Page 1

Proudly Sponsored by

departure To say that photography dominates contemporary visual culture has become a commonplace but also a means towards understanding the upsurge in photography-related education. The diversity and ubiquity of today’s photographic culture is directly reflected in the range of its applications at the Queensland College of Art, Griffith University: Creative Advertising Photography, Photographic Art Practice and Photo Journalism. Each of these specialisations offers students acute disciplinary skills as well as a chance to engage with the productive interdisciplinary dialogues that have animated the broader arts in recent years. Departure takes place within this context, and the images on show explore and negotiate the complex relationships that arise in photography. While the works’ extraordinary diversity and energy tells us something of these graduates’ specific disciplinary agendas, they also demonstrate the culture of the photographic image today. That is, not just what photography is used for but how we can understand a photograph in and of itself, as distinct from other image forms. Such a level of engagement is not usually exercised by those outside the study of photography. For most of us, photography is a self-evident medium that lays bare its stories and makes for an easy truth based in appearances. However, for the best photographers, these are not certainties but assumptions, and sometimes dangerous ones at that. In a world that is made more coherent by images that are mostly photographic, to better understand and to question the medium and its uses is crucial, not just for image-makers but for image-consumers. Given the ubiquity of photography, it becomes increasingly difficult to imagine someone outside such consumption.

These considerations are brought to the fore through the work of these graduating photographers; indeed, these questions have been central to their thinking and learning across their degree studies. Paradoxically, the challenges these early-career photographers face are made all the more vexed by the popularity and flexibility of their medium. Photography negotiates culture across scientific, commercial, documentary, and aesthetic realms. In thinking about how photographs can be meaningful and can add to our understanding of experience, today’s photographers are faced with an intimidating array of image making. It seems that everything that can be photographed has been photographed, that every possible visual ploy has been exploited by advertising, that each recorded historical event or social issue is an echo of something already on the record — an argument made overly familiar through the rhetoric of photography itself. In light of the above, what is it to persist as a photographer? To make images today is not just to engage in a thriving image economy but to assert the continuing relevance and potency of photography as a medium. To find this assertive statement expressed through these multifarious images on display is to recognise the enthusiasm and skill of those who have worked towards the acquisition of a visual language and who now find themselves ready and able to communicate in new ways and with great force.

Dr Rosemary Hawker Senior Lecturer Art Theory Queensland College of Art, Griffith University


Alan Edgecomb


Grant Perkins


Lachlan Gardiner


Brett Ramsay


Jodie Harris


Raphaela Rosella


Scott Howes


Jennifer Ryan


Isaac Lawrence


Claire Watson


Daniel Mulheran


Tom Whelan


Vegar Olaussen


Louise Wright

photojournalism 2011 Photography Graduate Catalogue

ALAN EDGECOMB 0410 555 685 In an ever–increasing secular world, the question arises whether or not God is still relevant. By documenting religious festivals and rituals within the Christian Church, I am in pursuit of a better understanding of the interaction between the faithful and the God they love and worship. In my current body of work I am exploring Religion and Faith. I have been documenting these holy events for over 12 months and am fascinated by the reverence expressed during these religious proceedings. At the same time, this photographic exploration has allowed me to examine my own spiritual journey.


photojournalism 2011 Photography Graduate Catalogue

LACHLAN GARDINER 0450 323 681 When I first thought about horse racing I would envisage the elaborate costumes and over-indulgent celebrations of the young men and women having a good time. This does exist, however I discovered that the beating heart of this industry lies somewhere else. Never far from the TV’s, with a racing form in hand are the punters. The mood is reserved, punctuated by cheers when the race is underway. All day they bet against the Bookmaker. Some go home empty handed while others have more luck. Regardless, the regulars will be back next week for what they call The Sport of Kings.


photojournalism 2011 Photography Graduate Catalogue

JODIE HARRIS 0415 196 867 My work explores the relationship between consumerist fetishism and life as performance. With influences as diverse as Chris Jordan and Christian Boltanski, new combinations are distilled from both opaque and transparent discourse. The pace at which our "upgradeable" existence is devoured is stupefying, yet accountability for our consumer waste is conspicuously absent. What starts out as yearning soon becomes corrupted into a cacophony of power, leaving only a sense of failing and the inevitability of new understanding. As temporal reminders become distorted, the viewer is left with an impression of the edges of our culture.


