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Graduates Catalogue 2016

Queensland College of Art

Griffith University

Graduates 2016




30 Grace Lehman

56 Olesya Zolotaya

5 Professor Susan Best

31 Anna Menke

57 Juliana HD Platt

INTERDISCIPLINARY DRAWING 6 Alice Alderman 7 Elizabeth Fulcher

32 Kimberley Nguyen 33 Jasmine Price


34 Sam Rohweder

58 Holly Anderson

35 Cielle van Vuuren

59 Georgina Bignell

36 Anthony Elliott Baker

60 Visaya Bose 61 Willem de Jong

8 Daisy Hyunju Boo 9 Arian Miller 10 Gerry Murphy 11 Chui Yee Po 12 Sophie Reid-Singer 13 Shannon Rondenburg 14 Lois Shoebridge 15 Gu Si-Yang

INTERDISCIPLINARY SCULPTURE 37 Tessa Bergan 38 Sarah Channer 39 Deborah Eddy 40 Cailin Graham 41 Alicia Hollier 42 Gemma Keeffe 43 Merete Megarrity

INTERDISCIPLINARY PRINT MEDIA 16 Jennifer Cameron-Smith 17 Grace Collinson 18 Heather Crothers 19 Cassin Demnar

44 Gerard Murphy 45 Matthew Newkirk 46 Felicity Scarce 47 Jeanette Stok 48 Michelle Vine

20 Christopher Doyle 21 Rachel Louise Dunn 22 Shelley Fisher


62 Shawnee Dean 63 Andrew Dredge 64 Andrew Firth 65 Russell Fuller 66 Adele Grobler Dellit 67 Jordan Harris 68 Liam Hollinger 69 Kerrie Anne Mackay 70 Hannah March 71 Maree Mayer 72 Adrian J McGillivray 73 Alexander McMillan 74 Christine Mellor 75 Alice Nelson 76 Avena Osborn 77 Julie Purcell

49 Laura Armstrong

78 Jacob Ryan-McInally

50 Vivien Bedwell

79 Asher Veling

51 Sarah Beutel

80 Amelia Willmer

26 Lara Howitt

52 Stephanie Rachael Corthorne


27 Elli Elise Jackson

53 Maree Heard

82 Staff

28 Hannah Jamieson

54 Jessica McMaster

84 Supporters

29 Stephanie Joy

55 Helen Moriarty

86 Credits

23 Hayley Harvey 24 Dan Heck 25 Talia Horsburgh




This exhibition and accompanying catalogue showcase and celebrate the achievements of our 2016 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: drawing, painting, sculpture, printmaking, and jewellery. 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 in selfdirected learning, generating their own projects and following their own ideas, insights, and methods. This shift in the student’s program is a key, if not unique, feature of an art school education. To the best of my knowledge, in no other degree is this kind of self-expression and selfgenerated research a central feature of undergraduate study. More usually, this kind of development of an individual program of study is characteristic of postgraduate research, 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 great contributors to the cultural life of Brisbane and beyond.

On behalf of the staff of the Fine Art program, I want to 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 persevere. 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 2016 every success and happiness in their future careers! Professor Susan Best Fine Art Program Director Queensland College of Art Griffith University



INTERDISCIPLINARY DRAWING Collect/Recollect 2016 mixed media on paper 75 x 110cm

The collecting of sentimental items can become an obsessive fetishism. My work blends gesture, emotion, image, and the fundamental object as a means of investigating memory as trace.

ELIZABETH FULCHER INTERDISCIPLINARY DRAWING Home Groan 2016 mixed media on paper and video installation dimensions variable

Brisbane-born and Brisbane-raised... this city is all at once familiar, monotonous, and repressive, and in it I am comforted. My body of work consists of collage, photography, and video that trace my explorations of place and memory. By drawing chalk lines all over the city, I investigate the sensation of feeling trapped by the familiar. This is a mapping process: by trying to find an exit while simultaneously hemming myself in.



INTERDISCIPLINARY DRAWING Tiger Screen (detail) 2016 mixed media on paper 900 x 130cm

With the strength of the tiger, I will overcome the fear, weakness, and insecurity that resides within. The tiger is a potent Korean symbol that counters my experiences of difference and doubt. With Tiger Screen, I re-image aspects of my personality and express my desire to achieve.

ARIAN MILLER INTERDISCIPLINARY DRAWING arianchristopher.com The Corner 2016 digital print 29.7 x 42cm

I am one object looking at myself: the more I look, the more I forget. The more I forget, the more I remember. I am a psychonaut representing a modern vision of psychedelia and exploring the recursive nature of art and self-reflection. My work investigates the cyclic folding and unfolding of feedback systems that end where they began.



INTERDISCIPLINARY DRAWING funcoloringbutterfly.com Mammon or Millennial Eden (detail) 2016 ink on paper 224 x 380cm

‘Mammon or Millennial Eden’ is the phrase inscribed on the Federation Pavilion in Sydney’s Centennial Park. This title appears to question the potential of Australia. ‘Mammon’ is an ancient term referring to wealth as a source of evil or false devotion. In depicting an immense city of chaos, my ink and paper work explores the disturbingly excessive consumerist trajectory of contemporary Australia.

CHUI YEE PO INTERDISCIPLINARY DRAWING Floating net (detail) 2016 mixed media installation dimensions variable

The weave is getting lost and the land is now blocked. As time goes, no one can come and go. The rest of the net becomes cold. I unfolded my Chinese heritage, the fishing net, to explore its temporalities and humanity within the land. My works maintain duration, ephemerality, and mystery, allowing me to examine the social through the poetic.



