2016 Queensland College of Art Photography graduate catalogue

PHOTOGRAPHY Graduates Catalogue 2016

Queensland College of Art

Griffith University

Graduates 2016

[ insert here ] PHOTOGRAPHY GRADUATES CATALOGUE QUEENSLAND COLLEGE OF ART GRIFFITH UNIVERSITY 16–20 NOVEMBER 2016

CONTENTS

FOREWORD

25 Daniel Foster

50 George Prescott

4 The Future Is NOW

26 Lachlan Johnston

51 Grace Rogan

Associate Professor Marian Drew

27 Pran Kositthanakorn

52 Melissa Shapland

28 Eliah Lillis

53 Sophie Sutherland

29 Elliott Sauvage

54 Shannon Tathem

30 Maddison Scott

55 Emily Yseult Taylor

31 Tahlia Stehbens

56 Jayden Theodore

32 Craig Stewart

57 Gemma Traynor

33 Quinn Taylor

58 Fausto Vergara

34 Chrissy Trovato

59 Georgia Wallace

PHOTOGRAPHIC ART PRACTICE 6 Thomas Broadhurst 7 Hannah Erglis 8 Amira Hage 9 Ann Ingham

35 Sara Wihlborg

10 Ebony King

ACKNOWLEDGEMENTS

11 Lisa Kurtz 12 Eliah Lillis 13 Matthew Lloyd 14 Cathryn Murphy 15 Shannon Nielsen 16 Thomas Oliver 17 Whasuk Park 18 Gabrielle Wilton 19 Emma Wright

CREATIVE ADVERTISING

60 Photography Staff and Support 2016

36 James Bailey

61 Student Awards 2015

37 Jessica Bakker

62 Supporters

38 Amanda Borgstrรถm

64 Credits

39 Paul Chappel 40 Sebastian Coke 41 Marissa Descovich 42 Kristy Duncan 43 Karla Edwards

PHOTOJOURNALISM

44 Mark Gauld

20 Brodie Charters

45 Carol Ha

21 Angela Cornish

46 Declan May

22 Matt Dennien

47 Daniel McCarthy

23 Marissa Descovich

48 Mel Noonan

24 Darcy Foott

49 Jessica Pallister

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THE FUTURE IS NOW

Photography is revolutionised! In 1936, the artist and educator László Moholy-Nagy made the prescient assertion: “The illiterate of the future will be the person ignorant of the use of the camera as well as the pen.”1 Eighty years on, today nearly everyone is a ‘photographer’. Smartphone technology and affordable cameras have democratised the medium, its modes of capture and its delivery. Freezing action, recording in low light, slow motion, and easy compositing, still and moving photographic images are extending the way we see, understand, and share our experience of the world. Words are being replaced by photographic images to communicate where we are, what we want, and how we feel.

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1 László Moholy-Nagy, Vision in Motion (Chicago: Paul Theobald, 1947, orig. pub. 1936).

More importantly, photography is increasingly informing our understanding of the world through its various artistic and scientific applications. This proliferation of photography and its dissemination creates an urgent need to develop our visual literacy, to keep pace with changes in the world.

Imperatively, we need visual practitioners who are able to interpret and synthesise these new understandings via meaningful, and often powerful and persuasive, images.

Students studying Photography at the Queensland College of Art (QCA), Griffith University, necessarily steer their particular photographic inquiry through a broad range of historical, ethical, and social issues.

Increasingly, technologies have expanded photography from paper to light—still and moving—and to images that are now easily incorporated into other material substrates.

The language of photography is the reality of this century.

Photographers graduating from the Bachelor of Photography either major in Photo-Documentary or Photo-Journalism, Creative Advertising or Photographic Art Practice. These broad practical and theoretical contexts are explored within one program. Students choose to work in film, chemical, or cameraless photography and/ or digital and data-based photography. They are encouraged to cross-fertilise between photographic majors or with other fine art and design disciplines. This stimulates alternate perspectives and hybrid practice.

Moreover, it prepares students for the rapidly shifting frameworks of photographic practice currently morphing in society. In response to this, the photography program aims to develop innovative, critical, reflective, and confident visual practitioners who are willing to question the world around them.

Creative perspectives and practice are characterised by the ability to learn, be reflective, ethical, and active. These characteristics, which can only be developed within an understanding of history, are needed for our fast changing world. The graduates of 2016 have grown in the past three or more years of their study, and they have begun informed visual conversations with the world they live in.

I urge them as photographers, creative practitioners and informed citizens, to be actively learning.

