School of Creative Arts and Media: Grad Show 2022 Catalogue – 3rd Year

Associate Professor Meg Keating Head of School School of Creative Arts and Media

Completing a degree in the Creative Arts is a major achievement that requires a huge commitment, but also provides considerable personal rewards along the way.

Every graduate has gained more than what is represented here in the final presented works. As well as making great works of art, graduates have gained a number of skills that are flexible, transformational and vital in our changing world. In this environment it is increasingly important to be creative, have original thoughts and be able to materialise them into something tangible.

While the mediums range from painting, photography, graphic design, printmaking, drawing, installation and sculpture these mediums are as diverse as the individuals who created them. The elements that unite them however is an attention to detail, as well as a focused desire to communicate and express something distinctive.

The creative arts also provide a vital cultural component and deliver on a range of important skills otherwise missing from any tertiary curriculum. They provide a platform for addressing the important issues of our times; they build self-reflective and, empowered communities, confident communicators; and, let’s not forget, they also bring great joy and reassurance in uncertain times. Creativity, problem solving, critical thinking and collaboration are highly sort after attributes.

Our graduates will leave our programs with real world skills that equip them for many careers and employment opportunities. They are well prepared for the fastdeveloping work forces of the future.

I wish them all on-going success and a fulfilling and creative life. Special thanks is given to the academic and technical staff who have cared, nurtured and inspired our graduates. Congratulations to all involved in this Grad Catalogue for 2022.

The Art Discipline of the School of Creative Arts and Media program is generously supported by various members of the Tasmanian Art community who provide prizes and awards to students completing their 3rd year major studios.

2022 Awards UTAS Executive Dean of the College of Arts, Law and Education Acquisitive Prize Bett Gallery Award Contemporary Art Tasmania Prize Salamanca Arts Centre Emerging Artist Scholarship Megalo Print Residency Moving Creature Graduate Printmaker Residency Rotary Club of Hobart “Emerging Artist” award The Scotch Oakburn College s.p.a.c.e Prize Sawtooth ARI award The Sue Henderson Award

School of Creative Arts and Media (CAM) Art Program

The Art Program at the school of Creative Arts and Media is delivered in two locations: The Centre for the Arts at Hunter Street, on Hobart’s historic waterfront; and the Academy of the Arts at Inveresk, adjacent to the Launceston CBD. Each site hosts world-class facilities supported by professional contemporary art and design practice hubs.

The Art Program is globally respected for the calibre of its research, and the quality of its Teaching and Learning.

Degrees represented in this Graduate Catalogue are: Undergraduate Degrees: Bachelor of Fine Arts Bachelor of Fine Arts with Honours Bachelor of Arts / Bachelor of Fine Arts

Angela Anderson Bachelor of Fine Arts

Air is everywhere, we are swimming in it constantly breathing it in, mostly automatically sometimes consciously We drive our cars, tyres full of air airbags waiting to detonate, to cushion impact We wrap precious things in air filled bubble wrap to protect them We blow bubbles, just for fun Air is everywhere, mostly hidden in plain site acutely noticed at its extremities sometimes noticed as a breeze playing in the trees quite magical.

At the intersection of the act of noticing and imagination the element of air reveals itself in a multitude of states of activation, sparking wonder and contemplation.

Air Dance 2022 (detail) air, electric fans, power cords 1.4m h x 3.1m w x 2.3m d

Sonia Bharati

Bachelor of Fine Arts

Mourning is a series of ceramics, furniture, and paintings.

These objects are emotional responses to climate change, commercialisation, unsustainability, fragility, loss, and strength of nature. Monochromatic ceramic vessels are my homage to magnificent nature and mourning loss of biodiversity. The vessels also symbolises the fragility of human life on this planet. The open cut mine table is a symbol of irreversible human footprint on Earth and unsustainable practices. Paintings are a spiritual representation of the healing energy core of the land and sea.

Mourning Dimensions: Variable Series on Ceramic objects, Furniture, and Wall art.

Chloe Bonney

Bachelor of Fine Arts

My practice is driven primarily by my fascination with the unknowable, found objects and archival investigation.

