Echo Chambers: Art and Endless Reflections

Echo Chambers: Art and Endless Reflections

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Echo Chambers: Art and Endless Reflections Chris Bond Ian Burn Leslie Eastman Yanni Florence Dale Frank Carlo Golin Justine Khamara Gian Manik Kent Morris Vincent Pirruccio Nike Savvas Linda Tegg Ebony Truscott Lyndal Walker Meng-Yu Yan Deakin University Art Gallery Deakin University Downtown Gallery

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Dale Frank Then she said you take my breath away and he seriously thought about it (detail) 2015 4

Worlds of Echoes

From Yayoi Kusama’s infinity rooms, to the meta-practices of artists such as Annish Kapoor and Olafur Eliasson (creators of mirrored architectural interventions) mirrors have become a common feature in contemporary exhibitions.i No major blockbuster exhibition is complete without a myriad of installations and encounters in which the audience can see themselves, providing scripted moments for selfies and social media postings.

Wanting to understand more about the audience desire to see themselves reflected in our cultural experiences led me to place the mirror front and centre in this exhibition.

Echo Chambers: Art and Endless Reflections riffs on the ubiquitous and ever presence of mirrors in our experience of art and culture.

It is not a history but a series of snapshots of contemporary Australian artists working with both mirrors and reflections as the primary element to their creative practice. The aim of Echo Chambers sought to elaborate on the various contexts, histories and forces that influence how mirrored works are produced, and to place the work of living artists working in contemporary culture to the teaching and learning program of the University.

This exhibition took place over three gallery spaces at Deakin University with each providing a separate encounter. Early in the development of the exhibition I imagined a series of three prisms, each a room of refracted light, echoing outward.

At the most basic level mirrors can be any object with a surface that refracts the photons of light at the same angle. Many things can be mirrors, from pools of water to the moon, glass, polished steel, liquid alloys and wrap around films. As well as objects with reflective surfaces, this exhibition also featured examples of painting, photography and sculpture that

capture the moment of reflection. Connected to this is the notion that when we look into a mirror we see ourselves as a double, hence the exhibition also included twins, pairs of things and doppelgangers. Going further still, our use of mirrors throughout human history has been intrinsic to our philosophical and psychological understandings of the self.

As educationalist Robert Nelson elaborated in his opening remarks to the exhibition ‘Reflexion is the element of learning connecting our experiences with review’.ii To activate this dimension of our knowledge a series of reflective meditations took place within the exhibition space, free for University staff and students. These sessions began with imagining a pool of water…

The mythical figure of Narcissus and the moral tale describing the dangers of gazing at one’s reflection is well known. The Ancient philosophers, including Leon Battista Alberti in the early Renaissance, were perhaps the first to identify that Narcissus was also the inventor of painting, ‘what is painting after all but the act of embracing by means of art, the surface of a pool’.iii The story of Echo and Narcissus was first told by the Roman poet Ovid in his highly inspired Metamorhophes Libri (Book of Transformations) said to be first published in 8 AD.iv Less well-known is the unfortunate story of his vanquished lover Echo, a talkative nymph who was punished by the goddess Juno to repeat only the last words of every sentence. ‘You shall forfeit the use of that tongue with which you have cheated me, except for that one purpose you are so fond of – reply. You shall still have the last word, but no power to speak first.’v Banished to the mountains, Echo wandered until the day she would catch sight and fall in love with the handsome young warrior Narcissus while he was hunting for deer with his dogs.

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Echo approached him but was unable to communicate. After her affections were rejected her fate was to wander deep into the forest pining for love until her bones turned to rock and nothing of her remained, except for her echoing voice.

Narcissus was said to have had other admirers, one of whom was the warrior Ameinias who killed himself out of love, along with others who were love struck nymphs.

Frustrated and angry, one of the river nymphs prayed to the gods, ‘Oh may he love like me, and love like me in vain!’.vi The goddess of vengeance heard the prayer and cursed Narcissus to fall in love with his own image reflected in a pond of water until he withered away. A daffodil or Narcissus flower was said to have grown in his place.

Mirrors have been a key part of the familiar western canon of art and have played a central role in both our mundane and spiritual lives. From centuries long passed was the assumption that seeing one’s reflection was also glimpsing one’s soul and hence mirrors and reflections became omens and symbols for death.vii Melbourne painter and photographer Carlo Golin has studied the surface of mirrors in the making of his photorealist still life paintings since the 1990s.

Golin has recently been taking photographs with his iPad and publishing them on social media to great effect. In this exhibition Golin has reprinted a number of photographs spanning from 2012–18. Sleep 2015 is a composition consisting of a photograph of a replica human skull reflected on the surface of a Japanese coffee table in the artist’s home. Highly orchestrated, the skull appears alongside its reflection in a mirrored double.

Instrument 2 is a photographic composition consisting of a formal study of found outdoor plastic chairs. The arms and legs have been twisted and shaped by the artist to create a mirrored body. In another series, Golin captured the reflective surface of an ashpalt netball court after the rain. Presenting the images to viewer upside down, Golin gives the reflected players and the markings of the court primary focus, playing with pattern, recognition and perspective. In Double Trouble 2016 Golin presents a portrait of his father-in-law taken years before, alongside a well-known image of Pablo Picasso 6

from the pages of a coffee table book.

With similar dress, facial expressions and physical appearances it’s difficult to pick the differences between the two men. Figures and representations from the past, the familiar and the known are forever haunting the present in Golin’s work.

Ebony Truscott is a Melbourne based artist.

She paints still life compositions, a tradition that has continued for centuries. Truscott imbues this subject with contemporary ideas about the objects that surround us and their relationship with the human body and mortality. Truscott often paints objects from her hiking and walking trips such as tin plates, glass jars, inflatable mats and torches.

Other objects that she paints are human aids or devices to protect or enhance the senses such as torches, light bulbs, gloves, dust masks, asthma inhalers and ear plugs. Mirrors and reflective objects are often included in her paintings and are an integral part of the canon. Truscott uses these motifs referring to our bodies failings in the face of changing times, the environment and our emotional and physical absences.