INTERDISCIPLINARY DRAWING Appetite (still) 2016 animated video 3:50 min

A surrogate for empathy, Appetite explores shared experience through concepts of universal suffering. Two characters drive this dark comedic enquiry. Together, they delve into the nihilistic dread associated with loneliness. My animated work exploits traits of Freudian psychosexuality, exploring the characters’ bond as a monstrous force that consumes vulnerability.

SHANNON RONDENBURG INTERDISCIPLINARY DRAWING Bijzonder 2016 mixed media dimensions variable

After a journey to Europe, I am puzzled. I have explored acceptance, heritage, and place that now exist only as memories and further extensions to the puzzle. Through a collection of maps, tickets, and receipts arranged in artist’s books, I incorporate fiction to inflect fact in relation to specific scenarios. This idiosyncratic and tactile archive of experience will lend perspective to both physical location and my place in the world.



INTERDISCIPLINARY DRAWING Dust collectors (detail) 2016 mixed media on paper dimensions variable

In documenting the suburban home, I take common and mundane household objects and reimagine them through a process of fragmentation. Using collage and ink, I copy, reconstitute, and re-draw images. No longer recognisable, they are decaying spectral relics of stories once lived.

GU SI-YANG INTERDISCIPLINARY DRAWING Poetically ShanShui #1 2016 watercolour on rice paper dimensions variable

I re-invent imagined landscapes from the textures of Australian trees and memories of traditional Chinese Shanshui paintings of mountains and waterfalls. It is in light of Heidegger’s phrase ‘poetically man dwells’ and Lao Tzu’s philosophy of life as a series of natural and inevitable changes that my work flows, allowing things to naturally advance according to their processes.



INTERDISCIPLINARY PRINT MEDIA HiStory 2016 screenprinting and relief on kraft Stonehenge paper dimensions variable

My work reflects some of the seemingly insignificant events, major events, and decisions that my grandparents made that influence who I am today. Some of these events, including a weekly lunch at my grandparents’ house, baptisms, marriages, and employment are among those that have been a catalyst for change in their lives and mine.

GRACE COLLINSON INTERDISCIPLINARY PRINT MEDIA gracecollinson.com pensive (i was going for thoughtful) 2016 Copper plate intaglio on Hahnemühle 20 x 20cm a collection of pages 2016 assembled prints and collage in zine format 15 x 21cm really? 2016 monotype on Hahnemühle 20 x 20cm

My works attempt to explicate the inner monologue of self as artist, and unmask the complex processes of communication in art. Living in a post-conceptual, postinternet art world, I find myself drawn to the dichotomous materiality of printmaking—the tension between authenticity and reproducibility. I think a lot about the interplay of consumption and creation, the space between art and culture, and the powerful catharsis of making.



INTERDISCIPLINARY PRINT MEDIA She Who Exists (Tarot Card Suite) 2016 digital print 119 x 42.1cm

My work aims to explore the physical and digital identities that arise from the interactions between myself and my digital avatar, Amalthea Trevelyan. Using techniques that combine traditional printmaking and digital drawing mediums, I endeavour to explore this relationship and subvert our roles, bringing myself into the digital and my avatar into the physical.

CASSIN DEMNAR INTERDISCIPLINARY PRINT MEDIA Untitled 1 2016 screenprint, hair, and ply 65 x 40 x 3cm Real faux 2016 photograph 250 x 250cm Untitled 2 2016 photograph 250 x 250cm

My work provokes discussion around the mainstream notions of beauty, centred on our perceptions of the human body. The pieces advocate against a fixed mode of representation and rather argue for the subjectivity of beauty. The work challenges the cultural construct of beauty in the hope of helping people to reconsider preconceptions and to highlight the struggle of representing oneself as a human.



INTERDISCIPLINARY PRINT MEDIA Untitled 2016 wood block print on Magnani paper 30 x 42cm Untitled 2016 screenprint on ply wood 90 x 60cm

My work is broadly based around ideas of image authority and mediated experiences. I focus on ideas surrounding the evolution of visual culture in the West and the impact that visual information and voyeurism have on our current culture. I do this by finding analogies between art history and current news medias, contrasting them to create new contexts and commentaries on politics and society.

RACHEL LOUISE DUNN INTERDISCIPLINARY PRINT MEDIA The South-Pine House no. 1 2015 lithograph 63.6 x 43.4cm The South-Pine House no. 2 2015 charcoal on paper 70 x 49.8 cm

My current practice focuses on finding beauty in the everyday, allowing each ordinary experience to transform into a creative experience. My work often involves photographing the everyday or recording and collecting snippets of experiences to then recall or reflect on past events, memories and history. I categorise myself as “artist as archivist�, as I collect objects that may not hold value to the general audience but form a personal connection



INTERDISCIPLINARY PRINT MEDIA AND ART THEORY Fractured Fantasie (from the Imperilled Journeys series) 2016 Intaglio print on HahnemĂźhle paper 44.6 x 29.9cm Impressions in the Travel of Time (from the Imperilled Journeys series) 2016 Japanese maple woodcut print on HahnemĂźhle paper 44.5 x 29.8cm

My aim is to engage with contemporary socio-political issues through art. Works on the theme of migration respond to the current refugee crisis. Drawing inspiration from nature, I use animal migrations as a metaphor for the human diaspora that has shaped our world. Ideological themes of identity, displacement, and loss are explored through representational and material signification, where cross-cultural patterns symbolise a pluralistic ideal.

