beautiful to their mothers. I have depicted my daughter with her big bright eyes in a sea of colour and chaos. LIFE
Letter to my Daughter
Acrylic and textured paper on Canvas
101.5 x 101.5cm
2017
Hugh Kerr
Tasmania, Australia
Carnival (2017) is about behaviour under the mask of anonymity. I recently re-read Lord of the Flies by William Golding. Although allusions to indigenous people in the book often seem euro-centric and essentially racist, it remains a fascinating examination of the human condition. The boys’ donning of disguises worn and gradual descent into barbarism and to me has resonances with current trends in society and particularly social media where anonymity (or at least distance) removes normal rules of behaviour.
Carnival
Acrylic and ink on paper
52 x 70cm
2017
Rapacity is a stark illustration of the physical functions of human settlements. As well having an ideal for the best of human settlement, promoting general well-being, harmony, equality, vibrancy and the sharing of knowledge and culture, I feel it is important to examine them at their worst. Rapacity presents a view of a city as an almost cancerous entity, the embodiment of the insatiability of human consumption which sucks in the resources and degrades the surrounding land.
Rapacity
Ink on paper
30 x 41cm
2017
Jae Hyun Kwon
New York, United States
I see my sculptures as a residue of a series of unconscious struggles in pursuit of my cultural identity. Technically, my sculptures are American household commodities wrapped in Hanji, Korean traditional handmade paper. Through giving a Korean colour and texture to an American commodity, I investigate the issues with merging two different cultures.
Bottles
Dyed Korean handmade paper, beer bottles
18 x 12 x 22cm
2017
Scape 2-17
Tooling board (high-density polyurethane foam) finished with beeswax
13 x 30 x 19cm
2017
James Gardiner
New South Wales, Australia
This sculpture is part of a series that has been running since 2011. Based on the influences such as natural eroded and stratified rock formations, science fiction and my interest in cities and the way they form or agglomerate over time. The series first emerged from an investigative exploration for 3D printing artificial reefs at full scale; sculpture was used as a method to free up my thinking and to explore form and topology.
This work is in tooling board, a high-density polyurethane foam which has similar properties to timber while having superb strength, durability and can take extraordinary levels of detail. The sculpture is part of an investigative endeavour to develop new tooling techniques with sculpture. The sculpture series also includes stone, recycled timber and lost foam castings with pewter.
Photographer: Ben Guthrie
Jan Bird
Victoria, Australia
The painting, Jandamarra’s War (2017), was initially inspired by Paul Kelly’s song “Jandamarra/Pigeon” (on his album "The A to Z Recordings). This led to further research into the true story of Jandamarra, an Australian Aboriginal man who led a rebellion against invading pastoralists in defence of his people's ancient land and culture.
Jandamarra's War
Eco dye, charcoal and oil on canvas
110 x 110 x 2cm
2017
A mere 18 years after the death of Jandamarra, where the aboriginal people were chained and shot for spearing stock, the aboriginal population had now learnt to live peacefully with the white landowners and adopted a more European lifestyle. Many aborigines proudly enlisted in WW1 despite being afforded very few rights in the country they fought for.
Forgotten Heroes
Eco dye, charcoal and oil on canvas
110 x 110 x 2cm
2017
Janelle Amos
South Australia, Australia
This limited edition archival pigment print captures my ephemeral nature mandala of roadside Pomegranates from my hometown. My dear childhood friend and I would spend sunny days exploring, climbing and eating from this very tree. Constructed in the elements of the moment and photographed in the natural Autumn light.
My art practice is a contrast of ephemeral mandalas and abstract paintings. My work is intuitive, allowing the natural elements around me to guide the outcome. Engaging with nature has opened up a creative response to my everyday emotional life, and put me in touch with my honest creative expression.
History with a Tree
Archival pigment print on textured fine art paper
64 x 64cm
2017
This limited edition archival pigment print captures my ephemeral nature mandala of Australian Natives from my hometown, aching of my personal connection to my country through my immediate natural environment. Constructed in the elements of the moment and photographed in the natural Autumn light.