On behalf of my fellow teachers and the support teams of QCA, I congratulate them on their achievement and wish each individual their own version of personal and public success for the future.

Associate Professor Marian Drew Photography Program Director Queensland College of Art Griffith University

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THOMAS BROADHURST 6

PHOTOGRAPHIC ART PRACTICE @pure_gibberish (untitled) 2016 silver gelatin print 35 x 27.5cm (untitled) 2016 silver gelatin print 35 x 27.5cm

My practice primarily investigates the collision between the physical and the psychological through the lens of personal experience. It is a semiological investigation that utilises various photographic emulsions and printmaking techniques to illustrate the idea of space, creating an environment for this collision to take place.

HANNAH ERGLIS PHOTOGRAPHIC ART PRACTICE @sicksadworld_ This isn’t me 2016 black-and-white analogue film photograph 14.8 x 21cm Mistakes work out 2016 Cyanotype on Calico 10 x 20cm Mistakes work out 2016 Cyanotype on Calico 10 x 20cm

This is not me, these are just my memories.

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AMIRA HAGE 8

PHOTOGRAPHIC ART PRACTICE Fleeting Moments 2016 photograph 48.3 x 32.9cm Fleeting Moments 2016 photograph 48.3 x 32.9cm

I am trying to capture the fleeting moments of light that can be found all around us if we look for them. The light is just there for a brief instant before it moves or disappears, giving me a short amount of time in which to capture an image. By taking photographs mainly with natural light I wish to create different and engaging images that attract viewers’ attention.

ANN INGHAM PHOTOGRAPHIC ART PRACTICE inghamcollection.com Rainbow Reflection 2016 digital print 42 x 59.4cm Ghostly Light 2016 digital print 42 x 59.4cm Dancing Light 2016 digital print 42 x 59.4cm

This display of video and still images is an enigmatic mix of light and perception; an abstraction of light and shade; a balance between the actual and the implied.

Bringing spaces to life through the poetry of light. They try to immerse the viewer in their own perception, while encouraging them to let go of what’s depicted. The prints will be accompanied by a video of moving light.

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EBONY KING 10

PHOTOGRAPHIC ART PRACTICE Head in The Sand 2016 inkjet print 32.9 x 48.3cm Morning Bruise 2016 inkjet print 32.9 x 48.3cm

Started like this, ended like that.

This set of self-portraits shows a painful dissociation with one’s past identity, a gradual boxing-up and submerging of past representative tokens and the loss of self that this process often demands. The artistic method used illustrates the multilayered and often time-consuming process of creating a new independent identity.

LISA KURTZ PHOTOGRAPHIC ART PRACTICE lisa-kurtz.com glass #1 2016 backlit film print 29 x 20cm glass #2 2016 backlit film print 29 x 20cm glass #3 2016 backlit film print 29 x 20cm

I am fascinated with slide photographs. Without light or a viewing surface, they remain latent and unseen. Through practices of looking, I question what emerges when the light or surface is disrupted during projection. Sourced from my own family slides, these disrupted projections create new images, which then take their place in the archive. And so it continues.

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ELIAH LILLIS 12

PHOTOGRAPHIC ART PRACTICE eliahlillis.com Twice as long as half its length (detail) 2016 C-Type Print (hand-processed) 27cm x 88m

My work explores the role of analogue photographic processes in the era of digital imaging. Using a medium largely considered to be obsolete, I seek to show the relevance and beauty that can only be achieved through the manipulation of the emulsion-based image.

MATTHEW LLOYD PHOTOGRAPHIC ART PRACTICE matthewlloyd.com.au lamington 2016

This body of work is an exploration of viewpoint and modes of seeing through a photographic representation of place.

Traditionally, photographs present a single perspective, absolute and isolated, carefully cropped versions of the world. Through the use of polyptych imagery, the In Perspective app breaks with this tradition, providing a survey of space not strictly confined to a single frame or focal point.

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CATHRYN MURPHY 14

PHOTOGRAPHIC ART PRACTICE

Found and Lost

cathrynmurphy.com

Viewers instinctively try to make sense of images through recognition. Most found photographs, however, defy identification.

Untitled 1 2016 print on rag matte fine art paper 33 x 48cm Untitled 1 2016 print on rag matte fine art paper 33 x 48cm Untitled 1 2016 print on rag matte fine art paper 33 x 48cm

Found and Lost represents my curatorial process and intervention of a box of more than 500 found photographs.

After I had examined these images for months, they revealed no more than they had on my initial viewing.

Useless, they were ultimately destroyed in an act of frustration, which paid homage to the analogue image while expressing grief towards their demise.

