Page 1





36 Stephanie Hall 37 Ree Hegh 38 Nadjia Kabriel 39 Lea Stiina Leinonen 40 Ping Li 41 Kathy Mack 42 Lucy Miles

8 Julian McKennariey

43 Jack Mitchell

9 Warraba Weatherall

44 Jessie Lee Nash 45 Jo Rees-Jones


46 Ben Shih

12 Hailey Atkins

47 Karen Stephens

13 Debbie Bennetts

48 Corinne Sylvie

14 Jocelyn Boyle

49 Maikki Toivanen

15 Rhiannon Dionysius

50 Corpse Veronese

16 Saskia Gilmour

51 Rachael Wellisch

17 Ree Hegh

52 Michelle Whiffin

18 Miranda Hine 19 Peter Kozak


20 Annelize Mulder

56 Line Sagmo Arnesen

21 Julia Sirianni

57 Milly Bell

22 Tristan Stonhill

58 Alison Bruce

23 Anya Swan

59 Han Choi

24 Rachael Tanner

60 Russell Fuller

25 Cielle Van Vuuren

61 Jack Gardiner 62 Kyra Herlihen


63 Beth Hodges

28 Debbie Bennetts

64 Yuting Lien

29 Helle Cook

65 Marian Macaranas

30 Monika Cox

66 Madeline Miller

31 Emily Devine

67 Avena Osborn

32 Bethanne E. Preston

68 Ji Hyun Park

33 Brendan Ellis

69 Teaghan Scott

34 Michelle Gilbert

70 Sarah Smith

35 Bennet Gordon

71 Madeleine Tate

72 Chloe Tozer

109 Fred Gooch

73 Amelina Trainor

110 Susan Gourley

74 Soriya Warren

111 Christopher Hardwick 112 Spencer Harvie


113 Domenica Hoare

78 Lucy Achurch-Guth

114 Aishla Manning

79 Adam James David Anderson

115 Ally McKay

81 INTERDISCIPLINARY PRINT MEDIA 82 Chase Archer 83 Rebecca Austin 84 Amy Blomberg 85 Zoe Charlotte 86 Sangjung Chu 87 Madison Eadie

116 Tess Mehonoshen 117 Sally Molloy 118 James Mulholland 119 Naomi O’Reilly 120 Sarah Poulgrain 121 Cosima Scales 122 Chloe Waters

88 Peter England


89 Elizabeth-Paule Ginn

126 Fine Art and CAIA Staff and Support

90 Brianna Hudson

127 Supporters

91 Kyunghyun (Jamie) Kim

128 Credits

92 Demi Marino 93 Hayley McFarlane 94 Sunita Osborne 95 Aish Saffigna 96 Jasmin Smith 97 Grace Webster 98 Torinne Zach 101


102 Helen Bird 103 Nicole Crosswell 104 Lauren Edmonds 105 Kristian Fracchia 106 Krista Gardner 107 Marisa Georgiou 108 Vrinda Gleeson


This exhibition and accompanying catalogue showcase and celebrate the achievements of our 2015 final year students in the Bachelor of Fine Art (BFA) at the Queensland College of Art (QCA), Griffith University. From second year, each BFA student pursues a specialisation (or major) in one of the traditional studio art areas: painting, sculpture, printmaking, jewellery, and, for the first time, drawing. At QCA, these five areas all emphasise an interdisciplinary approach so that the medium in question can be expanded to include more immaterial and contingent contemporary art forms and practices, such as video, installation, performance, and film. The hallmark of the QCA graduate is a deep understanding of traditional media refracted through contemporary concerns. The exhibition affords just a small glimpse of the work that students have produced across their third and final year of study, a period when they are involved with self-directed learning, generating their own projects, and following their own ideas, insights, and methods. This shift in focus is a key, if not unique, feature of an art school education. To the best of my knowledge, in no other undergraduate degree is this kind of self-expression and self-generated research a central feature. More usually, this kind of development is characteristic of postgraduate study, where it is assumed the student is finally able to contribute something original to their discipline. The undergraduate education system in the visual arts thus produces a level of assurance, maturity, and investigative bravery that few other degrees can boast. These attributes and qualities make our graduates such great contributors to the cultural life of Brisbane and beyond.


On behalf of the staff of the Fine Art Program, I congratulate each and every student on making it this far. It is not an easy path to choose to be an artist; it is, however, an incredibly rewarding one. It takes great determination, inner resolve, and courage to pursue. We also thank the graduating students for sharing with us their unique vision. We look forward to following their progress and successes in the art world and allied industries. We hope that these graduates will stay in touch with QCA as they join the esteemed ranks of the College alumni. We wish the graduating students of 2015 every success and happiness in their future careers! Professor Sue Best Program Director Fine Art and Art Theory

The Contemporary Australian Indigenous Art program’s graduating students, Julian McKennariey and Warraba Weatherall, are deeply engaged in the activity of creating art. They approach the theme of colonisation in unique ways and share an interest in responding to its ongoing influence. Julian explores animation with hand-drawn characters on backdrops that he builds himself. According to the artist, he enjoys the “otherworldliness of creating a cityscape that is broken down”, and his built environments are intended to create an ambience that cannot be produced by the photographic image. The backdrop featured here was built with Masonite board covered with painted blue plaster. The emerging bricks are also plaster sculptural reliefs made from clay moulds. Julian’s otherworldly animation features animals as an “introduced species that have infiltrated Australia in a dream”. They are anthropomorphic, “humanoid, but still animal”, and they tell the story of a world that has been colonised. This work is about the “fringes of society”, which are portrayed in Julian’s short animation film The Aussie Assassins (2015), where the animals are “caught between dream and reality”, so that the audience is invited to consider colonisation in a completely different way. For Julian, “active creating” is inspirational; he enjoys being “involved in every aspect of creating”. He draws the characters, makes the sets, does the voice-overs, and produces the work himself. His creative work is immersive and all-consuming. He enjoys developing the many professional skills that can be utilised to create not just an “entire piece”, but a “whole world”.