Native Home
Archival pigment print on textured fine art paper
64 x 64cm
2017
Jeramie Scahill
New South Wales, Australia
Like a surreal dream, a mix of components come together from different times and experiences. Uniting together to form an an abstract story that stretches the imagination and begs for an explanation. Sending the viewer on a journey of self interpretation. A black goose egg bound with silver bands with silver spikes each end. A Gothic Faberge egg suspended like a plumb bob swinging from two hardwood twigs collected from the very top of an ancient tree. Two twigs are bound with silver wire and held taught from the weight of the pendulating egg. A mirror finished Stirling silver pyramid emerges from a block of charcoal like like a contemporary growth causing a juxtaposition of upward energy against the downward strain of the pendulum. The charcoal plinth made from the core of an old tree with the story's of its battles with decay and life itself evident at every angle. Hollowed out by the smallest of ants and weather and time, the whole sculpture seems to teeter on the edge of being swallowed into its depths. An uncertain balance of nature and machine swinging precariously by a near invisible force.
Dreamscape
Stirling silver, goose egg, charcoal, wood
20 x 20 x 90cm
2017
Jonathan Garcia Mainou
Toronto, Canada
My main purpose is to explore the aesthetics of the everyday through abstract visual stories about the city I live in. Using the urban landscape as a canvas, I deconstruct conceptual images as a way to escape from my daily life. By using a digital camera, I detached the sense of art from the tool and leave it to the viewer to see art as the everyday and the everyday as art. I choose not to edit the photographs as a way to examine and challenge the idea of purity and our personal perspectives on beauty.
Religion
Plexi Glass Mount
57.5 x 73.2cm
2017
Jude Hotchkiss
New South Wales, Australia
These paintings articulate a dark testament to the unknown while holding the potential for a new genesis. There is a maelstrom of duelling powers, dark calamitous events that breed an uncertain future in a tumultuous world. At times an underlying planet is viewed from above, fractured cloud obscuring the geometric makings of a now disappearing civilisation. A feeling of profound change and upheaval lies in the violent forces overriding the geometries of a once structured and considered place. Terrible uncertainty prevails, the future is unclear, and the moment is yet to play out, for better or worse.
Earthburst
Oil and medium on canvas
122 xx 122 x 4cm
2017
Stormforce
Oil and medium on canvas
122 xx 122 x 4cm
2017
Julie Hollis
Queensland, Australia
I wanted to be whimsical, and contemporary. I used white to make her hair sing, to move, to bounce. I imagine the viewer seeing her and smiling, be moved by her emotion but, wonder why she is frowning. I intended this image to be punchy and a little mysterious.
Little Miss Worrywart
acrylic on canvas
50 x 40 x 2cm
2017
Kate Bender
New South Wales, Australia
Kate Bender’s oil paintings embody the representation of light, and the perception of and the interplay between space and form. Ostensibly the works are an illusionistic depiction of imagined forms and spaces, within which exists a harmony of colour, light and shape invoking within the viewer a sensorial experience evocative of emotion, mood, and music.
Abstraction is merged with elements of illusionism creating a simultaneous ambiguity and degree of playfulness in the immediate visual and sensorial experience. The undetermined forms float in a fictional space; at times open, ethereal and intangible; other times closed, appearing substantial and three-dimensional.
It Just Feels Like
Oil on canvas
76 x 84cm
2017
Longing for Love and Light
Oil on canvas
76 x 61cm
2017
Katrin Terton
Queensland, Australia
I am drawn to organic materials such as beeswax, shed snake skins, feathers and hair as well as found objects. The chair and ladder in this piece are recurring metaphors in my work; representing contemplation and the wish to reach new places internally or externally, the need for stillness, the wish to escape, the desire to evolve. The seeker is open to step into new worlds and explore the liminal space in between while questioning where he or she came from and where the journey may lead…
A Seekers Thoughts
Beeswax, wire, hair, grass, feathers, shed snakeskin, timber
44 x 96 x 7cm
2017
Kay Armstrong
New South Wales, Australia
Working with a limited palette, this was about mark making to create a sense of movement on the page. It's also about ageing, the inevitability of it all.
Down the Plughole
Ink, acrylic, digital print on paper
21 x 29cm
2017
Working with a limited palette, I wanted to create something visceral, veinous and organic. I am obsessed with layers. They seem to me, a way to develop a sense of time/memory within a two-dimensional form.
Gills of the world
Ink acrylic, cardboard on paper
21 x 29cm
2017
Kym Frame
Queensland, Australia
In the Hold (2017) explores the human experience of holding and processing pain. An installation, the piece is comprised of a seated female form made from handmade banana fibre paper and a bundle of notes on hexagonal pieces of translucent paper. From a tear in the figure's left shoulder, light spills out, and at her feet, a panel glows. Atop this panel, a pile of the notes, some of which have fallen into tessellating patches, rest. Filled with memories and messages, these words capture the fears and burdens of 150 different women and represent the strength, vulnerability and resilience of women.