My approach reflects the fluidity of the locations I study through multiple mediums. My current practice is focused on the collaboration of photography and found objects as I navigate ways to present site through immersive, and intimate art objects that ignite curiosity by drawing on the locations’ entropic, or chaotic qualities.

A memento mori to the architectural and emotional landscapes that signify home. Serving as a poignant reminder that real people loved these homes and perhaps grieved over leaving these spaces behind. The objects then become a eulogy, mourning and celebrating the life of the material world alongside the bones of the architectural.

Debris 4 from Boat not for Sale Series, Digital photograph, 2022

Natasha Bradley Bachelor of Fine Arts

The relationship of sounds and their impact on us at an early age is well documented. Historical tape recordings from my mother’s singing voice once spatially distant have become my present.

Sonically recreating the past through technology, the resonance of a particular time is ever-present.

Talk Talk is an installation encompassing sculpture, sound, photography and light. Viewers enter a darkened room to encounter a tower of glass bricks filled with the sensuous and visceral movement of fog. Reminiscent of memory contained within, the installation is a communication between two people from the past to the present self.

Talk Talk Sculpture size: 150 x 46 x 46 cm Installation size: 210 x 240 x 170cm Recycled glass bricks, fog, sound, LED light, projection and photography printed on transparent film.

Glenn Bryan

Bachelor of Fine Arts

Rock and Charcoal is the latest work in a continuing sequence of investigations in the Cataract Gorge. In charcoal drawings, informed by observation and contemplation, this project looks at the bedrock; underpinning, containing and connecting. Being in place is a major part of any geographical investigation. Walking and inhabiting are the honest ways of absorbing a natural area, it’s content, and context. Through ages, the Gorge has been many things to many. When I walk, I look for those links. As this project follows what came before, the next chapter will have its seed here.

Nicole Burns

Bachelor of Fine Arts

Shedding: The Dysmorphic Banquet is primarily a sculptural portrait depicting the artist’s struggle with weight loss, internal conflict of her relationship with food and the personal perception of her own body. Combining wax dismembered body parts displayed upon silver serving platters in a feast creates a grotesque table spread of meals reminiscent of the struggles of eating disorders, vanity, and the social normalities around ideal female beauty. The gross and possibly disgusting implications the materials used within the dishes juxtaposed against the fresh garnish and elegant silverware depicts the anguish of counting calories, tracking macros and the turmoil of watching the scales.

Counting calories with a side of obsession 400mmx400mm Detail Component of installation work Shedding:The Dysmorphic Banquet Wax cast, oil paint, artificial grapes, lettuce, rosemary on silver platter

Alison Casey

Bachelor of Fine Arts with Honours

Save what you can My work is about the need to set down in paint the physical and sensory manifestations of memory. Memory can be fragmentary and ambiguous. In these oil paintings I try to summon the images and sensations of persistent but remnant memories, those traces and flashes of the body and mind: to save what I can.

In recollecting past experiences, aspects of an interior or landscape can dominate, such as the lighting in a restaurant or a small plane in Fiji. For me paint is a form of synesthesia – converting physical and memory sensations into colour and shape.

Canberra Dinner 2, (detail), 2022 Oil on canvas, 50 x 61 cm

Hannah Charlesworth Bachelor of Fine Arts

Informed by my own relationship with my body, Ethereally Ghostly is a representation of the silent emotions one might have in relation to their body. The perception of this work is an important factor, as I have created these other worldly figures out of fabric. Looming and imposing yet beautiful in composition and nature. The colour of the work is a sheer white, the fabric filtering light from its surrounds. Fabric flowing to the ground, cast in starch and wax, forms of the body stand alone shrouded in an ethereal silence of colour and space. This creates a glow within the work, highlighting the beautiful forms that have been cast in the fabric.