photojournalism 2011 Photography Graduate Catalogue

SCOTT HOWES 0421 248 245 “One’s destination is never a place, but a new way of seeing things.” — Henry Miller The idea of travel is exciting and forever romanticised by the heroic and seductive images we are exposed to from far off lands, providing us with endless opportunities to learn and grow. This same quixotic view saw me travelling across Australia with two strangers to produce this body of work. While the images in this series describe my idealisation of travel, accompanying journal entries punctuate the shortcomings and disappointments of this experience.


photojournalism 2011 Photography Graduate Catalogue

ISAAC LAWRENCE 0404 727 505 Photo documentary is a chance to tell stories. To be Euthanized, tells the story of forgotten and neglected animals at an animal shelter. This series is a confronting and shocking account of what happens to animals in a society that treats them as objects and commodities. What is just as confronting, is that this ’end result‘ seems to be sanctioned by a community based organisation that many of us see as the savoir of these animals. My work seeks to provoke an audience to reflect on what they consider to be humane. Are our current methods when dealing with abused and neglected animals, one of compassion or convenience?


photojournalism 2011 Photography Graduate Catalogue

DANIEL MULHERAN 0411 647 315 Don't let it become too familiar.


photojournalism 2011 Photography Graduate Catalogue

VEGAR OLAUSSEN 0432 254 268 Through photography, I am exploring what I believe to be the irrational concept of normality (or rather, the lack thereof). Over the past two years I have delved into a variety of alternative lifestyles and communities — primarily (but not exclusively) the transgender community and BDSM (Bondage & Discipline, Dominance & Submission, Sadomasochism) scene. I am attempting to discover if such a membership creates an impact on the quality of life for those who do not conform to mainstream society. The time I've spent observing and participating in these communities has taught me a great deal about both myself and life itself. Understanding and knowledge has taken the place of preconceptions. I now find myself a more openminded and accepting individual, regardless of how (ab)normal people I meet might be.


photojournalism 2011 Photography Graduate Catalogue

GRANT PERKINS 0422 470 815 Photography is an expression of the author as much as it is an invaluable record of events, people and the world around us. My work is a representation of life as a theatrical stage and my personal interpretation of events that appear before me.


photojournalism 2011 Photography Graduate Catalogue

BRETT RAMSAY 0435 148 139 "A closer look at society's holiday and leisure time activities can reveal a lot about the desires and dreams that we need our holidays to fulfil." — Andreas Meichsner In this body of work I set out to explore how Australians use their leisure time and began by re-visiting the theme parks of my childhood. I was left questioning what amusements and thrills are missing from our lives, that we need to seek them in these controlled and often absurd environments? My images draw on my memories of anticipation but make real the anti-climax.


photojournalism 2011 Photography Graduate Catalogue

RAPHAELA ROSELLA To see another, to hear the voice of those rendered voiceless, and to seek to make a difference, is what powers my desire to be a visual storyteller. “Everybody ‘knows’ that it is bad for teenagers to have babies. They will abuse them, abuse welfare and be a drain on society” (Kaufman 1999). Is it correct to assume that all young mothers are doing a bad job? By individualizing each story I seek to show that each mother is different and there is no ‘uniform’ type. By listening and telling the stories of others, we come to understand that there are no stereotypes and we stand as individuals.


photojournalism 2011 Photography Graduate Catalogue

JENNIFER RYAN 0410 485 617 We cannot say that all religions are the same. Across faiths there are fundamental differences. But what about similarities? Don’t all religions have the same goal? Throughout the last year of my degree, I have tried to capture the common bonds each faith holds rather than what sets them apart. “The essence of all religions is one. Only their approaches are different” — Mohandas Ghandi


photojournalism 2011 Photography Graduate Catalogue

CLAIRE WATSON 0413 891 795 I am interested in exploring social disconnection in suburbia. In my current body of work I am documenting how a postmodern lifestyle of vigorous obligation and material excess has led to self-preservation and isolation. As rationality trumps sentiment, barriers are erected and interpersonal relationships are corroded. “Through these towns they built to change The emotions are dead It’s no wonder you feel so strange” — The Arcade Fire