Originating from Perth, the Melbourne based painter Gian Manik has been producing painted works based on the surfaces of pleated foils and other reflective materials for many years. Manik paints directly onto un-stretched linen or canvas in fast and fluid brush markings that often appear in various states of completion, and that borrow from the gestural languages of modernist painting and graffiti. Manik’s interest however, lies in how images are mirrored or transferred into painting with an aim to represent a space in between abstraction and representation. After spending time in the Pilbara region of Western Australia, Untitled (Rio Tinto salt) 2017 is inspired by the shifting spectrum of light as it refracts through the crystalline structures of rock, minerals and salt formations. Here and in more recent collaborations with high school students and fashion designers he presents the surface of painting as a shimmering transmorphing skin.

The etymology of the word mirror comes from old French word mireor or ‘reflecting glass’ which sprang from an earlier French word miradoir and mirer meaning ‘to look at’ and the Latin words mirare, miror and mirari ‘to

wonder at’ and the beginnings of the word ‘admire’. Also in ancient Arabic comes the word mir’aa which was a device for looking. viii In Latin, the word speculum was ‘a thing to look at’ used to describe a mirror, but a mirror is also more than this.ix For centuries mirrors have been used to communicate and represent other worlds, forces and the unknown. In doing so, a mirror is more than just a looking device but a thing that looks back at the viewer.

Perhaps a precursor to the story of Echo is a similar moral tale from Aesop’s Fables (650 BC) involving water and reflection.

In this story, a dog that is carrying a stolen bone looks down as it is crossing a stream and sees its own reflection. Taking it for another dog carrying something better, it opens its mouth to bark at the ‘other’ and in doing so drops what it was carrying.

The key themes from these narratives connect human desire with anxieties around change, transformation, disappearance, and becoming one with the ‘other’.

In an artist talk accompanying the exhibition, the artist Meng-Yu Yan discussed how Oscar Wilde captured this sense of looking back in an interpretation which queers the classical Narcissus myth. Here the lake becomes the centre of the story, its waters have turned to salt, like cups of tears. Unaware of Narcissus’s beauty the lake cries as it can no longer see its own image reflected in his eyes.x An audience member attending the talk was quick to point out that the Whanganui River which flows across the North Island of New Zealand was recently given the same legal rights as a person.xi The first instance of a body of water granted personhood with sovereign rights. For the Qandamooka people the mirrored lakes of Stradbroke Island in Queensland hold special significance. Home of the giant jargon snake spirit yuri Kabool, the lakes are sacred and are revered by traditional owners who would not approach the waters without first acknowledging their presence in speech. If the waters then appear disturbed in anyway, this is taken as a cautionary signal to stay away.xii

Kent Morris is a prominent Victorian Indigenous artist and founder of The Torch which assists Indigenous men and women currently incarcerated and in post-release within the Victorian prison system to explore culture through art and reduce recidivism.

As an artist Kent has had a long connection to photographic image and print. In his most recent series of works small sections of urban architecture are photographed, cropped, and in-turn are doubled, flipped and rearranged to form mirrored tessellated patterns. These diamond like constructions reference Indigenous designs that were once used to adorn bodies for ceremony and were important cultural markers used on shields and as tree markings to signify place and community. In turning his eye to the urban landscape around us, Morris reclaims the architectural forms of colonization and refracts them as patterns and prisms. A process of coming to understand complex patterns of Country, identity and belonging.

The mind is a mirror For Melbourne artist Chris Bond his practice involves the production of highly detailed paintings, sculptures and painted replicas of books involving fictional identities and doppelgangers. One of many such characters is the Norwegian black metal artist and writer Tor Rasmussen who speaks to the artist as the author of printed materials including poetry, emails and novels. A Stranger in a Mirror for example is a finely crafted replica of an 80s teenage romance paperback novel. More like a found prop from an unknown film, Bond’s artworks weave the viewer into complicated narratives with his significant others.

Around 2008 Bond began producing a series of twin artworks including paintings and readymade sculptures that were identical down to the finest details, such as Twin Set (Pollock) 2008. For this exhibition, Bond has recreated an earlier work in the form of an assemblage of found office items. Through exacting microscopic detail Bond creates a mirror image of the everyday, making the viewer double take and question their perception. The mirror is a structural device in the creative mind of Bond, through which he can explore an alterior world of differing persona, people and perspectives.

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Death and Power Throughout history the ability to refract light has given glass and mirrors the power to represent the divine. The early prophets of ancient Judaism were said to see god through mirrored devices called specula. The Talmud states, ‘All the prophets gazed through a speculum that does not shine, while Moses our teacher gazed through a speculum that shines’ (B.T. Yevamot 49B).xiii Artist Nike Savvas has been making large scale immersive installations since the early 90s. Halo was commissioned by Deakin University in 2016 and comprises of a series of chains of coloured acrylic discs glittering in gold, green, purple, red and blue. Overall the work takes its form from the sixteen by nine ratio commonly used in cinema, high definition television, computer monitors and the screens of our mobile devices. The work responds to changing air currents and the movement of viewers in the room with each disc gently moving independently to the surrounding environment. A halo is also the circle of light emanating from around the sun, moon or a God, and is also an apparition or a symbol of the divine and the transcendent.

In many faiths the covering of a mirror assists in the process of mourning after the loss of a loved one. At a time of raw emotion, feelings of regret, anger and guilt can cause further anguish and self-judgement. For Sydney based Rabbi Aron Moss from the Nefesh Jewish community, covering a mirror allows those suffering to focus on the pain and loss itself.xiv Whilst modern day mirrors are usually flat, clean and seamless, early mirrored inventions were made from blown bubbles of glass cut into sections. Hence they were convex or concave in shape and had to be very thin in order to prevent cracking from the molten metal backing. Most ancient glass contained inherent flaws. They were tinted green from iron deposits and often faded to black as the backing metals oxidized. St. Paul in his letter to the Corinthians from the New Testament first said the familiar phrase ‘For now we see through a glass darkly; but then face to face: now I know in part; but then shall I know even as also I am known’.xv

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Melbourne artist and book designer Yanni Florence has captured portraits of people as they appear through the darkened windows of Melbourne’s famous trams.

Travelling home along Swanston Street, Florence photographs public transport users with his camera through the vinyl advertising, dirt and badly scratched glass of tram windows. Holding his camera up like a handheld mirror Florence captures his subjects in moments of introspection. At other times he represents a mutual recognition and a shared awareness of the other’s gaze.

Palindromes Australian artist Ian Burn was a significant figure leading the conceptual art movement. Mirrors were used widely by a number of conceptual artists in the 1960s including Robert Smithson, Joseph Kosuth, Joan Jonas and Yoko Ono. For Burn, the use of mirrors moved away from the artwork as a transparent window into the world and instead provided its own event or situation in time, as well as deflecting the audience’s attention away from itself.