SHANNON NIELSEN PHOTOGRAPHIC ART PRACTICE Statuesque 2016 photograph 21.2 x 15.2cm

“The Post-Modern Age is a time of incessant choosing.”

—Charles Jenks My artistic practice seeks to negotiate the difficulty of establishing an ordered relationship between one idea and another, and examines, through almost incompatible logic jumps, the relationship between images.

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THOMAS OLIVER 16

PHOTOGRAPHIC ART PRACTICE

How far can a single image take us, or us take it?

thomasoliver.com.au

What depths can we conjure from its flat grave? What narratives are to be excavated, found hidden in silver?

To Vanish 2016 silver gelatin print 50 x 60cm

Do we run with it like a lie, like a fiction? Build it up brick by brick until it is a castle in the sky?

Answers strike quick yet evaporate, questions build slowly and linger, cautiously melting away in the white optic heat.

WHASUK PARK PHOTOGRAPHIC ART PRACTICE Discarded object 2015 photograph 50 x 50cm

Natural and human detritus are pieced together to create objects that are transformed from their original discarded state into something beautiful.

I enjoyed using my imagination to physically transform the objects into new forms with the hope that they will provide us with aesthetic pleasure.

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GABRIELLE WILTON 18

PHOTOGRAPHIC ART PRACTICE @c_obscura I Am A Photograph 2016 silver gelatin photograph various dimensions I Am A Photograph 2016 silver gelatin photograph various dimensions I Am A Photograph 2016 silver gelatin photograph various dimensions

This collection of photographs focuses on my exploration in the darkroom to equally represent both the imageness and objectness of a photograph. These photographs have not been created by using a camera or a negative but rather by sculpting the photographic paper before its exposure to light. It is thus the objectness of the sculpted paper and the exposure of light that creates the imageness of the photograph.

EMMA WRIGHT PHOTOGRAPHIC ART PRACTICE emmaewright.com Strung 2016 still from high definition single channel video 85 x 120cm Stay 2016 still from high definition single channel video 85 x 120cm

My photo media practice centres around the construction of still and moving images in order to deconstruct social norms. My work typically responds to and intervenes in public and private spaces through performance and/or the use of found and hand-made props.

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BRODIE CHARTERS 20

PHOTOJOURNALISM brodiecharters.com Story Bridge 2016 photograph 32.9 x 48.3cm Tour Bikes South Bank 2016 photograph 32.9 x 48.3cm Ferris Wheel South Brisbane 2016 photograph 32.9 x 48.3cm

Welcome to Culture City is a body of work centring on the tackiness of Brisbane’s tourism industry. A place that began as a penal colony now offers $35 tours through the suburbs. So what draws tourists to travel down our murky rivers or walk the sands of our fake beach? My work aims to highlight the absurdities of this city. With little to offer, what is there to see?

ANGELA CORNISH PHOTOJOURNALISM

Jack

angelacornish.squarespace.com

The purpose of telling Jack’s story is to at once acknowledge his disability and his ability to transcend it.

Identity is formed not only by our opinions of ourselves but also how the world sees us. It is important to recognise Jack’s blindness because it is how he experiences life.

However, we can choose to see it not as a limitation but as a challenge, and as a valid way to engage with the world.

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MATT DENNIEN 22

PHOTOJOURNALISM mattdennien.com Tamarindus indica 2016 digital print on Ilford Galerie Matt 56 x 39cm

MARISSA DESCOVICH PHOTOJOURNALISM @mdescovichphotography 12.10.16 5:36PM 2016 archival matte inkjet print 12.10.16 5:36PM 2016 archival matte inkjet print

We are all capable of great love but we are also vulnerable to great misery. It can be through separation from a friend or by unreciprocated love from the person you love most in the world that our hearts shatter and our lives fill with heartache. He said he hadn’t been single long enough, that after two years we were too serious. Maybe I was serious but I don’t know how to love thoughtlessly. I know I will be okay. I know I will move on. Now my life is inspired with a breathtaking pain, but my inspiration will intensify again when the suffering is gone and the wonder consumes my heartache.

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DARCY FOOTT 24

PHOTOJOURNALISM

Club Brisbane

darcyfoott.wixsite.com/ darcyfoottphoto

Hidden away in Brisbane live a diverse range of unique clubs and societies, each with its own fusion of people from different walks of life coming together for a common passion.

Club Brisbane is a typology of portraits exploring the people involved in the various special-interest clubs and societies in Brisbane, exploring the diversity of the people within them.