Fabric studies 32 x 68 c/m Charcoal and soft pastel on bamboo water colour paper

Debra Cobern

Bachelor of Fine Arts

From Ceramics to Traditional Aboriginal Basket Weaving, the concept for Safe Space came about from a Story Telling Workshop I facilitated at the Huonville library as part of a Reconciliation Tasmania initiative. The nest conjures an image of safety and comfort, which are imperative for all beings to survive and thrive.

Safe space is a combination of ceramics and foraged natural materials to create a sculptural installation depicting habitats that provide sanctuary. The ceramic pieces are made from terracotta and white earthen ware paper clay, that have not been fired. The cellulose in the paper gives the clay more strength, but at the same time the work is vulnerable to breakage. This highlights the correlation between all beings and the need to feel safe in the habitat in which we live, work and play.

Safe Space, 2022 (detail)

Patricia Coombe Bachelor of Fine Arts

Architecture to Abstraction My passion is modern architecture and I like to change the nature of architectural space by exploring deconstruction of place and form. Compositional structures are relegated to space: sometimes contained within that space and sometimes set free to explore or wander into the next space, forming new shapes that define balance and cohesion. Structures at the beginning become new structures at the end, retaining at least a sense of the original construction while forming another perspective. This results in asymmetric balance with the viewer trying to understand where one space begins and the other ends. The final work becomes a morphed version of the original concept.

Architecture to Abstraction Hedberg 1 (1 of 3 triptych) Oil on linen board 20cm x 20cm

Claudia Creevey Bachelor of Fine Arts

Floating in a void of negative space lays strategically placed geometric shapes with a hint of the idea of a landscape. The colour pallet is designed to sooth the audience, while the bright Perspex is designed to “shine a different light” on the landscape it exists in front of. The aim of this painting is to demonstrate the disconnected feeling between the artist and the landscape before her. By abstracting a recognisable landscape known to the majority of the population and morphing it into something they are not able to place, the artist aims to have the audience relate to the feeling she has when in any location she has previously lived.

Disparate Perspectives 2400cm x 1200cm Acrylic paint and acrylic panels on plywood

Lesley Davidson

Bachelor of Fine Arts with Honours

Movies get into your head. They get into the heads of your neighbours, friends, family and strangers. Some movies leave a lasting impression, an assortment of emotions that do not belong to you but attach themselves and bury deep. Safe inside our boxes and behind our social masks, we interact.

Inside the box is a photograph of a movie, a still image containing up to 200,000 movie frames in a single photo.

A face cast of the artist rests atop this background. A mask associated with the movie attaches itself to the face and lingers. You are not the person they think you are.

Masking the Self - the power of movies on the psyche.

Video installation inside a box measuring 1800 x 950cms placed on a table.

The image is a cropped still from the video.

Timothy Davies

Bachelor of Fine Arts with Honours

My current project, Interstice: Unseen Borders and the Space Between Worlds, is an exploration into the intervening spaces that linger between all things and bind them to the hidden realms that border humanity. This body of work reflects on the invisible connections we often feel surround us and anchor us to the unseen transcendent place that exists between humanity and the universe. My work has always operated within a nonphysical space that positions itself between conscious and unconscious experience. Interstice attempts to present the unseen world as an artifice set against a framework of modern culture, creating a dreamlike reality.

Untitled study (2022) Acrylic on Canvas 445 x 600 mm Work in progress

Michelle Dracoulis Bachelor of Fine Arts

Stripped of identity, torn from country and robbed of dignity, displaced tells the story of those broken down to even less than binary - singular units, unpolished, uneven and excised from society. This work is recognition of the boys of Point Puer, over 3000 child convicts who were transported by the Commonwealth to Tasmania between 1834 and 1849. I sought to explore repetition, the mundane. To live days that saw little progress but required constant work. To represent the ‘each’ and the ‘they’ simultaneously while maintaining the borders and boundaries that took place within and without.

Displaced Ceramic 250 x 250mm and Time-based media

Isabelle Duff

Bachelor of Arts / Bachelor of Fine Arts My Bedroom Wall is a work that imitates the space in my life that has been a place of expression and connection to the people, places, and times I have moved on from, but which are still important to me. Throughout my childhood, adolescence, and young adulthood, like most people, I have been learning about myself and the world around me, through experiences and relationships. Life is full of instability and change, which can be hard, but often brings about growth. For me, throughout these hard periods of change in my life, my bedroom has always been a place of comfort and expression. I have used my bedroom wall as a canvas, which I have filled with collages that showcase fragments of memories of my life thus far.