Warraba critiques colonisation as an ongoing process in Australia. As he articulates, his overall aim is to show how “social, economic, and political realities continually validate Eurocentric ideologies”. In Transcending (2015), he portrays “different ways of seeing” that “transcend the widely accepted Western ideologies”. He seeks to convey Indigenous knowledges though the symbol of a “radiating seed”, which grows in the hands of the individual to suggest Indigenous control over the future, “despite the fracturing of Indigenous cultures and identities by the process of colonisation”. The seed represents “growth, nurture, and sustainable living”, not only in the individual but also within the community. The seed is full of life and light. Warraba’s aim is to both “analyse and re-contextualise the social, economic and political processes of Australia”. In No Place Like Home (2015), he addresses the displacement of Aboriginal people as a consequence of ongoing colonisation and cultural genocide. Once a riverbank where people fished and hunted, the environment has now become a city street, symbolic of imposed assimilation. Details within the composition point to signs of the exploitation of Australia, which has resulted in a polluted environment that further deprives Aboriginal people from continuing their cultural practices and traditions. Both Julian and Warraba have accomplished what they each set out to do in their own idiosyncratic ways. These two distinctive artists demonstrate a strong commitment to their creative work, and we wish them all the best for their respective futures. Associate Professor Donna Leslie Program Director Contemporary Australian Indigenous Art





In the future, the lines between dreams and reality have become blurred. The usurping powers plan to exploit this...

WARRABA WEATHERALL CONTEMPORARY AUSTRALIAN INDIGENOUS ART Transcending 2015 oil and acrylic lacquer on paper 76.2 x 56cm No Place Like Home 2015 oil on paper 76.2 x 56cm

My work critically analyses the ongoing process of colonisation within Australia and further critiques how the country’s social, economic, and political realities continually validate Eurocentric ideologies.




INTERDISCIPLINARY SCULPTURE One Week in the Front Room VIII 2015 clay, wax pastel, and beeswax dimensions variable Image courtesy of The Hold Artspace

Plenty of legs to stand on, but guts lumpy with thinking, so can’t shape the rest of me.

DEBBIE BENNETTS INTERDISCIPLINARY SCULPTURE Untitled 2014 glass 30 x 30 x 10cm Untitled 2014 glass 30 x 30 x 10cm

Possessing both fragility and strength, glass is used as a metaphor for the complex layers found in all forms of life. Some things can be sublime and whole, and then, without warning, become fragmented and broken.



INTERDISCIPLINARY SCULPTURE For MSF Boyle 2015 photograph on aluminium 45 x 30cm Turmeric Dreams 2015 photograph 24 x 12cm Rice Bed 2015 film still 5:35 min

Through experimenting with sentimental objects that I have collected, I explore personal narratives, including cultural heritage and absent family members. I often investigate the actual and imagined value of objects and the idea of personal effects. With a background in photography, I often work with images, film, light, and colour. The resulting images move in and out of focus; like the memories they convey, they are delicate and almost intangible.

RHIANNON DIONYSIUS INTERDISCIPLINARY SCULPTURE GR(ACE) 2015 plaster, synthetic hair, wood, aerosol, and ceramics dimensions variable Crone 2015 glazed raku clay 15 x 10cm Untitled (Body Parts) 2014 wire, dyed stockings, and stuffing material dimensions variable

My work focuses on representations of the body and explores experiences of transgressive femininity, sexuality, and appearance. Relating to ideas of ‘the Other’ and ‘monstrous femininity’, the subject is not a whole healthy body, but something grotesque and fallible, both repulsive and alluring.



INTERDISCIPLINARY SCULPTURE Self Portrait 2014 mixed media dimensions variable

Working between the interdisciplinary practices of drawing, photography, and the moving image, my practice seeks to explore the processes of image-making and modes of representation to illuminate new understandings of our global identity and relationship to landscape.

REE HEGH INTERDISCIPLINARY SCULPTURE Exhale 2015 single channel projection, unique broken projector, and sound dimensions variable Stasis 2015 single channel projection, Phillips Infraphil heat lamps, and sound dimensions variable Pirouette 2015 single channel video, monitor, high gloss enamel paint on black PVC, and sound dimensions variable

Utilising video, sound, temporality, and the language of cinema, I create immersive installations that inject metaphor and magic into seemingly banal events.



INTERDISCIPLINARY SCULPTURE Family Accounts (detail) 2014 found photographs, two-part digital video installation dimensions variable Fragments 2015 Allens XXX mints (ground, with water), food colouring, labels, and excerpts from master’s thesis titled “Sensory Evaluation of Flavored Beverages with Cooling Ingredient Blends” by Xiaorong Su dimensions variable Fragments (detail) 2015

My practice examines the museum as an authoritative cultural and historical dictator by mimicking established museum display methodology to validate non-factual narratives, or the perceived significance of meaningless objects. I am interested in the associations that a viewer makes between two disparate images, or between text and image, in the automatic human pursuit of meaning and interpretation. My work embraces ambiguous tensions between truth and fiction, chance and curation, sentimentality and humour.

PETER KOZAK INTERDISCIPLINARY SCULPTURE Berryfruit 2015 single-channel HD video 1:56 min

I am interested in using recontextualisation as a strategy in my video works to disrupt the intended reading of images and objects that reinforce Western social norms. Exploring themes of vulnerability, marginalisation, and decay, my works seek to challenge the naturalisation of social divisions between what is seen as marginal and what is seen as acceptable.



INTERDISCIPLINARY SCULPTURE 15 Rooms 2015 cardboard boxes, foam board, glue, and sound MP4 (4:40 min) 10.8 x 13.5 x 15.5cm each

Experiencing migration illuminates aspects of memory that were not prevalent before. An undercurrent of displacement, home, and identity consistently surfaces in my art practice. Using found objects of implied or real cultural value is pivotal in my process. The coming from and the moving towards have left me stranded in the middle. Physical relocation blurs cultural lines and result in a constant search for the familiar. Creating memories of personal spaces is a form of preserving the past while making sense of the future.

JULIA SIRIANNI INTERDISCIPLINARY SCULPTURE Cooked 2015 glass and silicone dimensions variable Cooked 2015 glass and silicone dimensions variable

Technology, youth, memory, and patterns are curiosities that influence my practice. The items that we leave behind as we move through our lives, consuming and discarding, provide inspiration and act as resources for my work.



INTERDISCIPLINARY SCULPTURE Untitled 2015 wood, gap filler, screws, projector, video

happy birthday to you happy birthday to you happy birthday dear tristan happy birthday to you object + meaning = meaningful object

ANYA SWAN INTERDISCIPLINARY SCULPTURE Study of QUT Pool 2015 handmade paper, printer paper, biro

When I moved out of home, my parents replaced me with dogs.




How is breath experienced in the foot?

In a post-relational aesthetic context, I document raw file enigmatic performances to open to broader contemporary discourses a dynamic process of being with body, breath, and consciousness.