photojournalism 2011 Photography Graduate Catalogue

TOM WHELAN 0411 989 079 Machinery forms the backbone of modern society. It is present, not only in industry and the workplace, but also in our everyday lives. My first series explores the reliance on machinery and technology in food production, stressing the power and complexity of large scale industry in contemporary agriculture. The second series looks at the display of retired military weapons in public spaces and memorials throughout Southeast Queensland. I am primarily concerned as to whether weaponry, designed to kill and maim, is an appropriate means for the general public to commemorate and honour the lives of Australians lost in conflict.


photojournalism 2011 Photography Graduate Catalogue

LOUISE WRIGHT 0400 270 346 With the world’s population continually growing, the demand for food will see organic farming and permaculture methods fighting to create sustainable food production in the future. I’m interested in documenting those people whose ethical farming practices create positive outcomes for the land, animals and humankind. This series describes farming within an ethical framework. It shows a traditional farm run by a family, who treat their animals and land with the respect they deserve. The pictures speak to the viewer of a simpler time, before the rise of factory farming and the mass production of food.



Adam Brunckhorst


Emma Leslie


James Burke


Pip Lobston


Leanne Sauer


Felix Merry


Gerwyn Davies


Sarah Oxenham


Charlie Donaldson


Callum Ross


Yavuz Erkan


Sancintya Simpson


Hillary Green


Sarah Story

photographic ar t practice 2011 Photography Graduate Catalogue

ADAM BRUNCKHORST To be mortal is to be human - the psychological terrain I navigate is a reflection on my own personal anxiety and fear in the face of death. I invite the viewer to confront a realization they may otherwise wish to deny. Intended as an autopsy on the human condition, these photographs allow the audience to contemplate how the meaning of life is informed by the meaning of death. In this body of work I create surreal and surrogate identities that are unidentifiable, pained and disfigured. Utilizing pinhole photography these images entail conditions of degradation and erasure, stressing the temporal nature of existence.


photographic ar t practice 2011 Photography Graduate Catalogue

JAMES BURKE My process of work involves destroying a view or state of mind that I believe I am passionate about and have followed naively. By exploring a message of mine that I wish to share, it reveals many in authenticities towards myself where I have not been truthful. I see photography as a medium to express a possibility.


photographic ar t practice 2011 Photography Graduate Catalogue

LEANNE SAUER 0407 583 411 This series of still life photographs is an exploration of my experiences and feelings surrounding marriage and relationships. In particular, I respond to social conventions and their influence on an intimate relationship. I draw on my life experience to raise the question of reproduction as related to marriage. Would I have children because I want to or because it is merely an expectation of being married? I am interested in the influence of tradition on the flux and change in a relationship, and I respond in these works to both the expectation and desire of a marriage partner and the expectations imposed by the institution of marriage.


photographic ar t practice 2011 Photography Graduate Catalogue

GERWYN DAVIES 0437 893 073 This work playfully interrogates the construction and performance of normative and dominant masculinities and their iconography. In each still life image, totems of the ‘authentic’ man are stitched and shrouded using gendered modes of craft. The rugged material quality of denim is transformed and delicately repositioned in to a still life context where the assumed power of male icons and symbols are dissolved into eroticism. In doing so, this work aims to contest the authority of dominant masculinities and its commonplace representations.


photographic ar t practice 2011 Photography Graduate Catalogue

CHARLIE DONALDSON www.charliedonaldson. In my works I process fleeting visions of imagined spaces into concrete forms. Ambiguous and hazy, they are intended to immerse the viewer in a fantasy of the infinite. These vast, surreal spaces approach the sublime as a means to invoke a simultaneous sense of awe and bewilderment.


