HSC MAJOR WORKS CATALOGUE 2024
FROM THE HEAD OF SCHOOL
Foreword
It is an honour to work in an environment that inspires students to excel, persevere, explore, and innovate. This publication showcases the HSC Major Works submitted by our talented Year 12s.
The students have dedicated themselves across various disciplines to produce some wonderful work. As a school community we are incredibly proud of them – it is no easy feat to complete projects of this calibre. These results reflect diligence, planning, research, creativity and the significant time invested throughout their senior year. The grit, maturity and perseverance required to complete these works is commendable.
I gratefully acknowledge the tireless assistance and guidance of the staff members who have toiled alongside the students throughout this journey.
I hope you enjoy exploring the insights behind the outstanding Major Works from the Class of 2024.
Matt Macoustra
VISUAL ARTS
Matilda Awad
Macie Bonus
Tahlei Corry
Lachlan Dunning
Sarah Fogg
Darcy Ford
Lauren O’Reilly
Mika Pace
Jordan Wade
Jade Willis
MATILDA AWAD
Title: Captured Fluidity; Mirrors of Me
Expressive form: Collection of Works
My body of work, holds a deliberate irony in the transient use of the hard surfaces of the mirrors rather than the natural flow of a river to highlight rigid social structures, revealing perceptions of the self. Symbolising the fluid and ever-changing nature of identity, much like a reflection on the surface of water. Just as a river distorts and reshapes the images it reflects, our sense of self is continuously influenced and altered by the currents of external pressures and internal emotions. Through my works, I aim to invite viewers to contemplate the fluidity of their own self-perception, much like staring into a river that never reflects the same face twice. In a world where societal pressures often dictate how we should present ourselves, I’ve frequently felt my authentic identity being buried under layers of conformity. This artwork reflects my response to these pressures, using distorted reflections and warped images to illustrate the challenge of preserving one’s true self in an environment that frequently
MACIE BONUS
Title: Timeless Elegance: The Beauty of the Mature Female Form
Expressive form: Collection of Works
In my Body of Work I have used the traditional mediums of drawing and sculpture to explore the inherent beauty of the female body. I have sought to bring permanence to the delicate form of the female nude as both an abstract form and as a symbol of beauty. The fragile forms of the drawings compliment the abstraction of sculptures that pay homage to classical representations of the female body. The harsh light and dark presents a fragmented and abstract depiction of the female form in both the shadow boxed digital fabric chiffon series and drapery used in the photographs. Ultimately my body of work reveals the traditional ideals of femininity by exploring the varying contours of the female figure.
TAHLEI CORRY
Title: Breaking Pointe: The weight of Ballets’ unyielding stage Expressive form: Collection of Works
My body of work is a memento mori exploring humanity’s impermanence, reminding viewers of their own transience. It mourns the absence of the dancer, paying respect to weight and pressures within the dancer’s life regardless of understanding of our contemporary dance and the dancers journey. Hollow sculptures of the dancers clothing express the brevity of experiences. The absence of the dancer in the fossilised objects represent varying states of absence. Accompanying objects provide some elaboration on the anonymous dancer and their unheard memories. My intent is to prompt reflection upon the extent to which lives are valued before and after their passing. The journey of the dancer transcends the confines of clothing.
LACHLAN DUNNING
Title: Life on the Land
Expressive form: Collection of Works
Throughout my body of work, I have used the postmodern medium of mixed media, installation and digital media to explore the inherent beauty of the countryside and my families’ farm. Within this increasingly urban world people tend to overlook and forget about the natural beauty that our Australian countryside holds and through my layered digital images I aim to show the audience the expansive textures and colours that are revealed within surrounds of my farm. I have chosen to use found objects from the shed combined with mixed media paintings in order to encourage the audience to reflect on the aging process of the countryside and our family shed and the many layers within rusted objects and how each hold information from the past. My oxidized and rusted boxes also display the process of aging and erosion. Through my material and conceptual practice my work aims to the beauty, sensitivity and fragile transience of the Australian landscape and my family’s farm.
SARAH FOGG
Title: Wings and Metal: A Reimagined Habitat
Expressive form: Collection of Works
My body of work explores alternate worlds where birds live as humans – they are engaging in daily life experiences in urban environments. I have used digital illustrations to show a simulated world, where humans do not exist. Birds in the real human world are normally overlooked, however in my series of digital works I attempt to show how the birds have become citizens – scenes of them in regular human routines, making a mockery of our daily rituals and city working life. I have used the postmodern mediums of digital laser cutting and animation to depict how ‘regular’ life for the birds can be carried out. Erasing humans from the typical urban places, such as work, having dinner and going to cafés on a daily basis provides the audience with an amusing experience.
DARCY FORD
Title: Formation of Succession; Shoaling
Expressive form: Collection of Works
In my body of work, I have used the post-modern medium of installation, and digital media to explore the inherent beauty and elegance of shoaling. I have sort to give the audience insight into a range of different visual sensations which show the wonder of groups of fish swimming in different formations. I was inspired by my upbringing along the harbours and oceans of the coastal Australian town of Newcastle. I was always obsessed by the patterns of flickering silver in the water. the intricate community of pattern, flying across the water in complete cohesion. this inspired me to artistically replicate this beauty, focusing on shadows, reflection, and movement through my practices. My work represents the visual magnificence of shoaling and appropriates them within a post-modern materials and context.
LAUREN O’REILLY
Title: Echoes of the Unseen.
Expressive form: Photomedia
In my body of work, I have utilised the contemporary medium of photography to explore my personal journey with depression and high-functioning autism. I used slow shutter speed and a vivid palette of purple, pink, red, blue, and green to communicate the complexities of these struggles to my audience. Each image reflects my internal struggle and the complex emotional landscape I navigate daily. The slow shutter speed captures a sense of fluidity and disorientation, mirroring how sensory overload and emotional turbulence often overwhelms me. The colours are deeply symbolic: purple represents my moments of introspection and melancholy, red and pink conveys the intensity of my emotions and the turmoil I experience, blue reflects my feelings of isolation and introspection, and green symbolizes fleeting moments of hope and renewal. Through these visual elements, I aim to share my intimate reality and evoke a deeper understanding of the challenges I face.
MIKA PACE
Title: Altar-ed States
Expressive form: Documented Forms
“What or who is looking through your eyes and listening through your ears? What is the nature of your Mind?”
The above question is called a Koan – a question which one should contemplate. As you sit before this contemporary Tibetan Buddhist altar, I encourage you to take a poem out of one of the 5 bowls in front of you. This poem will provide a small portion of the Koan’s answer. I encourage you to remove the ring and delicately unravel your poem and contemplate its meaning in relation to what you see. Each poem contains the essence of its corresponding Buddhist symbol – one of the sculptures in front of you – in accordance with Tibetan Buddhist symbology. Every poem reveals one aspect of the question’s answer – the collective realisation of which is called “Enlightenment.”