HAYLEY HARVEY INTERDISCIPLINARY PRINT MEDIA Disorder 2016 Reductive print 50 x 85cm

My art takes a critical look into social disorders and mental illnesses, such as depression and anxiety. My works often demonstrate the behavioral dysfunctions that are caused by these problems.



INTERDISCIPLINARY PRINT MEDIA singsayproductions.com bugLord Mask 2016 drypoint etching 48 x 33cm Self Portrait 2016 drypoint etching 48 x 38cm

Cartoons are an inextricable part of my work and how I view the world. The language of comics and cartoons allows me to streamline meaning and to caricature life. I play with the dynamic between the fantastic and the mundane, and draw upon humour and horror to reflect an exaggeration of society.

TALIA HORSBURGH INTERDISCIPLINARY PRINT MEDIA Negotiating Two Cultural Spaces 2016 lithography 86 x 59cm My Siapo drawing series 2016 drawing 30 x 30cm

My work aims to consolidate the two cultural spaces that my personal identity inhabits. Throughout my life, both my Samoan and European heritage have greatly informed who I am. I use these dualities of self as foundational inspiration for my artistic practice. From this, I create drawings and lithographs where both lineages are acknowledged and united, for it is through this unification that I can depict the truest representation of myself.



INTERDISCIPLINARY PRINT MEDIA Machina 2016 mixed media screenprint 24 x 24cm Symbiosis 2016 mixed media screenprint 59 x 42cm

My overall concept is to deal with the issues of gender within technology, primarily with robots and androids. I also want to create myself as a protagonist in a cyberpunk style artwork. Machines do not have genders but they are continuously shown to have them in cyberpunk media. I use the stereotypical male and female colours of blue and pink to express this idea.

ELLI ELISE JACKSON INTERDISCIPLINARY PRINT MEDIA ellielise.com Perpetuate 2016 Intaglio 41.5 x 29.5cm Perpetuate 2016 Intaglio 41.5 x 29.5cm

Through investigating the human condition and the dark side of human emotions, l am producing art focusing on past and present issues of identity, in particular personal evolution through introspective awareness. I explore personal conflicts and transformations in relation to my own state of mind as well as connect this to the perpetual environment in which we are surrounded.



INTERDISCIPLINARY PRINT MEDIA Before the Black (from the Hollow Spectres series) 2016 charcoal, watercolour, ink on watercolour paper 42 x 29.8cm Little Wolf (from the Not Yet Broken series) 2016 charcoal on watercolour paper 42 x 29.8cm

Having to live with mental illness is a struggle that I have endured for most of my life. Juggling a mounting sense of dysphoria alongside my identity as a non-binary individual has been an arduous experience to navigate. My body of work encapsulates the aesthetic experience of rediscovering a childhood that was lost to me through my lifelong attachment and affinity with video games and my love for traditional drawing practices.

STEPHANIE JOY INTERDISCIPLINARY PRINT MEDIA Perplexed 2016 linolinium relief cutt 34.5 x 40cm Incarnation 2016 linolinium relief cutt 34.5 x 40cm

My art practice looks at the concepts of identity, humanity, and psychology. I have found a focus on how identity is formed, nature vs. nurture, and an exploration into the physical being. I have been influenced by personal experience and observation of those around me.



INTERDISCIPLINARY PRINT MEDIA gracelaluna.wordpress.com Untitled 2015 dry point etching 12 x 17cm You can’t take away my sweetness 2016 copper etching 20 x 20cm The death of Bambis mother 2016 copper etching 20 x 20cm

I have always been fascinated by the natural juxtaposition of the light in the dark that occurs in the everyday. These often over-looked moments are what I most want to capture in my work. I explore themes of lost childhood, nature, sexuality, feminism, and death. Focusing on these opposing and sometimes confronting themes, I aim to provoke my own subconscious; my dreams and nightmares to create art that is at times both whimsical and macabre.

ANNA MENKE INTERDISCIPLINARY PRINT MEDIA @anna.menke My Central Core 2016 paint, glitter, glue, string, illuminated devil’s horns and other trash/treasure) 110 x 85cm Object Subject. Subject Object. 2016 photographs 30 x 85cm

I wish to explore the lightness, darkness, and in between of life, with a particular focus on sexuality, power dynamics, sociology, and the fallibility of gender essentialisms. I am the witch daughter of the mothers who could not be burned.



INTERDISCIPLINARY PRINT MEDIA Streets of Australia (series) 2016 woodcut 38 x 28.3cm

As a Vietnamese Australian, I am interested in Australian and Asian cultures. My works attempt to show a mix of interests in Asian aesthetics as I also try to bring both my Vietnamese heritage and home, Australia, together into a series of works using myself as a subject. I am also interested in connecting the norm and the other together; to bring the exotic into a world that is not.


My works aim to challenge stereotypes, focusing on victims of stereotypes in a new perspective. Working from personal experiences to observations of stereotypes being applied, I hope to help generate openmindedness.



INTERDISCIPLINARY PRINT MEDIA squishypaint.com.au Faces 2016 woodcut 42 x 30cm Birds 2015 ink on paper 42 x 30cm

You think once you have hit your forties you would have at least a few of life’s answers figured out. At the very least, you have seen the goal posts and perhaps have kicked a few goals. For me, it’s like every time I see a damned goal post, it moves or multiplies or morphs. They are fluid contemptuous things, teasing and keeping me in a perpetual state of exploration and experimentation.

