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2018 Fine Art Graduate Catalogue

Queensland College of Art, Griffith University





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Genevieve Memory

Erin Green

Savannah Jarvis

Lisa McNamara


Eliza Bertwistle

Merrin Pratt

Eily Roe

Kirk Radunz

Amy Conlon

Tejal Gupta

Perrin Millard

Selenna Gardner

Azadeh Hamzeii

Rose Manning

Richard Kirwood

Jessica Byrne

Catherine Reeves

Therese McNamara

Maddie Smith

Frank V. Nordmann

Ashley Godfrey

Anne-Marie Ryland

Jenna Nortje

Anita Jarvinen

Ronda Sharpe

Ingrid Bartkowiak

Grace Hickey

Jill Sampson

Liybov Chekhunova

Eden Latoya Morrison

Chris Underwood

Sean E. Crookes

Nat Lavelle Maggie Cheng

Dr Bill Platz


Hong Heo

Grace Cuell

Robbie Erskine

Helana Bond

Sharna Barker

Shannon Camden

Ruby Fazal

Rebecca Hlodik

Jacqueline Aldis

Sarriah Tamiyajal


Maria Bourgard

Maddison Bygrave

Kannitha Ly

Michelle Timotin

Ruth Cho

Loraine Boshoff

Emily Joliffe

Kierra-Jay Power

Summer Hiskens-Ravest

Kristina Gittins

Summa Shing

Helen Byers

Sarah Murphy

Breeanna Harris

Robyn Pell




At perhaps the most experimental and innovative university program in the visual arts of the last century, Black Mountain College, students received no marks or grades. There was no established degree structure, no credits given and when a student felt ready to ‘graduate’, the student would simply declare an interest in finishing. At that point, a committee would be formed to examine the student and give assent or dissent that the student was, in fact, done. In spite of this lack of bureaucratic formality, the program achieved a profound reputation that allowed its students to move on into postgraduate studies at universities such as Harvard even though they had completed no formal undergraduate degrees. Art schools have always been peculiar institutions. It is this peculiarity that creates the potential for innovation, radical modes of learning, and dynamic student experiences (the envy of other disciplines). It is no accident that the history of radical revision in the visual arts over the last century is written through the art schools. And it is important to remember and emphasise that these innovations and revisions are rooted in the deep knowledge and motivated pursuit of art practice and material inquiry. When the first leaders of Black Mountain College, Anni and Josef Albers, established the school, they did so in the pursuit of education through lived experience and material experimentation. Radicalism often goes unrewarded (a fact familiar to artists), and Black Mountain College closed up only two decades after opening, unable to sustain itself intellectually or financially. Queensland College of Art has managed to persevere since the 19th century — the oldest and longest continually

running art school in Australia — because we have always succeeded in finding the balance between innovation, coherence and pedagogical judgement, and we instil in students a belief in the elision of critical judgement, materiality and speculation. The students in this exhibition exemplify this simple idea. In every studio and gallery is evidence of each student’s long and patient investigations. This exhibition also marks an important inflection point in each student’s journey as a visual artist. This is the moment when the work declares its independence from the pedagogical apparatus. The work is now disseminated to the public and each graduate will begin a new and very different conversation with peers, colleagues, gallerists, dealers, curators, employers, collectors, patrons, and the next generation of art students. This show is our declaration that the student is done, but the artist is just beginning. It is impossible for a single exhibition such as this to fully manifest the variety and depth of each student’s learning and output. What you will see in this show is a culmination of sorts, but more importantly, it is a selection — it is each student carefully deciding to exhibit a meaningful point in a much longer and larger life as an artist. The QCA class of 2018 is congratulated on an exceptional show. We wish you the best in your coming pursuits and look forward to your futures.

Dr Bill Platz Program Director, Fine Art Queensland College of Art Griffith University


eigengrau | 2018 expanded polyeurethane foam, led lights Variable eigengrau | 2018 expanding foam, led lights Variable


EILY ROE Sculpture

Eily Roe’s work is a playful exploration of mundane materials with the potential for alchemical transformation (expanding insulation foam, dissolved polystyrene, crystallised salt). She uses dark spaces to transport the viewer into fantastical abstractions of half-familiar forms and landscapes.