Growing up as a second generation Australian Tibetan Buddhist, my parents discovering Buddhism in their twenties, I have grown up in the intersection between a western understanding of reality and a Tibetan Buddhist worldview. This body of work is my expression of where these two states meet. Making it was a personal and spiritual process. Alter-ed States is the physical manifestation of the reality I grew up in and the way I understand existence.
“When the door of the Mind, Through which appearances are created Remains unobstructed, unwarped by concepts, Then there is no solid reality, just bright light.”
H.H. Ranjung Rigpe Dorji, the 16th Gyalwa Karmapa (1924-1981)
JORDAN WADE
Title: The Lure of Technology
Expressive form: Documented forms
In my body of work, I have used the postmodern medium of sculptural installation. By placing the silhouette sculpture of the figure into the landscape my work aims to consider the way in which we document our journeys and subjective experiences. Post modern techniques and technologies have also been utilized through the use of laser cutting acrylic to create the figures shadows and silhouettes. The silhouettes of the figure can be taken literally and metaphorically in appreciating the work compositionally and as an object or look further into the use of technology and the way we engage with our surroundings. Having varying people furthers this idea and reflects the world around them. The installed figure has been documented through digital photography in different natural contexts. The silhouetted figure contrasts with the colours and textures of the natural landscape. My work becomes a social commentary on our postmodern world and provides the audience with insight into how we use technology.
JADE WILLIS
Title: Landscape Contours
Expressive form: Collection of works
As a keen bush walker, my series of works aim to explore the awe and beauty of natural formations in the Australian landscape. The resilience of contour and the time weathered colour-scape of the environment. Inspired by Lloyd Rees’ art interest with the permanence of rock, and Pippin Drysdale’s colour field couplings, I’ve hoped to capture my fascination with nature’s contoured spectacle.
DESIGN & TECHNOLOGY
Myfina Bland
Tahlei Corry
Natalie Fensom
James Fox
Cooper Hides
Ava Horn
Darcy O’Neill
Thomas Rule
Sawyer Ware
Olivia Wildschut
Phoebe Wood
MYFINA BLAND
ASD Sensory Book
This product is aimed at assisting children with ASD through a classroom setting. Classrooms can be a very challenging place for children with ASD providing extensive audio, visual, and physical touch stimuli, when for example the classroom becomes too loud this can cause the child significant discomfort, in such a sense they are unequipped to understand and cope with. This can cause the child to react irrationally, or simply shut down, known as sensory overstimulation. My product was created with the ambition of providing discrete, holistic support through overstimulation and aiding children with decoding and understanding complex overwhelming emotions and responses to particular stimuli. The product is cutting edge in the fact it addresses multiple aspects of the current market and is the only one combining so many important features and issues. Further for this product to function to its full potential it is driven by the concept of customisability, to ensure each individual child receives the support they desperately deserve and need. The contents of the product feature a range of fun activities, engaging with different challenges, either educational or other variety. For example, activities targeting fine motor skills, as well as activities growing the child’s knowledge + understanding about letters/numbers through a variety of fun engaging activities. A big aspect of this product is helping to isolate specific sensory to decrease the sensory input and help the child to calm down and approach and decode the difficult sensory stimuli.
TAHLEI CORRY
Rainforest Deterioration Awareness Costume
For my Year 12 major project, I have created a textile piece designed to raise awareness about our endangered rainforests. This garment addresses the pressing issue of deforestation and the overall decline of rainforest flora. The dress features elements that vividly represent the lush vegetation of these vital ecosystems. The top half of the dress is adorned with doilies arranged to resemble the delicate flowers that flourish in rainforests, highlighting their beauty and fragility. The intricate doily design enhances the concept by drawing attention to the diverse and intricate life forms that rainforests support. The bottom half of the dress is composed of layered fabric designed to mimic the dense foliage of rainforest leaves. Each layer symbolises the complex structure of the rainforest and the various threats it faces. The layering technique not only adds visual depth but also signifies the multitude of challenges confronting these ecosystems, from deforestation to habitat loss. Together, these features aim to evoke a sense of ‘protection’ and encourage viewers to reflect on the urgent need for conservation efforts. The design encourages the audience to think more deeply about their role in preserving these crucial environments and to consider how collective actions can mitigate the impact on our rainforests. This textile piece serves as both a statement and a call to action, seeking to inspire greater awareness and engagement in rainforest conservation.
NATALIE FENSOM
Pipi’s Pupachino Cafe Architectual Model
I have made an architectural model of a café that will be hypothetically located in Bar beach NSW that will be designated to allow for dogs and humans to thrive in one space. As Newcastle lacks cafés that allow dogs inside, I believe my need will suit a vital communal and individual need, providing a stress-free space and environment for dogs. Dogs are prone to being anxious and nervous when tied up outside of restaurants or left at home, and can be vulnerable to being possibly stolen, however with my proposed design I aim to prevent this from happening and creating a space in which people can dine with their pets. The space will offer a restaurant/café layout with an enrichment area centred in the heart of the space so customers can dine and have a coffee while watching their dogs so people can feel safe about bringing their dogs into public spaces. Thus, my design of an architectural model dog café will adhere to many needs and concerns surrounding the issues listed with leaving dogs outside or at home, providing a space where people and dogs can both thrive.
JAMES FOX
Industrial Aesthetic Coffee Table
As the world progresses, technological advancements become an inextricable part of our daily lives. This shift, while inevitable, brings to light significant challenges, the increasing tendency for technology to foster individualism rather than encouraging communal interaction. Additionally, the furniture industry often conceals the presence of harmful chemicals within everyday items that people use without a second thought. In response to these issues, my coffee table concept integrates technology in a way that promotes shared experiences, aiming to transform solitary usage into a catalyst for conversation. Simultaneously, it addresses the environmental and health concerns associated with conventional furniture production, particularly the waste generated and the harmful chemicals involved. This design seeks not only to redefine the role of technology in our lives but aims to contribute to a more sustainable and health-conscious future in the midst of technology.
COOPER HIDES
Contemporary Resin Skateboard
My project is a contemporary, modern-style skateboard crafted from 1mm bamboo plywood, complemented by an eyecatching epoxy resin design. The inspiration for this skateboard stems from my personal experiences with skating, where I identified several areas of improvement on my previous board. Choosing bamboo over regular plywood was a deliberate decision, as bamboo offers superior strength and durability, making it an ideal material for a high-performance skateboard. For the epoxy resin design, I opted for an ocean-inspired aesthetic, aiming to captivate consumers and emphasize the skateboard’s environmentally friendly nature. The flowing, deep blues and greens are designed to evoke the beauty of the ocean, encouraging a connection with nature and a sense of responsibility towards sustainability. In addition to the aesthetic elements, I wanted the design to resonate with Australian culture. To achieve this, I incorporated the declining contour lines of Australia’s east coast into the board’s design, subtly blending the natural landscape with the sleek, modern look of the skateboard. This cultural homage not only adds a personal touch but also serves to draw in a wider audience who can appreciate the unique blend of art and function.