CIELLE VAN VUUREN INTERDISCIPLINARY PRINT MEDIA cielleskyeart2.blogspot.com.au Leaf journey - Ruha, Spirit, Breath 2016 lithograph on nature dyed paper 105 x 59 x 0.5cm Leaf journey – Ruha Spirit Breath (detail) 2016

I am curious about the nexus between time and place as lived experience. Using an experimental approach across printmaking, drawing, dyeing, and new media, I am drawn to ephemeral materials. Impressions, trace and memories are some of the threads I weave together as I explore perceptions of the world. Drawing from personal encounters, I aim to create a haptic experience for the viewer, which may resonate through the senses to transcendent levels.



INTERDISCIPLINARY SCULPTURE artaeb.com @toneartaeb Inhibitor 2016 performance/digital video (video still)

Performance, new media, collected objects, and material manipulation inform my hybrid installation practice. I am interested in the transference of information across mediums and how language is constructed. Through a performative process, I explore the dissociation of body and mind. I seek to find spaces between personal experience of memory and collective narratives, rendering identity ambivalent.

TESSA BERGAN INTERDISCIPLINARY SCULPTURE tessabergan.com The Weather Makers (still) 2016 video 11:00 min

I work with a range of media to investigate ideas of control, especially in relation to unknown outcomes. In an attempt to map possible futures, I propose narratives concerning the effects of technologies (real and imagined) on the body and environment. These stories are often framed within the settings of the coast and ocean—sites that are physical and metaphorical borders but that also exist in a constant state of flux.



INTERDISCIPLINARY SCULPTURE AND ART THEORY I can’t fix it 2016 stop motion films 100 x 300 x 10cm

This series of interacting stop motion videos is an expression of my personal experience and interaction with community and place. The stitching traces physical movement, as observed in my community of the Runcorn/ Sunnybank area. The processes of stitching, unstitching, turning, and moving the material reflect my struggle with the desire to understand, to fix, to heal, and to change what is observed.

DEBORAH EDDY INTERDISCIPLINARY SCULPTURE deboraheddyart.com You Don’t Hear Me 2016 safety mask and lace 22 x 22 x 7cm You Don’t See Me 2016 safety goggles and lace 17 x 15 x 7cm

I focus on feminist issues and the visibility/invisibility of women in society. While we are supposedly in a postfeminist era, women are still fighting for equality and the right to be safe. The work we do is mostly unseen and unnoticed, even though it allows men to go out into the world unencumbered with domestic duties. We are often trivialised, with our voice, our vision, and our empathy lost among the bravado of mediocre men.



INTERDISCIPLINARY SCULPTURE AND ART THEORY Tincture of the Sun (still) 2015 video unspecified

My work explores the body and sexuality through performance, video, and sculpture. My video works are underscored by a subtle narrative that leaves the meaning open for each viewer, alluding to the fluidity of sexuality and identity. The aesthetic quality of the works is ambiguous rather than didactic. Through engaging in curious acts in a domestic setting, I explore notions of seduction and femininity.

ALICIA HOLLIER INTERDISCIPLINARY SCULPTURE Overlooking (detail) 2016 found objects dimensions variable Overlooking (detail) 2016 found objects dimensions variable

It’s comfortable to see things in their complete form and to know what an object is. However, upon removing their functionality, they can become almost unrecognisable. I attempt to ignite a sense of unresolved suspense through obsessive decisions, a mental puzzle with no definite result. A subtle sense of curiosity is evoked through viewing the broken, anonymous object as precious.



INTERDISCIPLINARY SCULPTURE Interbeing 2016 copper wire 5 x 300cm

My sculptures are initially constructed from fine copper wire and then completed through the interaction of the viewer shining they own light on them. Based on the form of the gastrointestinal tract, these woven pieces show a part of the body that is strongly affected by stress. while these fine wire sculptures appear delicate, they are also supportive, strong and resistant, mimicking the durability and strength this of this bodily part.


These small sculptures were made in response to a conference on climate change held in Hobart in February 2016.

‘on the move’, (detail) 2016 wood, plaster, clay, found organic objects, wire, welded steel, shellac various sizes maximum height 36cm

My hope is that although the subject matter is somewhat bleak, the work is still able to evoke a feeling of hope, as well as glimpses of beauty and compassion.



INTERDISCIPLINARY SCULPTURE Captured Light 2016 wood, lightbulb, speaker frames, lamp shade, motor, found objects, pulley, rope, chain link, roller chain, sprockets, galvanised wire, timing system installation dimensions variable

Basic in function yet heavy on impact, this work highlights the necessary relationship between action and consequence. Its authority over the space elicits a passive response, whereby the viewer is relegated to a subject of controlled experience. Through this lack of agency, one registers the inherent power within action, and, as a logical consequence, the vulnerability within inaction.

MATTHEW NEWKIRK INTERDISCIPLINARY SCULPTURE matthewnewkirk.net Shroud 2016 re-purposed packing crate 175 x 145 x 145cm Machine 2016 re-purposed fork lift pallets 145 x 210 x 145cm

Earlier this year, two packing crates and numerous fork lift pallets arrived in the recycling skip, placed metres away from my QCA studio space. Here were the beautiful modules that encase the produce of mass production ready for my re-purposing. Materials delivered to my doorstep. How could I refuse? The result of deconstructing and reconstructing this debris are works that articulate a tension between the orderly patterns of modernism and the chaotic forces of contemporary life.