Navaka | 2018 Gear motor, transparent acrylic plastics, styrofoam, nylon thread, led diodes, batteries. 300 cm x 100 cm x 60 cm Navaka | 2018 Gear motor, transparent acrylic plastics, styrofoam, led diodes, batteries 10 cm x 25 cm x 25cm

TEJAL GUPTA Sculpture My art revolves around the perpetual curiosity of the self’s correlation to the macrocosm. By integrating art with science I design mechanical structures and find myself creating new and unique dynamic systems to comprehend the complex energies within the cosmos.


Encoding Ritual | 2018 Video with sound 2 x 1.80 Encoding Ritual | 2018 Video with sound 2 x 1.80



Encoding Ritual depicts ritualistic attachment of fishing hooks onto a female body using hot and dripping beeswax and is timed to the sound of a metal plate being rhythmically struck.The hooks are not only sharp but their sheen and circular and horizontal form make them deceptively beautiful.They are both threat and ornament and the performance evokes an implicit tension between two.

Azadeh’s practice explores challenging themes in performance, video and installation. With a background in photography, the artist applied light, composition, ritualistic actions and sounds to create the out of equilibrium story. Inspired by how dominant standards in the names of adjustment and protection can deceive us into acceptance, the artist uses her own body to explore the dichotomy of threat and body ornament and shares passionate scrutinising outlooks with viewers.

De-lighted | 2018 Paraffin wax, beeswax, church candles, christening candles, candle wicks, honey candle fragrance, cotton candy candle fragrance, metal wire, chain, extension cord 300cm x 100cm x 100cm

JESSICA BYRNE Sculpture Interested in challenging sign exchange values (the value we individually and socially associate with objects), I became concerned with the absurdist dichotomies that utilitarian and everyday objects can construct through their numerous combinations. By turning something useful into something useless, it creates something pointless and absurd, questioning its original purpose, meaning and value.


Subtle | 2017 Second-hand bridal tulle, pink sewing thread Dimensions variable Subtle (detail) | 2017 Second-hand bridal tulle, pink sewing thread Dimensions variable Untitled | 2018 28 Gauge aluminium wire, 8ply cotton yarn 7cm x 7cm


MADDIE SMITH Sculpture I don’t consider myself an artist. I am not making work for the purpose of it to be exhibited or shown, or for people to buy what I make. I am on a creative journey where I want to learn as much as I can, and the work I make is a byproduct of my journey.

passed | 2018 video installation dimensions variable

ANNE-MARIE RYLAND Sculpture Halfway through my degree, I studied in North America. This small sentence captures something so big that changed my life and my artwork. I wanted to make other people understand how much I missed these lost moments, and feel like they were there with me. Have you ever thought of how crazy it is that you can recognise places you’ve never been?


The land of the three rivers, Flag. | 2018 Multi coloured data cables, metal wire H40cm, W60cm, D3cm Everything is still connected, Dilly bag.  | 2018 Fluorescent orange plastic fencing mesh H85cm, W34cm D10cm Everything is connected, Bowl.  | 2018 Videotape, natural ochre, Bond Crete H7cm, W20cm D18cm.


RONDA SHARPE Sculpture Ronda is an environmental artist who promotes awareness of waste in our ecosystem by creating artworks using discarded materials that are considered trash. The recycled mediums highlight the contemporary boundaries of connecting to consumerism and the throwaway society we currently live in. This body of work is connecting to her Wiradjuri country and culture, land of the three rivers.

The weaving of the baskets and the flag is about linking together Indigenous traditional fiber art, and my own personal journey of searching for ways to connect to my lost indigenous heritage, culture and country.

This place, my place (detail of installation) | 2018 found objects, wire, tin, metal, wood, chalk, nails, leather Dimensions variable


Home for me is a little farm near the Bunya Mountains on Kaiabara land. Through art installation I shape stories that are lived and gleaned from the land that I have grown from. I encourage a re-examination of history and my work explores environmental themes, both personal and collective histories, loss, frontier tragedy and conflict, land use change, connection, memory and always story.


fake lines and false divisions Dual channel video, colour. Speakers, projector, ply wood, sand bags, concrete. Variable


NICHOLAS BROCCHI Sculpture Nicholas Brocchi is a Meanjin (Brisbane) based artist working predominantly with installation, video and sculptural assemblage. Their practice operates within a post-natural matrix wherein no element of the cognitive or material realm is fixed or permanent. Their experimentation across this range of media highlights the inherent plasticity of sex and gender identity by contributing to feminist narratives

from a queer perspective. Recent installations attempt to expose the private sphere as a heterosexual privilege and a site of queer oppression.