Tim, Brisbane Celtic Fiddle Club 2016 photographic print 40 x 40cm Cath, Brisbane Ukulele Musicians Society (BUMS) 2016 photographic print 40 x 40cm Mark, Brisbane Ukulele Musicians Society (BUMS) 2016 photographic print 40 x 40cm

DANIEL FOSTER PHOTOJOURNALISM danielfoster.photography Bowen Hills Train Station, Brisbane 2016 digital photograph 15 x 22.5cm Rhino Lighter 2016 digital photograph 22.5 x 22.5cm Bedroom Wall 2016 digital photograph 15 x 22.5cm

On the last day of July 2016, Chamath Weerasuriya, aged 20, took his own life. No one saw it coming, not his closest friends nor family members.

In The Last Day of July, I document Chamath’s family and friends in the wake of their loss. By photographing the things and places that people hold onto and cherish, I am attempting to discover and explore the connections between loss, ritual, and memory.

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LACHLAN JOHNSTON 26

PHOTOJOURNALISM Untitled 2016 digital photography 42 x 59.4cm Untitled 2016 digital photography 42 x 59.4cm Untitled 2016 digital photography 42 x 59.4cm

Part of Me This year, depression and anxiety will affect 1 in 5 people.

They will experience a range of feelings from melancholy to extreme worthlessness, isolation to loss of self worth and the inability to act. Many won’t feel that they can express these feelings. This leads to a further diminishing of mental health and isolation. I am one of these people and this is my story, a conversation I have begun with myself, as I address these issues for the first time.

PRAN KOSITTHANAKORN PHOTOJOURNALISM pkphotos.org Brisbane’s Poverty Line 2016 photograph 22.5 x 15cm Brisbane’s Poverty Line 2016 photograph 22.5 x 15cm Brisbane’s Poverty Line 2016 photograph 22.5 x 15cm

Immersing and investing myself into the lives I’ve encountered while creating this work has made me so much more appreciative of what I have and own. Breaking the ice was a simple task, but gaining trust and building relationships were hard. Once this was established, and the participants knew I was genuine, the stories kept pouring out and I got a glimpse as to what life is like for them.

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ELIAH LILLIS 28

PHOTOJOURNALISM eliahlillis.com Meeting My Grandfather 2016 digital print 42 x 42cm Meeting My Grandfather 2016 digital print 42 x 59.4cm Meeting My Grandfather 2016 digital print 59.4 x 42cm

My grandfather died when I was very young. It was only as an adult, with a passion for photography that we shared, that I was able to meet him. More than two decades after his passing, I have begun to understand the man through what was left behind. I soon began to miss a presence I only know through archives, equipment, stories, and photos.

ELLIOTT SAUVAGE PHOTOJOURNALISM sauvagephoto.net #BRISBANEHARDCORE 2016 photographic print 59.4 x 42cm #BRISBANEHARDCORE 2016 photographic print 59.4 x 42cm #BRISBANEHARDCORE 2016 photographic print 42 x 59.4cm

Home, At Last is my story of the contagious passion that exists within the Brisbane local hardcore music scene.

These bands sacrifice everything—a day’s pay, hours of driving, years of practice, and thousands of dollars worth of gear to play for free at a run-down local venue.

This series delves into the ‘why’ from these bands, their incredible passion for music, and what makes these sacrifices worth it at the end of the day.

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MADDISON SCOTT 30

PHOTOJOURNALISM @maddison_scott_photography For the Love of Food #1 2016 photograph 42 x 59.4cm For the Love of Food #2 2016 photograph 42 x 59.4cm For the Love of Food #3 2016 photograph 42 x 59.4cm

Food is more than just a meal, it’s an emotional journey.

But that journey begins before that euphoric first bite; it starts with the passion and skill of the creator. The look of satisfaction in the creators face, the talent in the hands.

The first scent and taste becomes an experience; a memory.

It creates a connection; between creator and customer; between the past, the present and the future.

TAHLIA STEHBENS PHOTOJOURNALISM cambiophotos.com Dear Australia, 2016 photograph 22.5 x 15cm Dear Australia, 2016 photograph 22.5 x 15cm

Documentary storytelling is a conduit through which those who are rendered mute by powerful elites can be heard. It’s an honour to combine my voice with the marginalised and join a movement that seek to make the world a better place.

Through photography, I strive to expose the excesses and celebrate the successes of the human condition. Life has privileged me in many ways but with privilege comes a responsibility to have compassion and respect.