AVA HORN
Multi-Purpose Medical Supply Compartment
For my major project, I have designed a multi-purpose medical supply compartment integrated within a trunk-style suitcase. This compact and innovative system incorporates several key elements, including a foldable desk, an examination table, and multiple storage units, methodically designed to ensure mobile health professionals have quick and efficient access to essential equipment in emergency situations. Each storage unit is carefully structured to accommodate a variety of medical supplies, organised in a manner that priorities accessibility and orderliness. Moreover, the fold able desk, embedded beneath these storage units, involved the incorporation of numerous innovative techniques to ensure the final design can be easily assembled and disassembled by the final user. Throughout the development process, I placed a strong emphasis on ensuring that the product was lightweight, durable, and highly portable. These characteristics allow the product to be easily utilised by a wide range of medical professionals, regardless of the environment. The versatility of the design ensures that it can adapt to different medical contexts, making it a valuable tool in diverse emergency settings. During the development process, I dedicated significant effort to ensuring that the product met the highest standards of functionality and reliability. This involved extensive research into existing mobile medical solutions, as well as rigorous phases of experimentation and testing. These steps were crucial in refining the design to specifically cater to the target market, ultimately creating a product that not only meets but exceeds the intended needs. The final design represents a holistic solution, combining innovation, practicality, and versatility to support medical professionals in their critical work.
DARCY O’NEILL
Endlesshands
The project is an interesting endeavour I have designed a playable art gallery though a game designed to evolve into a lot more adventurous, like an evolution of an old adventure game. I would say that this project has been a experience that is odd to talk about. A lot of it was made by a me of the past, and if I’m being honest I think it is complete enough to not need to work on an updated version I would say that it is in a good place as of writing and submitting the project. Overall I think people will enjoy this game a lot with how I made the maps it should incentives some exploring in the town it is definitely worth playing the game at least once to get a impression of it for the first time see what secrets you like or elements you like, there isn’t any set goal needed. I am very happy with how the project manage to keep its main goal in mind even when certain aspects of the project would change but at least it is finished and ready to be presented for the public eye and for other people to play the game now..
THOMAS RULE
Mature Modular Wooden Loft Bed
For my Major Design Project for D&T I made a wooden loft bed that is designed to encourage a mature working environment, while remaining affordable and studiously functional through its modular system. In my Loft Bed there are two main sections, the bottom bunk which is desk section, and the top bunk which is the bed section. For the desk section, the modular system’s functionality is fully realized through the removable/rotatable/ replaceable desk and shelving units. You can rotate the desk upwards to act as a place for a whiteboard, world map, calendar, etc... And for the shelving, you can place the shelving units at various heights and positions according to what type of organization space you need like a book space, space for stationary supplies, space for folders, etc... The bed section of the loft bed is accessible through a ladder which leads to a king single mattress sized top bunk, which Is a sufficient size for almost all older teens to young adults. All of the parts of the loft bed are coated in a dark muted brown to make the environment for focused, disciplined, and inclined towards studying / working. Overall the loft bed I designed mainly towards students in secondary/tertiary education and early young adult workers who have a limited: budget, floor space, and attention span.
SAWYER WARE
Bone Speaker
My project involves creating a plywood laser-cut resonator speaker, commonly known as a bone conduction speaker. This innovative design utilises bone conduction technology, which transmits sound vibrations directly through solid materials rather than through the air. By employing precision laser cutting to craft the resonator from plywood, the project merges traditional craftsmanship with advanced audio technology. The plywood’s acoustic properties are enhanced by the laser-cut design, enabling the speaker to deliver clear and immersive sound. This approach not only demonstrates the potential of blending conventional materials with modern technology but also explores new possibilities in sound transmission and speaker design.
OLIVIA WILDSCHUT
Algae Bloom Awareness Costume
My algae bloom dress/costume is a remarkable blend of sustainability, creativity, and environmental consciousness. Drawing inspiration from the natural phenomenon of algae blooms, my design aims to capture the vivid colours, organic textures, and dynamic movement of algae in water, while prioritizing eco-friendly practices. My commitment to minimizing environmental impact is evident in my careful selection of materials. By repurposing second-hand resources like the wedding dress from Facebook Marketplace and other fabrics sourced from second-hand shops, I not only reduced waste but also gave new life to discarded items. This aligned perfectly with the ethos of sustainability, making my dress a true testament to the potential of fashion to be both beautiful and responsible. The design of my algae bloom dress featured flowing lines and asymmetrical patterns, reflecting the natural, undulating motion of algae in water. The use of materials like denim and Japanese fabrics added texture and dimension to the dress, creating a visually striking piece that captures the essence of an algae bloom. The layers and draping techniques I used mimics the organic forms found in nature, allowing the dress to move gracefully and evoke the fluidity of water. In essence, my algae bloom dress was not a garment but a statement costume about the future of fashion and the importance of sustainability. By integrating repurposed materials and drawing inspiration from nature, I created a piece that challenged the fashion industry to rethink its impact on the environment while showcasing the beauty of eco-conscious design.
PHOEBE WOOD
Wood Memory Bear
I’m introducing a line of handmade memory bears designed to provide comfort to children experiencing stress and trauma. Each bear is carefully crafted from a variety of soft, colourful cotton fabrics in a unique patchwork style. To enhance the calming effect, each bear includes a removable heart filled with lavender, known for its soothing properties. The lavender heart is securely attached to the bear’s arm and comes with a small bag that allows for easy removal. The fresh, gentle scent of lavender lingers throughout the bear, providing ongoing comfort to the child. My memory bears stand out in the comfort toy market due to their unique blend of sustainability, personalization, and thoughtful design, all tailored to meet the specific needs of children dealing with stress, trauma, or illness. By using upcycled materials for the patchwork design, each bear is one-of-akind and appeals to environmentally conscious consumers. I’m committed to sustainability, ensuring that my bears not only provide comfort but also contribute to an eco-friendlier world. Customization options allow each bear to be tailored to a child’s specific needs. From selecting fabrics to adding scents and sensory elements, my bears become truly personal, offering comfort in a way that mass-produced toys cannot. They are designed with both beauty and function in mind, featuring details like hand-sewn noses and decorative ribbons for visual appeal while maintaining practical, comforting functionality. By focusing on children who are sick or dealing with trauma, I’m addressing a niche market that often goes underserved, ensuring my bears
ENGLISH EXTENSION 2
Catilin Baker
Amalie Dilba
Alice Jeffery
Esal Khan
Madeline Nelson
Mika Pace
Sasha Stockham
CAITLIN BAKER
“Hvem er Jeg?” (‘Who am I?’ in Danish) aims to highlight the connection between cultural heritage and personal identity for individuals within multicultural Australia.
My piece was born out of a joint inspiration from my maternal lineage alongside my personal experiences in understanding national identity growing up overseas.
The main influences for my piece were Nam Le’s “Love and Honour and Pity and Pride and Compassion and Sacrifice”, Jennette McCurdy’s “I’m Glad my Mum Died” and Helen Garner’s “A Scrapbook, An Album”.