7 2015 film still

CIELLE VAN VUUREN INTERDISCIPLINARY SCULPTURE You Me Us Then (from the Remnants 1980s series) 2014 laser-printed photographs on used tea bag 5.2 x 6.8 x 0.02cm approx Remnants 1980s 2014 laser-printed photographs on used tea bags dimensions variable

Drawn with light we were. Dual-bodied-One stilled in time. Tea-scent infusing elusive memories of togetherness. Repetitively searching for your essence. You—gone; I’m migrated. Feather-light skin carrying stains of our history yet whispers of home and hope as papilios-shell does. Touching infinity. My work comprises visually seductive installations that use old and new media interwoven with conceptually laden ephemeral materials. I explore loss, longing, and belonging through the layered nexus between individual narrative and historic events within charis. Ephemeral materials and a rich archive of family memories inspire my enquiry.




PAINTING Untitled 2014 oil on canvas 75 x 60 x 4cm

This work is an expression of and a response to the simplicity and complexity of touch.

HELLE COOK PAINTING Scapes & Spaces 2015 oil on canvas 90 x 70cm Sensing Spheres 2015 oil on canvas 70 x 90cm

My paintings investigate space—the space between the gap—in a physical and psychological sense. Balancing between abstraction and representation, I explore and create imaginative internal and external landscapes, fairyscapes, and the world beyond. The process is intuitive, allowing the paint to guide the flow while still making aesthetic choices. I draw on a sense of identity, my Danish background, emotions, longing and belonging, memories, and a sense of the current moment.



PAINTING Untitled 2 2015 acrylic on canvas, vinyl fabric, and photo frame approximately 15 x 12.5cm Untitled 1 2015 acrylic and graphite pencil on board, and faux fur approximately 24 x 18cm

EMILY DEVINE PAINTING Tyranny of Choice: Comments from the Gallery 2015 oil on canvas 77 x 62.5cm Tyranny of Choice: Together, Alone 2015 oil on canvas 49.5 x 40cm

My work has been significantly influenced by the Impressionists’ philosophical mantra of “painting one’s time”—one person’s physical depiction of their contemporary and dynamic surroundings through the inert medium of paint. This concept, I feel, is all the more relevant in today’s transient and mercurial technological world. However, rather than capturing the external everyday environment, my work focuses on the internal reactions I have to these external stimuli and their ultimate impact upon my life.



PAINTING Sea View 2015 oil on canvas 21 x 29.7cm King George Square series 2015 watercolour 44.55 x 21cm

The continuous movement and change in populated cities create an impersonal and fragmented existence. The ‘bigger and better’ concept of buildings within Brisbane has dwarfed the historically important landmarks that make up the city’s past. I look to capture the solid structures that fill Brisbane, from the stone buildings found on street corners to glorified skyscrapers that populate the city centre.

BRENDAN ELLIS PAINTING The Great Colonial Dance-Off 2015 acrylic and oil on canvas 91 x 121cm Ballad of the Mount Coot-tha Grove 2015 acrylic and oil on canvas 91 x 121cm

As a painter, I am intrigued by the roles that mythology and religion play in human belief, and how subjective faith in lore, historical canon, and prophetic leaders can radically manipulate the state of Earth’s environmental ontology and state of natural being within this environment. This being said, is the manipulation of this natural biological state, through theological and teleological means, justified through the desire to achieve an ideal, pure, and ultimately utopian world?



PAINTING Before the Approach 2015 oil on linen 20.3 x 25.4cm A Suitable Distance 2015 oil on linen 30.5 x 46cm

The experience of place can simultaneously produce feelings of dislocation and connection. My work explores this sensory paradox through the distinct space in which painting creates for time and place to be represented and perceived. Although landscape is often associated with more universal experience, my work investigates landscape as an autobiographical experience that embodies my observation, experience, and memory. My paintings fragment and connect this experience and, in doing so, create their own distinct narratives.

BENNET GORDON PAINTING Paul 1 2015 oil on board 90 x 120cm David 1 2015 oil on board 30 x 40cm

My work aims to capture the external world as represented in the ecosystem of a train ride. While viewing men who inhabit this world, I am drawn to the man I don’t want to be; by painting him, I am saying “You are not my future.”



PAINTING Untitled 2015 acrylic on canvas 70 x 50cm Untitled 2015 acrylic on canvas 70 x 50cm Untitled 2015 digital print on paper 84.1 x 118.9cm

How do I perceive my internal self with my external self, in particular, with regard to my breasts? How do I as a woman, person, a being, relate to these mounds of flesh on my body? Are they part of my identity? Do they alter my self-esteem? What are they? I aim to notice them and re-present them.

REE HEGH PAINTING Connected to Nothing 2015 oil on canvas 75 x 100cm

My paintings contain emblems of ritual, archetypes, and metaphor. In this series, I use painting to examine subjectivity and authenticity in relation to my experience of the unconscious.



PAINTING Centennials of the Tartlet 2015 oil on canvas 75 x 75cm

Each object in my paintings carries the weight of its own history. I am not advocating or opposing their traditional purpose or signification. I am interested in multiple dichotomies where disparate themes, ideas, and histories are expressed at once, which painting permits. Everything is revealed equally and at once.

LEA STIINA LEINONEN PAINTING Plastic 2015 Mepxy brush marker on linen 94 x 102cm

I am delving into the landscape of the microscopic world, hidden from normal human vision. I am interested in colourful, bright, happy imagery to brighten up people’s lives.



PAINTING Fusion No. 1 2015 acrylic and oil on canvas 75 x 60cm Fusion No. 2 2015 acrylic and oil on canvas 75 x 60cm

My works are inspired by the mystique of ancient Chinese villages, their architectural forms, and aged surfaces. Through abstract expressionism, I show the richness of the cultures I have experienced and my contemporary positioning today, painting from a Western perspective. As our world continues to develop, I aim to showcase the modern in relation to the traditional. I want to depict our pasts and the differences of our cultures and how they inform who we are today.

KATHY MACK PAINTING Varying Degrees Blue 2015 oil on canvas 76 x 76cm Varying Degrees Pink 2015 oil on canvas 76 x 76cm

A space to be.



PAINTING Selfie 2014 oil on canvas 54 x 43cm The Bells of the Suffering 2015 oil on canvas 91 x 91cm

Abstract painting is another vocabulary for me, a source of wonder, enlightenment, attitude, and feeling. Art has a spiritual will of its own and has nothing to do with the trend of the moment or what that trend expects of you. That is a formula for dead art. Painting is challenging and complex, and it is important to be true to oneself. My current series of paintings investigates the Procrustean horrors and fragments of Atrocity.