Mirror Piece 1967 is an iconic work from Burn produced while he was living in New York. Working with the Art and Language group a similar work was exhibited in the histrionic exhibition The Field at the NGV 1968. Here a simple flat utilitarian mirror was presented alongside a typed series of texts which connect the act of seeing with reading.

The way light is reflected and how our focal point of vision is formed was described in detail over thirteen pages of typed script and diagrams. Immersing the viewer in the text, Burn confuses what is real, virtual and code.xvi Artist Vincent Pirruccio studied sculpture and ceramics at the Prahran Technical College in the mid-60s and became known for artworks in the ‘hard edged’ style of the time using chrome, aluminium and mirrored glass. Included in this exhibition is the wonderful Wall Sculpture 1974 from the Deakin Collection. A fine example of Op art, the work comprises a half sphere and cube connected to the surface of a mirror creating the illusion the objects are whole. In the later part of the 70s, Pirruccio returned to Italy on a scholarship and remained living there for the greater part of his life, residing in Sicily and Milan. Pirruccio would continue to create

works that played with the strictly abstract elements of a square and a sphere. Whilst employing a highly formal visual language relating to mathematical principles, for Pirruccio the mirrored sphere at the centre of his works also represented a symbol of the self.xvii Many of his works contain a visual rupture of sorts, here the sphere and the square hover in an elusive space between the image and the real world.

The development of glass technologies at the end of the Middle Ages led to advances in new sciences in explaining the natural world and phenomena. In this way, mirrors progressed the enlightenment project as philosophy developed away from theology to become an independent force with the power and authority to challenge the old and construct the new.xviii Leslie Eastman is a Melbourne artist and lecturer at Monash University who creates installations, sculptures and time based works often involving the manipulation of light and time. Eastman references deeply rooted philosophical enquiries and the underpinnings of knowledge in his artistic practice. The Origin of Geometry 2013 is a slowly turning mirrored screen in the form of a geometric shape template designed for young students and children. Light both penetrates and hits the surface of the work in a continuing state of change. For Eastman the rigid conventions of learning are replaced with movement, reflection, shadow and play, in order to perceive things a new.

In the early 1600s Venetian mirrors were highly valued and rare. Some of the larger mirrors were said to be worth more than the cost of buying a ship and were traded like prized paintings by famous artists.xix Ongoing war meant that silver was difficult to source and the Venetian glass blowers kept their knowledge and skills highly secret. In the Baroque, mirrors were used as symbols of power and authority, as Foucault has argued, control around this time was achieved through means of seduction and beauty.xx Working from his country home in the Hunter Valley, Dale Frank channels the Baroque and the masquerade in his contemporary works.

Frank once famously presented an exhibition as a disco. Key to this was the artist’s role

as a performance and the participation of the audience. So too is Frank’s approach to his painting practice which he sees as a conceptual project involving the use of nonart materials such as designer furniture, wigs and masks. Recently, Frank has employed the use of coloured Perspex as mirrored backgrounds. He stains the surface with resin and painterly varnishes which casts his viewers into coloured alternate worlds of fluid morphing reflections. He presents the objectifying gaze as the source of an infinitely variable subject. At the same time, he freeze frames the moment in liquid form.

Scrying Mirrors are a central symbol from the creation story of Zen Buddhism. The ying and yang symbol itself can be seen as a representation of both the dark and light reflected in the rippled surface of a pond.

Meng-Yu Yan is an emerging artist based in Sydney who is currently completing a Master’s at the University of New South Wales. Yan’s work explores the spiritual origins of the photographic image and representation. The artist’s photographs, sculptures and videos are richly evocative and recall surrealism, mythology and modern photography from the early twentieth century.

In the new moon cleanse series the artist’s image is reflected back via a hand held circular mirror being washed under a tap.

The moon of course is also a mirror reflecting the light of the sun in the hours of night.

Yan tries to connect the use of mirrors in Chinese traditions of domestic life, nobility and religious belief, black magic and sorcery.

Yan has also made a number of works that take the form of black mirrors made from repurposed clocks that quietly tick away, counting the hours. For Yan, a black mirror represents a transitional space of duality both absorbing and reflecting light simultaneously.

Right throughout the world differing ancient cultures have used black mirrors for divination and scrying practices. By looking into the mirror for long periods one may reach beyond the present into the realm of the spirits, to enter into a trance, to conjure forces beyond oneself and to make prophesies of the future.

A black mirror also refers to the modern phenomenon of digital technologies and the pervasive presence of devices such as 9

tablets and smart phones that seemingly have become an extension of our own bodies. In our contemporary context the mirror has become an interface at the end of our fingertips responsive to touching, swiping and typing.

Gorilla Glass Gorilla Glass is used today in over six billion hand held devices and is a glass-like material chemically strengthened through an Ion-exchange process creating a deep compression layer of tin and aluminium oxide.xxi This layer acts to reduce damage and creates an exceptionally clean and smooth surface.

It also has outstanding optical qualities for achieving high definition in cameras.

In 2014 then teenager and self-confessed selfie addict Danny Plowman was reportedly taking up to 200 photos of himself a day.xxii In between taking photos Plowman laboriously edited and touched up his images hoping to achieve the perfect photo for social media.

With digital technologies at our finger tips our notion of the self is increasingly merging with the online and the virtual. Endless opportunities for production and dissemination have created a dizzying infinity of ever presence.

Justine Khamara’s artistic practice disrupts photography’s smooth two-dimensional surfaces by building printed images into elaborate sculptures and assemblages.

In Untitled Portrait 1 from 2007, hundreds of slightly differing profile images of her brother’s face are cut out and arranged to form a three-dimensional body. His disembodied head has grown into a viral form like chains of replicating cells. Shifting across the surfaces of hundreds of floating images Khamara’s portraits threaten to animate.

As a social media phenomenon Instagram began as a mobile image sharing platform and within a short period has evolved quickly.

Through the production of ‘selfie’ images in particular, participants enact a coded performance signalling updates on their status with information relating to place, wealth and health within competitive clusters of highly defined user groups.xxiii At a metalevel the data collected around these images is being used as a means of control through facial recognition to consumer spending.xxiv Here the mirror has perhaps taken over, 10

potentially limiting and reducing the nature of our lived experience.