In the Hold
Handmade Banana fibre paper, methylcellulose, steel, cardboard, led light, waxed paper, human hair.
60 x 130 x 130cm
2017
Lauri Smith
New South Wales, Australia
This work explores my interest in the relationship between people and their pets, that friendship and love between them that is like no other. I wanted to represent the importance of animals and how we are inherently similar to them and share the same love/heart. This sculpture is a portrait style of an elderly woman and her anteater/human-like pet to represent this concept. The pet is holding a human heart as an abstract offering of the love shared.
Rita + her pet Jude
Silicone, wire, foam, hair and wood
55 x 60 x 45cm
2017
This work titled The Secret Conversation of Snow Yaks (2016) came from a vivid dream I had about three snow yak men set amongst a snowy landscape. These creatures were having a secret conversation which I (as the viewer) interrupted. I was inspired to recreate this other-worldly dreamed vision and continue to explore these ideas further.The process began with the initial concept/drawing to sculpting, mold making, casting and finishing, these creatures take on a life of their own.
Secret Conversation of Snow Yaks
Silicone, wire, and mohair
40 x 15 x 25cm (all three pieces together)
2016
Leah Doeland
New South Wales, Australia
Do you hear the insects buzzing? Can you hear a bird calling? Is that a voice or just the whisper of the wind chasing its way throughout the leaves high above your head? Sweet and aromatic scents fill the air – breathe deep – Awaken your senses, Awaken your soul.
As an artist, I am continually inspired by the beauty of nature and the wonder of creation. Through my art, I explore imaginative aspects of our natural world. My work intends to captivate and calm the viewer while imparting a sense peace.
Awakening
Acrylic on canvas
101 x 76 x 3.5cm
2017
Leah D Jeffries
South Australia, Australia
Painted in a manner that refers to a simpler time, yet the subject matter highlights a contemporary phenomenon. A compelling self-portrait with Leah’s children. The eldest ten years old, along with her smartphone also in its 10th year. With all this device offers, does it take more than it gives? We are physically present, but mentally and emotionally absent, transfixed, doing anything but being present to what is important. “Just a sec…”
Just a sec...
Oil on canvas
108 x 122cm
2017
Leah Mariani
Victoria, Australia
Doll Face (2017) is part of my latest series, I'm Just a Girl, which considers the way we view women. There is increasing social pressure for women to undergo procedures to stay looking young. Woman want clear, wrinkle-free skin, clear eyes, white teeth, perfect hair, long eyelashes, plump lips. Soon we will all look like dolls.
The pattern of the vintage dolls is achieved by adhering cotton fabric onto the canvas before painting in oils over the top. The dolls are innate, lifeless objects that have no facial expressions, much like women who have had too much Botox.
Doll Face
Printed cotton fabric, gesso, oil on canvas
41 x 41cm
2017
Ready to Serve (2017) is part of my latest series, I'm Just a Girl, it considers the way we treat women. The painting has dual meanings. Firstly, it makes reference to how women are often described as edible objects ("yummy mummy" for example), though the use of the pieces of cake in the clothing. Secondly, woman are often expected to wait on men (mothers, secretaries, waitresses). Often in the corporate world, if there is a sole woman in a meeting or a department, it often falls on her to order coffees or tidy up after a meeting.
Ready to Serve
Digital print, oil, gesso and printed canvas
41 x 41cm
2017
Leonie Scott
New South Wales, Australia
While researching abstract expressionist, it occurred to me they may have been seeking kinetic, mood-shifting enjoyment while engaged in the painting action. Buzz came about when I approached this particular session to deliberately paint in a similar style to Jackson Pollock. After several sketches, I quickly moved on and began my own exploration and self-expression. Buzz has a great deal of movement reflecting the energy and quickness of my painting.Buzz is so called because of the euphoria felt as I was fully engaged.
Buzz
Acrylic polymer on hammermuhle paper (300gsm)
59 x 84cm
2017
Regrowth (2017) is a result of a session to mimic the rhythmic brushwork of Bryan Wynter. I particularly admire the individuality of his work mainly his works of the 1950s. The session encouraged me to create a pattern using large and small brushes, and be more deliberate with how and where the brush strokes were placed.