Bile Blues  | 2017 Polymer clay, recycled found metal, plastic tubing, resin 20 x 21 x 21 Hamily | 2016 Polymer clay, paper, cotton 7 x 30 x 20

EDEN LATOYA MORRISON Sculpture and Drawing

Investigating ethical concerns relating to the use of animals, my latest series explores areas of exploitation. By morphing human and animal features, it is aimed to generate unity and empathy for our non-human counterparts. Their bodies, our bodies, bleed the same.


Repetition | 2018 serigraphy and linocut 63X167


HONG HEO Print Media

I am interested in investigating into the formative practice of repetition and multiplicity through which the viewer’s soul is deeply touched.The repetition is not mechanical but rather handmade. It shows the difference rather than the sameness or similarity in explicit manner serving to convey a singular form of representation of temporal and spatial narratives.

Contemplating Waste | 2018 Handmade paper, pulped from recycled jeans 210 cm x 179 cm Photographs by Jonathan Tse


This work explores the relationship between the textile industry and the global waste crisis. Textile production and consumption has become the second highest polluting industry in the world. Through the pulping and pressing of 12 pairs of recycled jeans into handmade paper, this work seeks to convey a material exploration of the excess, the unseen and the magnitude of this global issue.


God Hates Westboro Baptist Church  | 2018 Screen printing ink, acrylic paint, canvas. 100cm x 300cm



This artwork explores Christianity as a hierarchal institution and questions their motives. It aims to enquire into the ethics surrounding church members weaponising the word of God in order to support hateful or bigoted views. This work demonstrates the hypocrisy found in particular churches, and highlights that love and compassion are the most important characteristics to instil as a christian.

Melaleuca nodosa | 2018 Copper plate etching with watercolour 27 cm x 22 cm Eucalyptus sideroxylon | 2018 Copper plate etching with watercolour 27 cm x 22 cm


The aesthetic beauty of flora has been lauded by poets, scholars and artists for millennia. I am currently drawn to the unusual and intriguing plants of the Australian environment, specifically wildflowers that are local to Queensland. Australian wildflowers are ‘remarkable for their intricate allure and bold outstanding formations’ and can be said to be the ‘most fascinating and beautiful floras’.


Druid on Hold 1 | 2013 Screenprint Collage 420x594cm Always There Smiling, Saying ‘Don’t’ | 2017 Etching 297x420cm Druid on Hold 2 | 2013–2017 Screenprint Collage 420x594cm



I am interested in the difference between figurative drawing and draftsman ship and what constitutes an artful drawing. My style is heavily influenced by Cy Twombly. Thematically, I am also heavily influenced by the philosophies of Jacques Lacan and Friedrich Nietzsche and how they interact.

Pulse | 2018 etching and aquatint 20 x 29.5 cm Ripple | 2018 etching and aquatint 20 x 29.5


The work addresses the complex relationship between visual perception and the landscape. Much like the land, our eyes are in constant motion. Conveying a sense of movement, these images seek to uncover the perceptual process of looking. They ask the viewer to reconsider vision and the dominance it has over our environments.


Reilene I | 2018 Relief and intaglio 30 x 30 Reilene II | 2018 Relief and intaglio 30 x 30



In the new world, technology is now our companion. No part of us remains untouched by the new language of the digital. I aim to explore the human concept of individuality and recurring condition of loneliness through our tendency to make that which is nonhuman fulfil our desires.

Untitled | 2018 Relief Monotype on Stonehenge 56 x 72 cm


Exploring self-portraiture and mark making using monotyping as the main printmaking technique. A physical and psychological representation of the self using emotional, intuitive, immediate and lyrical gestures. Depictions of character within a metaphysical approach of identity and change, where every print is an instantaneous moment that can no longer be repeated.


Mapping the Fringe II | 2018 woodblock print, paper chromatography of eucalyptus leaves, recycled paper from map paper, mounted on dutch etching paper 110cm x 70cm Silent Tracks | 2018 woodblock print, recycled paper from map paper 46 x 31 cm Silent Tracks II | 2018 embossing, paper chromatography of eucalyptus leaves, recycled paper from map paper, 46 x 31 cm


KANNITHA LY Print Media The state of the forest, flora and fauna is continually affected by the intervention that humans impart on the land. My work considers the relationship between the environment and humans, particularly the lure of the suburban dream and thus urban sprawl, and the environment’s almost fightback mechanism exhibited via the destructive work of termites.