In psychoanalytic thinking a mirror changes the subject to an object. This mirror phase of development is articulated by Lacan and psychoanalysis as a kind of recurring ideal ‘model’ version of ourselves that we carry through our lives.xxv But, a mirror image is always an inversion of reality and a distortion. Artist Lyndal Walker originated from Melbourne and now resides in Berlin.

Since the early 90s Walker has been producing photographs, installations, sculptures and collaborations. Her photographic practice has held a rigorous and critical eye to the representation of women, notions of beauty, fashion and the passing of time. In a series of works from 2015 and 2016 Walker turned her attentions to the representation of young men. Photographed in various states of undress, Walker focuses on their growing bodies on the cusp of becoming grown men.

Walker also captures herself reflected in the photographs in mirrors. Adding a further twist, the prints are mounted onto the surface of framed mirrors so that the viewer also sees themselves in the works. The Artists’s Model is playfully replete with art historical references, role reversals and captures the twin feelings of being looked at and looking.

Linda Tegg is an artist and academic with a practice that has its origins in photography.

For Tegg, the camera is a research tool capturing constructed situations and interactions to examine relations between the natural and the artificial. In one project Tegg worked with a Mexican wild wolf interacting with a mirror in a hotel bedroom. In another well-known project, Tegg dressed performers in a mirrored exoskeleton, reflecting the audience with innumerable perspectives and reflections.

In the Dancer series of still images and video from 2009 Tegg worked with a ballet dancer to move in response to their reflection on a mirrored disk in a Melbourne community hall.

Moving beyond the classical forms of ballet such as the pirouette, Tegg’s performer instead directs her movements inward. Whilst staring intently at her reflection in a mirrored pool, the camera moves continually in a circle. In turn, the dancer creates a moment of stillness and a focal point for reflecting the situation around her.

Broken mirrors Arte Povera artist Michalengelo Pistoletto has long worked with mirrors to emphasise how we perceive the world, our realities and the present moment. Since 2009 Pistoletto has had a penchant for smashing mirrors with a large hammer in highly dramatic performances. Pistoletto sees the destruction of a mirror as a way of pointing to the interconnectedness of the world.

In an excerpt from an interview in the Guardian UK he said ‘Each shard still has the same reflecting quality as the whole mirror…

So all mirrors are connected, smashed or intact, just as all humans share the same basic DNA. I see society as a kind of broken mirror.’

To break a mirror is of course to bring on seven years of bad luck. I can safely report that no mirrors were broken in the course of this exhibition. If I had, there are a number of ways to break the curse of misfortune.

The first is to pound the shards into pieces, so small, they no longer can reflect light anymore. The second, is to collect all the shards and bury them under the light of a full moon.xxvi At the end of the exhibition I can see an image of myself in my backyard garden at night, looking up at the glowing moon, digging a deep hole and burying the last flickering traces of echoing light under a thick blanket of crumbling earth.

James Lynch Curator, Art Collection and Galleries

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he title of this essay comes from a weekly radio T broadcast by music producer DJ Francois Kevorkian.

ii Robert Nelson opening remarks to the exhibition Melbourne 13 February 2019 at the Deakin University Art Gallery, Melbourne Burwood Campus. iii Book II of Leon Battista Alberti On Painting, C. Grayson, London, 1991, 61. Alberti’s reference to Ovid, Met. 3.402 ff. iv Ovid, Metamorphoses, translated by A.D Melville with an introduction by E. J Kenney, Oxford University Press, New York, 1986. v Thomas Bulfinch, Thomas The Golden Age of Myth and Legend, Wordsworth Editions Limited, London, 1993, pp. 91 vi Parnell, Garth, Rowe et al. A Complete Edition of the Poets of Great Britain, Mundell and Son, Edinburgh, 1794, pp.221 vii Frazer, Sir James Gorge, The New Golden Bough, Revised and edited by Theodore H. Gaster, New American, New York, 1959, pp. 203 viii Autumn Whitefield-Madrano http://www.the-beheld. com/2011/06/thoughts-on-word-mirror.html [Accessed on 15 February 2019] ix Ibid. x Meng-Yu Yan Artist talk at Deakin Downtown 18 March 2019 https://www.facebook.com/ArtDeakin/videos xi ttps://www.internationalrivers.org/blogs/233/when-ariver-becomes-a-legal-person-a-short-journey-downnew-zealand-s-whanganui-river [Accessed 3 February 2019] xii Sandra Delaney, Quandamooka Dreaming, Boolarong Press, 2013 xiii M. David Litwa Transformation through a mirror: Moses in 2 Cor. 3.18 cited in Journal for the Study of the New Testament, vol. 34, 2012, pp. 286-297 xiv Aron Moss Why Are the Mirrors Covered in a House of Mourning? Chabad.org [Accessed 10 February 2019] xv M. David Litwa ibid. xvi Keith Broadfoot Looking at Mirrors cited in Mirror Mirror then and now, Ann Stephen curator, IMA, Brisbane, 2009, pp. 21 xvii Vincent Pirruccio in conversation with Diane Belchase, 4 Feb 2014, youtube.com/watch?v=VGThbHwphnA [Accessed 1 Feb 2019] xviii For more reading see A. Mark Smith From Sight to Light: The Passage from Ancient to Modern Optics, University of Chicago Press, 2014 xix https://margovenetianmirror.com/knowing-more-aboutvenetian-style-mirror/ [Accessed 2 February 2019] xxv Michel Foucault Power/Knowledge, Pantheon Books Press, New York, 1980 pp. 56 xxi https://www.corning.com/gorillaglass/worldwide/en/ glass-types/gorilla-glass-6.html [Accessed 5 February 2019] xxii https://www.mirror.co.uk/news/real-life-stories/selfieaddict-took-two-hundred-3273819 [Accessed 1 Feb 2019] xxiii For more information see Alise Tifentale, The Selfie: More and Less than a Self Portrait cited in Moritz Neumüller, ed., Routledge Companion to Photography and Visual Culture, Routledge, London, New York, 2018, pp. 44-58 xxiv Ibid. xxv See Bruce Fink Tommy and the anatomy of trauma http://www.lacan.com/framX3html [Accessed 23 January 2019] xxvi http://www.mirrorhistory.com/mirror-facts/brokenmirror/ [Accessed 3 March 2019]

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Installation view Deakin University Art Gallery 12

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Ebony Truscott Cut plastic, roll and mirror 2016 14

Ebony Truscott Glass, metal, paper with cassettes 2015 15

Leslie Eastman The Origin of geometry 2013 16

Kent Morris Boonwurung (St Kilda) – Noisy Miner 2016 Boonwurung (St Kilda) – Rainbow Lorikeet 2016 Barkindji (Broken Hill) – Mallee Ringneck 2016 17

Nike Savvas Halo 2016 18

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left: installation view opposite: Justine Khamara now I am a radiant people #3 2011 20

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Yanni Florence Tram Windows 2017-2018 22

Yanni Florence Tram Windows 2017-2018 23

Linda Tegg Dancer (rotation) 2009 24

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Chris Bond Twin Set (Dracula) 2019 26

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Lyndal Walker The Artist’s Model series 2015–16 28

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Gian Manik Untitled (Rio Tinto salt) 2017 30

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Meng-Yu Yan Black Mirror 2019 32

Meng-Yu Yan Imprint of a mask 2017 33

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Carlo Golin Sleep 2015 35

List of works

Works are listed as they appeared in the exhibition.