Regrowth is a response to a drive through the East Gippsland of Victoria. The resilience of Australian bushland after fire ceases to amaze me. The new saplings with red and orange leaves at their tips contrasted with the blackened trunks of the old growth.
Regrowth
Acrylic polymer on cartridge paper (140gsm)
59 x 84cm
2017
Lilli Waters
Victoria, Australia
Plastic Fish (2017) is an invitation into a vibrant world abundant with iridescent objects, where fish dwell amongst opulent florals, an illusion of beauty & life. Depth and space evoke a sense of the mysterious and time appears to slow down. Beneath the surface, beauty reveals a darker truth, fragility, futility and the acute vulnerability of nature at the hands of humans, as we overwhelm all living things with our own disposable culture.
In Dreams (Plastic Fish Series)
Archival pigment print
60 x 73.3cm
2017
Our Love is Plastic (Plastic Fish Series)
Archival pigment print
155.15 x 111.21cm
2017
Logan Moody
Victoria, Australia
A constant within my work is to always try and capture beauty in the daily tasks of city life. With Barbershop (2016) I've caught a moment in time that takes the viewer into the scene and asks them to create their own ideas about who these people are and the conversations being had.
Barbershop
Hand cut stencils, aerosol on wood
60 x 84cm
2016
A constant within my work is to always try and capture beauty in the daily tasks of city life. With Specials (2017) I wanted to take people inside the daily life of the people who are often overlooked. I've tried to capture a moment where staff are engaging with each other, where the outside world is looking in on the people whose daily life is service and creating an enjoyable moment for others.
Specials
Hand cut stencils, aerosol on wood
60 x 84cm
2017
Mark Bagally
Victoria, Australia
My art practice predominately depicts seascapes and landscapes. There is no shortage of reference material being on the doorstep of the Great Ocean Road in Victoria. The colours in the sky and water are quite surreal at times and provide constant inspiration.
Day Break Torquay
Oil on board
120 x 60cm
2017
Sunrise at Point Danger
Oil on board
120 x 60cm
2017
Prada Marfa
Achrival print
84 x 63cm (8cm border)
2017
Matthew Portch
Victoria, Australia
From the Lost America series; examining a quiet stillness in a forgotten landscape that is, in a sense, ‘on-pause’. A detailed, melancholic and alluringly unremarkable outlook.
Situated quite literally in the middle of nowhere, Prada Marfa is a permanently installed sculpture by artists Elmgreen and Dragset. The store contained actual Prada wares, shoes and handbags, picked out and provided by Miuccia Prada herself. This work of art was intended never to be repaired, so it might slowly degrade back into the natural landscape. Just six days after its completion, the building was broken into, its contents were stolen, and the word "Dumb" as well as the phrase "Dum Dum" were spray painted on the sides of the structure. The vandalism demonstrates the strong reaction to this the site-specific sculpture. It was quickly repaired, repainted, and restocked. The new Prada purses do not have bottoms and instead hide parts of a security system that alerts authorities if the bags are moved. While now protected by security cameras, its destination would make it difficult to defend, and its awnings are riddled with bullet holes. The Texas Department of Transportation is currently discussing the fate of the installation.
Soul Star Brooch
Sterling silver, fine silver, garnet, pliqur-a-jour enamel, stainless steel pins
4.6 x 4.6cm
2017
Mehrnoosh Ganji
Victoria, Australia
The Sole Star brooch (2017) is inspired by the tessellated and elaborately detailed ceilings and multi-coloured windows of Persian architecture. It contains four layers of geometric motives, some decorated with green and blue Plique-à-jour enamel and a red garnet is sitting in the heart of the piece. Also, the Sole Star is one of the energy pathways of the human body and relates to infinite compassion and divine love that will radiate from the wearer's heart.
Michael Burgess
New South Wales, Australia
As a gemstone carver, I like working a gem that reveals pattern and colour as I carve. The malachite flows with the lines of my little fish design, the mother of pearl shell make the eye pop and the purple fluorite ads colour and contrast, it all comes together to create a beautiful, eye-catching carving.
Malaki Wrasse
Malachite, shell, fluorite
5.5 x 4.5cm
2017
Michael Dyson
South Australia, Australia
An attempt at depicting a restless suburban evening by juxtaposing bright and imaginative imagery with 1950's fibro housing.