Tigris in Fabula | 2018 Linocut on kozo paper 98cm x 40cm Communis Aqua | 2018 Linocut and water-based ink on kozo paper 24.8cm x 48.5cm

RUTH CHO Print Media

The focus of my art practice revolves around my own hybrid cultural identity and the clash between Western and East Asian cultures. To convey this tension, I blend together the traditional art forms of European engravings with Chinese ink paintings and paper cuttings through relief printmaking techniques. The works also explore xenophobia by including Australian animals and introduced species.


Mr Man | 2018 Linocut 50cm x 40cm Hardbodies II | 2018 Linocut 50cm x 40cm


EMILY JOLIFFE Print Media Through the exploration of Bret Easton Ellis’s “American Psycho”, I have created a series of linocut prints that exhibit themes of masculinity and femininity with regards to the exploitation of women throughout the novel married with his attack on male behaviour heightened by the rise in Western consumerism and technology in the 80s which has only intensified in today’s society.

Desmond Joseph Ramsey | 2018 Silk Screen Print 75cm x 110cm


From the moment that we are born we are assigned a gender, and so, defined and delineated by society as either Male or Female. Beyond the binary exists a realm of infinite possibility, ‘Male’ and ‘Female’ are the areas in which we begin and when we liberate ourselves from the paradigm of ‘either/or’ a vast variety of expression begins to reveal itself.


“Finished my degree..... made a suitcase of beads.... now what?” | 2018 Print media 90 x 50 x 30



Finished my degree, made a suitcase full of beads, now what? 1960’s cook books, porn, magazines, old works, photos, books, maps, underpants, a sock, sonic youth t-shirt, over used raver pants, acid wash jeans, tampons, ground up son’s placenta, breast milk, x-rays, bunion shavings, lolly pop sticks, flowers from my wedding bouquet, birth control pill

Savannah, from the Pictures of You series | 2018 Oil on unstretched linen 65 x 55cm approx. Genevieve as Helene, from the Centenary series | 2018 Oil on Belgian linen 60 x 40.5 x 3.3cm The Three Graces | 2018 Acrylic and oil on found dresses and linen 164.5 x 193.5 x 11.5cm approx.

GENEVIEVE MEMORY Painting My work focuses on the ideas of human dignity and labelling practices and is explored through portraiture and expanded painting. Working with oil on linen and with readymade dresses and fabric, I am interested in the representation of everyday people, particularly women. I ask myself: What has changed and what has stayed the same for women over time?


Some Things Take A Long Time | 2018 Oil on Board 30x30cm



This work looks at how memory shapes our understanding of past experience. I want to understand how we can use images and text to come to a personal truth in art, one that can be looked over and held.

Gran’s Old House | 2018 Oil on board 61cm x 47cm Earliest Memories: A Curation | 2018 Earliest Memories: A Curation 61cm x 47cm

ELIZA BERTWISTLE Painting @elizas__art Throughout this autobiographical series of works, I explore self curation and the filtered past. I have selected a series of childhood photographs that spark nostalgic memories of place and time. By simultaneously painting the photographic and the mental image, I have synthesised the essence of these sentimental memories, whilst questioning truths regarding the intangible and the physical image.


Chilli | 2018 Oil Painted Animation Assorted Textiles | 2018 Textile For Those Who’ve Come Across The Seas | 2018 Oil Painted Animation


KIRK RADUNZ Painting @kirquedusoleil Kirk Radunz works with an intersection of painting and animation to create video. These works appropriate the slow engagement of oil painting within the accelerated consumption of animated video. In a seperate engagement, influenced by the colour mixing of digital and print media, textiles are woven of disparate hues and then mix with distance to form new tones.

Mere Real Things | 2018 Oil on linen 1100cm x 1400cm Meeting of souls | 2018 Oil on canvas and board 1100 x 1400cm, 41cm x 51cm




The sky is a paradox - irrespective of time, it inherently stays the same, yet constantly changes. This expanded work studies the depth and atmosphere of the sky, employing historical and contemporary art-marking techniques. An immersive experience designed to engage the viewer’s introspection, with surface used to examine spatiality, collapsing of time, natural forces, and our place in the world.