INTERDISCIPLINARY SCULPTURE felicityscarce.com untitled 2016 single channel projection, hand-dyed fabric, pine, and cane dimensions variable

JEANETTE STOK INTERDISCIPLINARY SCULPTURE netistok.wordpress.com Heredity (Part III) 2014 wire mesh and wire 65 x 54 x 1cm Work in progress 2016 digital photograph n/a

Embroideries passed down are a tangible link to family never met and actions never seen. They highlight how repetitive actions are an integral component of the everyday, the generation of knowledge and identity. As a scientist, I have observed that my own actions inform my thinking via repetitive experimentation. By producing embroidery with wire, I have embedded the outcome with the action and introduced ideas of adaptation, knowledge, and heredity.



INTERDISCIPLINARY SCULPTURE AND ART THEORY michellevine.com HBG-506835 2016 Cyanotype on Canson Edition 42cm x 30cm

While I lived in Germany, I learned of naturalist Amalie Dietrich, who collected irreplaceable type specimens of Queensland plants from 1863 to 1871. Researching in German museums, I discovered extensive collections of Dietrich’s samples. Hidden archives are given visibility, but the metadata is erased. My work disrupts museological system values that allow Western scientific knowledge to problematically dominate understandings of Australia’s unique biodiversity.

LAURA ARMSTRONG JEWELLERY AND SMALL OBJECTS Place 2016 sterling silver and 9ct gold

This collection is a visual interpretation of my most persistent geographic memories. It is inspired by an increasing awareness and fascination of how the body bears traces of places it has known. Each piece is a celebration of texture, form, and the beauty of materiality.



JEWELLERY AND SMALL OBJECTS When Two Become One 2016 sterling silver, oxidisation, silk thread pendant (2.5 x 6 x 1.8cm) on 85cm chain Merged Cities 2016 sterling silver, oxidisation, 9ct gold solder Bangle 1: 7.6 x 7.6 x 0.2cm Bangle 2: 7.7 x 7.7 x 0.2cm

My 2016 works investigate the phenomenology of heritage, diversity, and the blurring of traditional boundaries. I look at first-hand experience and the knowledge that is gained from crossing cultural backgrounds. I explore traditional ideas, methods, and maps to amalgamate them into abstract forms that are encrypted with meaning and identity. I challenge the viewer to look further into the works to find their personal interpretation.


Bridging the real to the surreal.


Working in the studio is the place I feel calm and most myself.

Bitey 2016 bronze 3.5 x 3.5cm Crustacean 2016 bronze 5 x 8cm

Before I began university, I made monster sculptures; now at the end of my degree, I’m also making monsters, just in smaller scale.



JEWELLERY AND SMALL OBJECTS stephanierachael.com Lacuna pendant & Orbis pendant 2016 sterling silver 11 x 0.8 & 5.5 x 5.5 x 0.5cm Silex ring 2016 Sterling Silver & lab-grown sapphires 3 x 3 x 0.5cm

I am inspired by monumental structures, epic landscapes, and natural wonders. In my work, I draw on the landscape as metaphor for the body and the journey—the rugged steeps and crags are used to speak of my own lived experiences and concerns as an artist. Through engaging with the transience and imperfection of the natural world, I relinquish anguish in favour of a quiet calmness.

MAREE HEARD JEWELLERY AND SMALL OBJECTS mhdesigns96.weebly.com Worn & Weathered – Chain series 2016 oxidised sterling silver 40 x 10 x 1cm Dragonfly series 2 2016 oxidised sterling silver 12 x 6 x 3cm

My work is all about feeling: often, we do not take enough time to nurture ourselves and do things in life that we are passionate about. I aim to connect with the essence of my subject and create an atmosphere for the viewer to journey into and be encased in the moment. This is where memories are stored and treasured, although at times altered: the memories remain the same.



JEWELLERY AND SMALL OBJECTS Allornothingobjects.com Slate_Duster 2016 sterling silver 25 x 24 x 21cm Molten_Pendant 2016 sterling silver and 18ct gold 30 x 25 x 8cm (on 80cm chain) Photograph: Jessica McMaster

I am an object maker based in Brisbane, Australia. I have an organic approach to creating my work, which aims to balance contrast, texture, repetition, and authenticity. I am inspired by abnormalities in fashion, black-and-white photography, and joining beauty with the strange and unexpected.

HELEN MORIARTY JEWELLERY AND SMALL OBJECTS Treasure Box I (brooch) 2016 925 recycled silver, copper, vitreous enamels, with gold foil 2.7 x 5 x 0.5cm

I have always felt a deep and intimate connection to what is called the natural world. Growing up, I was surrounded by “the bush�. This term embraced the landscape, the plants and the animals, the sounds, the smells, and the visual stimuli.

Life Traces (bracelet) 2016 925 recycled silver, copper, vitreous enamels 20 x 2 x 0.5cm

With my work, I am trying to create intimate microcosms of place. These pieces can be carried and worn, allowing individual intimate connections to place.



JEWELLERY AND SMALL OBJECTS fb.com/OlesyaZolotaya The Temple Series 2015 sterling silver dimensions variable

My art practice focuses on a multidisciplinary approach to produce works that encourage a dialogue on current social, environmental, and cultural topics. This particular body of work is a response to my travels to Indonesia. Imbuing the objects with the awe and cultural grandeur I was exposed to as a tourist, I aim to pass on that experience to the viewer, creating wearable objects that serve as valuable mementoes.