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CRAIG STEWART PHOTOJOURNALISM cstewphotos.info/koken/ UnReal 2016 Glossy Print 841mm x 594mm Living High 2016 Glossy Print 841mm x 594mm Are You Being Watched? 2016 Glossy Print 841mm x 594mm

The Tourist Strip Postmodernity is reflected in the architecture, economy, and culture of Surfers Paradise at the Gold Coast. Half a million locals are disconnected from the economic space known as “The Tourist Strip�. The Tourist Strip is a collection of street imagery that captures the essence of Surfers Paradise through subtle humour. The audience is invited to discover different stories within and between images. The intention of this work is for the viewer to examine their own beliefs regarding Surfers Paradise.

QUINN TAYLOR PHOTOJOURNALISM quinntaylorphoto.com If Only You Knew 2016 phototograph 15 x 22.5cm If Only You Knew 2016 photograph 28.5 x 42.7cm

This work is an exploration of my story as a transgender woman currently undergoing transition.

Through documenting my personal experiences, I hope to confront the expectations many people may hold regarding these issues and better illustrate the emotional and situational characteristics of my transition.

My story is only one of many.

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CHRISSY TROVATO 34

PHOTOJOURNALISM A Generation past 2016 digital photograph 59.4 x 76.6cm With standing 2016 digital photograph 59.4 x 76.6cm

Italian culture in Australia is being forgotten with each generation that passes. I have been looking at details within the home of an assimilated Italian immigrant that links them back to their birthplace.

SARA WIHLBORG PHOTOJOURNALISM sarawihlborg.com Settle 2016 photograph 29.7 x 42cm

In the making of this body of work, my thoughts have focused around the idea of what home is and what belonging means to someone who has been forced to flee their home country. My vision has been to ’tie the world together’ by telling the stories of three people with different refugee backgrounds, and showing there should be a place to depend on for anyone regardless of where they come from.

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JAMES BAILEY 36

CREATIVE ADVERTISING james-baileyphotography.com The Big One 2016 photograph 59.4 x 39.6cm Dummy Spit 2016 photograph 59.4 x 39.6cm

My body of work is an exploration of a realist and comic approach to the nuisances of modern society. These photographs aim to create an immersive experience for the audience, who are invited to place themselves into many questionable and relatable scenarios for the purpose of humour.

JESSICA BAKKER CREATIVE ADVERTISING

Delicate Desires

venturelustphotography.com

Luxury product photography is about temptation, desire, and seduction. We are enticed into a visual fantasy that draws us to the product. Our life will have more sparkle, be more fulfilled, and we will be slightly more glamorous because of it.

Crimson Sparkle 2016 digital photograph 42.7 x 28.5cm Fuschia Fantasy 2016 digital photograph 41.7 x 27.8cm Violet Enchantment 2016 digital photograph 46.4 x 30.9cm

My work aims to bring these luxurious products to life in a magical world through the use of colour, shapes, levitating objects, and the playfulness and delicate nature of flowers.

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AMANDA BORGSTRÖM 38

CREATIVE ADVERTISING amandaborgstromphotography. tumblr.com FUTURELLE series 2016 photograph 84.1 x 59.4cm

This body of work draws upon fashion photography’s ability to seduce and persuade the consumer through fantasy worlds and characters of desire. The series seeks to create a dark and distant world constructed out of hand-made paper sets that is ruled by confident and complex women.

PAUL CHAPPEL CREATIVE ADVERTISING pbcphoto.squarespace.com Q Block 2016 photographic print 84.1 x 59.4cm Tunnel Exhaust 2016 photographic print 84.1 x 59.4cm Standard Orbit – USS Stub Axle 2016 photographic print 84.1 x 59.4cm

My work here is a combination folio with the common theme being precision. My Car Parts in Space series utilises the precision of the machined part combined with my other great love—space. I have constructed composite scenes, but have photographed all the images used. My Architectural series also highlights humanity’s precision, albeit on a much larger scale. My aim is to have given this body of work a common tone.

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SEBASTIAN COKE 40

CREATIVE ADVERTISING sebastiancoke.com Untitled gif #1 2016 video Untitled gif #2 2016 video Untitled gif #3 2016 video

In a world where we are bombarded with images and where constant advertising has become a part of life, it’s nearly impossible to disrupt that constant flow. The aim of this work is to both critique the world of advertising and embrace it.