JACK MITCHELL PAINTING Elephant Man 2015 oil paint on timber substrate 28 x 20cm



PAINTING Untitled 2015 oil on canvas 101 x 101cm Exhausted Jessie in Bed 2015 oil on canvas 101 x 101cm

I broadly navigate ideas and concepts relating to the human need for sex by observing my own and others’ experiences, and communicating these through drawing and painting. This need is explored in relation to primal, emotional, and social contexts. Further, I delve into how this need has seeped into somewhat unrelated areas of human life today, particularly in media and communication.

JO REES-JONES PAINTING Of This Electric Adjunct Not Anything Is Known 2015 oil on paper 125 x 85cm ...Its Unique Momentum Embellish All We Own 2015 oil on paper 125 x 85cm

My paintings explore the process of dying in palliative care. Using photographs from my career as a social worker, I reinvent these static documents through painting as a ‘lifeaffirming act’. I use non-archival (decaying) cartridge paper to underscore the tension between our desire to stay alive (in painting) and the inevitability of human decay. These paintings are a way of being physically and psychologically involved in the process of another’s death—of accepting it.




KAREN STEPHENS PAINTING The Devil’s Imps 2015 oil on canvas 40 x 50cm

This work is a painting about the ‘Burrs’ of Central Western Queensland. My experience of this region focuses on the strange, overlooked subjects that reside in the landscape of Australia’s rich, romantic interiors. I work directly from collected specimens, and my capricious application of paint is a residue of vivid internal conversations that I have with the objects in the innerscapes of my imagination.



PAINTING Untitled 2014 oil on board 40 x 60.5cm

I’m interested in the role that memory and dreams play in creating a consciousness of the world, and of the self in that world. Memories and dreams are in constant dialogue with experience, creating a catalogue of events that impact how we interpret the world around us.

MAIKKI TOIVANEN PAINTING Twin Towers #1 2014 acrylic on canvas 60 x 45cm Twin Towers #2 2014 acrylic on canvas 60 x 30cm

A senseless act of terrorism.




The mirror isn’t shattered. Only the world it reflects is.

For me, art is about holding up the mirror.

Belonging to the Earth. Longing for the Sky 2015 oil on canvas 122 x 91cm Three Mournings in a Row 2015 oil on canvas 101.7 x 76.3cm The Dream Team 2015 oil on canvas 76 x 51cm

RACHAEL WELLISCH PAINTING How Will It Be? 2015 plastic stitched indigo dyed canvas on ply 50 x 50 x 10cm Collectively 2015 indigo dyed linen and acrylic on ply dimensions variable

My work is focused on the transition of matter from natural to cultural object. In a dialogue with new materialism, I use plant materials, such as indigo and timber, introducing the organic to geometric, abstract forms, and develop cellular clusters for installation.



PAINTING Ears to Hear 2015 graphite on cotton rag 52 x 40cm Eyes to See 2015 graphite on cotton rag 52 x 40cm

In these portraits, I explore the correlation between body language, self, and others. I comment on the fleetingness of gesture and emotion but also touch on the fragility and intimacy of human relationships.




JEWELLERY AND SMALL OBJECTS Skutvik 2015 silver and 9ct gold

My work is an expression of deceptively simple, primitive sophistication, inspired by ancient Nordic culture.

MILLY BELL JEWELLERY AND SMALL OBJECTS Crab Claw Bangle 2015 sterling silver 3.5 x 6.5 x 6.5cm

The greatest influence upon my practice is my rural upbringing, which has enabled me to focus on the natural world, drawing inspiration from the splendour of both plant and animal forms. My joy in creating pattern and texture results in pieces that are highly tactile and threedimensional. It’s important for me that each piece has the right balance of durability and delicacy, and feels good to touch and wear against the body.





I wanted to visually recognise the Australian characteristic of resilience displayed after the devastation of natural disasters and private sorrow, since I believe it warrants celebration.

Resilience Monstereo Earrings and Box 2015 sterling silver and enamel 5 x 5 x 4.5cm Resilience Cockatoo Earrings and Box 2015 sterling silver and enamel 5 x 5 x 2cm

I acknowledge this strength through the motif of two ubiquitous natural forms: the monstereo plant and the cockatoo. For me, they epitomise the resilience of the country and its people. The vibrance of enamel colours mirrors Australia’s sun, sea, sky, and tropical vegetation.

HAN CHOI JEWELLERY AND SMALL OBJECTS Thought Capture 2015 sterling silver and Christmas bauble 7 x 3cm

This recent series of work is inspired by aquarium decorations, risographs, the colour saturation of being thrust into displacement. I wanted to use this kitsch aesthetic to allude to the human-centric disruption of the multitude of ecosystems that exist in this world and highlight the ‘cut and paste society’ we live in.



JEWELLERY AND SMALL OBJECTS Goodwill Bridge Brooch 2015 sterling silver 5 x 5 x 1cm decon 2015 sterling silver 2 x 2cm

The metropolis has a universal presence in the lives of all. These hubs of exchange reach out far beyond the CBD and national borders to become icons of intellectual, historical, and industrial ability. I have presented a selection of jewellery pieces that translate the cityscape and architecture into wearable objects. I use deconstruction techniques to penetrate the facades of structures to find the soul of the building through its forms, profiles, and fundamental compositions.

JACK GARDINER JEWELLERY AND SMALL OBJECTS Contemporary Body Armour #1 (Front) 2014 aluminium, brass, and leather 66 x 50 x 50cm Contemporary Body Armour #1 (Back) 2014 aluminium, brass, and leather 66 x 50 x 50cm

Taking jewellery a step further, my practice crosses the disciplines of jewellery and fashion. Drawing inspiration from historical and fantasy armour, I create wearable contemporary armour-like pieces that attach and detach to machine-washable garments tailored to the wearer. I strive to push boundaries in jewellery and fashion by creating a new alternate niche in which my work sets the wearer apart from mainstream fashion and expresses their personal style like a detachable metallic tattoo.



JEWELLERY AND SMALL OBJECTS Watercolour Pendant 2015 silver and titanium 3.5 x 3cm Flow Pendant with Sword Brooches and Watercolour Pendant 2015 silver, titanium, enamel, and steel 5.4 x 3.5cm, 7 x 1.5cm, 3 x 1.5cm

Originally a graphic artist working mainly with pencils and paper, I wanted to incorporate elements of these mediums into my work. I have a fascination with shape and line, especially when those shapes possess an organic and fluid flow. It creates an interesting dialogue when something organic and soft in shape is created from something as solid and sometimes unyielding as metal. This work is my exploration of the concept of flow.


There are notions of value hidden in the weight of graphite.

There is the potential for a mark to be made.

ghosts 2015 cast sterling silver approximately 5 x 1cm ghosts 2015 cast sterling silver approximately 1 x 3cm

These objects can be both worn or used as tools of expression. Without a user, or a wearer, they sit as unrealised ideas.