AMALIE DILBA
My short story, ‘A Red Dress, Skeletons and Marigolds’ offers an interpretation of the process of grief and the power of the psychological journey of memory in repairing the mindscape of an individual. With Mexico as the setting of my short story, I was inspired by the festival, Día de los Muertos and the Latin American form of magical realism. Overall, I hope to have conveyed the importance of a wide cultural perspective in increasing personal understanding, as well as demonstrating the power of memories to allow for the transcendence of an individual.
ALICE JEFFERY
My major work, titled Navigating the Cosmos: cultural contexts and directorial vision in science fiction cinema, explores how representations of outer space in film is formed through the cultural contexts of its time, as applied by directors. Specifically researching both Stanley Kubrick’s iconic 2001: A Space Odyssey and Ron Howard’s 1995 film Apollo 13, my research delved into the cinematic philosophy of these directors as shaped by their cultural context, and exploring the presence of this cultural milieu in the themes of their space films.
ESHAL KHAN
The Tesserae; a lore of Artistic Rejuvenation tells the story of two young artists, Maddison and Nica, who find healing and connection through their art after experiencing devastating events. Their journey of self-discovery and artistic rejuvenation ultimately leads them to a powerful meeting that changes both of their lives forever. Through their shared experiences, they learn the transformative power of human connection and the healing nature of art. My major intention was to explore the beauty of multiculturalism and the commonalities between cultures. My major influences included Ten Cities that Led the World, our extension 1 novel Sixty Lights and The Interaction of Art and Science.
MADELINE NELSON
My major work surrounds the false social stories that limited the portrayal of women within Ancient Greece. I aimed to liberate these women from these stories, adapting the myth of Persephone as to free her from the misogynist biases that painted her as a weak and passive character. Key authors who have inspired me are Margaret Atwood and Madeline Miller, both of whom created feminist appropriations of Greek myths.
MIKA PACE
In 2023, I travelled to Bodhgaya in the poorest state in India where the Buddha was enlightened. ‘Throwing Marigolds’ explores my transformed perception: from loathing Bodhgaya to it being integral to my understanding of reality. Writing has allowed me to decipher the experiences I had and share my discoveries, illuminating the intricacies of Buddhism – a religion that is often vaguely diminished to nihilism or ‘inner peace’. My work was inspired by Tibetan Buddhist masters like Lama Ole Nydahl and the 16th Karmapa, quantum physicists like Erwin Schrodinger, travel writing about Bodhgaya and also by the poetry of T.S. Eliot.
SASHA STOCKHAM
In the process of crafting my Extension 2 English Major Work, I embarked on a journey of creative transformation, culminating in the development of my poetic anthology, Echoes Down the Glen. Drawing inspiration from the evocative works of Scottish poets such as Robert Burns and Carol Ann Duffy, as well as my own Scottish heritage, I sought to compose free-verse poetry that intertwines the historical significance of the Scottish Wars of Independence with the sublime, almost transcendent essence of Scotland’s natural spirituality.
DRAMA
Maya Agostino-Morrow
Lauren O’Reilly
Catherine Stanley
Olivia Wildschut
MAYA AGOSTINO-MORROW
Individual Drama Project – Set Design, Death and the Maiden
My Set for Ariel Dorfman’s Death and the Maiden is an environment that presents the ordinary and familiar, while subtly manipulating elements to evoke unease, hinting at underlying psychological tensions and unresolved trauma within the post-dictatorship setting. I chose to design for the Belvoir St Downstairs Theatre; the thrust style orientation and stage entrances between audience seating areas ensure an intimate audience and actor relationship, heightening tension in key moments.
Taking a naturalistic approach to design the characters’ home, I created a detailed, highly realistic, middle class, Latin-American beach house. The dining area being furnished with cozy but slightly worn items reveals the financial struggle of Paulina and Gerardo’s life, common with middle-class families after the economic disaster of Pinochet’s regime. The intentional inclusion of large empty spaces on stage highlights the contrast between the character’s attempts to live a normal life and the inescapable presence of their traumatic past, particularly that of Paulina. The open house design allows vulnerability and conflict between characters to be emphasised and amplified through the use lighting and blocking of action on stage. Ominous moonlight and lights of Dr Miranda’s car fill the space, crafting a sense of eeriness and fear for the occupants and visitor. The audience will feel a sense ease in this performance space before the narrative of the play to unfolds and exposes the horrors and atrocities of Paulina’s experience.
Final scenes are presented with minimalistic set design and employment of projection screen and camera to film and project audience to themselves in place of a mirror. Contrasted against the richly decorated and realistic home setting, the opera setting enhances audience unease and provokes suspicions and questions about the true fate of Dr Miranda as the couple moves forward with their lives.
Overall I intend for the audience to be emotionally manipulated by their environment, positioning them to reflect upon the pervasive impact of trauma on both the collective and individual psyche.
LAUREN O’REILLY
Drama Individual Project – Monologue, Big Boss Man
I chose to transform and perform the character of Biff from Death of a salesman as I found the character to be highly complex and relatable which would make for both a challenging and intellectually stimulating piece to perform. I immediately decided to recraft the character to a female named Beth, to allow me to employ more realism in my aching to ensure believability and connection for the audience.
In staging the performance, I chose to set the scene at a dining table with me at the head, the audience positioned to be seated down the table. This choice was deliberate to reflect Beth’s struggle for dominance and control within her family dynamics. I begin the Performance standing over the chair, tapping my fingers on its back. This action was Intended to convey Beth’s anxiety and bubbling anger, mirroring her Internal conflict and frustration with societal and parental expectations.
For my costume, I chose a tailored suit, a deliberate choice to symbolize Beth’s resistance to societal expectations and the constricting roles imposed upon her. The suit not only represents her reluctance to conform but also serves as a visual metaphor for the rigid boundaries she is forced to navigate, challenging traditional perceptions of femininity and power. I intend for my audience to change their perception of Beth as the piece goes on. I want them to feel pity initially but then feel conflicted about her intentions as she begins to overstep.
CATHERINE STANLEY
Drama Individual Project – Video, How to Write a Murder
The concept of ‘How to Write a Murder’ is that of two parallel worlds being shown simultaneously to an audience with that of the writer and that of the victim being real and ‘fictional’ for the audience, the catch ’22 as it is to reveal slowly with small hints that the worlds coexist and are in fact the plot and resulting murder of a young woman by the mysterious author X.
I planned for this piece to be set up in a ‘murder mystery’, ‘thriller type style’ which I affectively was able to achieve through several editing techniques and through use of editing style, shot angles and audio/sound effects combining to create an uneasy atmosphere throughout. To keep the audience well engaged in the storyline I changed the typing notes from being projected onto the typewriter itself or the screen around it I chose black panels as suited the style better and felt reminiscent of an old silent-film which I felt created a bridge between the characters and the audience, especially with little easter eggs in the used of the text throughout with a message that spells ‘HELP’ following the ominous ‘Hello??’ that appears momentarily across the screen in grainy, faint writing behind the step-by-step descriptions of how to craft this murder successfully.
