2018 Queensland College of Art Photography graduate catalogue

2018 Photography Graduate Catalogue

Queensland College of Art, Griffith University

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QUEENSLAND COLLEGE OF ART GRIFFITH UNIVERSITY

PHOTOGRAPHY

GRADUATE CATALOGUE

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CONTENTS

7 FOREWORD

Dr Heather Faulkner

26 CREATIVE ADVERTISING

Georgia Manion

8 PHOTOGRAPHIC ART PRACTICE

Sharleen Christie

Tayla Dyer

Anneliese Moore

Krystal McGregor

Kat Nancy

Jack Hart

Skye Fordham

Levi Bell

Gerard Glynn

Jim O’Reilly

Amy Hall

Zoe Brown

Abigail Wolfe

Cian Sanders

Michael Cassimaty

Thomas Hoyes

Masooma Hussaini

Navinn Nava

Caitlyn O’Sullivan

Aleisha Edwards

Aroha Daniels

Sophia Aarons

Miranda Everett

Cara Coombe

Jun Park

40 DOCUMENTARY PHOTOGRAPHY

Teresa Fornataro

Dylan Crawford

Darius Tristan Fong

Kylie Boag

Helen Bougoure

Cathy Ross

Tegan Neilsen

Kathy Foster

Molly Burley

Paige Sparks

Shaun Singleton

Katrina Garvey

Molly Burley

48 PHOTOGRAPHY STAFF 49 SUPPORTERS

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FOREWORD

I was having a conversation with Nick Moir, chief photographer for The Sydney Morning Herald. He’d just been to the United States on a storm-chasing adventure organised by a large camera company, and filmed by QCA graduate, Krystle Wright. “Krystle, she’s one of yours, right? She’s bloody awesome,” he exclaimed. Krystle matched Nick and the rest of the storm chasers in stamina, courage and know-how; while they faced the dozens of tornados through the barrels of their camera lenses, Krystle calmly focused on them, with her back to the encroaching storms. In Southern Alberta, where I come from, they call this true grit.

It takes true grit to stand down a tornado to get the perfect frame. True grit is not about bravado – a kind of chicanery that often puts others in jeopardy; true grit is about courage. Courage is understanding where you’re coming from, understanding your opposition, studying it, and working with it towards a desired outcome. On that particular storm-chasing journey courage was practiced on a hyper-real scale.

This year’s graduates have all been on their own amazing journeys, though not standing down tornados, their courage has been put to test. The Bachelor of Photography is as much about selfdevelopment as it is about learning professional practice. The two go hand-in-hand. One must know one’s self in order to understand and engage with the greater world.

The courage our graduates have developed will see them in good stead as they make their way into the professional landscape of 21st Century photography, where image is literally everything.

They have developed, through years of practice, a confidence in themselves, and in what they know.

They have learned perseverance through patience and trust in themselves. This quality called courage, is what defines them, and what differentiates them from the purely functionary practitioners, and more importantly, from fools.

The careers that we projected to our graduates a decade ago are eclipsed by ones we couldn’t have imagined existing, thanks to changes in technology and communication. As we observe the surprising career trajectories of those graduates - from extreme sports photographers like Krystle who use drones and HD DSLRs, to multimedia installation artists, performance artists, film makers, conflict communication specialists, advertising and brand consultants, community workers, heart surgeons, educators and social media magnates, we can only wonder what new amazing careers the graduates of 2018 will be creating. Armed with courage, the future world is theirs.

Dr Heather Faulkner Program Director, Photography Queensland College of Art Griffith University

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Trace #1 | 2018 Deconstructed Polaroid emulsion lift Dimensions variable Afterimage #2 | 2018 Deconstructed Polaroid emulsion lift Dimensions variable Remnant #3 | 2018 Deconstructed Polaroid emulsion lift Dimensions variable

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ANNELIESE MOORE Photographic Art Practice facebook.com/AnneliesePhotographicArtist My work explores the dichotomy of creation and destruction through the medium of photography, placing an emphasis on the materiality of the photographic surface. My aim is to challenge the parameters of what a photograph is while also subverting the conventions of portraiture. I have specifically chosen to deconstruct Polaroid self-portraits due to instant film’s association with tangibility. It also embodies the

concepts of indexicality and referentiality more profoundly than any other form of photography. By deconstructing Polaroid photographs, I am permanently altering irreproducible images which can never be recovered.

Brief Release | 2018 Single-Channel Video, Artist Book Dimensions Variable

KAT NANCY Photographic Art Practice katnancy.com Drawing on a large archive of videos taken of myself in the privacy of my homes I have produced a film accompanied by a book. Initially filmed for my eyes only, these private moments are now out in the open. I reference surrealism, yet, I reject its traditional male gaze.

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Men at Work I & Men at Work II | 2018 Video

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SKYE FORDHAM Photographic Art Practice

I have created two video pieces discussing the power positions inherent within overt sexual communications. Through the use of a sex cam website, the role of subject - object, performer - viewer is reversed when I solicit, record and exhibit the male gaze within a gallery space.