JEWELLERY AND SMALL OBJECTS Moment Leaves Series 2014 brass and mother of pearl earring: 8 x 3.5 x 0.8cm, bracelet: 8 x 7.5 x 0.8cm Moment Calligraphy Series 2015 sterling silver necklace: 8 x 4 x 25cm, earring: 1.5 x 0.8 x 0.6cm

I enjoy creating works with elements of fluidity and movement. I want to capture movements from life and rearrange them to achieve new meanings. I draw from my observations of natural phenomena and the traditional art of Chinese calligraphy. I aim to create works that capture the moment in time. My work recognises the power of the present. I want to remind the wearer to enjoy every moment of their amazing life.

MARIAN MACARANAS JEWELLERY AND SMALL OBJECTS Myth 2015 cotton buds, food colouring dye, polymer clay, and hemp cord 9 x 9 x 6cm

Through the medium of jewellery, I often draw from an innate curiosity to experiment with materials, patterns, and repetition, and explore ideas of memory and emotional responses to music and colour. I am fascinated with discovering endless possibilities through the investigative process of making. By combining other interests, such as photography, sculpture, collage, and crafts, I seek to strengthen and emphasise abstract connections between metaphorical and physical experiences, extending them as wearable objects.



JEWELLERY AND SMALL OBJECTS Copper Vessels 2015 copper and silver leaf 4 x 10.5cm and 6 x 12.5cm Orbis Choker 2015 sterling silver set with red garnet 15 x 13cm

My work explores various ideals of my feminine identity. From the separation from what I consider to be familiar, to growing and learning to become my own person. I have used the universal symbol of the circle throughout my work as a metaphor for the womb and the curves that make up a women’s physical and spiritual body: a symbol of unity, inclusion, nurturing, and wholeness.

AVENA OSBORN JEWELLERY AND SMALL OBJECTS Uncover 2015 gumnut and sterling silver 2.6 x 2.6cm After the Flowers Fall 2015 sterling silver 3 x 2.2cm

Nature has been a consistent source of inspiration for my art practice. This series addresses the fragility of nature and celebrates Australia’s unique indigenous flora. I dissect seedpods to uncover the organic patterns hidden within them, representing the constant search/discoveries of new information about the Australian environment. The solid lost wax cast forms I create contrast well with the delicate natural seedpod pieces. By incorporating found native objects into a precious metal, I emphasise their value.



JEWELLERY AND SMALL OBJECTS Mystic Garden Bangle 2014 brass and beads 8 x 5 x 4cm Mystic Garden Earrings 2014 brass and beads 2 x 2.5 x 4cm

My use of floral motifs is inspired by nature, with an aesthetic informed by my cultural heritage. My handcrafted, unique jewellery pieces synthesise a contemporary style of floral forms and traditional artisanal techniques of brass plate, brass wire cutting, and soldering to form wearable sculptures.

TEAGHAN SCOTT JEWELLERY AND SMALL OBJECTS Molten Stack Rings and Orbit Ring 2015 silver 1.5 x 2 x 2cm Suspended Molten Bangle 2015 silver 1.5 x 8 x 8cm

My jewellery practice is based around minimalist sculptural forms. My pieces aim to demonstrate a harsh transition between structural and organic aesthetics. My latest series, Fluidity in Silver, is the depiction of malleability in both mind and material. The series uses the transitional properties of silver as a metaphor for the unsolidified state of personal identity. I aim to continue making jewellery and promote my work under my label Molten Minimal.



JEWELLERY AND SMALL OBJECTS Traces 2015 sterling silver 5 x 6.5 x 0.2cm, 6 x 4 x 0.2cm Shelter 2015 sterling silver, oxidised copper, and cowhide 5 x 5 x 2cm

My artistic practice employs a reflective process through which I constantly seek to explore the subconscious. Each work is a combination of diverse materials and organic forms, where I attempt to explore the parallels of truth found in both intensely private stories and universal narratives. They are evocatively symbolic of personal memories, signifying resilience, liberation, and growth in the wake of significant loss.

MADELEINE TATE JEWELLERY AND SMALL OBJECTS Sentimental Virtues 2015 sterling silver, found stones dimensions variable, largest work 2.5 x 2 x 1cm

Things that interest me and inform my work: story, wonder, imagination; the difference between inherent, imagined, and sentimental worth; the body as landscape; spaces, gaps and jumps; the void; objects as time keepers and great travellers; trash as souvenirs, and souvenirs as trash; mementos, the other; the surreal and mystical; soft and hard; metal on skin; ‘finding’ things; motion; meditation; landscapes; wanderlust; the real and the staged; visual shifts; mountains; colour; the great expanse that is the sky.



JEWELLERY AND SMALL OBJECTS Gropius 2015 sterling silver 6 x 8 x 3cm

This series draws on aspects from Johannes Itten’s theory that the square, triangle, and circle are the basis of all design. I want some of my pieces to move, make sounds, and have a purpose for the wearer to become attached to. I want my jewellery to act as sculptures on the body, much like architecture acts on the land. Simplicity, clarity of forms, and the elimination of unnecessary detail are important in my work.

AMELINA TRAINOR JEWELLERY AND SMALL OBJECTS Void 2015 brass, sterling silver, polyester resin, and copper 4 x 6 x 1cm Space Rings 2015 sterling silver, resin, polymer clay, agate, and brass 2 x 2 x 3cm

I have been a fan of science fiction since I learnt to read, which was the kernel that inspired this collection. As an adult, I’ve discovered the real science behind the fanciful tales, which has proven to be even more fascinating. Scientists, engineers, and astrophysicists from around the world collaborate to bring new knowledge about life, the universe, and everything. This collection recognises and celebrates their efforts. Keep looking up.



JEWELLERY AND SMALL OBJECTS Bamboo and Rice Ring 2015 sterling silver, resin, bamboo, and rice 2 x 3cm

My jewellery portrays a personal journey exploring cultural identity and heritage. The fragments of materials embedded in resin and silver capture the fascinating transformation of simple organic matter into fragile and precious pieces of beauty and adornment, each bearing significant cultural meaning. While the fragments symbolise disconnection with my cultural heritage, the circles reflect notions of connection and completeness. Each piece expresses individual identity and contrast, yet displays a tangible sense of unity and harmony.




INTERDISCIPLINARY DRAWING Untitled (Man and His Device) 2014 ink, chalk, pastel on stonehenge paper 21 x 29.7cm Untitled (On His Knees) 2014 ink on sand 21 x 30.2cm Untitled (Turning His Back) 2014 ink on gravel 21 x 21cm

I am fascinated by the importance of mobile data and the digital realm that has been tailored for pocket accessibility. My work explores the simultaneity of the physical world and cyberspace using direct response drawing. In tying these two worlds together into a set of works, the process of mark-making is dictated by natural tools while the life models foster formal interactions with technologies.