My work is Painting in the Expanded Field Title for the body of work - ‘What We Know, What We Imagine’”

Loneliness can be bearable | 2018 Oil on board 30cm x 21cm I broke all the promises I had made to myself so I could be closer to you | 2018 Acrylic on canvas 205cm x 160cm Its like counting sheep but sadder | 2018 Acrylic on found material 30cm x 26cm



My work is an exploration of painting as a form of self care. By painting I am able to push anxious, reoccurring thoughts outside of my head and my heart and sit down and closely examine what these thoughts are trying to tell me about myself. They are an opportunity for me to be completely open and honest about my experience with myself and the viewer.

Inevitable I | 2018 Oil on canvas 84 x 102 Inevitable II | 2018 Oil on canvas 84 x 102


It is my fascination with the natural world that is my inspiration. Concern about our impact on the environment and investigating ways to express this disquiet is the underlying motivation for my work. Representations of landscape, plants, animals and birds in bold colours and in many forms explore underlying emotions drawn from my experiences and interactions with nature, past and present.


Episode | 2018 Oil on canvas 180cm by 140cm Hope | 2018 Oil on canvas 180cm by 160cm



This work is inspired by Margaret Olley. It is a work of gratitude to the Australian people.

Untitled (Surf) | 2018 Oil on paper 17.5 cm x 25 cm Untitled | 2018 Oil on paper 17.5 cm x 25 cm Untitled | 2018 Oil on paper 17.5 cm x 25 cm


My work investigates human connectedness in relation to landscape and how this forms self identity. A series of ‘understated’ small-scale works forms an intimate and lightly humorous reading of the self in landscape. Treating the landscape in the same way as the figure, absorbs the figure into the landscape so that gesture and colour inform each other visually in the paintings.


Fractal  | 2018 Oil on Board 41.5 (H) 51.5 (W) 3 (D) Mycro | 2018 Oil on Board 41.5 (H) 51.5 (W) 3 (D)


INGRID BARTKOWIAK Painting @ingridbartkowiakart This series of work considers the state of the Australian landscape today - how wherever you look there is a strange hybridity occurring between the realities of the past and present. Native Australian flora and fauna are still present within the land but there is also a bombardment of introduced species and artificially controlled and unsustainable environments. These paintings endeavour to explore this obscure field.

Dialogue 2 | 2018 oil on canvas 120 X 90 Balance 1 | 2018 oil and oil pigment on canvas 101.6 X 101.6 Grief | 2018 oil on board 60 X 40



Painting Currently, I am investigating a woman’s nature primarily focusing on domesticity. In this work, I am representing a ‘sweet home’ as a place of torture and discomfort... Referencing my own personal experience, I am highlighting some issues that speak of a woman’s mental condition and influence of stress, anxiety, helplessness, tension etc.,

Inspired by figurative and surrealists artists such as Magritte, Dali and Borremans, and finding my own way in this style of representation, I am exploring, how the subject of domesticity may look in painting.

Consuming Fire | 2018 Digital photomontage on canvas 88 x 60 cm Crown of Thorns | 2018 Digital photomontage on canvas 88 x 60 cm Sacred Mundane II | 2018 Oil on mirror and anodised aluminium plate 31.5 cm (diameter)


CHRIS UNDERWOOD Painting | Instagram: @artchriste Traversing the old, the new and the eternal, my practice is concentrated on finding a visual language for contemporary Christian art. I explore painting as both a meditative act and a spiritual offering, expanding the motifs and conventions of this medium into digital and sculptural fields.

Autumn Walk (Nephew) | 2018 Oil on Linen 91.5cm x 122.1cm x 3.5cm Autumn Run (Brothers) | 2018 Oil on Linen 91.5cm x 122.1cm x 3.5cm


My current project investigates domestic life, familial relationships, roles, activities and their transience. Initially a discipline to recognize and record moments of gratitude it became a study of the memorable, the mundane and sometimes challenging aspects of contemporary domestic life. Recorded through the slow process of painting, these ephemeral moments adopt new often nostalgic qualities.


Untitled (Drapery) | 2018 Acrylic and thread on canvas 159cm x 200cm Cut Together (Zip) | 2018 Acrylic and thread on canvas 88cm x 183cm Untitled (Markings) | 2018 Liquid ink and dry-brushed gesso on board 110cm x 75cm


NAT LAVELLE Painting My work addresses material agencies of painting and the body, giving equal weight to the human act of ‘making’ and the physical imperatives of materials. At the same time I am interested in the ways these contemporary acts of painting speak to the history of abstraction and the legacy of theatricality.