DEAKIN UNIVERSITY ART GALLERY Meng-Yu Yan Black Mirror 2019 toughened black glass, laser cut, refashioned clock 30 cm diameter courtesy of the artist and Dominik Mersch, Sydney Ebony Truscott Cut plastic, roll and mirror 2016 oil on linen 92 x 72 cm Private Collection, Melbourne Ebony Truscott Glass, metal, paper with cassettes 2015 oil on canvas 76 x 61 cm Private Collection, Melbourne Leslie Eastman The Origin of geometry 2013 polished stainless steel, stainless and electrical motor 150 x 100 cm x 0.15 cm (screen) courtesy of the artist Ian Burn Mirror Piece 1967 framed mirror, printed sheets of notes and diagrams 14 parts, each print: 27.5 x 21.3 cm, mirror: 52.5 x 35.8 x 4.4 cm Monash University Art Collection courtesy of the Monash University Museum of Art

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Kent Morris Boonwurung (St Kilda) – Noisy Miner 2016 Boonwurung (St Kilda) – Rainbow Lorikeet 2016 Barkindji (Broken Hill) – Mallee Ringneck 2016 From the series Cultural Reflections up above #2 2016 all works archival print on rag edition 1 of 5 100 x 150 cm (each) framed courtesy of the artist and Vivien Anderson Gallery, Melbourne Nike Savvas Halo 2016 vacuum metallised acrylic 210 x 310 cm (overall) Deakin University Art Collection Yanni Florence Tram Windows 2016-17 archival inkjet prints 55 x 38 cm (each) courtesy of the artist and Reading Room, Melbourne Justine Khamara now I am a radiant people #3 2011 colour photographs, resin, fiberglass 55 cm diameter courtesy of the artist and Arc One, Melbourne Chris Bond A Stranger in the mirror 2016 oil on canvas, paper, card 18 x 11 x 1.5 cm; 43 x 35 x 4 cm (framed) courtesy of the artist and Darren Knight, Sydney

Carlo Golin Sleep 2015 archival inkjet print on 310 gsm archival rag 54 x 54 cm courtesy of Eastgate Jarman Gallery and Fletcher Arts, Melbourne Vincent Pirruccio Wall Sculpture 1974 aluminium and glass 121 x 121 x 26 cm Purchased with the assistance of the Arts Board of the Australia Council, 1975.

Deakin University Art Collection DEAKIN UNIVERSITY BURWOOD LIBRARY GALLERY SPACE Linda Tegg Dancer 2009 2 Channel HD Video 5:50 mins & 6:50 mins courtesy of the artist Linda Tegg Dancer (rotation) 2009 Dancer (dancer) 2009 Dancer (mirrors) 2009 all works archival inkjet prints 100 x 80 cm (each) (framed) courtesy of the artist Deakin Downtown Gallery Carlo Golin Double Trouble 2016 archival inkjet print on 310 gsm archival rag 42 x 60 cm courtesy of Eastgate Jarman Gallery and Fletcher Arts, Melbourne

Dale Frank Then she said you take my breath away and he seriously thought about it 2015 varnish on Perspex with artist’s frame 178 x 138 cm courtesy of the artist and Neon Parc, Melbourne Chris Bond Twin Set (Pollock) 2008 oil on linen 51 x 66 cm each Private Collection, Melbourne Chris Bond Twin Set (Dracula) 2019 found objects dimensions variable courtesy of the artist and Darren Knight Gallery, Sydney Lyndal Walker The Artist’s Model series 2015–16 from left: Me photographing Rickard reclining in silk 2015 Me photographing Francis behind the easel 2015 Rickard on the end of the bed with me in a skirt 2015 Francis on the windowsill with me wearing black stockings 2015 Me photographing Carl-Henrik reclining on the bed 2015 all works archival print photographs on framed mirrors 65 x 65 cm (each) courtesy of the artist and HangmenProjects, Stockholm

Gian Manik Untitled (Rio Tinto salt) 2017 acrylic and enamel on canvas 223 x 183 cm Private Collection, Melbourne Meng-Yu Yan Black Mirror 2019 toughened black glass, laser cut, refashioned clock 30 cm diameter courtesy of the artist and Dominik Mersch, Sydney Meng-Yu Yan new moon cleanse I 2018 new moon cleanse II 2018 framed digital prints on Ilford gold mono edition 1 of 7 + 1AP 35 x 45 cm (each) courtesy of the artist and Dominik Mersch, Sydney

Carlo Golin Netball 2 2014 archival inkjet print on 310 gsm archival rag 90 x 70 cm courtesy of the artist and Eastgate Gallery, Melbourne Carlo Golin Instrument 2 2014 archival inkjet print on 310 gsm archival rag 90 x 70 cm courtesy of Eastgate Jarman Gallery and Fletcher Arts, Melbourne All works are © copyright of the artists.

Meng-Yu Yan Imprint of a Mask 2017 digital adhesive print, glass, black quartz dimensions variable courtesy of the artist and Domink Mersch, Sydney Carlo Golin Netball 1 2014 archival inkjet print on 310 gsm archival rag 43 x 40 cm courtesy of Eastgate Jarman Gallery and Fletcher Arts, Melbourne

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Biographies

Chris Bond

Ian Burn

Yanni Florence

Melbourne artist Chris Bond’s practice involves the production of finely detailed paintings, drawings and sculpture.

He views these works as facsimiles of documentary and other published materials, as evidence to the lives of fictional characters, personas and narratives that expand our perspectives of the real.