ADAM JAMES DAVID ANDERSON INTERDISCIPLINARY DRAWING Every Tom, Dick & Harry, I Want to Be Larry 2015 performance 10 min

The carnivalesque deploys mania, humour, inversion, absurdity, and the grotesque to exact social change through subversion. My current work mobilises the carnivalesque in conjunction with ritual and dragbased shamanism to explore and critique notions of binary gender specificity, transformation, desire, body positivity, and dignity. This methodology is grounded and sustained within contemporary drawing practice, which emphasises the translation of the internal abstract mind to an external, visual offering.




INTERDISCIPLINARY PRINT MEDIA The Australian Dream 2015 lithograph 40 x 60cm

In creating printed collages of icons and symbols appropriated from the media, I investigate the link between the printed artefact and the cultural narrative of Australia. Through the interrogation of dominant Western discourses, I seek to deconstruct ideas perpetuated by mass media. By utilising imagery used in the promotion of the hegemonic norms, I create alternate scenes that highlight the impact of the printed image as the vehicle for the mores of Australian society.

REBECCA AUSTIN INTERDISCIPLINARY PRINT MEDIA The Teacher 2014 copper plate etching 39.5 x 53.5cm

My practice is concerned with the existential perception of the human condition through the exploration of material and media. Within the paradigm of contemporary printmaking, I explore the themes of individuality, feminist theory, and iconography in a search for understanding the unique irony that exists within the nature of printmaking itself.



INTERDISCIPLINARY PRINT MEDIA What Are Teeth, Anyway? 2015 graphite on canson drawing paper 110 x 72cm

Both self-taught and academically trained in the field of drawing, I undertake issues of drawing as a contemporary practice, alongside an exploration of my identity as a woman making art. My primary visual focus is on the figurative, as I attempt to approach images of the human form with sensitivity and sincerity. I am inspired by relationships, love, comedy, and storytelling.

ZOE CHARLOTTE INTERDISCIPLINARY PRINT MEDIA Lust 2015 lino print 78 x 27cm Infatuation 2015 lino print 78 x 27cm Sorrow 2015 lino print 78 x 27cm

I aim to capture the understated beauty in the world around me through finely detailed illustrations and lino prints. I am drawn to bugs, bones, and flowers, which are common themes throughout my entire practice.



INTERDISCIPLINARY PRINT MEDIA Repeated 1 2015 lithography 81 x 60cm Repeated 2 2015 pencil and colour pencil 76 x 57cm Repeated 3 2015 pencil 76 x 57cm

Many of the repeated patterns, colours, and shapes in my work reference my Korean culture. Pattern is a strong symbolic motif that can represent a culture, beliefs, history, and tradition. These motifs are handed down from generation to generation and are often derived from everyday life and commonplace objects. Ten years of living in Australia combined with childhood memories and a strong Korean upbringing are the main influences and inspiration behind my current work.

MADISON EADIE INTERDISCIPLINARY PRINT MEDIA Imperfect 2015 screenprint 200 x 150cm You’re Not There 2015 screenprint series individual prints: 15 x10cm

Inspired by the effects of psychological diseases and memory loss, these prints are an exploration into memory and the role that the photographic has in recalling moments. These prints draw comparisons between the photographic as a means to inform a memory and the delicate and everchanging recollection process of the human mind.



INTERDISCIPLINARY PRINT MEDIA Twin Peaks 2015 lithograph 58 x 82cm

I work primarily with lithography to create intricate graphic dreamscapes. These ‘scapes’ often explore romanticised notions of the media and how they play into society’s fantasies. In order to achieve this goal, I utilise imagery found in cult cinema and pop culture by subverting their themes through a multi-faceted drawing style.

ELIZABETH-PAULE GINN INTERDISCIPLINARY PRINT MEDIA La Sahara 2015 etching 20 x 40cm Sahara No.5 2014 etching 15 x 30cm Desert Dream 2014 etching 40 x 60cm

In art school, I heard the quote “Art is the language between the written and spoken word.� Print making has allowed me to unfold and explore ideas with a freedom I had yet to experience. Free from previous constraints and preconceptions, my work has evolved as ideas altered and developed through skill and technique. In the past two years, my artistic practice has been heavily influenced by my recent travels to Morocco. I sensed connections to the natural beauty of the Australian landscape, which aroused feelings and emotions within me.



INTERDISCIPLINARY PRINT MEDIA Enhanced Natural Reconstructions 2015 pastel on ply 11 x 15cm

My drawings reference natural forms resourced from photographs on the Internet, which are reconstructed using traditional drawing techniques. These natural forms are carefully selected and composed in order to enhance their fragility and beauty. These characteristics of our human nature are important to me.

KYUNGHYUN (JAMIE) KIM INTERDISCIPLINARY PRINT MEDIA Hanok Tower 2015 lino print 74 x 57cm Hanok 1 2015 pencil on paper 111 x 78cm Hanok 2 2015 pencil on paper 76 x 57cm

I have recently developed an interest in cultural and historical buildings, particularly traditional Korean houses known as Hanok. Unfortunately, Korea’s cultural heritage is under threat. My work looks to bring attention to this rich heritage, especially the unique lines, shapes, and distinctive roofs of Hanok architecture. These works have been developed from my recent visit back to South Korea.



INTERDISCIPLINARY PRINT MEDIA Kindle 2015 mixed media 81 x 112 x 52cm

I consider the relationship between the brutal nature of fairy tales and the fragility of the female characters represented in them.

HAYLEY McFARLANE INTERDISCIPLINARY PRINT MEDIA Fragments (from the Eternal Beauty: Bones series) 2015 monotype, dry point etching and chine-collĂŠ on magnani paper 71 x 100cm

I am interested in the beauty that exists as part of a continuum, not as a permanent and fixed ideal, a beauty reflected in Herman Bahr’s theories of the eternal connectedness of all things. In this series of works, Eternal Beauty: Bones, I abandon the symbolism of death that has permeated the bones of human history. Instead, I transition the static skeletal bones of a fish through the printed image into another space and function.