photographic ar t practice 2011 Photography Graduate Catalogue

YAVUZ ERKAN “Whenever people agree with me I always feel I must be wrong.” — Oscar Wilde In Unorthodox Aphorisms I invite the viewers to distance themselves from their conventional routines. These photographs are visual aphorisms targeted at the conformism of individuals who live what is considered a normal life. They are about empathy and familiarizing ourselves with unconventional human behaviour. I question stereotypical gender behaviour by creating physical sensations using tactile objects and materials. Identifying the power relationships between showing, looking and being looked at, I encourage the viewers to take action against societal assimilation and prejudice.


photographic ar t practice 2011 Photography Graduate Catalogue

HILLARY GREEN My work is situated in the liminal space between exoticism and freakishness. As part of my contemporary queer praxis, I reference iconic images from art history in order to construct a tension between the sacred and the profane. I collaborate with circus, burlesque and drag performers to interrogate the theatricality of sex, gender and sexuality, encouraging the viewer to consider the inherent artifice of these roles. The tone of my work is honest, reflexive and often absurd reflecting an open mindedness towards life and the desire for a greater understanding of self.


photographic ar t practice 2011 Photography Graduate Catalogue

EMMA LESLIE “I live not in myself, but I become portion of that around me” — Lord Byron These landscapes are an inquiry into the relationship between place, the self and identity. I am interested in the juncture between objective camera and subjective photographer in the memorialisation of time and place. Driven by a pre-nostalgic disposition I document Brisbane using an imperfect 1930s folding camera with an idiosyncratic nature that allows my process to develop with unpredictability.


photographic ar t practice 2011 Photography Graduate Catalogue

PIP LOBSTON 0423 873 023 Inspired by contemporary interior and exterior architectural spaces I hybridize photography and sculpture to make pieces that can be re-integrated into built environments. The interchangeable nature of the work is representational of the way in which multiple materials often come together to create unique spaces. The photographic images superimposed onto the plaster are documents of textural and patterned qualities used in architectural design. In making these objects I have drawn from a range of materials that are used to construct the spaces we inhabit but that we don't always observe and appreciate.


photographic ar t practice 2011 Photography Graduate Catalogue

FELIX MERRY …these braille paths… The other day I saw two crows pecking a third crow. One was seeing to its eyes, whilst the other handled its wings. The third crow was trying to escape but every flap was cut short by another sharp jab. Each accented with a barbed squawk. All the while feathers softly edged their way through the air, oblivious to the ensuing carnage. For some reason it seemed significant… but now I forget why… soft plastic.


photographic ar t practice 2011 Photography Graduate Catalogue

SARAH OXENHAM 0434 490 818 I am interested in the relationship between our bodies and the domestic spaces they inhabit. The notion of domesticity informs how the body interacts with the private space and reflects western middle-class values of legitimacy and clinical aesthetics. My series of photographs featuring the underneath of Queenslander houses deals with that which resides beneath. This neglected aspect of the house offers a break from the structuredconditions of the household.


photographic ar t practice 2011 Photography Graduate Catalogue

CALLUM ROSS Mountain Adventure is often depicted in an image of a landscape and the portrait is often perceived to be concerned with the human condition. The body of work refers to an emotional state, and my combination of landscapes and portraits serves as a metaphor for self-awareness. The desire to venture through the landscape is comparable with a longing to be psychologically adventurous. My images create a tension between an imagined interior and exterior world in order to charter the possibility of a greater awareness of being. Mountain peaks, forests and mist signify mystery. My work draws on my longing to venture beyond the frontiers of knowledge to open a whole realm of the desired and feared discovery of the self.


photographic ar t practice 2011 Photography Graduate Catalogue

SANCINTYA SIMPSON 0432 400 891 The series Syncretism, draws from my own experiences growing up in Australia. During my years at school I became aware that my cultural background defined how I was viewed: difference took precedence over sameness. How I was treated was paradoxical. On one hand I was an alien, and on the other, an object of fascination. Through my use of black and white ink and paint, I physically alter photographs of my family and myself, to disrupt exoticised stereotypes. The mixed-media works question my place in society as culturally hybrid. In response to my experience of assimilation into Australian culture, I examine the relevance of western perspective in a globalised world.


photographic ar t practice 2011 Photography Graduate Catalogue

SARAH STORY Over the last two years I have acquired an abundance of wedding invitations and thank you cards and I began to notice just how many of the people that surround me were getting hitched. I was prompted to produce work about marriage, the wedding ceremony and celebrations and I have employed some of these wedding artifacts in the construction of my photographs. In making these works I have researched the history of some of the traditional symbols associated with marriage and the wedding ceremony and have incorporated them in the work. I have sought to reveal marriage symbols as commodified objects removed from the significance they are intended to portray. For instance, the diamond ring has replaced the humble thimble through commercial opportunism; the swan, traditionally a symbol of fidelity and life-long commitment, has been found in recent research to be a promiscuous bird.