Australian artist Ian Burn was a significant leading figure of the conceptual art movement. Born in 1939, Geelong, Victoria, Ian Burn lived and worked in Sydney, before relocating to London and New York. Whilst in New York he began working with Art & Language, a collaborative group who produced the publication Art-Language and whose members included artists Roger Cutforth, Joseph Kosuth and Mel Ramsden. Returning to Australia in 1977, Burn became involved in the Art Workers Union (AWU), and from 1980 onwards, together with artist and social activist Ian Millis, worked on a number of initiatives to further the cause of the labor movement, including Union Media Services and the Art and Working Life program.

Born and based in Melbourne, Yanni Florence is a photographer, artist and book designer.

Since 1989 Florence published Pataphysics magazine, an influential journal featuring international contemporary art, design and philosophy.

For over two decades Florence has become a highly regarded specialist designer for print.

Bond has exhibited extensively.

Selected recent group exhibitions include: Obsession: Devil in the Detail, Mornington Peninsula Regional Gallery, Mornington (2018); Ways of Seeing, Boghossian Foundation, Villa Empain, Brussels, Belgium (2017); The National: New Australian Art Biennial, Carriageworks, Sydney (2017); 2016 Adelaide Biennial of Australian Art: Magic Object, Art Gallery of South Australia and Samstag Museum, Adelaide (2016) and Taking it all away, Museum of Contemporary Art, Sydney (2015).

Bond is represented by THIS IS NO FANTASY + dianne tanzer gallery, Melbourne and Darren Knight Gallery, Sydney. chrisbond.com.au

Key exhibitions of Burn’s work include The Field, National Gallery of Victoria, Melbourne (1968); 1968, National Gallery of Australia, Canberra (1995); and Artists Think: The Late Works of Ian Burn, MCA, Sydney (1996).

Burn curated the exhibition Working Art at the Art Gallery of New South Wales, Sydney in 1985 and Looking at Seeing & Reading, Ivan Dougherty Gallery, University of New South Wales, Sydney (1993). He wrote Dialogue: Writings in Art History (1993) and co-authored The Necessity of Australian Art: An Essay About Interpretation (1989) with Nigel Lendon, Charles Merewether and Ann Stephen.

A monograph by Ann Stephen, On Looking at Looking: The Art and Politics of Ian Burn, was published in 2006.

His estate is represented by Josh Milani Gallery, Brisbane. en.wikipedia.org/wiki/Ian_Burn

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Florence recently began exhibiting his photography presenting his first solo exhibition Tram Windows at Reading Room, Melbourne in 2019. areadingroom.com yanniflorence.net

Leslie Eastman

Dale Frank

Leslie Eastman is a Melbourne artist and lecturer. He creates artworks and installations using architecture, light, optics and time based media to generate heightened acts of observation, awareness and self-reflection in the viewer.

Living and working from his home in Hunter Valley, NSW leading Australian artist Dale Frank has been exhibiting widely for over three decades.

Since the mid-nineties he has been producing large scale biomorphic abstractions using varnish, enamel and paints on canvas and most recently on reflective materials such as glass and acrylic. Frank’s paintings don’t depict anything, instead they capture moments where the liquid substances of paint combine and interact, casting the reflection of the viewer into a cosmos of change and transformation.

A selection of Eastman’s collaborative projects and group exhibitions include: AirlightForm, RMIT Gallery, Melbourne (2018); Dancing Umbrellas, Heide Museum, Melbourne (2014); Melbourne Now, NGV, Melbourne (2014); Contemporary Australian Drawing #2, University of Arts, London (2012); Cube, Australian Centre for Contemporary Art, Melbourne (1998). Solo exhibitions include: Projections, Hunger Rosario Gallery, Melbourne (2018); the Illuminated Field, The Islamic Museum of Australia, Melbourne (2017); and Thresholds and Displacements, PhD Exhibition, MADA Gallery Monash University, Melbourne (2015). leslieeastman.com

In his early career he moved to Europe and New York and was included in a number of important international exhibitions and collections.

Selected group exhibitions include: Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide (2014); Lurid Beauty, National Gallery of Victoria, Melbourne (2016); 17th Biennale of Sydney, Sydney Cockatoo Island, Sydney (2010); Optimism, Gallery of Modern Art, Queensland Art Gallery, Brisbane (2008); Moral Hallucinations, Museum of Contemporary Art, Sydney (1999); Virtual Reality, National Gallery of Australia, Canberra (1994) and Panorama della Post-Critica, Musei Palazzo Lanfranchi, Pisa, Italy (1983).

Carlo Golin

Carlo Golin first studied painting at the Royal Melbourne Institute of Technology, graduating in the late 1970s. He has maintained his practice for over thirty years employing a variety of artistic approaches that are underpinned by an interest in symmetry, weight and stillness.

After painting a number of highly refined photorealist still lives for many years, recently Golin has turned his attention to photographic works in their own right. His subjects include observations of everyday life and studies of pattern and abstraction.

Golin has held recurring solo exhibitions at Libby Edwards Galleries in Melbourne, Sydney and Brisbane (2004- 2010) and has participated in numerous group exhibitions including: Phiction, Lies, Illusion and the Phantasm in Australian Photography, Victorian State Touring exhibition (2001); Once 1 & 2, Hamilton Regional Gallery, Victoria (circa 1994-95) and Processes: The First Australian Sculpture Triennial, Latrobe University, Victoria (1981).

Carlo Golin is represented by Eastgate Jarman Gallery and Fletcher Arts, Melbourne. carlogolin.com

Dale Frank is represented by Neon Parc, Melbourne and Roslyn Oxley 9, Sydney.

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Justine Khamara

Gian Manik

Kent Morris

Artist Justine Khamara originally studied painting at the Victorian College of the Arts graduating with honours in 2003. Since then, she has worked predominantly with the photographic image, cutting and collaging prints into sculptural works and installations.

Gian Manik is a Melbourne based painter originating from Perth, Western Australia. Manik makes large scale un-stretched painted works on canvas that move between figuration and abstraction. Combining spray paint, graffiti and tagging with gestural mark-making in oils his works capture a sense of speed and urgency reflective of digital era.

Kent Morris is an artist, curator and educator of Barkindji and Irish heritage living on Yauk-ut Weelam Country in Melbourne.

Kent graduated from the Victorian College of the Arts and is an alumnus of the National Gallery of Australia’s Wesfarmers Indigenous Leadership Program.