Tedious time consuming

I consider the Catholic Church


re-purposing copper wire becomes meditative

feeding people from a toxic chalice

I relax into womens work

Fears instilled by Religious education

An Egg of Hope, Lady Clarion, Toxic Chalice 2016 recycled copper wire, recycled copper electrical power cords, copper wire drawn, vitreous enamel, kiln fired, torch fired, basket weave, soumak weave left: 160 x 50 x 50cm centre: 220 x 50 x50cm right: 130 x70 x 70cm Legacy Chain of Office, Phosphene No 10 and 11. 2016 recycled copper wire, recycled copper electrical power cords, vitreous enamel, enamel luster, reflective glass beads 35 x 40 x 7cm

weaving crochet fiber techniques using copper wire fine and lustrous as silk An internal dialogue ensues deep feelings rise

faced challenged trust was lost By Royal Commission Society Challenges Institutional response



PAINTING hollyandersonart.com Neighbours 2016 oil on canvas 70.5 x 45.5 x 2cm Taxi 2016 oil on canvas 25.5 x 30.5 x 1.5cm Daisy 2016 oil on canvas 30.5 x 25.5 x 1.5cm

My interest in the complexities of representations of girls and women forms a continuous line of investigation through my work. Here, I catalogue the various and minor disappointments of a central female character within a non-linear narrative. The tension between this character and the menace of her suburban surroundings documents a sense of fear and dread that proposes a possible link between these feelings and an experience of femininity.

GEORGINA BIGNELL PAINTING georginabignell.com Pony Club 2016 acrylic 40.5 x 51 x 2cm On the land 2016 acrylic 50 x 60 x 2cm Late night supper 2015 oil 76 x 76 x 4cm

My work is eclectic, with many styles and genres. The main themes are living with chronic illness, loss, isolation, and my life with horses. I use many media, chosen depending on style and subject. With a background in science, I am highly interested in how the materials I use are made and interact. A lot of my more abstracted work focuses on colour interaction and materiality, while other work is figurative or realistic.



PAINTING @r00qui1 “War heads” and “Four and Twenty Pie” 2016 board acrylic, oil, enamel, ink 20.5 x 40cm and 80 x 60cm “Snapchat story” and “Karaoke Night at the Local Tavern” 2016 board acrylic, oil, enamel, ink 80 x 60cm and 30 x 19cm

I draw from traditional painting techniques to bring together visual imagery from the Internet with images from my everyday life. My work explores the contemporary quick-look-rapid-response of social media that is in direct opposition to the slow meditative consideration traditionally associated with painting. I am interested in how the impact of social media and social networking together with the proliferation of instantaneous, contextfree imagery has influenced the way we ‘read’ images.

WILLEM DE JONG PAINTING willemdejong.nz Disembodiment 2016 oil on canvas 51 x 41 x 4cm Drowning furtive shame 2016 acrylic on gesso’d plywood 120 x 75 x 4cm

In this series, I have used the form of a fountain fundamentally as a symbolic visual construction and a platform to explore dialogue within the ambiguity and power of paint. This fountain acts as a ‘still life’ epic, seen from differing vantages. The series is intended to be an accessible means to divergent ideas and formal qualities, with threads that link each painting to the others, while often being made under very different circumstances.



PAINTING @deanshawneeart Land of Fruit But No Seed 2016 oil on stretched canvas 91 x 91cm Trichotillomania 2016 oil on stretched canvas 50.5 x 76cm

I use painting to experiment with my own physicality and sexuality. My latest works reflect a feminine utopia and express how in a world without men, women can have jurisdiction of their own bodies. I am interested in the opportunities provided by self portraiture to exercise authority over my own self image away from the male gaze.

ANDREW DREDGE PAINTING (Nepal) 2016 oil on board 73 x 60cm Long, flat hat (detail) 2016 oil on board 45 x 73cm

I work with representation versus abstraction. Accordingly, I build up the layers of representation, or fragment them and take them away. I try to push the formal elements over or across the recognisable ‘things’. Perhaps the painting then makes less immediate ‘sense’, but it possesses more meanings.



PAINTING andrewfir.wixsite.com/andrew-firth rooftops 2016 oil on canvas 50 x 70 x 3cm untitled 2016 oil on canvas 60 x 90 x 4cm

My landscape paintings examine our surrounding environment, investigating a sense of place, seen from the point of view of an outsider. I am using the motif within the landscape as a vehicle for form, without imitating nature, but using the surroundings to construct a considered design. The clash between urban development and nature creates a unique landscape, and I paint scenes with an emphasis on emotion rather than detailed effect.

RUSSELL FULLER PAINTING Brisbane river 6am 2016 oil and gold leaf on canvas 40 x 30cm South Bank Ally 2016 oil and gold leaf on canvas 40 x 30cm

I am interested in human reactions to change. I cast the lens on humanity in the built environment. I use this observation to explore the alienation and integration of the Brisbane population at this time of unprecedented growth and to paint a narrative of the city.



PAINTING adelegroblerdellit.com Patience (Galatians 5:22) 2016 ink on unprimed cotton 55 x 200cm Peace (Galatians 5:22) 2016 ink and oil on canvas 50 x 40 x 3.5 x 5cm

Love. Joy. Peace. Patience. Kindness. Goodness. Faithfulness. Gentleness. Self-control. These are attributes of my relationship with God. Having experienced the love and grace of God this year, I wanted to prove God’s existence. This is impossible. I can only testify of the good news—the gospel, what Jesus did for me on the cross, receiving unconditional love, and what it means to be alive in Christ.