Lars Aurland


Louis Lim


Lisa Brown


Tina Park


Hao Cai


Selby Pearce


Gerwyn Davies


Kate Rampling


Jónfríð Eliasen

10 0

Talitha Rice


Tuscany Gray


Carlie Roach


Jennifer Jones

10 4

Sigrid Sargorski


Julia Karvelis

10 6

Tegan Truman


Madeleine Keinonen

10 8

Ellie Webb


Merlin Lam


Grace Yu

creative adve r tising 2011 Photography Graduate Catalogue

LARS AURLAND These studio and on–location portraits are intended to satire the fashion industry’s construction of its models and the characters they portray. In fashion images models are often caricatures rather than real people. The glamour of high-end production in its use of expensive and hard-to-access locations is too over-the-top, isolating the viewer from a meaningful real-life experience of the clothing. In order to present fashion as everyday, I pose superheroes and villains as models, but I retain elements of the gritty urban landscapes that these comic– book characters ordinarily inhabit.


creative adve r tising 2011 Photography Graduate Catalogue

LISA BROWN 0407 586 429 I am interested in the way colour, line and shape can affect our thoughts and can trigger emotional responses in the viewer. In my advertising images I exploit the use of these design elements to create an atmosphere and mood that can be associated with the product.


creative adve r tising 2011 Photography Graduate Catalogue

HAO CAI 0423 680 276 My still life photos are plays on abstract form. Through the use of graphic and geometrical design I express what I perceive to be the character of the object. I am interested in the freedom and openness that abstraction presents the viewer’s imagination.


creative adve r tising 2011 Photography Graduate Catalogue

GERWYN DAVIES 0437 894 073 Fashion has provided us the power of endless transformation. Now that we spend a great amount of our time online we might believe that we have a deeper sense of control over how we can construct and selectively represent our bodies in images. I place confidence in the sentiment that the parameters defining the fashionable and the beautiful have greatly expanded as a result of the rise of virtual technology. In making these works I employ techniques of construction which permutate the objects’ relation to space. These studio portraits of intensified and altered identities are intended to charter the boundlessness of fashion’s transformative power and potential.


creative adve r tising 2011 Photography Graduate Catalogue

JÓNFRÍÐ ELIASEN 0422 212 811 These photographs are reflections on a time where the laws of nature ruled and a strong animalistic instinct ensured one’s survival. I refer to, albeit stereotypical, figures of female power in art history and mythology: the huntress, the protector. In a fantasy-like setting their wild, raw natures are brought to the fore. The women in my photographs adopt the personality of animals, and through this process I attempt to represent a new discovery for my subjects about their own identities.


creative adve r tising 2011 Photography Graduate Catalogue

TUSCANY GRAY 0403 594 122 With a love of artistic experimentation, dress-ups, glitter and David Bowie, my folio is an intergalactic depiction of fashion. I am influenced by previous eras in time, music, rhythm and space. By using abstraction and capturing light, colour and movement within the construction of my photographs, I aim to create images that exercise a synergetic effect on the senses.


creative adve r tising 2011 Photography Graduate Catalogue

JENNIFER JONES 0406 786 335 Photography responds to and represents an aspect of cultural history, social discourse and the cultural climate of a given moment. Incorporating the tools of advertising into my work I investigate notions of desire, lifestyle and glamour while providing a social commentary on how we live today. The hotel room acts as a neutral environment, open to the public but remaining as a private space for the individual who occupies it. With this environment I am able to portray various female characters and explore the different personas we take on or the lives we may wish to live.