INTERDISCIPLINARY PRINT MEDIA Cyborg Wolf 2015 digital drawing, colour laser print 29.7 x 42cm Bird/Human Hybrid 2015 digital drawing, glossy photo paper print 14.8 x 21cm Fish/Human Hybrid 2015 Digital drawing, glossy photo paper print 14.8 x 21cm

My work is a series of studies that reflect the intersections between nature, industry, and science. Each creature is both mirrored and threatened by human technology. These works have been hand drawn, then created digitally to depict living creatures that have been hybridised from scientific advancement. Although these works are drawn from a fascination with machines, hybridised species, and technology, they raise ethical questions about our cultural disconnection with the natural world.

AISH SAFFIGNA INTERDISCIPLINARY PRINT MEDIA Elsi Perriweather and a Conversation with Your Mother (detail) 2015 ink and charcoal on paper 28 x 25cm

Words don’t say everything.



INTERDISCIPLINARY PRINT MEDIA jasminmakesalivin Desert Island Weather 2015 screen print 22 x 36cm

My practice is founded in the emotive and expressive power of art where the aim is to produce visual poetry that embodies my sensibility and interest in bold colours and unusual geometries. By working spontaneously, I pursue an understanding of my environment and truth in the materiality of nature and experience.

GRACE WEBSTER INTERDISCIPLINARY PRINT MEDIA Untitled 2015 linocut on paper 70 x 51cm Untitled 2015 collagraph on paper 49 x 70cm

My work reacts to disharmony created by man when introducing non-native animal species and pollution into the environment. My main interest is in art styles from Bronze Age cultures, such the Minoans and Mycenae, but I am also influenced by some Iron Age cultures such as the Picts and Celts. My work mixes the styles of these cultures as well as tries to introduce some modern influences.



INTERDISCIPLINARY PRINT MEDIA Untitled (Pinch) 2015 lithography 80 x 120cm

My art practice investigates aesthetic experience through visually compelling imagery. Here, I create tension between the seductive qualities of technical rendering with the construction of an intriguing and disquieting form. Its ambiguity allows one to become immersed within the transitional pull between representation and imagination.




HONOURS Trace Series 3 2015 copper, brass, sterling silver, stainless steel, vitreous enamel, patina dimensions variable (largest dimension 6 x 5 x 3cm)

My practice aims to initiate interaction between the viewer and objects in order to provoke questions of an object’s function. In Trace Series 3, the viewer’s attempt to engage and control the small, unpredictable objects marks paper with ink. Thus, a scenario is created that allows for concentrated interaction to be freely explored.

NICOLE CROSSWELL HONOURS Bound 1 2014 etching ink on paper 42 x 30cm

My Honours research project investigates the disclosure of my experience of mental illness and its relationship to the broader discourse around stigmatisation. As an intermedia artist, my project is based on the physical and active elements of thread and trace. Through the exploration of the trace monotype, video projections, and organic installations that use thread and muslin cloth, I hope to uncover new understanding of the experience of mental illness and its stigma.



HONOURS I dun good 2015 interactive artwork I made this sign 2015 cardboard and smartphone 25 x 20 x 3.5cm

My practice looks at developing interactive methods that incite the spectator into critical thought or reflection. The works interrogate roles and relationships between producer and consumer in the circulation of spectacles and images in the media and in the organising and performing of protest and social acton on social media.

KRISTIAN FRACCHIA HONOURS Build Up 2015 ink on paper 26 x 19.5cm The Swimmer (Self Portrait #3) 2015 graphite on paper 36.5 x 26.5cm

When I look at my own experience and how I believe the manly Aussie is meant to look or act, an image of the sportsman emerges; in particular, the swimmer. He is tall and muscly, clad in a rubbery cap, goggles, and skimpy trunks. This body of work is driven by my own pursuit of that good-looking swimmer’s body and a struggle with being expected to look and act manly in a sporting environment.



HONOURS The Bathroom 2015 oil on marine ply 70 x 55cm

My work looks at the bird in the domestic environment, as a way of understanding how this space is experienced in today’s contemporary society.

MARISA GEORGIOU HONOURS Verandah Dance 2015 video still dimensions variable Futilities (Studies for a Shrine) (detail) 2015 dwarf date palm and fan dimensions variable

Australia’s relationship with the external natural environment is fraught with tension and contradiction: a simultaneous feeling of disconnectedness from the land and a strong desire to relate to it. In small ways, we continue to organise our everyday lives with manufactured tropes of sanctuary, escapism, and authentic natural connection. My work reveals ironies in these relationships; in particular, the way that we contrive and aestheticise the environment in the everyday.



HONOURS Bath-Time 2015 oil and acrylic on board 120 x 90cm

In a society marked by the social-obscene, the representation of women’s sensuality is implicated by the naked female body as an image atrophied, mediated, and consumed between both popular marketing information and superficial feminist critique. Can posing inform ideas about our seductive bodies or does it depend on who is looking and where you are standing? This project explores these questions through a figurative investigation of the intimate interaction between women as artists and models.

FRED GOOCH HONOURS red L 2015 oil, timber, and lithography dimensions variable red R 2015 oil, timber, and lithography dimensions variable

A relationship between hand and machine, to inform a visceral vision.



HONOURS A Consumer’s Guide to Unobtainable Happiness 2014–15 recycled cardboard, polystyrene, and paper, modelling paste, acrylic paint, and glass dimensions variable

I have chosen a culinary aesthetic to emulate an elite refinement of taste as a metaphor for the idea of ‘luxury’ manifested through the ‘aesthetics of display’ as agents of ‘consumerism’. Utilising waste materials to reproduce the life-size ornate and textural qualities of faux tableaux French-inspired patisseries, my aim is to question the nature of a culture built around mass consumption in order to destabilise the consumerist impulse.

CHRISTOPHER HARDWICK HONOURS Untitled: Fragmented, Interior 2015 sterling silver, manipulated image locket: 6 x 5 x 1cm, chain: 63cm Untitled: Fragmented, Exterior 2015 sterling silver, uncut aquamarine locket: 6 x 5 x 1cm, chain: 63cm

My art practice is motivated by an urgency to add to an emerging conversation regarding social issues, particularly domestic violence and its traumatic ramifications in our society. This locket is number nine in a series of twenty-two that translates a narrative of domestic violence during pregnancy and the traumatic consequences on the infant.


Better images requested


HONOURS Crossword 2015 digital print in catalogue 9 x 9cm

Across 3. The USA never landed on the‌ 4. Used as the object of a verb or preposition to refer to two or more people. 6. Eyes watching us! I blame them! I connect the dots! Down 1. The human tendency to perceive meaningful patterns within random data. 2. A vest, or me. 5. What to do with the documents: my singed fringe!