It felt fitting to rehash the initial ideas behind the instructions displayed onscreen to make it feel almost like you would see in chapters of a video essay. Overall, this piece has been a fruit of many hours of testing, resetting, and replacing footage in such a way that it seems fluid in the disjunct storyline of the piece. Utilising music enabled us to better control the emotion and feelings from the audience creating a feeling of tension and unease reflective of the style.
OLIVIA WILDSCHUT
Drama Individual Project – Monologue, A Woman Alone
I chose to transform and perform the character of Maria from A Woman Alone as I found interest in the emotional layering and highly complex nature of the character. Immediately after first reading the monologue I redeveloped Maria into a younger version of herself, going from being in her late forties to her mid-twenties. This allowed for me to employ realism into my piece, enhancing the believability for my audience.
Throughout my piece I balanced comedy and drama to entertain my audience whilst also allowing them to empathise with my character. Through my piece, I aimed to covey to the audience the reality of domestic abuse within relationships, and how individuals will put on a façade to cover that they are experiencing metal and physical isolation. I aimed to maintain this realism with a mixture of comedy in order to demonstrate the truth of my character within highly emotional and tense scenes, depicting the reality of the key concept. Positioning the audience as a ‘fly on the wall’ allowed them to understand the full emotions through the scene and develop an empathetic relationship with the character.
When crafting my piece I utilised a variety of vocal and physical aspects to convey to the audience that my character was attempting to catch the attention of someone in a nearby apartment block. I utilised my vocals to demonstrate how far apart the two characters were and how desperate my character is for human interaction. I also utilised physicality to show this craving for connection through waving my hands in the air in order to get this character’s attention.
Through this piece my aim was to create a performance that engaged the audience, allowing them to question the gravity/seriousness of domestic abuse and the impact it has on individuals.
SCIENCE EXTENSION
Hugo Folpp
Jasmine Howarth
Marshall Rattray
HUGO FOLPP
Heterojunctions of Graphitic Carbon Nitrade for Enhanced Photocatalytic Efficiency
Abstract
Anthropogenic global warming has devasted the world’s ecosphere. In some areas, namely shipping and aviation, there are no obviously practical, sustainable alternatives to fossil fuels. Green hydrogen shows great promise as a fuel with high specific energy. Producing it practically is a great challenge, while scarcely discussed, photocatalysts among them, graphitic carbon nitride (gCN) has exceptional promise, yet is held back by poor photocatalytic efficiency under visible light. Here, heterojunctions between C3N4 and C3N5 are introduced through calcination of gCN impregnated with varying quantities of 3-amino-1,2,4-triazole. The original gCN is derived from calcination of aminoguanidine hydrochloride. The addition of 3-amino-1,2,4-triazole significantly improves specific rate of hydrogen evolution in a gCN photocatalyst. While expensive, this technique shows great promise. Finding economical alternatives to 3-amino-1,2,4-triazole and aminoguanidine hydrochloride that still create C3N4 : C3N5 heterojunctions is vital to the massadoption of green hydrogen and a sustainable future.
JASMINE HOWARTH
Does Body Habitus, Measured by BMI and Girth-To-Heigh Ration, Affect Gastroesophageal Reflux Severity?
Summary
LPROf the 533 patients analysed, 426 showedscintigraphy evidence of airway aspiration, 526showing LPR. Correlation of BMI and GHR wasestablished (r=0.85), confirming these measures tobe of relatively equivalent utility. Using the medianvalues of BMI and GHR, no significant difference wasfound in those patients with and without LPR oraspiration. This study demonstrated that patientswith higher body habitus measurement (BMI andGHR) have more severe GOR. It was also found thatLPR and airway aspiration occur in the vast majorityof patients with treatment-refractory GOR. Thepresence of LPR and aspiration have thus beenfound to be better indicators of GOR severity thanalternate tests such as RSI.
MARSHALL RATTRAY
Probiscis Length of Common Bush and Brown Dog Ticks within the Hunter Region
Abstract
This research proposal seeks to explore the potential presence of Lyme disease within the Hunter region of NSW. his initial phase focuses on the distribution of tick species. A subsequent phase of research would investigate th bacterial and viral species in the sampled ticks.
Summary
The study analysed proboscis length in 27 tick samples from threes species: Common Bush Ticks, Paralysis Ticks and Brown Dog Ticks. Significant difference were found in proboscis length between coastal and rural Common Bush Ticks. The high T-statistics (14.79) and low p-value (0.0000127), indicate environmental impact on their probiscis size and increased tickborne environmental disease risks. In contrast, Brown Dog Ticks showed no significant difference in probiscis length between coastal and non-coastal areas. Secondary findings confirmed host preferences as Common Bush Ticks prefer human hosts, whilst Brown Dog and Paralysis Ticks prefer animals.
HISTORY EXTENSION
Maya Agostino-Morrow
Max Barsley
Edward Bell
Amber Brown
Phoebe Coren
Rebecca Hayes
Ava Horn
Grabriel Leishman
Lauren O’Reilly
Samuel Rowland
Zoe Weddin
Alexander Yost
Koby Young
MAYA AGOSTINO-MORROW
Revising History: Uncovering the Truth of the Pinochet Regime through Historical Revisionism
Historical revisionism plays a crucial role in reinterpreting the legacy of Augusto Pinochet’s military dictatorship in Chile (1973–1990). Initially, mainstream narratives framed Pinochet’s regime as a necessary safeguard against communism and credited it with stabilising the Chilean economy. However, revisionist historians have critically re-examined these portrayals, revealing the regime’s widespread human rights abuses, suppression of dissent, and manipulation of public perception through censorship and propaganda. My project was a celebration and validation of revisionist history and its important place in correcting historical narratives.
Through my research I was able to understand the importance of adopting a critical, evidence-based approach to the past, which questions established narratives and seeks to provide a more comprehensive understanding. Pinochet’s image as a cold war hero and Chilean nationalist could only be challenged through a rigorous and critical methodological approach to evidence.
A particularly striking aspect of this topic is the persistence of the pro-Pinochet narrative in contemporary right-wing media in Chile. Despite the substantial evidence revealed by revisionist historians, many media outlets continue to focus on the regime’s economic policies while downplaying its human rights abuses. This persistence demonstrates the difficulty of fully displacing entrenched narratives, even when revisionist evidence contradicts them.
Researching this topic has shown that historiography is not just about uncovering new facts but also about understanding the power structures that shape historical narratives. The continued survival of certain accounts of Pinochet’s rule highlights how ideological forces influence historiographical debates, proving that while revisionism is essential, it constantly faces opposition from competing political and social agendas.
MAX BARSLEY
Shaping
the Nation:
The Construction of Australian National Identity through Competing Historical Narratives
For my History Extension major work, I explored the question: How has Australia’s history been constructed to form the ‘Australian national identity’? My research delved into how historical narratives, both social and cultural, have been shaped and reshaped over time to define what it means to be ‘Australian’. From colonial settler myths to the increasing recognition of Indigenous perspectives, I uncovered the layered and contested nature of Australia’s evolving national identity and looked to understand how this myriad of genres has come to reflect a unified and relevant national identity.