creative adve r tising 2011 Photography Graduate Catalogue

JULIA KARVELIS 0421 249 235 It was hard to tell if the trees were laughing or growling at me. A persistent wind fiercely shook the branches that held the leaves that looked back at me. No one else could see it the way I could — this seems to be a usual occurrence.


creative adve r tising 2011 Photography Graduate Catalogue

MADELEINE KEINONEN This series explores the juxtaposition of comfort with pain and masculinity with femininity. By combining disparate and odd objects, for example bandages with doilies, I construct a narrative of an over-bearing grandmother and the sinister, humorous, and generally incongruous situations her grandsons find themselves in within her home. The images are constructed so that exaggerated wounds and injuries provide an amusing foreground to floral, outdated interiors. The overall intention of the work is to create a metaphor for emotional turmoil that unsettles notions of masculine dominance within the home.


creative adve r tising 2011 Photography Graduate Catalogue

MERLIN LAM 0432 232 496 The fashion and lifestyle products I shoot are designed exclusively for men. When I design a creative advertising shot I engage in a process of transforming the product into a modernist structural form or abstraction that relates to the material qualities of the object itself. In my photographs I tell stories about the product and the experience of its consumption.


creative adve r tising 2011 Photography Graduate Catalogue

LOUIS LIM 0430 163 018 "You see someone on the street, and essentially what you notice about them is the flaw." These words of Diane Arbus's have always struck a chord with me. Ironically I find myself judging others while observing them yet I disapprove of judgement. Through my portrait studies I hope to offer an experience that counters the guilt that comes from noticing peoples' flaws. As a remedy to the superficial views we often form of each other, I construct my photographs to engage with the notion of being human as complex and multifaceted. Being flawed is more significant and beautiful than perfection.


creative adve r tising 2011 Photography Graduate Catalogue

TINA PARK 0433 670 337 My photographs of the bride and groom are taken to show a twist on usual depictions of bridal fashion. Many bridal fashion photo spreads are formulaic, so I subvert these conventions by introducing themes that are in conflict with the notion of romance. The sexuality of innocence that the white bridal gown traditionally represents is recontexualised to have relevance to the contemporary woman.


creative adve r tising 2011 Photography Graduate Catalogue

SELBY PEARCE 0434 657 007 I enjoy the challenge of bringing fashion to life by creating a photographic narrative. Artificial and ambient light are mixed on location to create a surreal and cinematic imagery. This series of images depicts an unrelenting female journey. The representation of unsettling qualities expressed within the American Gothic epitomised by Gregory Crewdson provide the backdrop for the struggle the girls endure to move towards their destination.


creative adve r tising 2011 Photography Graduate Catalogue

KATE RAMPLING 0423 149 248 I put together designer fashion and a morbid sensibility to explore the darker side of beauty. In my photographs I subvert popular aesthetics of glamour to critique fashion imagery within my images. This juxtaposition is intended to create a tension between desire and fear in the voyeur.


creative adve r tising 2011 Photography Graduate Catalogue

TALITHA RICE 0402 500 276 I experiment with different studio lighting techniques to construct narratives about beauty and femininity. The mysterious woman is followed on a journey through revenge and seduction. In mixing nostalgic Hollywood glamour with contemporary tropes I portray varied performances of the femme fatale within a fashion context.


creative adve r tising 2011 Photography Graduate Catalogue

CARLIE ROACH 0428 124 764 This work is about expanding the imagination, working with fantasy and the surreal and attempts to use a different perspective to create a mystical atmosphere.


creative adve r tising 2011 Photography Graduate Catalogue

SIGRID SAGORSKI 0401 966 337


creative adve r tising 2011 Photography Graduate Catalogue

TEGAN TRUMAN 0412 666 915 In these works I confront the role of the housewife as I am interested in women’s empowerment. This series works on the premise of challenging the stereotypes of the submissive housewife by using hyper-real domestic settings. Powerful and seductive characters take the stage to present a challenge to outdated perceptions of the domestic roles of women in society. There is no better place to challenge these values and representations than from within advertising itself.


creative adve r tising 2011 Photography Graduate Catalogue

ELLIE WEBB 0450 704 740 I enjoy the everyday challenge of photography and the way that it forces me to change my approach and find new and interesting ways of making photographs. When I shoot fashion I try to respond to the message or concept embodied in its design and I translate that in the production of the image.