DOMENICA HOARE HONOURS Tom’s Garden 2015 lithographic print 84 x 53cm

My practice is based in drawing and printmaking. My current studio work consists of lithographic and monotype prints. In the images of people that are the focus of my work, I try to engage the viewer’s unconscious and imagination. My aim is to evoke a range of personal responses in the viewer as I am asking them to identify in some way with the figure and the setting in each image.




Why did the artist fill the balloons with water?

To hold up a brick.

Water Bed 2015 digital print 43.33 x 65cm

Why did the artist need to hold up a brick? To make art. Why did the artist need to make art? To create an insightful critique on domestic spaces and the everyday.

ALLY McKAY HONOURS worth/worthless (from the Press series) 2015 carbon paper and bandage case interactive installation dimensions variable

My practice is concerned with material poetics and how materiality, medium, and visual metaphor can combine to translate the subtleties of lived experience. Experimenting with dialectics and juxtapositions, my work this year has investigated how material poetics can translate the fragility of decay and the presence of mortality.



HONOURS Trace 2015 cement and fabric 90 x 120cm

The visual language encompassed within the folded surface is used to examine the ways in which monumentality of place may be made accessible through the folded and unfolded art object. The materiality of the work is significant, as the act of folding exposes the inherent vulnerability and ephemeral nature of the found clay and cement mix, which signify my movement from a rural to an urban environment.

SALLY MOLLOY HONOURS Landscape 2015 oil on board, chipboard, gum leaf, possum hand, wallpaper, ceramic dish, homemade paper, and found image on velvet dimensions variable

My desire to ‘paint landscape’ echoes my ‘connection’ to the Australian landscape that persists despite the critical self-reflexiveness demanded by postcolonial awareness. As such, my practice is concerned with attempting to expose the ideologies of colonialism embedded within representations of the Australian landscape via the use of paint in conjunction with bricolage and perforation. This work aims to render a sense of non-indigenous ‘connection’ to landscape that is characterised by contradiction, awkwardness, unfoundedness, and uneasiness.



HONOURS Untitled 2015 graphite on paper 115 x 100cm

My practice investigates the ‘nocturnal self’ that exists inside the young Brisbane male. I examine its relationship with hooliganism that is culturally inseparable from Fortitude Valley’s nightlife. Through large drawings, I reinterpret local news imagery that depicts this hooligan activity. This imagery is subject to a deliberate process of removal through drawing. Through omission of form, the mediadriven myth of the deviant is placed under scrutiny.

NAOMI O’REILLY HONOURS Flesh: Formation 2015 polymer clay and human hair 0.05 to 0.5cm high, installation variable

Come closer.



HONOURS Llewellyn Bust 2015 clay, acrylic, pine, and Umbro t-shirt 130 x 40 x 40cm Outdoor Construction (Humming Mound) 2015 cotton, pine, clay, and silicone 180 x 180 x 60cm

COSIMA SCALES HONOURS Untitled 2015 oil on plywood 70 x 100cm Dream Home 2015 oil on plywood 70 x 100cm

My practice investigates how painting can address conflicting desires for the comforts of suburban spaces and the adventure of wilderness. Based on reference collages bringing together real estate photography and holiday snapshots, the paintings combine representational elements of architectural and natural environments. The surface, interrupted with discordant fragments of imagery, is unified by the medium of paint, allowing both types of subject matter to co-exist.



HONOURS Drawing feat. self(ie) 2015 digital photograph disregard her body, and to make her body an abstraction. “Anything you can do to come to terms with your own image.” However vast her narcissism, the YoungGirl doesn’t love herself; what she loves is “her” image, that is, something that can not only be foreign and exterior to her, but that possesses her, in the full sense of the word. —Tiqquin, Preliminary Materials for a Theory of the YoungGirl (Los Angeles: Semiotext(e), 2012), 60–61.





Mr Simon Degroot Ms Jo D’Hage

Professor Sue Best (Fine Art Program Director)

Mr Joe Furlonger

Dr Jess Berry

Ms Maren Gotzmann

Professor Mostyn Bramley-Moore

Ms Elise Hilder

Mr Russell Craig

Dr Jennie Jackson

Mr Sebastian Di Mauro

Ms Sara Manser

Associate Professor Elisabeth Findlay (QCA DD T&L)

Ms Julie Ann Milenski

Associate Professor Donal Fitzpatrick

Ms Clare Poppi

Dr Julie Fragar

Ms Jude Roberts

Associate Professor Donna Leslie (CAIA Program Director)

Dr Rosemary Hawker

Mr Nasan Pather

Ms Bianca Beetson

Professor Pat Hoffie

Mr Brian Sanstrom

Ms Catherine Large

Dr Jennifer Sanzaro-Nishimura


Dr Donna Marcus

Ms Zoe Scrogings

Ms Glennys Briggs

Dr Tim Mosely

Dr Glen Skein

Ms Libby Harward

Dr Susan Ostling

Dr Lynden Stone

Mr Laurie Nilsen

Dr George Petelin

Ms Susie Woodhouse

Mr Nasan Pather

Ms Kellie O’Dempsey

Dr Bill Platz Associate Professor Debra Porch Ms Elizabeth Shaw Professor Ross Woodrow

Mr Andrew Forsyth Mr Andi Lowrie Mr Brian Sanstrom Ms Katie Stormonth Mr Dave Sawtell Mr Jonathan Tse CAIA ACADEMIC STAFF

Ms Paula Payne

Ms Clare Poppi FINE ART STUDIO TUTORS Mr Robert Andrew Mr Blair Coffey

Ms Zoe Scrogings Ms Debbie Taylor Ms Nancy Torrens Ms Tamara Whyte

Ms Claudia Husband


Mr David Jones


Ms Carolyn McKenzie-Craig

Mr Phil Aitken

Ms Tyza Stewart

Mr Nick Ashby

Ms Sandra Kane Fine Art Administrator and Team Leader QCA SLTC

Ms Jenny Watson

Mr Richard Blundell Dr Chris Bennie Mr Michael Cusack




Ms Amy Commins and Ms Aileen Randle Art Theory and CAIA Administrators


Iain Turnbull Memorial Bursary

Bonnie English Memorial Art Theory Award

Trevor Lyons




QCA Showcase 2015 26–29 November 2015

Designed at Liveworm Studio

Queensland College of Art Griffith University South Bank campus

OPENING NIGHT Thursday, 26 November 2015

Designer: Chelsea Eaton Creative Director: David Sargent Editor: Evie Franzidis Published by Queensland College of Art Griffith University ISBN 9781922216960

2015 Queensland College of Art Fine Art graduate catalogue  

Featuring graduate work from students of the Queensland College of Art Fine Art program and the Contemporary Australian Indigenous Art progr...

Read more
Read more
Similar to
Popular now
Just for you