MARISSA DESCOVICH CREATIVE ADVERTISING @mdescovichphotography Eleglance in Anarchy 2016 archival matte inkjet print Eleglance in Anarchy 2016 archival matte inkjet print

We live in a society that is always trying to look worthy, trying to keep up with the latest design instead of embracing what’s beautiful and unique about us. What if we opened our eyes to places unnoticed, buildings misinterpreted, places forgotten and unwanted? We grow up being told what is beautiful and what is ugly. We judge a woman’s body to be beautiful. We also know that derelict locations are seen as dangerous and undesirable, so what is the difference? Why do we let an opinion influence our choices of beauty? These two factors contrast each other but they also work together to create something so magical that may just change people’s views. Would you change yours?

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KRISTY DUNCAN 42

CREATIVE ADVERTISING kddmphotography.com.au Glamour 2016 digital photograph 48 x 32cm

There was no era as glamorous as the 1930s in terms of portraiture. This body of work evokes the style of portraiture from that era and looks to deliver the same elegance and flair to today’s audiences.

KARLA EDWARDS CREATIVE ADVERTISING Octopus Carnival 2016 photographic print 119 x 85cm Candy Castle 2016 photographic print 119 x 85cm

My work focuses on the amalgamation of both fine art and photography, with elements of hybridity and transformation throughout my work. Part of my practice is to capture pet portraits. I have explored printmaking and drawing throughout my photographic works, and extended my hybridity focus with my animal-headed copper etching prints.

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MARK GAULD 44

CREATIVE ADVERTISING

New Worlds

@MarkGauldPhotography

In my series New Worlds, I wanted to create windows into worlds beyond our own.

Explosion 2016 photograph First Bombs 2016 photograph

The images are made through the use of paper and real world components pieced together—from both the digital and physical world—as means to form unique planetary environments. Set in possibly future or parallel universes, the works are aimed to move the audience’s expectations of what we consider as our possible reality.

CAROL HA CREATIVE ADVERTISING behance.net/bobha Still from cinemagraph #1 2016 video variable Still from cinemagraph #2 2016 video variable

It seemed so easy when we were children—eternal bliss was just a royal wedding away. Over time, we are taught to bury our sadness and to deny our loneliness. But to feel such burdens is to be human. Without the dark, the light would not be as gratifying. This body of work is made as a series of cinemagraphs as a means to subtly draw attention to the complexity of human narrative and emotion.

“A cinemagraph is a living moment in an otherwise still photograph. It exists in the world in between a photograph and video to bring to life the image and make it last forever.”

—Kevin Burg and Jamie Beck

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DECLAN MAY 46

CREATIVE ADVERTISING

Part Fact, Part Fiction

@ddeclan

This body of work seeks to capture a sense of nostalgia for the complex and multifaceted landscape of the Gold Coast through the genre of fashion photography. Part fact and always part fiction, the changing narratives, characters and architecture have always been part of my life. This series is my interpretation of the Gold Coast and just some of what it encompasses.

Untitled 2016 inkjet on archival paper 53.3 x 30cm Untitled 2016 inkjet on archival paper 53.3 x 30cm Untitled 2016 inkjet on archival paper 53.3 x 30cm

DANIEL McCARTHY CREATIVE ADVERTISING kddmphotography.com.au Bright Lights, Bright Future 2016 digital photograph 42 x 59.4cm

This body of work is inspired by my nostalgia for past visions of the future from noteworthy science-fiction literature and film.

Although at times the cynic in us fears the dystopian possibilities, there is always an unequivocal optimism in the beauty of the human spirit.

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MEL NOONAN 48

CREATIVE ADVERTISING melnoonancreative.com.au Untitled I 2016 Photography 84.1 x 118.9cm Untitled II 2016 Photography 84.1 x 118.9cm Untitled III 2016 Photography 84.1 x 118.9cm

This body of work seeks to explore the effect of contemporary society and the influence it can hold on the delicate psyche of children. The series is set within the natural environment and draws upon the unrest of both the female protagonist and the landscape as they move within a state of liminality.

My intention is for the works to force the viewer to question their own relationship and response to the broader notions of childhood.

JESSICA PALLISTER CREATIVE ADVERTISING Food, Glorious Food series 2016 59.4 x 84.1cm

My body of work seeks to explore the glorious and delightful world of food. This series takes a minimalist approach to the ingredients used in cooking as a means to portray the simplicity and beauty of food and the process of cooking. Using colour and texture, these images aim to transport the viewer into a ravenousness mouth-watering desire for the moments they depict. Enjoy!

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GEORGE PRESCOTT 50

CREATIVE ADVERTISING ac1dart.com Do You Like Hurting People? 2016 photographic print Do You Like Hurting People? 2016 photographic print Do You Like Hurting People? 2016 photographic print

In the series, I have appropriated the aesthetics and visual language of horror and slasher movies from the 1980s, inserting the character into a completely stylised world that overwhelms and distresses the viewer. The use of warped backgrounds and RGB artifacting move the images from the stationary 2D plane into one of the 3D, while the hyper violence is itself censored through the replacement of all gore with solid neon.