creative adve r tising 2011 Photography Graduate Catalogue

GRACE YU 0421 574 197 The series of images in my first body of work explores the use of surrealism through the use of floating people. I juxtapose the surreal with the everyday in an attempt to create an interesting insight into life while asleep. My second body of work is based around Australian culture with a fashionable twist. I have used bright, vibrant colours to represent the fun loving nature of Australians. Within this series I have tried to not only represent the country with it's icons, but also capture the personality of each Australian girl.Â



Milton Mansilha


Ghazaleh Mobarghaie


Angus Martin


Linglin Zhu

mava 2011 Photography Graduate Catalogue

MILTON MANSILHA 0423 860 893 Photography has been my life for the past 10 years. Has made me pass through different experiences and made me express the emotions that I could never define in words. Has also payed for all my bills. Has made me the human being that I am today. My medium is Straight Photography, and visiting the modernists I search for the originality in my work using the multiple exposition technique (2 or more photos in the same original) producing a unique RAW file, having as a final product images created WITHOUT the use of Photoshop.


mava 2011 Photography Graduate Catalogue

ANGUS MARTIN 0400 751 980 October, 2011 Really Truthy Lies In this work I look at the role of architectural photography in today’s architecture and design media. Signs that identify the images as primarily architectural are maintained. The framework for my work was provided by Guy DeBord’s “The Society of the Spectacle”, where architectural photography is viewed as commodity. Through the use of lighting and the figure, I aim to highlight the often illustrative nature of architectural photography that is used by architects as advertising and presented as reality in media. It is also intended as a reminder to the viewer of photography’s influential role in architectural discourse and that architecture should ultimately be experienced first hand.


mava 2011 Photography Graduate Catalogue

GHAZALEH MOBARGHAIE 0416 726 491 The project began when I found an old diary of my grandmother that consisted of letters written by young Iranian women in 1930. The content of the letters surprised me, as the major themes addressed were about Iran’s politic and cultural issues of the time. What was even more surprising was the question posed by my grandmother on what does freedom mean to you (young Iranian women)? These women existed in a beginning of the modernization and women awakening era (1936– 1942) in Iran. This movement required the removal of the veil from Iranian women. Those who supports the idea of unveiling believed that the veil hold backs the ability of women to enter society and their contribution to the progress of the country. This move congregated oppositions from the religious clerics. The project is a response to my grandmother’s diary and the unspoken dialogues and questions of many Iranian women after 70 years. Despite the opportunities in the past and attempts at modernization, the majority of Iranian women’s life is still attached to traditional conventions of Iranian culture.


mava 2011 Photography Graduate Catalogue

LINGLIN ZHU 0434 414 699 Linglin’s current works draws its focus from 70 years of 20th Century Chinese history spanning the early Pre-Mao period, through the tumult of the Cultural Revolution up until the thunderous boom of modern China today, and seeks to examine the impact of the massive sociological and political changes during this period on the culture of female fashion, which in turn reflected the shifts in ideological expression of the country’s people. Clothing was a defining theme for each of these generations of women and illustrative of broader social movements, and through the use of a her understanding of Chinese spiritual expression and Western abstract interpretation, Linglin raises questions in regards to the contemporary world she photographs, which now deliberate the extent of China's role in the global world of fashion and whether traditional Chinese concepts of self and identity have been lost as a result of the pervasive influence of cultural homogeneity by the West and its capitalist driven agendas.




Louis Lim

The 2011 graduates would like to thank all of our lecturers and tutors. Your guidance and mentorship has been invaluable over the last three or more years. You have been patient and supportive when we’ve needed it most. You have pushed us and challenged us all to become the best photographers we can. We met as colleagues and now we part as friends.

Yavuz Erkan Leanne Butterley Scott Howes Brett Ramsay Sancintya Simpson Julia Karvelis Jennifer Jones Felix Merry Lachlan Gardiner Emma Leslie Merlin Lam Sarah Oxenham Charlie Donaldson Sarah Story Carlie Roach

2011 Photography Graduate Catalogue

To our sponsors, thank you for your support and involvement in this production. Your contribution is greatly appreciated by us all. A special thanks to our friend Wes Monts for lending a helping hand all year. And finally to the graduating class of 2011, congratulations and all the best for your continued success in the future!