My Bedroom Wall Collage, 841 x 1188m *Singular collage from a series of collages I will be displaying.

Keryn Fountain

Bachelor of Fine Arts

Dissonant Terrain brings together a series of works that unearth my visceral response to the chaotic visual language in my bush landscape. By rearranging and manipulating the natural cadence of found materials in a gestural way I aim to create an implied vocabulary and poetic narrative. Nature’s detritus is used to translate and reimagine new conversations from relationships between the forms and represents the weathered and chance marks that scatter and decompose in our constructed spaces. This project invites the viewer to closely observe these often-overlooked details from our natural

Twig Fall 2022 (detail) Series of 3 multi-panelled works 740mm H x 530mm W embossed Hannemüle paper

Georgia Garry

Bachelor of Fine Arts

Georgia’s art is situated within the realm of visual storytelling.

Often driven by writing, Georgia paints intricate, illustrative visuals that pair with written inspirations. Her work depicts the dreamy, surreal, strange and wonderful, inviting viewers to step away from the mundane into a different world, if only for a moment.

Senescence explores patterns in nature, depicting the oftoverlooked ecosystems of lichen and fungi hidden throughout the Lutruwita landscape. This body of work describes a narrative of the Anthropocene, cosmic insignificance, and optimistic nihilism.

Senescence #6 (2022) Acrylic paint, wollastonite, lang lang sand on MDF, 297 x 297mm

Jaclyn Godfrey

Bachelor of Fine Arts

“I am still.

I see her stir and then she is still and I see the shapes of others like her about her.” - Erin Hortle, The Octopus and I Attuned to the materiality to seek stillness. Always seeking …. letting it flow directly through my hands. Letting the charcoal hum across the page, a murmuration of sorts. Swirling, morphing from anxiety to a place beyond.

I am still (detail) Charcoal pigment, photo collage on fabriano The picture attached is a study sketch No dimensions

Julia Hart

Bachelor of Fine Arts

Seeds to memories is a series of intricately illustrated seed packets, that looks to honour my mother and our shared love of gardening. While my own garden is a result of that relationship and where I feel closest to her, this project celebrates how gardening connects us to nature and to others. There is something so hopeful about the act of giving and receiving a packet of seeds, though diminutive, they hold the promise of life, of colour, of fragrance, of renewal and memory.

Cottage Garden, 2022 Image Detail, 297 x 420 mm Watercolour pencil, colour pencil

Jeremy Hemming Bachelor of Fine Arts

In this installation piece, I am searching without necessarily expecting to find, somewhere I feel comfortable existing.

Because of colonialism in Australia, I do not feel comfortable calling myself Australian, for should that name not be used only by first nations Australians? Alternatively, I do not feel comfortable calling myself British either due to the atrocities caused by them. Thus, this work represents a longing for me to find somewhere I belong, physically, sexually, and culturally.

With a series of lithographs and photography I have tried to capture aspects of myself to see if there are any clues there to these difficult questions to answer.

Belonging Mixed Media Photography and Lithography Dimensions variable, dependant on presentation space

Rowiina Howard Bachelor of Fine Arts

Centred around the Australian landscape, my practice utilises the unpredictable results borne from eco-dyeing. Re-purposed fabrics are boiled in eucalyptus leaves, which imprint the wool, cotton and silk with rich tannins. Transformed, these fabrics are assembled using an intuitive approach. In making this work, I intend for viewers to slow down, to touch the work, invoking their senses to ground them in the present. The work is intended to welcome viewers to the natural world as a place of comfort rather than fear. Nature regenerates and sustains us, it is important that we remember our place within it, to respect the more-than-human beings we share space with.