Love | 2018 Mixed media installation 48” x 55” Love without boundaries | 2018 oil on canvas 30.5 cm x 40.6 cm Compassion | 2018 Oil on canvas 30.5 cm x 40.6 cm


Birds are seen as a supernatural link between heaven and earth in many cultures, especially in Christian art. Birds are often depicted as symbolizing immortality and saved souls. In my series of bird paintings, I want to use birds to represent the human virtues and my Christian faith as a foundation for love and peace.


Red Warrior | 2018 Oil on Marine Ply 125cm x 75cm x 3cm Conquering the Wolf | 2018 Oil on Marine Ply 75cm x 125cm x 3cm


ROBBIE ERSKINE Painting This body of work explores the dynamic between the traditional fairy tale characters of Red Riding Hood and the Wolf. Red Riding is the symbol of the strong mature woman and the wolf/black dog metaphor for ours fears and anxieties. Recreations of historical paintings are deployed, as are elements of Magical Realism and Symbolism.

Day #8 | 2018 Ink, acrylic and oil on paper 220cm x 83cm Visions of my Subjectivity | 2018 Oil on canvas 54cm x 43cm


Sharna’s practice investigates the relationship between body, mind and environment. Painting is utilised as a physical encounter, streaming from the consciousness of the body and mind through an intuitive methodology. The current project explores visual perception, focusing on the self and other relationship and the space between image representation and internal structure.


Maama Bear | 2018 Oil on Wood 400 x 200


RUBY FAZAL Painting and Art Theory

Fazal’s final year project focuses on being part of her widely dispersed family, where home exists in the hyperreality of the internet. Tackling immigration in the age of the internet as the major underlying theme of this collection of works, she also seeks to think through painting in order to experience from the most banal moments in her family life to the most extremes of losing a family member

Ocean Landscape Brooch | 2018 Sterling Silver & Sapphire 4cmx6cm Ocean Landscape Series | 2018 Sterling Silver, Sapphire & Pearl Dimensions variable

MADDISON BYGRAVE Jewellery and Small Objects Instagram: @maddisonbygravejewellery At the heart of my design is a sense of belonging and place. My pieces explore ocean landscapes and the impact of human existence through archeological research and an emphasis on the importance of sustainability to reduce our ecological footprint. I encourage the wearer to think about their own impact.


Wire Dress, Suffragette | 2018 Crochet woven black enamelled copper wire, Victorian black glass jet buttons. 83 x 43 Sterling Silver Tattered Pin Brooch | 2018 Sterling silver wire 4x2


MICHELLE TIMOTIN Jewellery and Small Objects I have a particular interest in nostalgia, narrative, expression, textiles, pattern, form, light and line as a channel create delicate & whimsical wire sculptures & small objects that are fluid. My graduate series of wire dresses centres around the Suffragette Movement. “A reminder of the dedication that many women, whose names are not now remembered, had given over decades to the suffrage cause”

The Space Inside, Pendant Series | 2018 Recycled 925 Sterling Silver 3cm x 1.5cm Cannister Pendant for Solid Parfume | 2018 Recycled 925 Sterling Silver 3cm x 1.5cm

LORAINE BOSHOFF Jewellery and Small Objects

I have always been interested in the interaction between jewellery and its wearer. In this body of work I have focused on emotion and memory, and the way in which people assign value and relate to jewellery and small objects. I investigated the space these objects contain and our response to fill these spaces. My practice is ethical and sustainably focused, using recycled materials where possible.


Anatomise | 2018 Articulated sterling silver cast of a 3D printed cane toad anatomical model, with handmade sterling silver bolts and connections. Dimensions various 3D Cane Toad model sourced from the following research paper: Thomas DB et al. (2016). 3D scanning and printing skeletal tissues for anatomy education. Journal of Anatomy doi: 10.1111/joa.12484.


KIERRA-JAY POWER Jewellery and Small Objects My practice is concerned with the potential for sculpture and jewellery to interrogate established systems of knowledge which consciously and unconsciously shape our understanding. A love of biology, taxonomy and natural history have led me to examine aesthetic and conceptual relationships between the pursuit of science and art. My work engages the viewer through natural curiosity and play.