Sessional Lecturers and Tutors

External Assessors

Mr. Earle Bridger

Kate Bernauer

Lee Grant (Photojournalism)

Assoc Professor. Marian Drew

Camilla Birkeland

Martin Smith (Photographic Art Practice)

Mr. David Lloyd

Michelle Bowman

Louise Martin-Chew (Photographic Art Practice)

Mr. Siegfried Manietta

Renata Buziak

Tandy Rowley (Creative Advertising)

Dr. Joseph McDowall

Jenny Carter-White

Dr. Charles Page

Nathan Corum

Support Staff

Mr. Peter Wanny

Kevin Goldwater

Kate Bernauer

Assoc Professor. Jay Younger

Elise Hilder

Renata Buziak

Kelly Hussey-Smith

Daniel Cabrera

Part Time Lecturers

Gia Mitchell

Damian Caniglia

Ms. Angela Blakely

Philippe Shneider

Steve Godbold

Mr. Isaac Brown

Henri van Noordenburg

Tony Hamilton

Ms. Amy Carkeek

Margaret Waller

Elise Hilder

Mr. Ray Cook

Charlie Hillhouse

Ms. Catherine Gomersall

Adjunct Professors

Greg Hoy

Mr. Alan Hill

Mr. Tim Page

Gia Mitchell

Mr. Bruce Reynolds

Mr. John Rodsted

Jacky Owens

Mr. Martin Smith

Mr. Craig Walsh

Philippe Shneider Rebecca Smith Sarah Welch


Bachelor of Photography Graduate Exhibition 2011 Queensland College of Art, Griffith University

EXHIBITION November 15th – 19th OPENING NIGHT Thursday 17th November Queensland College of Art, Griffith University

PUBLICATION Designed at Liveworm Studio Designer: Victoria Koon Creative Director: David Sargent Cover Photo by Daniel Mulheran Printed by The Buckner Group Cover – 300GSM Sovereign Silk Internals – 150GSM Sovereign Silk Published by Queensland College of Art, Griffith University ISBN 978-0-646-56628-3


Julia Green

2010 Australian Decorative and Fine Arts Society (ADFAS) Youth Arts Photography Prize – Winner

Joe Ruckli

Queensland Arts Council QAC Photographer for a Year Photographic Scholarship

Presented to a graduating student for artistic merit

Laurene Vonhoff

2010 Australian Decorative and Fine Arts Society (ADFAS) Youth Arts Photography Prize – Runner-Up

Jared Worthington

Presented to a graduating student for experimentation and innovation within photographic art practice

Presented to a graduating student for artistic merit

Hamish Laing

Centre for Documentary Practice Award

Linda Peutter

Presented to a graduating student for artistic merit

David Cabrera

Artworker's Award Presented to a graduating student for the most resolved concept articulated in the student's work

Robyn Frazer

Artworker's Award Presented to a graduating student for the most resolved concept articulated in the student's work

Hamish Laing

Artworker's Award Presented to a graduating student for the most resolved concept articulated in the student's work

Nadia Masot

Kayell Queensland – RGB Digital Pro Lab Award Presented to a graduating student in recognition of excellence in Creative Advertising

The Queensland Centre for Photography Award

Sean Barrett

Nicolette Johnson

Ted's Camera Stores Award Presented to a graduating student in recognition of excellence in Portraiture

John McKay Memorial Scholarship Presented to the graduating student with the highest GPA continuing into Honours

St Margaret's Anglican Girls School Award Presented to a graduating documentary student continuing into Honours

Joe Ruckli

Erin Burnett

Staff Award Presented to a student for significantly adding to the culture of the department

FujiFilm Photographic Award Presented to a Photojournalism graduate continuing into Honours. The award recognises a significant body of work documenting aspects of the human condition.


2011 QCA Photography Graduates - 'Departure'  

Photography Graduates 2011, Queensland College of Art, Griffith University.

Read more
Read more
Similar to
Popular now
Just for you