GRACE ROGAN CREATIVE ADVERTISING gracerogan.org Age is not an excuse – Swimmer 2016 photographic print 42 x 59.4cm Age is not an excuse – Weightlifter 2016 photographic print 42 x 59.4cm

This project explores society’s perception that once a person reaches a certain age, their capacity to physically accomplish goals decreases. With the aim to challenge this misconception, this photographic series merges portraiture of real people over the age of fifty, an age that is commonly associated with slowing down, with the exhibition of their authentic sporting abilities. For these subjects, age is not an excuse.

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MELISSA SHAPLAND 52

CREATIVE ADVERTISING

Hidden

shaperture.net

Somewhere between fashion photography and portraiture, this body of work seeks to portray women’s beauty and complexity by using different fabrics as a metaphor. It is my hope that the seemingly effortless shapes and form of both fabric and figure encourage the audience to reflect upon their own ideas of what beauty is, how much we reveal of ourselves, or what we keep hidden away.

Hide 2016 photograph 22.5 x 23.8cm Hide 2016 photograph 22.5 x 33.8cm

SOPHIE SUTHERLAND CREATIVE ADVERTISING sophie-j.com Image 1 2016 digital photograph 40 x 60cm

To understand a product is not just to see it as a thing, but rather to experience it as a sensation or imaginative concept. My super narratives allow an audience to be informed by fairytale images which represent the conceptual side of products, such as perfume, shoes, jewellery, etc.

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SHANNON TATHEM 54

CREATIVE ADVERTISING

Fragmented Moments

shannontathemphotography.com

In a lifetime, we have countless first time experiences, many of which are considered monumental and joyful moments. For victims of child abuse, these ‘moments’ become reminders of what they have been through.

First Sleepover 2016 photographic image 59.4 x 84.1cm First Day of School 2016 photographic image 59.4 x 84.1cm Graduation Day 2016 photographic image 59.4 x 84.1cm

Through the genre of socially aware advertising, this body of work seeks to draw the audience’s attention to these moments as not always being celebratory and about the future, but for some, a dark reminder of the past and what may never be.

EMILY YSEULT TAYLOR CREATIVE ADVERTISING emilyyseult.com Feet 2016 photograph 59.4 x 84.1cm Chest 2016 photograph 84.1 x 59.4cm Neck 2016 photograph 59.4 x 84.1cm

The modern world is defined by the tension between human greed and the natural world from which we spring.

Everywhere, humanity asserts its dominance over nature.

Plants and the Earth itself are seen as nothing more than commodities to be dominated and exploited. My work seeks to evoke the lost balance between humans and nature.

These images aim to convey the continuity between the human form and the plants that have given us life.

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JAYDEN THEODORE 56

CREATIVE ADVERTISING

Dream Machines

Jayden-Theodore.squarespace.com

This body of work is inspired by the grander notion of the car being representative of The Australian Dream and its utopian narrative. In each image, I have meticulously built a unique miniature set, which places the vehicle as the primary focus. I wanted to create narratives that show humour, character, and a reflection of the real world, but that also lack human presence.

Outback 2016 photography 22.5 x 15cm Elephants 2016 photography 22.5 x 15cm Crash 2016 photography 22.5 x 15cm

GEMMA TRAYNOR CREATIVE ADVERTISING gemmatphotography.com There’s No Use Crying Over Spilt Milk (1) 2016 photograph 118.9 x 84.1cm There’s No Use Crying Over Spilt Milk (2) 2016 photograph 118.9 x 84.1cm

This series follows the narrative of the archetypal housewife on the verge of insanity. It juxtaposes mundane household routines with sexual or unnerving scenarios.

The images use strong and vibrant colours as a way to emphasise the tension and lunacy in each character. By pairing each portrait with a still life, I aim to exaggerate and reinforce the mental state of the unresponsive housewife.

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FAUSTO VERGARA 58

CREATIVE ADVERTISING

A big dark box, a pinhole, and a lightsmith.

behance.net/FaustoVergara

This series of photograms and pinhole photographs represent my exploration of photographic techniques, past and present, while investigating the nature of human spirituality. As a visual artist, I am interested in challenging the boundaries of the photographic medium and as my practice develops and my visual style finds its uniqueness, I hope to comprehend what should be called inherently human.