Plastic Ocean | 2018 Sterling silver, Eco Resin, Recycled PET plastic drink bottles 4.5 x 5.0 x 4cm deep Less Plastic- More Fish , Pendant | 2018 Sterling Silver , Recycled plastic 14.4 x 5.00 cm

KRISTINA GITTINS Jewellery and Small Objects

My work deals with the ‘unseen’, the things we don’t see around us in our natural surroundings, particularly the final destination of our discarded plastics where they often turn into micro plastics. Plastics of all sizes affect a multitude of organisms, I am producing pieces to highlight some of these creatures; fish, coral, birds, turtles.”


Judgement of Ma’at: Ut Resurgat Diomedea exulans | 2017 Titanium, sterling silver, stainless steel 2.7 cm x 11.8 cm From Left to Right: Neutrino Trails; LHC Modern Mandala | 2018 Copper Variable


HELEN BYERS Jewellery and Small Objects My practice is grounded in a deep love of science. I’m fascinated with metallurgy and the traditions of metalsmithing. I aim to forge an emotional connection between adornment and the seemingly impenetrable language of science, striving to make the intangible, tangible. For what are science and art, but our attempt to understand the world we live in, and our place within it?

Cherry Blossom Range Someone Else’s Holiday | 2018 Silver and Transparency Film 7 x 2 cms

SARAH MURPHY Jewellery and Small Objects

Nostalgia for traditional photography processes and stumbling upon a bundle of positive film slides has inspired my current body of work. Light enhances the translucency of the slides, therefore I developed a range of earrings that the image can be seen while being worn. The shape of the earrings depicts the assimilation of the slides, therefore creating a juxtaposition of the two mediums.


Music Every-wear | 2018 Earrings: Silver, Brass and Cotton strings. Drum: Brass, Cotton String and Pleather. Ring: Silver and Brass Earrings: 10 x 2.5. Drum: 5.5 x 7 Ring: 3 x 2.5 x 1


BREEANNA HARRIS Jewellery and Small Objects

Sound is the inspiration behind my entire series of work, with each piece making some form of noise. Each piece is completely interactive and was created with the sole purpose of being touched and incorporates more than just the viewer and wearers sense of sight. I invite people to touch and play, rather than simply admire and envy, making strange and unique pieces that are accessible to all.

Gatherings: collected memories Collection | 2018 Recycled Sterling Silver and Repurposed Copper Various dimensions Entwined Collection | 2018 Recycled Sterling Silver Various dimensions

ROBYN PELL Jewellery and Small Objects

Exploring interactions between my work and the viewer, is significant and entwined in the fabric of my designs. I combine textures and forms to suggest past narratives and collected memories. I draw on the old and new, found and given, to express connections; a continuation of old histories that flow into new narratives.


Brothers | 2018 Ink, pastel, collage Untitled | 2018 Ink, pastel, Graphite Pencile



By re-inventing photos of my own family, I am examining ways in which families, biological or otherwise, show care in ways that are nonverbal. I come from a family of craftspeople. We make, we build, we share. As an introspective look into us and the way we are held together by making, these drawing reveal holes, absences and restoration.

Shroud | 2018 Timber four-poster bed, hand-dyed and hand-stitched cotton calico. 205cm x 165cm x 219cm.


My work draws from the everyday and explores domestic objects that recall the memories, rituals and relationships of women and family. As a monument to the theatre of love and loss, Shroud is constructed from thousands of blush and bruised hand-dyed, hand-stitched rosettes.


Fragment | 2018 Ink and Thread on Plastic 350cm high x 200cm wide



This project is a textile drawing installation investigating the nature and material culture of single use plastic. My practice explores textile strategies through a range of mediums, this work draws on quilt-makings geometric forms and repetitive composition. The surface of the work is essential to its experience, where its seemingly ephemeral nature lies in direct contrast to its materiality.

_ERROR_ (i’m human?_sequence_01) | 2018 Digital, Video, Sound and Installation _ERROR_ (why?_sequence_01) | 2018 Digital, Video, Sound and Installation _ERROR_ (monster_bash_sequence_01) | 2018 Digital, Video, Sound and Installation


Is there a fear of technology turning against its user? Does a gamer feel guilt from the repeated deaths of in-game characters? What happens when the computer decides to win? _Error_ is a playful commentary exploring the humanisation of technology and its abuse.


Transverse Orientation | 2018 Monitor installation 106cm x 58cm x 5cm Paper  | 2018 Digital projection, Photograph Variable Installation view ‘Paper’ | 2018 Digital projection 350cm x 400cm



Conceptually, I am interested in the properties of light, notions of perception and the ambiguity of form. I am drawn to photography’s link with looking and observation, sketching with the camera allows me to construct and deconstruct the aims behind the image making process. Ultimately, for me, the act of drawing and photography provide the arena to experiment with time, light and visuality.