I Turned Out Fine - Still #1| 2018 Film | Film Still I Turned Out Fine - Still #2 | 2018 Film| Film Still I Turned Out Fine - Still #3 | 2018 Film | Film Still

GERARD GLYNN Photographic Art Practice

My project is an examination of how I am interacting with the memory of the media I consumed growing up. I’m basing the project on the idea that the consumption of media is a conversation rather than a passive act. Using the medium of film and photography I am examining and abstracting my memories.

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Self Portrait 1 | 2018 Semigloss Inkjet Print 594mm x 841mm Self Portrait 2 | 2018 Second-hand bridal tulle, pink sewing thread 594mm x 841mm

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AMY HALL Photographic Art Practice

My work focuses on how I have represented my depression through the use of self-portraits to show the vulnerability and isolation of this invisible disorder. I used a curtain background to mimic a stage backdrop showing the feelings of putting on a show. I also used multiple figures in the images questioning who my real self is as when dealing with depression it is easy to lose sight of who you are.

I Incyst - Untitled 1 | 2018 Archival Inkjet Print 59 x 42 cm I Incyst - Untitled 2 | 2018 Archival Inkjet Print 59 x 42 cm

ABIGAIL WOLFE Photographic Art Practice

Through a combination of photography and sculpture, ‘I Incyst’ explores and brings attention to the genetic disorder Von Hippel-Lindau that I have inherited. The disorder is portrayed through a reproduction of my kidney cyst in a physical medium. The cyst is then photographed within my domestic space to represent how it interferes with my everyday wellbeing.

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Untitled | 2018 Photographic Print 59cm x 25cm Untitled | 2018 Photographic Print 25cm x 59cm

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MICHAEL CASSIMATY Photographic Art Practice

As part of an investigation of liminal spaces, this work matured into a consideration of transitional spaces. Midnight cemeteries or airport terminals, these spaces fascinate and mark points in our lives. Exploring varied spaces inspired this creative series.

Cataloguing environments is a newly discovered enjoyment, a passion that consistently involves late night coffees and cursed batteries.

Untitled 1, from the series Fear and Freedom | 2018 Photograph 594 x 841 Untitled 2, from the series Fear and Freedom | 2018 Photograph 594 x 841 Untitled 3, from the series Fear and Freedom | 2018 Photograph 594 x 841

MASOOMA HUSSAINI Photographic Art Practice masoomahussaini.com My Hijab is part of my identity and a source of inspiration.

Nevertheless, I feel constricted when people judge me based on my Hijab rather than my true character. My photographs are about my experience living in the West. I try to represent the female Muslim with a distinctive approach, adding a minimal aesthetic to it. The images symbolise fear of negative judgement and the subsequent discomfort, yet at the same time the freedom to uphold my identity and the power to display my true character.

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Untitled I | 2018 Photograph 212.09mm x 275.9mm Untitled II | 2018 Photograph 212.09mm x 279.02mm Untitled III | 2018 Photograph 212.09mm x 277.30mm

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CAITLYN O’SULLIVAN Photographic Art Practice

Within my work I explore my own alternative techniques to manipulate and disfigure self-portraiture – a chemical imbalance transforming into a distortion of the brain. As a post process I invert the image to look like a brain scan and have added hand written phrases about this imbalance around the shape. My process was to melt transparent film in oil, freezing them and inverting them to look like a brain scan, the dark blue areas showing the area affected by this imbalance.

Bliss (Bliss) | 2018 Digital Photography & Audio 60 x 60 cm Bliss (El Capitan) | 2018 Digital Photography & Audio 700 x 700 cm

AROHA DANIELS Photographic Art Practice instagram.com/arohadanielsart/ This work is about the delicate and fragile nature of a digital photograph. I am using Digital Photography, Audio and Data Bending to look at how changing the format of a photograph can take on a new audio and visual quality.

I am using default desktop backgrounds to interrogate what is considered a ‘good’ photograph.

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This Place is Here #1| 2018 Archival Inkjet Print 42.9cm x 84.1cm This Place is Here #2| 2018 Archival Inkjet Print 39.6cm x 59.4cm

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MIRANDA EVERETT Photographic Art Practice mirandaeverett.com In this work, I explore society’s physical and emotional connections to transient places. Influenced by surrealism and constructed practices, I have manufactured models from miniature objects and raw materials. My photographs appear familiar to the domestic world around us, yet they remain ambiguous and abstracted. Viewers are drawn to travel through the spaces to construct their own connections.

Freaks | 2018 Archival Inkjet Print 1100cm x 1400cm

CARA COOMBE Photographic Art Practice caracoombecreative.com In this work I present contorted parts of my body as an abstract representation of the burden and influence of mental illness. Using photography and digital manipulation I capture aspects of my body in a state of anxiety.