Suburban Evening
Acrylic on wooden panel
50 x 60cm
2017
Miho Watanabe
New South Wales, Australia
Creating artworks is always ‘awareness of between-ness’ for me, which is reciprocal energy I believe flows in between the subject and myself. An ongoing project, Street Tree has gradually developed to see the street trees like bonsai. The background and atmosphere started to fade in my brain, and the street trees became centre stage in its world similar to bonsai’s small world, which leads to explore the aesthetic and relationship in between bonsai and street trees. And it will tap into awareness of nature in a city.
Awareness of Between-ness: Street Tree like Bonsai 1
Photo transfer on silk, LED, perspex (with frame)
76 x 96cm
2017
Awareness of Between-ness: Street Tree like Bonsai 2
Photo transfer on silk, LED, perspex (with frame)
76 x 96cm
2017
Noriko Sugita
New South Wales, Australia
This painting was inspired by a guy I use to work with. His nickname was sparrow and he was always cleaning at work. I put a cola can and a twenty dollar note amongst the fallen leaves as I wanted to make them somewhat camouflaged. The underlying concept is that in a sparrows' world all of those items are just the same to them.
Cleaning Sparrow
Oil on board
25.4 x 25.4cm
2017
I love to make stories of strange scenes that don't exist. I wanted to find the best balance between peaches and frogs and paint in a style reminiscent of old Japanese paintings. I wanted to express this idea like a still life painting while keeping the background simple, the full moon is to make the scene appear like a surreal dreamscape.
Peachfrog
Oil on board
25.4 x 30.48cm
2017
Bloodline
HD Video & Stereo Sound
1:15
2017
Peter & Molly
Western Australia, Australia
The video portrait responds to the recent backlash faced by activist, model and a trans woman of colour, Munroe Bergdorf when publicly articulating the privilege of white people. In response, a white, gender non-conforming artist expresses the anxieties of coming to terms with a colonial bloodline. The cognitive disconnect exhibited by white people when people of colour articulate their experiences is fuelled by white defensiveness and is an expression of the discomfort of having emerged from a history of evil. We have a responsibility to acknowledge our white privilege and the racist systems from which we automatically benefit, towards dismantling them.
Rhys Knight
Victoria, Australia
Based upon Descartes' theory of dualism throughout the 17th century, Self (body-world) 3 (2017) is a modern exploration of the dichotomy between mind and body (spirit and matter) and the subsequent alienation one experiences through this duality. Appropriating Laing's (1959) existential study on Schizophrenia, the metaphysical proclamation of both religious and mechanistic philosophy relates to the distinction between mind and matter (the embodied and the unembodied) and has subsequently operated as the methodology for this work.
Self (body-world) 3
Oil on canvas
90 x 80cm
2017
Robin Wagenvoort
Zutphen, The Netherlands
Agartha Face
Digital print on canvas
50 x 60cm
2017
As a digital face art artist, I received the High Honor Cavaliere Knight Of Art of the Costanza Art Foundation in Italy. I agree that dying in honour does not distinguish between gender, race and social class, following the ancient principles that the noble knights pursued to protect the weak in society and serve for the service of humanity. Art brings people together on the basis of culture and peace.
Rochelle Alahendra
Queensland, Australia
Up close, this piece appears to be distorted. However when the viewer steps back this portrait comes into clear focus. This motion is how I want people to treat mental health, to step back from the confused distortion and observe the person’s untold story.
The painting “Longing” reflects the internal struggle of being restricted to speak out about mental health problems, thus leading to the life of secrecy and longing.
Longing
Oil on canvas
30 x 30cm
2017
Rodney Greenstreet
Queensland, Australia
This piece was developed by grinding the surface with a disk to generate patterns that influence subsequent layers of colour. Airbrushing acrylic is then used to fill in the larger areas and finished off with coloured pencil as texture has been built up allowing other mediums to take to the board. A final coat of satin clear seals and protects the piece. The mood of the painting changes in a different light depending on where the painting is viewed.
Lost World
Acrylic on aluminium
90 x 60cm
2017
Roger Callen
Queensland, Australia
An abandoned wood oven was photographed during the Ngarrindjeri women's protest walk (1997) from Adelaide to Kumerangk (Hindmarsh Island) against the building of the bridge to the island. While painting this work during 2017, I had the plight of refugees escaping Mosul in Syria in the back of my mind and added the damaged insects emerging from the front of the oven and entering the back. There was a resonance between the lines of refugees and the line of protesters on my walk and between the fate of the refugees, the oven and the plight of Jews under fascism during WW2. The indifferent gaze of ISIS and the coalition forces passes through damaged opera glasses. Broken snail shells represent the slowness of the exodus and the many wounded. Ultimately the bridge was built, and the fight for democracy in Syria failed - or did it? There is a tree regrowing in the background.