Throughout the project, I developed valuable research skills, honing my ability to critically evaluate sources and construct a nuanced argument. I navigated a broad spectrum of historical perspectives, from traditional accounts of Australia’s founding to more contemporary, revisionist approaches. This topic remains particularly relevant today as debates surrounding multiculturalism, reconciliation with Indigenous communities, and Australia’s role in the global community continue to shape our national identity.
This research not only deepened my understanding of Australian history but also underscored the interpretive nature of historical inquiry itself. Examining the construction of national identity revealed how history is never fixed, but constantly reinterpreted as society changes. Overall, the project was an engaging exploration of how the past and present intertwine to shape a collective identity that continues to evolve.
EDWARD BELL
The Enduring Power of Tribalism: A Study of Newcastle’s Local Identity
My project explored the influence of tribalism in preserving and reinforcing Newcastle’s distinct Novocastrian identity. Rooted in the city’s industrial blue-collar past, this identity has continued to thrive despite the rise of nationalism and more recently the 20th century push towards internationalism. Tribalism, which is defined as a strong loyalty to one’s community and shared values, has played a crucial role in maintaining Newcastle’s local history and culture.
This project sought to understand the historical origins of the Novocastrian identity, tracing it back to the Industrial Revolution, when Newcastle became a hub for coal mining. This industrial background forged a resilient community spirit defined by pride, solidarity, and a unique defiance to external influences. This unique cultural identity is evident throughout the Hunter region including the local economy, Newcastle sporting team and politics. While the rise of nationalism often overshadows local histories, Newcastle’s unique identity has endured by fostering a strong sense of belonging and community cohesion.
Using both historical and contemporary examples, my project assesses how tribalism has resisted the homogenising forces of globalisation and nationalism, allowing Newcastle’s local identity to remain relevant. Events such as the resurgence of the Novocastrian spirit in local commemorations and the return strong and uniformed migration of returning residents continues to pay homage to the generational spirit of the Novocastrianism.
Ultimately, my essay argues that tribalism, as a human instinct, remains a powerful force in shaping cultural identities throughout history. The case of Newcastle demonstrates how local history and identity, far from being overshadowed by national and global narratives, continue to thrive and evolve, offering a compelling example of the enduring relevance of tribalism in the modern world.
AMBER BROWN
Erased Histories: Nationalism, Censorship, and the Struggle for Historical Truth in Japan.
In my investigation, I explored how Japan selectively promotes and erases aspects of its World War II history for nationalistic and political purposes, focusing on the experiences of Chinese “comfort women” and the Nanking Massacre. My research aimed to assess how Japanese censorship influences the understanding of these events both domestically and internationally. With limited official documentation, I relied heavily on survivor testimonies, which offered critical insights into experiences that have been ignored or misrepresented.
A central element of my study was the historiographical debate between historians such as Yoshiaki Yoshimi, who documents Japan’s wartime atrocities, and revisionists like Kenichi Ara, who deny events such as the Nanking Massacre. These debates highlight how historical narratives are manipulated to serve political agendas, with uncomfortable truths often being erased to promote nationalistic ideologies.
Additionally, I have come to recognise and appreciate the evolving nature of historical methodologies, particularly the increasing importance of oral histories in cases where written records are scarce. While oral testimonies have traditionally been can be viewed as subjective, limiting their value in academic circles, my research has revealed that they are vital for restoring marginalised voices and understanding erased or denied events.
This investigation underscores how history is used or misused for political purposes and how shifting methodologies, especially the inclusion of oral histories, are essential for amplifying silenced voices. By focusing on the stories of “comfort women” and survivors of the Nanking Massacre, my research contributes to broader discussions on historical truth and the power dynamics that shape how history is remembered.
PHOEBE COREN
The Use and Misuse of History: Historiographical Contestations over the Sacred City of Jerusalem.
This study critically examines how history, through the lens of postmodernism, can be weaponised to serve competing political, religious, and territorial agendas. Focusing on Jerusalem, it explores how the co-existence of multiple ‘truths’—rooted in Jewish, Muslim, and Christian claims—has resulted in the manipulation of historical narratives, legitimising contested land claims and perpetuating conflict. The work challenges postmodernist thought, contending that while postmodernism’s acceptance of multiple perspectives is academically valid, it is impractical for resolving deeply rooted geopolitical and religious disputes, especially when historical discourse becomes corrupted by power and political interests.
The conclusion argues that postmodernism, though legitimate as an academic ideology, fails to offer practical solutions in real-world contexts, as demonstrated by the ideological stalemate surrounding Jerusalem. Instead of producing resolutions, postmodernist principles can disarm history of its decisive power, leaving it vulnerable to manipulation and rendering it ineffective in addressing complex geopolitical problems.
I have always been fascinated by this region and the shared origins and connectedness of the world’s 3 largest monotheistic religions, Judaism, Christianity, and Islam. Jerusalem, is central to each of these faiths and as a result presents a uniquely complex historical case study, illustrating how simplistic historical approaches are insufficient for addressing deeply rooted geopolitical and religious issues.
This study revealed that multiple truths can exist in history and that these truths can e equally valid. I also came to understand that history is far more than a record of events; it is shaped by collective memory, geopolitical forces, and the manipulation of narratives to wield power.
While historians provide critical perspectives, I concluded that they alone are not equipped to resolve conflicts like those surrounding Jerusalem. Theorising about territorial entitlement or proposing solutions such as a ‘three-state solution’ oversimplifies the issue. In my view, historians should not be relied upon to offer resolutions to such complex disputes.
REBECCA HAYES
Reframing Katherine of Aragon: A Historiographical Exploration of Feminist and Revisionist Challenges
Revisionist and feminist historiography confronts significant challenges in reconstructing the lives and legacies of women throughout history, particularly when traditional narratives have minimised their contributions. Katherine of Aragon, the first wife of King Henry VIII, exemplifies this issue, as her role is often reduced to that of a passive and devout spouse. This interpretation obscures her political acumen, cultural influence, and personal agency, which have been overshadowed by her marriage and divorce.
Historians working within feminist frameworks strive to recover these lost voices, contesting male-dominated perspectives. However, they face obstacles such as limited archival material and the inherent biases present in surviving records. Katherine’s story has been shaped by various forces, including the Church, feminist advocacy groups, and popular culture, resulting in misrepresentations that alternately portray her as a feminist icon or diminish her true significance within Tudor society.
Through an examination of these historiographical challenges, this study sheds light on how feminist historians employ alternative methodologies to enrich our understanding of history. Yet it also raises important questions about balancing historical accuracy with the demands of contemporary audiences. Ultimately, revising and reassessing historical narratives remains crucial, particularly in uncovering the complexities and significance of marginalised figures like Katherine of Aragon.
AVA HORN
The Enduring Legacy of the Second Amendment: Historical Stagnation and Contemporary Implications.
The Second Amendment, a legitimate right imbedded within the US constitution, has been entrenched within the social landscape of America since its initial establishment. For my History Extension Major Project, I assessed its persistence within a modern context – giving light to the implications catalysed by its stagnation. In acknowledging how history is subject to change, continually revising itself to meet contemporary standards to present a certain truth of a particular time, I was able to provide an in-depth analysis and reasoning for why this constitutional right is still literally interpreted by modern-day audiences.