JORDAN HARRIS PAINTING Stairs 2016 oil 36 x 22cm

The appearance of the object world is rightfully regarded in philosophy and the sciences as illusionary, masking deeper underlying structures. I wonder what role humans play in determining the object world. Does its appearance determine our relationship to it? Does the underlying structure determine its appearance, or is this a human process? Can we transcend this dilemma?




Child Fantasies


I recently visited my nieces and nephews in Europe. While I was there, my two-year-old nephew opened my book and drew a big, straight, and bold black mark on it. This experience initiated my investigation of the childlike gestural mark. My work explores the power of painting to reach into dreams, ideologies, and authority.

grown up 2016 oil paint 76 x 105cm my territory 2016 oil paint 76 x 105cm

KERRIE ANNE MACKAY PAINTING Salt, Sand, Water 1 2016 oil on canvas 123 x 183 x 4cm Salt, Sand, Water 2 2016 oil on canvas 123 x 183 x 4cm Salt, Sand, Water 3 2016 oil on canvas 123 x 183 x 4cm

Lake Eyre is an amazing natural habitat, sometimes a barren salt plain and at other times transformed into an endless wetland flourishing with plants and wildlife. This process has resulted in unique and beautiful land-forms that can be captured by aerial photography. My paintings explore the tension between a realistic portrayal of the landscape and abstraction, and seek to communicate that this cycle of life applies to everything, including us.



PAINTING Untitled 2016 oil on canvas 66 x 66cm

Last year I travelled through Europe and discovered landscapes that seemed to vibrate and shimmer as I looked at them. This reminded me of the disconcerting way that stereoscopic films look without 3-D glasses. My works recreate this confusion as I paint the same landscape image twice in complementary colour palettes. For instance, I paint one blue and one red, which, when viewed together, complete the colour spectrum.

MAREE MAYER PAINTING Ambivalent 2016 oil 73 x 100 x 2cm

In my work, I explore my feelings around retirement and more particularly my husband’s desire to retire in the tiny town in New Zealand where I grew up. I want to be near my family and I do not want to give up the anonymity I feel here. In a small town everyone knows and wants to know your business, which was a constant source of angst for me as a young woman.



PAINTING adrianaj.deviantart.com The Journey 2016 pencil and paint on illustration board, painting paper, and canvas 42 x 59.4cm Forsaken Night part 1 2016 pencil and paint on illustration board, painting paper, and canvas 42 x 59.4cm

The works I produce are a reflection of my obsessive nature, which comes across in the heavy refinement of work and their desire to show off the power of popular culture. I have created a unique style combining paint and pencil in a fiscal way to help reflect my nature. My work features characters from films and books, which means that they are relatable to everyone in some way.

ALEXANDER McMILLAN PAINTING Richardface 2016 oil 40 x 30cm Pondering 1 2016 oil 50 x 40cm Time 2016 oil 40 x 30cm

Future, past, and now.



PAINTING Beetjes 2016 oil paint 61 x 61cm Richting van de Zon 2016 oil paint 61 x 61cm

Our culture is fascinated by death, and I use still life to evoke topics of mortality, the inevitability of death, and the beauty arising from death. Life is short and controlled by a plethora of restrictions and constraints. Native Australian animals are collected as road-kill, decomposed and photographed, becoming my source material. Strong use of light and dark evoke notions of the void—another layer to the complexities of life.

ALICE NELSON PAINTING Imagined Galaxy 2016 epoxy resin, acrylic, and oil 60cm diameter (circular), 2cm deep Part Art, Part Moon 2016 epoxy resin, acrylic, and oil 40cm diameter, 2cm deep

This collection is inspired by the iconic images captured by the Hubble Telescope, which are often manipulated to enhance elements that the naked eye cannot see. Like astrophotography, which layers several images, my paintings are created by layering oil and acrylic paints with resin. This produces my own imagined galaxy—part art and part science. This series invites the viewer to play with the question of what is real in these images and what is not.



PAINTING fb.com/avena.l.osborn Meander 2016 oil on board 36 x 46cm Vacant 2016 oil on board 36.5 x 52cm

For this series, I focus on identity, the individual, the inner child, and the notion of family. By reproducing stills from old photos and VHS recordings, I explore the translation of imagery between different mediums. With rich narrative material to draw upon, I find myself on a journey of self discovery as I address the fragile relationships within families to heal and overcome the deep emotional scars of my childhood through the process of pain.

JULIE PURCELL PAINTING themodcon.wordpress.com I love you PlayStation 2016 oil on marine ply 60 x 80 x 5cm Copycat 2016 oil on marine ply 40 x 60 x 5cm

Growing up in the late 1990s I spent time inhabiting the digital worlds of PlayStation games. I came to identify with polygonal characters within virtual spaces. I see game spaces as metaphors for the outside world, the parameters within point to the conditions of external society. I am interested in representations of women within games. Seeking a deeper understanding, I look beyond sexual objectification to investigate their actions and worlds.



PAINTING jacobarm.tumblr.com Tunnel that way way that tunnel 2016 oil on board 56.5 x 52 x 0.3cm

I focus on open and closed spaces within built environments as a way to understand (but not solve) the idea that the already constructed spaces in which people inhabit and pass through don’t foster a connection between the person and the space, place, or material. Tunnels and fences have been used as visual tools to understand (or not) the missing connection between built spaces and people.

ASHER VELING PAINTING asherveling.org Windscreen 2016 oil on polyester canvas 91 x 152 x 5cm

Concentrating on the car as subject, my work investigates the disparity between representation and abstraction. Though descriptive in appearance, there is a strong referent to minimalist abstraction and formalist philosophy. The car windscreen instils a sense of the everyday. However, its imagery is suggestive of an interface between two modes of reality: sensory experience on the one hand versus inner subjectiveness on the other.