Photogram from La Camara Obscura series 2016 silver gelatin photogram 40 x 50cm

GEORGIA WALLACE CREATIVE ADVERTISING georgiawallace.com Rebecca 2016 digital photographic print Close Up #4 2016 digital photographic print Emma 2016 digital photographic print

My work is a celebration of the feminine as bold, kick-ass, and self-assured. I am interested in a wider definition of femininity, one that challenges the often polite, pretty and light-hearted version that we have come to accept as the norm. As a young female photographer, I feel a responsibility to disrupt these expected and exhausted depictions of femininity and embrace diversity, individuality, and attitude.

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PHOTOGRAPHY STAFF AND SUPPORT 2016 LECTURERS

TUTORS

Associate Professor Marian Drew

Ms Christine Ko

Mr David Lloyd

Mr Louis Lim

Mr Peter Thiedeke

Mr Jo Ruckli

Professor Jay Younger

Ms Emma Leslie

Ms Amy Carkeek

Mr Andrew Willis

Mr Martin Smith

SUPPORT STAFF SESSIONAL LECTURERS

Mr Tony Hamilton

Ms Angela Blakely

Mr Greg Hoy

Mr AKM Shehab Uddin

Ms Christine Ko

Mr Bruce Reynolds

Mr Louis Lim

Dr Renata Buziak

Ms Carol Marron

Mr Gerwyn Davies

Ms Chantel Schott

Mr Mike Hallson

Ms Lisa Brown

Mr Earle Bridger Ms Michelle Bowden Mr Joachim Froese

EXTERNAL ASSESSORS Angela Goddard Israel Rivera Raphaela Rosella

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STUDENT AWARDS 2015

Nicole Paulsen

James Hornsby

Anna Smith Portraiture Award

The Queensland Centre for Photography Award

Graduating student with most innovation in Portraiture.

Presented to a graduating student for experimentation and innovation within Photographic Art Practice

Gillian Jones AIPP Photography Business Mentoring Award Presented to a student with the highest standard of visual and lighting ability

Heather Fitzpatrick St Aiden’s Anglican Girls’ School Award Presented to a graduating documentary student continuing into Honours

Myles Bennell CameraPro Award Presented to a graduating student in recognition of excellence in an advertising body of work with a strong coneptual framework.

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

Chris Bowes

Patrick Adams

C.R. Kennedy Award

Street’s Imaging Award

Presented to a graudation student for artistic merit

Best overall series from any major, presented to a graduating student going on to Honours

Dennis Rodriguez

Evey Skinner

DES Beyond Creation

Sun Studios Best Image Award

Presented to the graduating student in recognition of print mastery within a conceptual framework.

Presented to a graduating student demonstrating technical and conceptual clarity within the politic of the practiced stream

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

Marc Pricop Ted’s Camera Stores Award Presented to a graduating student in recognition of excellence in portraiture

Myles Bennell Kayell Australia Award Presented to the graduating student in recognition of excellence in advertising for a single image.

Jared Finlayson RGB Digital Prolab Award Presented to a graduating student in recognition of excellence in Creative Advertising

Cale Searston & Jacinta Yann Vicki Williams Quiet Achiever Award Presented to a quiet achieving graduation student with artistic merit (2 winners).

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PROUDLY SUPPORTED BY

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John McKay Memorial Scholarship

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CREDITS

EXHIBITION [ insert here ] Bachelor of Photography Graduates 2016 16–20 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: Gabrielle Wilton I Am A Photograph 2016 Published by Queensland College of Art Griffith University griffith.edu.au/qca ISBN 978-1-925455-31-1

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James Bailey Jessica Bakker Amanda Borgstrรถm Thomas Broadhurst Paul Chappel Brodie Charters Sebastian Coke Angela Cornish Matt Dennien Marissa Descovich Kristy Duncan Karla Edwards Hannah Erglis Darcy Foott Daniel Foster Mark Gauld Carol Ha Amira Hage Ann Ingham Lachlan Johnston Ebony King Pran Kositthanakorn Lisa Kurtz Eliah Lillis Matthew Lloyd Declan May Daniel McCarthy Cathryn Murphy Shannon Nielsen Mel Noonan Thomas Oliver Jessica Pallister Whasuk Park George Prescott Grace Rogan Elliott Sauvage Maddison Scott Melissa Shapland Tahlia Stehbens Craig Stewart Sophie Sutherland Shannon Tathem Quinn Taylor Jayden Theodore Gemma Traynor Chrissy Trovato Fausto Vergara Georgia Wallace Sara Wihlborg Gabrielle Wilton Emma Wright Emily Yseult Taylor