The Best of Men | 2018 Oil stick and oil pastel on rice paper. 240cm x 370 cm x 370cm


In making this work, I sat, connected with, and drew portraits of eight community elders whom I respect and whose hearts and minds are open. These men teach and practice affirmative notions of healthy masculinity, which diffuse negative patriarchy and mend social equity. This installation invites audiences to enter a supportive space that simulates being ‘in circle’ with positive male role models.


Here is the Handle | 2018 Graphite and Gouche on Plywood 108 x 75



These drawings explore the relationship between my life and the precious objects from my family history. For me these objects and photographs are infused with story. I continually find it interesting that although people age, our precious heirlooms always stay the same.

Natural Ruination | 2018 Graphite & coloured pencil on paper 75 x 55cm Natural Ruination | 2018 Digital Photograph 75 x 55cm

ASHLEY GODFREY Drawing Tattoos, despite how permanent they may seem, degrade over time & cease to exist completely after death. I have presented multimedia drawings questioning the idea of decay and impermanence in terms of the tattoo and the living skin.


Eucatastrophe | 2018 handmade papers, found objects 100cm x 200cm x 200cm



Using the discarded: old drawings, weeds, unwanted banana tree and my grandma’s old bed sheets, I have made paper. These materials were pulped and through what the author J.R.R. Tolkien calls ‘good destruction’ or ‘eucatastrophe’ (The Letters of J.R.R. Tolkien, 2014), they now exist as piles of memories, re-archived, re-stacked, re-formed.

Piano Pushers | 2018 Drawing, projection and sound installation Dimensions variable Loop | 2018 Drawing, projection and sound installation Dimensions variable


The pounding of her feet made a giant drawing - a ring of flattened grass. Interrogating process and trace, Loop is a series of charcoal drawings that re-enact my sister’s morning ritual of running laps around a local field. As an animation, this work explores the almost Sisyphean tension between the constant movement of the runner’s body and her stasis within the frame.




Dr Bill Platz

Assoc Professor Donna Leslie (Griffith Centre for Creative Arts Research)

Mr James Bath


Mr Martin Smith (Photography) Mr Peter Theideke (Photography)

Dr Blair Coffey

Mr Hany Armanious Dr Julie Fragar Dr Rosemary Hawker Ms Catherine Large Dr Chari Larsson Dr Louise Mayhew Dr Tim Mosely Ms Elizabeth Shaw Ms Justene Williams Prof Ross Woodrow 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)


Professor Jay Younger (Photography)

SESSIONAL STAFF Ms Karike Ashworth Dr Paul Bai Dr Chris Bennie Mr Mark Blyde Dr Jacqueline Chlanda Dr Blair Coffey Dr Simon Degroot Dr Kellie O’Dempsey Ms Maren Götzmann Mr Spencer Harvie

Professor Susan Best (Deputy Director, Research)

Dr Jennie Jackson

Dr Laini Burton (Program Director, Honours)

Ms Crisia Miroiu

Ms Amy Carkeek (Photography)

Ms Clare Poppi

Dr Heather Faulkner (Program Director, Photography) Assoc Professor Elisabeth Findlay (QCA DD L&T)

Dr Emma Lindsay Ms Annelize Mulder Dr Zoe Porter Mr Josef Ruckli Dr Glen Skein Mr Tim Walsh Mr Carl Warner Ms Kate Woodcroft

Mr Adam Anderson Dr Ali Bezer Ms Emma Gardner Mr Chris Hagen Ms Sally Molloy Dr David Thomas Ms Jenny Watson Ms Rachel Wellisch Ms Michelle Vine

TECHNICAL STAFF Mr Andrew Forsyth Ms Katie Stormonth Mr Jonathan Tse


PROUDLY SUPPORTED BY Iain Turnbull Memorial Bursary Bonnie English Memorial Art Theory Award

Design by Nikolina Sika at Liveworm Studio, Queensland College of Art, Griffith University

Profile for Queensland College of Art, Griffith University

2018 Queensland College of Art Fine Art graduate catalogue  

Featuring graduate work from students of the 2018 Queensland College of Art Fine Art program.

2018 Queensland College of Art Fine Art graduate catalogue  

Featuring graduate work from students of the 2018 Queensland College of Art Fine Art program.