The media, particularly everyday journalists, along with polarizing news sources and influential gun lobbyist groups, have played a significant role in perpetuating the Second Amendment’s continuation in contemporary society. However, when examining the relationship between the American public and their constitution, it was clear that the public plays a crucial role in enabling and maintaining this literal interpretation. Therefore, it has become evident that the audience – namely, the American public – remains intricately intertwined within the fabric of Americas national identity, making it exceedingly difficult to ‘let go’ of this constitutional right. The public’s steadfast attachment to this right underscore its enduring relevance and highlights the complex interplay between historical narratives and contemporary beliefs, solidifying the Second Amendment as a deeply rooted element of American life, resistant to reinterpretation or change.
As a result of these findings, I was able to argue the necessity and obligation of historical documents in evolving and reconstructing to therefore accurately depict the historical narrative of a certain time period.
Developing my idea, conducting thorough research, analysing a wide range of sources, and dissecting insightful interviews were undoubtedly the highlights of my History Extension Major Project.
GABRIEL LEISHMAN
Shaping Identity: American Influence on the Construction of Mexican History.
My major work explored the construction of history and its profound influence on societal development by analysing how America’s relationship with Mexico has shaped the formation of Mexican national identity.
Through a comprehensive analysis of modern media, historical studies, historical records, and scholarly articles from platforms such as JSTOR and the NSW library archives, I found that the creation of a national identity is deeply intertwined with both the nation’s internal understanding of its history and the way it is perceived internationally.
I focused on how American influence—particularly through its politicisation and often controversial portrayal of Mexico—has impacted both established and evolving Mexican history. This includes examining the role of American culture, the portrayal of Mexico as a ‘parasite’ in American political discourse, and how endemic racism in the U.S. has affected Mexico’s global image. Mexico’s historical role as one of the largest sources of migration to the U.S. further emphasised the complexities of this relationship.
LAUREN O’REILLY
Voices of Change: The Role of 1960s Music in Shaping Gender and Social Movements.
The music of the 1960s served as a powerful medium for challenging societal norms and advocating for gender equality, reflecting and influencing the social movements of the era. The decade was a period of immense social upheaval in America, marked by movements like Civil Rights, anti-war protests, and feminist advocacy, all of which were captured in the music of the time. Female artists such as Joan Baez, Aretha Franklin, Janis Joplin, and Joni Mitchell used music to communicate the experiences, struggles, and aspirations of women, challenging traditional gender norms and advocating for broader social change.
This project highlights the dual function of music during this period—both as a mirror to societal transformations and as a driving force behind them. Iconic tracks like Franklin’s Respect became feminist anthems, while Nina Simone’s Mississippi Goddam articulated the anger and frustration of African Americans facing racial injustice. This study also examines the struggles faced by women in the music industry, who fought for agency and visibility despite rampant objectification and sexualisation.
Through a detailed analysis of lyrics, themes, and the personas of these artists, this work demonstrates that the music of the 1960s played a pivotal role in shaping public consciousness and supporting the era’s social justice movements. Ultimately, it affirms the value of music as a historical source, offering insight into the cultural dynamics of the time and inspiring continued reflection on the ongoing quest for gender equality and social justice.
SAMUEL ROWLAND
The Napoleonic Legend: Mythmaking – the historiographical challenges in the search for objectivity.
My History Extension project focused on the historiographical challenges surrounding the glorification and demonisation of French Emperor Napoleon Bonaparte, as well as the ethical implications of postmodernism and popular history. Napoleon has rarely been understood as a complex human being. Instead, his image—both in popular and academic circles—has been reduced to one of two extremes: a tyrannical villain or a revolutionary reformer and military genius. While Napoleon may have been a deeply flawed individual, the myths surrounding him have erased his humanity, reducing him to polarised caricatures—a fate that no person, no matter how controversial, deserves.
Through my investigation of the ‘Napoleonic Legend,’ particularly as depicted in Ridley Scott’s film, I uncovered the dangers of manipulating and fabricating history for political or financial gain. I concluded that we have an ethical responsibility to portray the past with honesty and fidelity, recognising its full complexity. History is not simply a story of heroes and villains—it was a lived reality, filled with human complexity, emotions, and contradictions. Napoleon may have been a tyrant, but he was also a human being with ambitions, emotions, and relationships, all of which have been overshadowed by the legends surrounding him.
The research and logbook process taught me to critically engage with historiographical debates and incorporate various perspectives into my own evolving beliefs. Writing and refining my essay sharpened my understanding of the importance of truth and objectivity in historical study. As a result of this project, and the History Extension course more broadly, I will never read a history book or watch a historical film in quite the same way again.
ZOE WEDDIN
An analysis of the nuanced relationship between media representations and the construction of “historical truth “as epitomised by the Lindy Chamberlain case and legacy.
My History Extension major work explores the intricate relationship between media, truth, and history. I was inspired by the Lindy Chamberlain case, a perfect example of how media narratives can distort public perception and historical truth. This case allowed me to delve deeply into topics such as gender, religion, justice, and Indigenous voices while examining the forces that shape societal behaviour.
I chose this topic because of its massive range of focus areas and intricacies, including extensive debates about media, gender, religion, the justice system, indigenous voices, forensic evidence. It also really appealed to my passion for justice and looking into the forces that drive how our society behaves, and how we act in attempt to rectify miscarriages of justice through historiography. I thought the lindy chamberlain case was a perfect and fascinating example of the enduring impacts of media mistruth on the construction of history.
I was lucky enough to arrange an interview with Lindy and was able to speak with her for several hours. This project has certainly changed the way I write and research, but it has honestly changed how I think and see the world- and how I perceive the news media. Through my research I came to understand that the media itself is not simplistically a “predatory dingo” but more broadly a function of contemporary history. The media as a commercial entity seeks to engage its audience, and in doing so it responds to the interests, values and beliefs of that audience at any given time.
The “dingo trial” is emblematic of this, where polarised and misleading media coverage left a lasting mark on Australian public consciousness. Coverage of Chamberlain came to represent the best and worst of Australia’s media and the best and worst of Australian audiences.
In today’s “post-truth” era, audiences often lack the critical media literacy needed to discern sensationalist media from historically reliable sources.
ALEXANDER YOST
“The Politics of Sport” The Cold War Manipulation of Sport and Its Enduring Historical Legacy.”
In my History Extension project, I examined the manipulation of sport during the Cold War to advance national agendas and create politically charged historical narratives. This investigation revealed how governments play a pivotal role in shaping history and how nations have repeatedly misused it to bolster international reputation or appeal to deep-seated tribalistic tendencies. Through key case studies—including the Soviet Union’s rise, the USA’s involvement in the 1980 Moscow Olympics, Muhammad Ali’s symbolic role in global politics, and China’s Ping Pong diplomacy—I explored how sport became a vessel for political manipulation.