Khamara’s solo exhibitions include: Stratum, Arc One Gallery, Melbourne (2016); Erysichton’s Ball, Centre for Contemporary Photography, Melbourne (2010); Legion, tcb Art Inc, Melbourne (2005). She has also participated in numerous group exhibitions including: Cutting edge: 21st Century Photography, Monash Gallery of Art, Melbourne (2015); Contemporary Australia Women, Gallery of Modern Art, Brisbane (2012); Double Vision, McClelland Gallery and Sculpture Park, Langwarrin (2011); Present Tense: An imagined grammar of portraiture in the digital age, National Portrait Gallery, Canberra (2010); The Edge of the Universe, Shepparton Art Gallery, Victoria (2010); New 09, Australian Centre for Contemporary Art, Melbourne (2009); Primavera 07, Museum of Contemporary Art, Sydney (2007) and Six Orbits Around the Blue Moon, Ramp Gallery, Massey University, Hamilton, NZ (2005).

Justine Khamara is represented

by Arc One, Melbourne. justine-khamara.squarespace.com/

Manik has participated in numerous exhibitions since 2008 including selected solo exhibitions: Paintings, Sutton Gallery, Melbourne (2019); National Trust, Courthouse Gallery, Port Headland (2018); Hi- Vis and Balcony and Sheepskin and Pilbara, Artereal, Sydney (2017); Leather Seats, Fort Delta, Melbourne (2016); First Outside, Inside Last, Caves, Melbourne (2015) and Foils, Utopian Slumps, Melbourne (2014). Selected group exhibitions include: The drawing is just not there, Westspace, Melbourne (2018); Painting, More Painting, Australian Centre for Contemporary Art, Melbourne (2017-16); Portrait Project, Art Gallery of Western Australia, Perth (2017) Farewell to Function, Redlands Art Prize, National Art School, Sydney (2015); Y3K Biennale, Margaret Lawrence Gallery, Melbourne (2014) and Dialogues With The Landscape, Perth International Arts Festival, Lawrence Wilson Gallery at the University of Western Australia, Perth (2011).

Gian Manik is represented by Sutton Gallery, Melbourne. gianmanik.com

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He has presented numerous solo exhibitions since the late 80s, including: Barkindji Blue Sky, Vivien Anderson Gallery, Melbourne (2019); Unvanished, Kluge-Ruhe Aboriginal Art Collection, University of Virginia, USA (2019); My Life as Daryl Hannah, Centre for Contemporary Photography, Melbourne (1995) and Portraits of Pleasure, Luba Bilu Gallery, Melbourne (1993). Selected group exhibitions include: 36th Telstra National Aboriginal & Torres Strait Islander Art Award, Museum and Art Gallery National Territory, Darwin (2018); Tarnanthi, Art Gallery of South Australia, Adelaide (2017); Bowness Photography Prize, Monash Gallery of Art, Melbourne (2017) and Sovereignty, Australian Centre for Contemporary Art, Melbourne (2016).

Kent Morris is represented

by Vivien Anderson Gallery, Melbourne. kentmorris.com.au

Vincent Pirruccio

Nike Savvas

Linda Tegg

Vincent Pirruccio was born in 1946 in Syracuse, Sicily before migrating with his parents to Melbourne in the 50s. He studied drawing, ceramics and sculpture at Prahran Technical College, graduating in the mid-60s.

Pirruccio made artworks in the hard-edged Op Art style working predominantly with chrome, aluminium and mirrored glass.

Throughout the late 60s and early 70s, he achieved significant early career success with numerous works acquired by prominent public and private collections throughout Melbourne. Pirruccio returned to Italy in 1975 on a scholarship and remained there for the greater part of his life, residing in Milan. He continued to make sculpture throughout his life including large scale public commissions throughout his life.

He died Los, Greece in 2014.

Since the early 90s Savvas has become renowned for her large scale immersive installations and sculptures employing colour and light to captivate and transform the viewer.

Melbourne based artist Linda Tegg began her training in photography and is now an artist and academic whose research examines the relations between artifice, behaviour and nature.

Recently she collaborated with architects Barracco + Wright to present a major installation at the Australian Pavillion for the Venice Architecture Biennale, 2018.

Residing between Sydney, London and Cyprus for several decades, Savvas has exhibited extensively across Europe, Australia and the United States of America. Selected solo exhibitions and commissions include: Rally, Art Gallery of New South Wales, Sydney (2014); Liberty and Anarchy, Leeds Art Gallery, Leeds (2013) and Atomic: full of love, full of wonder, the Australian Centre for Contemporary Art, Melbourne (2005). Selected group exhibitions include: Divided Worlds, Adelaide Biennale of Australian Art, Art Gallery of South Australia (2018), Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne (2017); Superposition of Three Types, Artspace, Sydney (2017); Optical Mix, Australian Centre for Contemporary Art, Melbourne (2014); There was a world once, Märkisches Museum, Witten, Germany (2012); Colour Bazaar: Nine Contemporary Works, Heide Museum of Modern Art, Melbourne (2011); To Make a Work of Timeless Art, Museum of Contemporary Art, Sydney (2008); and Visual Music, Museum of Contemporary Art, Los Angeles (2005).

Tegg has presented numerous solo and group projects including: Cameratrap, Fresh Window Gallery, Brooklyn (2016); Imperceptibly and slowly, Sector 2337, Chicago (2015); The Exchange Rates, various locations, Bushwick, NYC (2014); Grasslands, State Library of Victoria, Melbourne (2014); Choir, Westspace, Melbourne (2014); New13, Australian Centre for Contemporary Art, Melbourne (2013); Coexistence, Marso, Mexico City (2012); Goats, Utopian Slumps Project Room, Melbourne (2012); Animal studies, Alpineum Produzentengalerie, Luzern (2011). lindategg.com

Nike Savvas is represented by ARC ONE Gallery Melbourne nikesavvas.com

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Ebony Truscott

Lyndal Walker

Ebony Truscott is a Melbourne based artist and painter. Born in Warrnambool in 1977, Truscott completed a Bachelor of Fine Art (Painting) at Victorian College of the Arts, Melbourne in 1997. Her exacting still life compositions capture the numerous anxieties and pressures of our time.

Artist Lyndal Walker’s creative research examines fandom, gender, identity, time and fashion. Originally from Melbourne, Walker is now based in Berlin. Through photography and an installation practice Walker explores the roles images play in our lives and personal identities.