Nowhere to go
Watercolour and gouache on Arches paper (300 gsm)
52.5 x 41cm
2017
Rosie Lloyd-Giblett
Queensland, Australia
Being present in natural spaces grounds my being. Observation and collection of materials have always been part of my life; my mind's eye works overtime absorbing not just the visual memory but tactile and fragrant spaces. I want the viewer to enter my landscapes; experience the forest, the blossoms and the essence of being present.Over recent years my concerns for the environment have become the forefront of my art practice. Walking through natural corridors provides me with both internal and external space and stimulus. I have recently travelled to Fowlers Gap NSW and Bimblebox Nature Reserve QLD on Artist Camps. These camps allowed me to work plen air; I had to work quickly with energy and freedom. Large canvases and paper blowing in the wind give oxygen and space to my work.
Riverbed west past Fowlers Gap
Acrylic on canvas
200 x 90cm
2017
Ruby Purple
Queensland, Australia
Connections 29 (2017) is Ruby’s modern interpretation and abstraction inspired by ‘The Preservation of our Environment.’ This piece sits between the parallels of power and glamour with attitude and excess being key themes. By showcasing her approach to creating and refining unique manipulations Ruby aims to project the need to protect ourselves, our humanity, our planet, and to enable change of our behaviours. ‘Preservation of our Environment’ hinges on humanity balancing the scales.
Connections 29
Oil on canvas
90 x 90cm
2017
Sally O'Callaghan
Australia Capital Territory, Australia
Referencing contemporary technology in painting, Sally O’Callaghan creates large cityscape works that investigate the spaces we live in. An exploration of our urban non-places Sally’s works finds its origins in her iPhone footage taken during walks through public spaces. The illusory space created with the use of scale, fragmented perspective and repetition of imagery re-invents the spatial boundaries captured. The result invites the viewer to find commonality between the existence of the figure in the narrative of the reimagined space and there place in there own public spaces.
Sydney Central
Acrylic on plywood
180 x 180cm
2016
Samir Hamaiel
Queensland, Australia
Red Room (2017) explores many of my preoccupations – the two-point vanishing point, textured urban grain, the fluorescent glare of night light and every-day symbology. All these components are imbued with a bright red glow. The scene can be seen as a gateway, an exit, or even an escape to somewhere else.
Red Room
Acrylic on canvas
51 x 51cm
2017
End of the Line
Giclee limited edition print on paper (320gsm)
70 x 50cm
2017
Sandra Cipriotti
New South Wales, Australia
The work represents - Etiquette. The ladylike, homemaking objectified female identity represented by the Wedgewood cup of tea: and 'High Society' - Fashion. The desire for success materialistically and physically and the unobtainable strive for perfectionism represented by a Carla Zampatti model. Conforming to these social norms and quest for materialism has us become invisible. Through dissection and stripping away of these what is left is our infinite nature, our authentic selves. It is larger than any constraints imposed on us (labels and limitations of society) larger than the canvas.
High Tea, for Two
Acrylic on canvas
70 x 90cm
2017
Script
Printed book, manual binding
20 x 18.4 x 4cm
2017
Sheilla Njoto
Victoria, Australia
When thinking about texts and words, one cannot escape the philosophy of identity; how language constructs culture and the history of a human being. A person’s language creates a mystery in the concept of someone’s identity by triggering differences in how a person perceives others and how others perceive us. I am astonished by the way a person can be multiple persons when they speak other languages. The perception towards their surroundings is shaped by the culture of which language they are speaking. I am interested in the mystery behind the culture formed by language; does culture shape language or does language shape culture? And that would relate further to this question: does culture shape identity or does identity shape culture? If we cannot 100% understand ourselves, would that mean one’s perception of us could be the rest of the percentage of ourselves that we did not understand? Would that make their perception as a part of our identity?
By language, one can be seen in thousands of different ways by others. Quoting French rappers, Big Flo & Oli, “Jesuis un peu de moi et beaucoup des autres comme j’y pense.” (meaning: I am a bit of myself and a lot of the others when I think about it).