While this politicisation was particularly intensified during the Cold War, I argued that the misuse of sport to construct favourable histories persists today, as seen in events like the Beijing Olympics and the continued exclusion of nations like Russia from international competitions due to political reasons. Sport, I contend, has long been accepted as a tool for political gain and historical distortion, a phenomenon that remains inevitable across changing contexts.
My choice of topic was driven by my love of sport, particularly my support for Bayern Munich, a team that continues to play in a league still economically scarred by the Cold War, as former East German teams struggle to recover. Throughout the course of this project, my work evolved considerably, teaching me that the first draft is never perfect and that ideas must be rigorously tested to find those that resonate. The process of refining my argument and allowing the project to develop its own rhythm was one of the most rewarding aspects of this journey.
MUSIC
Edward Bell
Stephen Carcary
Zachary Choi
Willem Dun
Alice Jeffery
Alexandra Moss
Miriam Reimann
Kaidi Shao
Catherine Stanley
EDWARD BELL
Music 1
Edward performed four pieces on trombone for his HSC Music 1 practical examinations, illustrating the instrument’s technical capabilities and his ability to traverse a wide range of music styles from Funk, Jazz, Classical and Australian Art Music genres. Edward’s program included a funk interpretation of the Bill Wither’s hit ‘Just the Two of Us’, a Smooth Jazz piece ‘Alibi’ composed English jazz trombonist Dennis Rollins, an Australian Art Music piece titled ‘Eclectus’ written by the Newcastle trombonist, Brendan Collins, and the Classical piece ‘Salve Maria’ by Christian Lindberg.
STEPHEN CARCARY
Stephen performed four pieces on drum-kit for his HSC Music 1 practical examinations, illustrating the instruments’ expressive capabilities and his skills as both soloist and within an ensemble. Stephen’s program included ‘Birdland’ by Joe Zawinul (Weather Report), Freezerville by Directions in Groove, Caravan by Duke Ellington, in which he demonstrated the melodic capabilities of the drum-kit, and Too Hip To Retire by Tim Simonec.
ZACHARY CHOI
Music 2 and Music Extension
Zac performed three pieces on violin for his HSC Music 2 Performance Examination, showcasing his expressive and technical capabilities on the instrument. For the Mandatory Topic, Music of the Last 25 Years (Australian Focus), Zac performed ‘Concertino’ by the Australian composer, David Banney, which was written in 2012. His Performance Elective pieces from the Additional Topic, Music 1900-1945 were ‘Scherzo’ from Sonata No.2 by Sergei Prokofiev and ‘Danza Rituel Del Fuego’ by Mauel De Falla. For Zac’s Extension Performance Examination, he performed ‘Allemande’ from Partita in D minor by J.S Bach and ‘Concerto in A, 1st Movement’ by W.A Mozart. Joining Zac for his ensemble piece ‘Invierno Porteno’ by Astor Piazzolla, was cellist, Mr Gavin Clark and pianist, Ms Lilli Naulu.
WILLEM DUN
Music 1
Willem performed four pieces on clarinet for his HSC Music 1 practical examinations, illustrating the instrument’s technical capabilities and his ability to traverse a wide range of music styles from Klezmer, Classical, Folk and Contemporary styles of music. Willem’s program included ‘Klezmer Freilach’ by Joshua Rubin accompanied by a rhythm section and clarinet ensemble, ‘Adagio e Tarantella’ by Cavallini, Nepi Tanc by Rezső Kókai and the solo unaccompanied piece ‘Blue Tongue’ by the Australian composer, Barry Cockcroft.
ALICE JEFFERY
Alice performed four pieces on clarinet for her HSC Music 1 practical examinations, illustrating her strong instrumental skills and ability to cross-over genres from Classical, Australian Art Music, Afro-Cuban and Latin styles of music. Alice’s program consisted of ‘Allegro con brio’ 1st movement from Sonatina by Malcolm Arnold, Danza by Richard Percival, Black, White and a Little Blue by George Palmer and Vivace, quasi una samba by Graham Lyons, in which Alice was accompanied by a rhythm section ensemble.
ALEXANDRA MOSS
Music 2 and Music Extension
Alex performed three pieces on piano for her HSC Music 2 Performance Examination, demonstrating her strong technical skills, stylistic understanding and her ability to explore a wide range of tone colours. For the Mandatory Topic, Music of the Last 25 Years (Australian Focus), Alex performed Frangipani by the Australian composer, Ross Edwards, which was written in 2001. Her Performance Elective pieces were both from the Additional Topic, Music in the 19th Century, in which Alex performed the dream-like Rêverie by Claude Debussy and Liebestraum No. 3 in Ab Major by Franz Listz. For Alex’s Extension Practical Examinations, she performed Nocturne in D flat Major, Op, 27 No. 2 by Frederic Chopin and Rhapsody by Phillip Wilcher. Joining Alex for her ensemble piece ‘Adagio’ from Adagio and Allegro by Robert Schumann was cellist, Mr Gavin Clark.
MIRIAM REIMANN
Music 2 and Music Extension
Miriam performed three pieces on flute for her HSC Music 2 Performance Examination, illustrating her strong technical skills and her affinity with different musical styles. For the Mandatory Topic, Music of the Last 25 Years (Australian Focus), Miriam performed Summer Beckons by the Australian composer, Sally Greenaway, which was written in 2014. Her Performance Elective piece from the Additional Topic, Music 1900-1945 was ‘Concertino’ by Cecile Chaminade and her third piece was from the Topic, Music of the Last 25 Years, ‘Chatterbox Rag’ by Elena Kats Chernin. For Miriam’s Extension Performance Examination, she performed ‘Allegro from Sonata in A minor’ by C.P.E. Bach and ‘Pan et Les Nymphes’ by Jules Mouquet. Joining Miriam for her ensemble piece ‘Trio in G Minor, Op.63. 1st Movement’ by Carl Maria von Weber was cellist, Mr Gavin Clark and pianist, Ms Lilli Naulu.
KAIDI SHAO
Music 2
Kaidi performed three pieces on piano for her HSC Music 2 Performance Examination, showcasing her expressive skills and stylistic understanding. For the Mandatory Topic, Music of the Last 25 Years (Australian Focus), Kaidi performed an evocative rendition of Chaconne by the composer Yiruma, which was written in 2003. Her Performance Elective pieces were both from the Additional Topic, Music in the 19th Century, in which Kaidi performed Nocturne No. 21 in C minor and Nocturne No. 20 in C# minor, Op. Posth, both by Frederic Chopin.
CATHERINE STANLEY
Music 1
Catherine performed three pieces on clarinet and a vocal piece for her HSC Music 1 practical examinations, showcasing her skills as an accomplished musician and multi-instrumentalist. Catherine’s program consisted of ‘Modere’ mvt. 2 of Scaramouche’ by Darius Milhaud, ‘Romanian Folk Dances (mvt’s. 1, 2, 4, 5, 6)’ by Béla Bartók, ‘Curses’ by The Crane Wives (arr. Sheringham) and ‘Screwloose’ by Adam Schlesinger and David Javerbaum from the musical Cry-Baby, in which Catherine was able to utilise her character from Drama.
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