Eco-dyed silk, work in progress, 2022

Katherine Jones Bachelor of Fine Arts

Disruption of surface is a large-scale installation work, inspired by lichen and rust, comprising of a multitude of organically shaped textile works ranging from 3 cm to 170 cm in diameter.

Created from traditional quilt making materials and techniques, the construction process mimics how natural patterns are formed through chance elements within a controlled system.

Playing with the concept of micro and macro while creating a visual analogy between living and non-living patterns Disruption of surface seeks to highlight the appeal of nature’s persistent and perpetual erosion of man’s sleek rectilinear creations through processes of growth and decay.

Disruption of surface Fabric, thread, wool batting Dimentions variable (installation) - individual components range from 3cm to 170cm diameter (approx.)

Donna Keogh

Bachelor of Fine Arts

quale NOUN qualia (noun) · qualia (plural noun) 1.a quality or property as perceived or experienced by a person: “in a different world, I could have the qualia of ‘red’ when looking at the sky (but would continue to label it as ‘blue’)” Perceptual Invocation of Vivid Qualia is a collection of 4 canvases that depict the intensity of emotions stemming from the Zones of Regulation. Through the use of monochromatic colours and individualised mark making methods, each canvas is created with the same intensity in which the zone is depicted. It is the hope that the viewer will also feel each canvases intensity and will feel a range of emotion stirring up inside.

Perceptual Invocation of Vivid Qualia Mixed media on canvas 91 x 122cm Close up on each four canvases

Manisha Kernan Bachelor of Fine Arts

Initially spurned by reflections on the union between fragmented memories and painting as a metaphor for the process of remembrance, this project was inspired by the writings of French philosopher Gaston Bachelard, specifically his book, ‘The Poetics of Space’ (1957). Bachelard discusses the philosophical nature of memory and poetics, pioneering the idea of memory represented by the various rooms in the home as a vehicle for personal experiences. The materiality of these memories can be layered and fleeting, complex and fragmented. Through the expression of paint, we can begin to map out understandings of these memories and their impact on our sense of self. Our emotional states at the time of experiencing these sites can influence our remembrance of memory. This ‘colours’ our objective understandings of place and can be critical in the development of self-identity.

Fragment I, 20 x 25cm, oil and acrylic on canvas

Jan Larcombe

Bachelor of Fine Arts with Honours

My driving passions centre around life, living and place, and I investigate cultural, social, and geographical spaces using myself as a vehicle for exploration. Challenging ideologies of aging by exploring the process of living through questioning how bodies accumulate memories and shape identity is at the heart of my practice.

This project asks how we live with complexities we uncover as we age; exploring life’s universalities, and knowing we are all we have ever been. Layering personal throughlines of solitude, wildness and bravery has led to new personal frontiers, striving for visual representations which disclose a lived body in ways that invite others to quietly consider their life maps.

the shaping of my lived life 2D laser cut detail of current iterations of 3D body scans.

Frances Malcomson Bachelor of Fine Arts

“As if we could just turn and wade back / through the ghost of some ancient season” (Bird, H, L, 2016, lines 4142). My art expresses the ephemerality of being and the tracings that remain. Absence inhabits the empty memory vessels. The tonalities of the mono printed fabrics are the shadowed markings of past seasons. The ethereal is within the translucent papers and blurred marks of the lithographic prints. Silver lines lightly trace throughout the works. Stitched text expresses longing. The project’s expression of absence, past shadows and remaining tracings is amplified through collective display.

Work cited Bird, H, L, 2016, Lost Scrolls, Love Comes Back, Hera Lindsay Bird, Victoria University Press, Wellington, (New Zealand).

Tracing the Ephemeral, Memory Vessels, detail.

Mono printed fabrics, thread, glue.

Each vessel, 40 cm h x 22 cm w.

Sidonie Marjason Bachelor of Fine Arts

I have been inspired by the North Esk River to create a series of works. They demonstrate the close connection of place (North Esk) and my home (Launceston). I use a variety of approaches and techniques. New compositions are deconstructednand reconstructed. Images are recorded and translated into the simplest, stripped back forms.