This philosophy escorted me to the idea of creating a set of alphabets. Foreign, unfamiliar, and questionable. The idea of pouring daily thoughts in poetry and random writings in these alphabets is meant to raise questions from the audiences—whether or not they perceive the author differently; or to ask myself the same question—whether or not I perceive surroundings differently.
Shereen Mahmoud
Queensland, Australia
My latest self-portraits investigate chronic pain, its influence on intrapersonal communication, and interpersonal behaviour. Through my self-portraits, I communicate the profound emotions that life generates in me, capturing truthful moments of pain, and vulnerability. I believe that communicating our pain is a crucial element to communicating our truth. In this body of work, I explore the interface between traditional, and digital media, integrating traditional painting, photography, and digital art into one whole. I start the process by painting on canvas, paint my body, then compose, and photograph the scene. Finally, I proceed with the digital painting and image manipulation process.
Intoxicated
Archival inkjet print
70 x 70cm
2017
Fragile
Archival inkjet print
70 x 70cm
2017
Silvia A Sellitto
Victoria, Australia
The work, She stares alone across the water (2017), is from the series, "End of an Era" (2017), which employed the processes of both manual and digital collage, photography, Fine Art printing and mixed media, including the use of thread, oil paint, Photoshop, chalk pencils and pinholes.
It explores gesture, altered bodies and methods of disguise that border on the surreal, presenting sinister and somewhat folkloric aspects of human experience and my own Southern Italian lineage. The work brings complexity to readings of Motherhood and domestic experience, with themes of cyclical loss, grief and fear.
She stares alone across the water
Mixed media on hahnemuhle photorag
42 x 59.4cm
2017
My work in experimental portraiture explores gesture, altered bodies and methods of disguise that border on the surreal, presenting sinister and somewhat folkloric aspects of human experience.
This work forms part of my "Leave the Night Light On" series - emotionally charged tableaux drawing on painting, photography and collage, including the re-creation of artworks created by my children. My work brings complexity to readings of Motherhood and domestic experience, with themes of cyclical loss, grief and fear appearing alongside whimsical, painterly qualities. An alternate universe is represented where fears and anxieties are playfully explored, and make-believe collides with everyday life.
Prowling in the Darkness
Oil on linen
70 x 57cm
2017
Skye Tranter
Queensland, Australia
Coral trout lounging on the bottom of the coral sea, as a cleaner wrasse cleans out their teeth. I love North Queensland and I love the reef, and "The Dentist" displays just a fragment of the environment I love. The Dentist also signified that at the time I was cleaning out my life and moving on.
The Dentist
Oil on linen
40.1 x 80.1cm
2017
Stephen Tiernan
Queensland, Australia
In December 2017, Detective Inspector David ISHERWOOD retires from the Queensland Police Service after completing 42 years. An honourable ‘Life of Service’ to the people of Queensland.
Life of Service
Oil on canvas
34 x 36cm
2017
Susannah Paterson
New South Wales, Australia
Wide Eyed (2016) is an oil painting on stretched canvas depicting an allegory of the artist's childhood. The colours of blues and pinks convey innocence and simplicity, but in between the teddy bears and toys are the darker images of bottles, boogie men and religion. The painting emerged from a meditative state in which the artist makes rhythmic, conscious and unconscious marks before deciding what to develop and what to leave. It's a complex and sometimes unnerving process requiring a lot of staying with uncertainty before something begins to form.
Wide Eyed (Back then a mixture of things happened)
Oil on canvas
100 x 100cm
2016
A Still Life is an imaginary still life describing inanimate objects, such as jug and teapot, along with figures reading, staring into space or meditating. The colours of cool viridian and yellows, combined with warmer tones create an image of stillness and calm. The artist paints from imagination, beginning each work in the same way of rhythmic "conscious/unconscious" marks. From there, a decision is made about what to develop. The images nearly always reflect the current emotional state of the artist.
A Still Life
Oil on canvas
72 x 72cm
2017
Virginie Senbel-Lynch
Queensland, Australia
Playing with Fire
Watercolour pencil on black paper
48 x 73cm
2017
The Black Magic (2017) series is about how drawing technicity and light can lead to confusion between reality and illusion. Our expert eyes and brain will use the light and lines to determine what it is looking at and determine what it is from what is visible. Shrouded in symbolism, the series Black Magic is a reflection on the medium itself as the photorealistic drawings with a theme on magic and illusions will leave you wondering if you are really looking at a drawing or if you have been fooled and it is a photo.