Truscott has been included in numerous exhibitions and prizes including: Bayside Acquisitive Art Prize, Bayside Arts and Cultural Centre, Melbourne (2018); Darebin Art Prize, Bundoora Homestead, Melbourne (2017); Moya McKenna - Sophie Neate - Ebony Truscott, CAVES, Melbourne (2016); Fremantle Print Award, Fremantle Arts Centre, Perth (2007) and Nature Morte, the University of Melbourne, George Paton Gallery (1995). Solo exhibitions include: Handheld Ellipse, Sutton Projects, Melbourne (2017); The Comfort of Gravity, Mr Kitly, Melbourne (2015); Still life, Mr Kitly, Melbourne (2012); and Prints and Drawings, Platform, Melbourne (2005).

Ebony Truscott is represented by Niagara Galleries, Melbourne. ebonytruscott.com

Walker has exhibited extensively, selected solo exhibitions include: Alchemical Breakfast, Weserhalle, Berlin (2018); Changing Room, Künstlerhaus Bethanien, Berlin (2017); Changing Room, HangmenProjects, Stockholm (2016); La Toilette d’une Femme, Centre for Contemporary Photography, Melbourne (2011) and You’ll be a rolling stone, your shoes will be your home, The Murray White Room, Melbourne (2009). Selected group exhibitions include: Dressing Up; clothing and camera, Monash Gallery of Art, Melbourne (2019); Hold Still, the photographic performance, Art Gallery of New South Wales, Sydney (2018); Unfinished Business, perspectives on Art and Feminism, Australian Centre for Contemporary Art, Melbourne (2017); Every Brilliant Eye, National Gallery of Victoria, Melbourne (2017); The Public Body, Artspace, Sydney (2016) and Fabrik, conceptual, minimalist and performative approaches to textiles, Ian Potter Museum of Art, Melbourne Lyndal Walker is represented by HangmenProjects, Stockholm. lyndalwalker.com

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Meng-Yu Yan

Artist Meng-Yu Yan is an emerging artist and academic based in Sydney. As a first generation Chinese Australian artist they explore the intersection between gender, sexuality, identity, race and culture. Meng-Yu produces photographic video and sculptural works.

Meng-Yu presented their first solo exhibition Occulere at Dominik Mersch gallery Sydney in 2017. They have participated in numerous group exhibitions including: 2019 Becoming With, Tributary Projects, Canberra (2019); CARROUSEL, Cité Internationale des Arts, Paris (2018); being / becoming, STACKS Projects, Sydney (2017); MCA ARTBAR: CURATED BY LOUISE ZHANG, Museum of Contemporary Art, Sydney (2015); Outsiders, Imposters and Aliens, Dominik Mersch Gallery, Sydeny (2014) and Porosity Studio: Displacement, Tianjin Academy of Fine Arts, Tianjin, China (2014).

Meng-Yu Yan is represented by Dominik Mersch Gallery Sydney mengyuyan.com

Chris Bond A Stranger in the mirror 2016 43

Acknowledgements

My sincere gratitude extends to the artists for lending their works and creativity for this exhibition. A special thank-you also to their respective galleries for assisting in the loans and arrangements of artworks including: ARC ONE, Darren Knight, Dominik Mersch and Neon Parc. My gratitude also goes to the numerous private lenders from whom we borrowed a number of key pieces for this exhibition. Thanks also to Monash University Museum of Art for lending a major work from the Monash University Collection.

I acknowledge Dr Robert Nelson for sharing his observations and thoughts to celebrate the opening of the exhibition.

The Deakin University Art Collection and Galleries team have enjoyed working closely with the School of Communication and Creative Arts in developing academic programs associated with this exhibition.

Thanks to Linda Tegg, Ross Coulter, Sorcha Wilcox, Hanna Tai, Kirsten Lyttle and Simon Grennan. A special thanks to Leanne Willis, Senior Manager Art Collection and Galleries and the art gallery team: Julie Nolan, Claire Muir, Vanja Radisic as well as exhibition technicians Julian Di Martino and Will O’Donnell. Thanks also to Steve Ingall for technical assistance, designer Jasmin Tulk for her continued fantastic work and Warren Kennedy for his sage advice regarding OHSE requirements. Thanks finally to Deakin Photographer Simon Peter Fox for his efforts.

James Lynch

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Carlo Golin Instrument 2014 45

Echo Chambers: Art and Endless Reflections

Published by Deakin University 978-0-6486747-0-2 Online publication only Catalogue design: Jasmin Tulk

Chris Bond Ian Burn Leslie Eastman Yanni Florence Dale Frank Carlo Golin Justine Khamara Gian Manik Kent Morris Vincent Pirruccio Nike Savvas Linda Tegg Ebony Truscott Lyndal Walker Meng-Yu Yan

Deakin University Art Gallery Deakin University Melbourne Campus at Burwood 221 Burwood Highway Burwood 3125 T +61 3 9244 5344 E artgallery@deakin.edu.au www.deakin.edu.au/art-collection Gallery hours Tuesday - Friday 10 am - 4 pm Free Entry

Exhibition dates 13 February to 29 March 2019

Deakin University CRICOS Provider Code: 00113B

Facebook.com/ArtDeakin Twitter.com/ArtDeakin Instagram.com/deakinartgallery izi.travel - Deakin Art Collection and sculpture walk guides

Deakin University Art Gallery, Melbourne’s Burwood Campus Deakin University Library, Melbourne’s Burwood Campus Deakin Downtown Gallery, Deakin Downtown, Tower 2, Collins Square, Melbourne © 2019 the artists, the authors and publisher. Copyright to the works is retained by the artists and his/her descendants. No part of this publication may be copied, stored in a retrieval system, transmitted or reproduced in any form or by any means without the prior written permission of the publisher and the individual copyright holder(s).

The views expressed within are those of the author(s) and do not necessarily represent the views held by Deakin University. Unless otherwise indicated all images are reproduced courtesy the artists.

Photography is by Simon Peter Fox. Image measurements are height x width x depth.

Exhibition Curator: James Lynch.

Deakin University acknowledges the Wadawurrung and the Wurrunderji people of the Kulin nation and the Gunditjmara people, who are the traditional custodians of the lands on which our campuses are based. We pay our respects to them for their care of the land.

Cover image: Meng-Yu Yan new moon cleanse II 2018 Inner front and back cover: Gian Manik Untitled (Rio Tinto salt) (detail) 2017

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