There is a collaboration between drawing, painting and digital imagery with a strong focus on colour, shape and line. There is a playfulness of colour and layers through Photoshop. I create my own personal language (or code) of connection of place to self.

Untitled

Thomas Milroy

Bachelor of Fine Arts

Distant Voices is a marker that explores our channels of consciousness and distant emotional languages, a filter of spiritual interpretation. Drawing inspiration from quantum physics and the philosophy of the observer effect. The work examines our connection to the dream body and the opening and closing of the energetic channels we operate within.

Designed to mimic and react to interaction, Distant Voices is a contemporary response to the interference and pollution that the physical world has on our dream bodies and subconscious landscapes. An encounter intended to be a mirror of self and a tool for re-connection.

Distant Voices (detail) Fluorescent-light sculpture and projected image 1800mm x 600mm

Marilyn Nicholls Bachelor of Fine Arts

The inspiration behind this project has been observing the slowly decaying vegetation within billabongs as the seasons change from the dry summers and wet winter flooding. By using the shadowy marks left behind on fabric and cotton paper placed within the billabongs for a limited period of time, the intention is to create a textile interpretation of the elements of decay and decomposition but also of regeneration.

The project has been focused on a specific area I have regular connection and appreciation of but is a place that has had minimal human impact. These places are a world unto themselves where the brook flows slowly by in the summer and the grasses grow amongst overhanging willows and hawthorns.

Billabong Shadows (detail)

Margaret Perversi

Bachelor of Fine Arts with Honours

The lure and particularity of material properties combine with an improvised yet considered process, in driving the narrative of this installation.

Every-day, mostly ephemeral materials pique my interest.

Abandoned or headed for the recycling bin, I salvage. Potential for new futures arises. Desire to reckon with the vibrant and unique agency of material stirs. Connecting- one thing to another, the one with the many- I encounter myself. The object becomes the subject. Through inter and intra-connectivity, a multiplicity of selves become united; one.

Pause a while...listen...and wonder. To care, is to value: to attend, to repair. To mend.

The Mattering of Matter Nylon and cotton fabric, buttons, thread, plaster, gauze, hessian, cardboard, metal, wood, acrylic, 250 x 420 X 350 cm

Cassandra Ringsell Bachelor of Arts / Bachelor of Fine Arts

In a radical display of condolence, Anthropocentrism interrogates the impact of colonialism on Australia’s native flora. With a focus on locality, historical practices, and the impact of the past on the present and future, Anthropocentrism examines the ethics of environmental manipulation, placing attention on the Anthropocene, colonisation, and the troubling notion of manmade change. Didactic in nature, this project intends to educate on acts of anthropocentrism, promoting introspection and accountability to encourage radical changes to the ways we perceive, interact with, and protect the species in our care.

Sketches of Discaria pubescens and Mentha australis Digital art

Hope Smith

Bachelor of Fine Arts

Through printmaking I have been exploring my personal connection to the Tasmanian landscape. Focusing on place, home, and nature, inspired by the unique and engaging environment. Printmaking has enabled me to have deeper connection to the Tasmanian landscape, with a particular interest in the natural environment. Influenced by the uniqueness and chance element of mono-printing, I find this technique reflects the atmospheric changes in the landscape.

With the addition of handmade stencils utilised through the printing process. The work has the ability to change endlessly and be manipulated to create familiar yet distinct landscapes.

Reflections of Cradle Unique State Monoprint, 2022 28cm x38cm (Detail) @Hopesmith_art

Joshua Smith

Bachelor of Fine Arts

JBOI’S WORLD is a collection of works each acting as a ‘portal’ into my world. Each work is an externalization of my internal universe, giving the viewer insight into the side of myself that they do not see. Specifically, the part that can spiral out of control from having a crowded mind. Being diagnosed with anxiety my mind gets crowded with thoughts. Also, being dyslexic I find it hard to put my thoughts and feelings into words, so visuals and drawing are a way of expressing myself.

These works are an act of therapy for me. Expressing my chaotic mind.