Into the Light
Watercolour pencil on black paper
73 x 48cm
2017
Wade Goring
New South Wales, Australia
This digitally produced work speaks to the internal demons we all have trapped inside us. The dark alley at night is a classic symbol of fear and vulnerability that many can recognise. These places can also be where people escape to, away from sight, to be free to be themselves. Here, a male figure half dressed in business attire walks fashion model-like in the shadows of night. Free from his daytime prison, his real self-erupts forth, clawing for freedom, even from the bounds of the work itself.
After Hours
Digital art print
84.9 x 118.9cm
2017
This digitally produced work is a fever dream of mixed emotions, desires, fears and contradictions. There is a deliberate satanic inference. Is desire, sexuality and fetish evil? If it is, why is it so alluring and addictive, like an intensely sugary treat you know you shouldn't have. Femininity in masculinity is also referenced. Is this evil too? Or is it empowering. Teddy bears are oddly analogous. They're cute, loveable, synthetic replicas of an animal that can easily rip you to shreds - but want them, love them - we do.
Pop Demonic Fantasy
Digital art print
118.9 x 84.9cm
2017
Wayde Owen
Queensland, Australia
For me, painting is an argument between what it looks like and what it means – form vs content. While content is important, I will often set my paintings on fire or leave them outside for long periods of time. Nature can often help transform a painting in ways conventional paint cannot. Some works can take months or even years to resolve. It is through this cycle that I’m reminded of man's place in the cosmos.
Inner Landscape (resting place)
Charcoal, bitumen, clay, pine, taxidermy and paint on canvas
120 x 140cm
2017
Wendy Goodwin
South Australia, Australia
In this monochromatic study, I wanted to capture a quiet, pensive and soulful atmosphere. The mess of bare winter trees, the rambling foliage of the bank, and the rushing of the river is juxtaposed with the stillness and statuesque quality of the lone figure. This photograph exemplifies a very private moment, which is enhanced even more so by employing black and white - washing away any trace of colour that would distract from the stark imagery. Unlike many photographs entered into competitions, this scene was not contrived in any way, but rather serendipitously captured, resulting in a true sense of authenticity which can never be orchestrated. The river cuts diagonally through the image, dividing the tangled branches from the lush undergrowth in the foreground, thus drawing the eye to the figure who bridges this dichotomy, creating a beautiful scene.
Girl by the River
Mixed media - Archival giclee print
50 x 37.5cm
2017
Settlement
Mixed media -Archival giclee print
90 x 40cm
2017
My inspiration for this piece was the ever-expanding suburban development of our cities - encroaching on the natural world and bushland beyond. Using a bespoke technique which I have developed in my art practice, I have combined, blended and layered my photography to achieve a unique effect here. The gum trees themselves become hollowed out with structures, representing the seemingly uncontrolled building of new homes and the corresponding loss of habitat for our native animals. The addition of iconic Christmas trees and lights evokes the uneasy imposition of European culture, flora and fauna on our Australian landscape.
Ken Goshen
New York, United States
This piece is part of a body of work in which I explore the relationships between figures, spaces, and the processing of visual data. I use the formal qualities of the work as a means for subtly expressing emotional and ethical standpoints. By drawing on the collective associative image bank of classical iconography, I wish to instil a sense of timelessness in depictions of the familiar, the fleeting, and the banal.
Adaam the photographer
Oil on canvas
101.6 x 76.2cm
2016
Youjia Lu
Victoria, Australia
Collide-Parallel Universe (2017) explores the possibilities to image a super(im)posed ‘Self’ whose states of actual and virtual; unitary and fragmentation exhibit possible coexistence in video art.
Referring to a concept of ‘superposition’ in quantum theory which allows two antagonistic states to coexist in a state of indeterminacy, I propose a super(im)posed ‘Self’ whose regression toward the unformed antecedent to a self- image and the antagonistic state of attesting the boundary of her mirror- reflection coexist in a visual collision.
Collide-Parallel Universe consists of two types of visual collision: a horizontal collision happening between the different movements of ‘Self’ in the split-screen; and a vertical collision that occurs when the superimposed layer of a fragmented ‘Self’ is interfering it’s the unity. An indeterminate state of the ‘Self’ emerges in the progression of this visual collision.
Collide-Parallel Universe
Two-chanel video
Variable
2017