PAINTING Something is there 2016 oil on canvas 61 x 51cm

And he sees the vision splendid of the sunlit plains extended, And at night the wond’rous glory of the everlasting stars. Banjo Paterson’s 1890 poem “The Man from Snowy River” evokes the sublime visual connection between landscape and cosmos. In 2016, particle physicists don’t wonder; they know. “Something is there”: something unimaginably small and incredibly heavy, the “singularity” within a black hole—a massively dense speck that goes BANG!


FINE ART STAFF AND SUPPORT 2016 ACADEMIC STAFF Professor Sue Best Fine Art Program Director Dr Jess Berry Professor Mostyn Bramley-Moore Mr Russell Craig Dr Sebastian Di Mauro Assoc Professor Elisabeth Findlay QCA Deputy Director Learning & Teaching Assoc Professor Donal Fitzpatrick Dr Julie Fragar Dr Rosemary Hawker Professor Pat Hoffie Ms Catherine Large Dr Donna Marcus Dr Tim Mosely Dr Susan Ostling Dr George Petelin Dr Bill Platz Assoc Professor Debra Porch Ms Elizabeth Shaw Professor Ross Woodrow QCA Deputy Director Research


Fine Art would like to acknowledge the contributions to teaching in Fine Art from our colleagues in allied disciplines at QCA Ms Bianca Beetson Program Convenor, Contemporary Australian Indigenous Art Mr Daniel Della Bosca Digital Media, Gold Coast Dr Laini Burton Digital Media, Gold Coast, Studio Art Assoc Professor Donna Leslie Griffith Centre for Creative Arts Research Professor Jay Younger Photography



Mr Phil Aitken

Mr Robert Andrew

Mr Nick Ashby

Mr Nick Ashby

Dr Chris Bennie

Mr Blair Coffey

Ms Jacqueline Chlanda

Mr Chris Hagen

Mr Michael Cusack

Mr David Jones

Mr Simon Degroot

Ms Sally Molloy

Ms Maren Gotzmann

Ms Jenny Watson

Ms Elise Hilder Dr Jennie Jackson Dr Sara Manser Dr Julie-Anne Milinski Ms Kellie O’Dempsey Ms Clare Poppi Mr Bruce Reynolds

TECHNICAL STAFF Mr Andrew Forsyth Dr Brian Sanstrom Mr Dave Sawtell Ms Katie Stormonth Mr Jonathan Tse

Ms Caity Reynolds Mr Nasan Pather Dr Jennifer Sanzaro-Nishimura


Dr Glen Skein

Ms Sandra Kane Fine Art/Art Theory Administrator and Team Leader QCA SLTC

Ms Susie Woodhouse

Ms Amy Commins Art Theory Administrator, Semester 1 2016, QCA SLTC 83


Iain Turnbull Memorial Bursary


Bonnie English Memorial Art Theory Award

Trevor Lyons



EXHIBITION Short List Bachelor of Fine Art Graduates 2016 24–27 November 2016 Queensland College of Art Griffith University South Bank campus

PUBLICATION Designed at Liveworm Studio Designer: Josephine Corben Creative Director: David Sargent Copy Editor: Evie Franzidis Cover image: Cassin Demnar Untitled 1 2016 Published by Queensland College of Art Griffith University griffith.edu.au/qca ISBN 978-1-925455-35-9


Alice Alderman

Grace Lehman

Holly Anderson

Rachel Louise Dunn

Laura Armstrong

Kerrie Anne Mackay

Anthony Elliott Baker

Hannah March

Vivien Bedwell Tessa Bergan Sarah Beutel Georgina Bignell Visaya Bose Jennifer Cameron-Smith

Maree Mayer Adrian J McGillivray Jessica McMaster Alexander McMillan Merete Megarrity

Sarah Channer

Christine Mellor

Grace Collinson

Anna Menke

Stephanie Rachael Corthorne

Arian Miller

Heather Crothers

Helen Moriarty

Willem de Jong

Gerry Murphy

Shawnee Dean

Gerard Murphy

Adele Grobler Dellit Cassin Demnar Christopher Doyle Andrew Dredge Deborah Eddy Andrew Firth Shelley Fisher

Alice Nelson Matthew Newkirk Kimberley Nguyen Avena Osborn Juliana HD Platt Jasmine Price

Elizabeth Fulcher

Julie Purcell

Russell Fuller

Sophie Reid-Singer

Cailin Graham

Sam Rohweder

Jordan Harris

Shannon Rondenburg

Hayley Harvey

Jacob Ryan-McInally

Maree Heard

Felicity Scarce

Dan Heck Alicia Hollier Liam Hollinger Talia Horsburgh Lara Howitt Daisy Hyunju Boo

Lois Shoebridge Gu Si-Yang Jeanette Stok Cielle van Vuuren Asher Veling

Elli Elise Jackson

Michelle Vine

Hannah Jamieson

Amelia Willmer

Stephanie Joy

Chui Yee Po

Gemma Keeffe

Olesya Zolotaya

Profile for Queensland College of Art, Griffith University

2016 Queensland College of Art Fine Art graduate catalogue  

Featuring graduate work from students of the Queensland College of Art Fine Art program, 2016.

2016 Queensland College of Art Fine Art graduate catalogue  

Featuring graduate work from students of the Queensland College of Art Fine Art program, 2016.


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