JBOI’S WORLD, 2020 (detail)

by JBOI aka Joshua Sutton Smith 1200mm x 900mm MDF Board x3 1200mm x 1200 Plywood Board Posca Pen, Ink pen, Spray Paint, Primer Paint 2022

Eden Spinks

Bachelor of Fine Arts

An investigation of self-awareness analyses how body and mind respond to one another. As I encounter the universal experiences of love, self-acceptance, and friendship; I reflect on how they influence my sense of self as a woman and my relationships with the women around me. The work responds to challenges faced by women today as the prioritisation of self-care is presumed self-indulgent. Through an unapologetic embrace of colour and layering of paint I push back against these fictional narratives. Flaunting my discovery and interpretation of self, I raise my voice in an excitingly brave performance of self-portraiture.

Living Wishes and a Mango Tree, 2022 Body of Work: Self Portrait Series (series of 3 works) 750mm x 600mm Oil on board

Bridie Thorp

Bachelor of Fine Arts

Memories are often an unreliable source. Over time, they are tainted by emotion. Feelings grow saturated with each recollection. Context shifts meaning, and moments lose their immediacy when they are situated amongst a collection of other happenings in memory. This series uses expressive paintings to create a visual language to capture memories through the lens of emotional retrospect; using expressive painting to cultivate the specific atmosphere and feeling of a fleeting moment. Exploring themes such as time, perspective and human connection. Riveted in the relationship between memory, experience and the feeling of youth slipping away. The work acts on a need to capture the immediacy of experiences.

Holly Asleep in the Mirror 1500mm x 1100mm Oil and acrylic on paper

Rebeckah Vagg

Bachelor of Fine Arts

A celebration of all things circular. Including the connection of geometric similarities and repetitious and iterative mark making.

The laboured approach of multiple paint layers scrapped back and glazed over sees the works want to allude to the notion of a reveal as well as to hide. Wetting the canvas to make it cry/ bleed/purge and baptise. This is juxtaposed with tight and ridged structure of tonal laws to give the illusion of depth.

Gratitude Flower Acrylic on canvas 1m x 1m

Conal Vince

Bachelor of Fine Arts

A series of illustrations exploring the themes and concepts around physical and mental pain, how we deal with them and how they alter our sense of reality and perception. Taking inspiration from American and Japanese comic books ‘Pain Attunement’ showcases a gritty and dynamic pen and ink drawing style that hopes to offer an entertaining look into a physical manifestation of our feelings around pain and discomfort. While pain can be a horrific sense to encounter in our lives, being able to live with it is a reality that ‘Pain Attunement’ highlights in stark detail.

Pain Attunement #2 (detail) Pen and Ink and Acrylic Paint on Plywood 1.2m x 0.56m

Elizabeth Woodorth Bachelor of Fine Arts

Dreamy colourful skies turning into water, everything is upside down, beneath and under the surface of what is meant to be.

Fish glide though the air smoothly as butterflies dance within the water, flowers bloom and petals fade to nothing. The light shines through but the darkness of this fantasy will crack and shatter, as the fait of the ugly reflection slivers into the paradise to create balance, sinking into darkness. Closing in, falling continually. Quiet, still and not knowing what to make of what cannot make sense. Back to the paradise but not sure when the monsters will return.

Utopia, 2022 (detail) oil paint 1.5metres by 6 metres

Yuhua (Jenny) Zhen Bachelor of Arts / Bachelor of Fine Arts

A Year’s Worth (2022) uses shadow to portray memory and place. The School of Creative Arts’ permanent presence in my memory is symbolised by the artificial shadow. Using photographs of shadows taken from within the School of Creative Arts, a collage is assembled and outlined in Procreate.

The designs are laser engraved on an acrylic sheet, which is suspended near a light source.

A Year’s Worth (2022) Acrylic sheet and light 26.5 cm x 34.5 cm

School of Creative Arts and Media (CAM) University of Tasmania https://www.utas.edu.au/creative-arts-media/art Email: CAM.Admin@utas.edu.au Hunter Street Campus: (03) 6226 4300 Inveresk Campus: (03) 6324 4400