Reconstructing the human figure I reference the notion of the a ‘freak’ to produce uncanny human distortions that reflect societies uncertain relationship with the abnormal.

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East Coca-Cola Company | 2018 Photography 22.5cm x 17 cm East Apple Company | 2018 Photography 22.5cm x 17 cm East Chanel Company | 2018 Photography 22.5cm x 17 cm

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JUN PARK Photographic Art Practice

I use photography to print images of iconic Western products onto traditional Korean scrolls. Juxtaposing visual traditions of Western and Eastern art making I develop a critique of that aims to draw attention to the inequality and subordination of cultures through one sided cultural exchange.

WashedOut (“Nah” Series) | 2018 Film Still WellCooked (“Nah” Series) | 2018 Film Still

TERESA FORNATARO Photographic Art Practice teresafornatarophotography.com This video installation is an immediate response to feelings of confusion associated with the transition into adulthood.

Resisting to complete multiple adult tasks, I question structures of society I am asked to follow as an adolescent.

Drawing on notions of nostalgia, I began to play in front of the camera in familiar places, developing a new autonomy beyond expectations of society.

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Untitled I | 2018 Photograph 100 x 65cm Untitled II | 2018 Photograph 100 x 65cm Untitled III | 2018 Photograph 100 x 65cm

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DARIUS TRISTAN FONG Photographic Art Practice

My series is called ‘Unforgettable’. My work is a response to memories of loneliness and isolation I felt as a teenager when I was forced to move from Hong Kong to Australia without my parents. My photographs depict burned down models of houses–homes that were lost just like my own.

Making these models helped me to deal with my sadness, burning them enabled me to work through my pain.

Mirror, Mirror | 2018 Digital Photomontage 84.1cm x 59.4cm Chained | 2018 Digital Photomontage 59.4cm x 84.1cm Fractured | 2018 Digital Photomontage 59.4cm x 84.1cm

HELEN BOUGOURE Photographic Art Practice

‘The Mirror of Myself’ It is through the dissemination of advertising imagery that women learn the accepted behaviour and guidelines for femininity. Through the use of digital photomontage, The Mirror of Myself highlights that female identity is a construct of society. It also critiques how advertisers reduce female identity to stereotypes ignoring the detrimental impact that these images have on a woman’s well-being.

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My body aches with the knowledge that I am not who I want to be I | 2018 Photographic Print 42.0 x 59.4 cm My body aches with the knowledge that I am not who I want to be II | 2018 Photographic Print 42.0 x 59.4 cm My body aches with the knowledge that I am not who I want to be III | 2018 Photographic Print 42.0 x 59.4 cm

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TEGAN NEILSEN Photographic Art Practice instagram.com/wytchphotos This work explores the personal traumas from being born premature. Entwining photographic images of my scarred body, family photo journals and prose, this series compares the physical scars born from my birth with the narratives told by others. This series is a personal exploration of my own experiences told through the descriptive language of text and the representative language of photography.

A Conversation | 2018 Projection: GIFS and found imagery Approx. 100 cm x 30 cm

MOLLY BURLEY

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Photographic Art Practice

A self exploration and autobiographical work about grief and my internal relationship with my deceased mother, Bernadette Anne Burley (Bernie, 1960-2004).

We will all have to experience death of some one close to us in some way at some time and so to make something more than sadness from this I believe it is important to talk about your loved ones life as a whole and everything else that comes with experiencing their death, including dark sense of

humour you can get when doing this. That’s why I’m wanting to share my experience with loss and grief, showing that it is far more then just one tragic moment in time but that there are whole lives and stories to imagine and appreciate the best way we can.

This artwork is my way of being close with my Mom and to have a conversation with her.

Poison Apple 1 | 2018 Photograph: Archival Inkjet Print 84.1 cm x 59.4cm Poison Apple 2 | 2018 Photograph: Archival Inkjet Print 84.1cm x 59.4cm

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GEORGIA MANION Creative Advertising

Throughout history, story telling has been used as a tool to pass down lessons and knowledge from many generations.

I have depicted well-known fairytales to convey messages of prominent issues in today’s society. I aim to educate and encourage viewers to stand up against injustice.

Oppie 01 | 2018 Photography 29.7cm x 42.0cm Oppie 02 | 2018 Photography 29.7cm x 42.0cm

SHARLEEN CHRISTIE Creative Advertising sharleenchristie.com This body of work portrays the visual finesse of ‘optical art’ contrasting high fashion within a enticing fashion editorial context.

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Untitled | 2018 archival inkjet print 594mm x 420mm

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TAYLA DYER Creative Advertising instagram.com/taylajophotography/ ‘Platefuls of Personality’ explores the idea that food represents identity, much like clothing and hobbies. What we eat offers an insight into a person’s identity, norms, tradition, the time and seasonality. Spillage shows a human element without giving away identity. The viewer will ask, who could this be?.

Untitled #1 | 2018 Photograph 59.4 x 84.1cm Untitled #2 | 2018 Photograph 59.4 x 84.1cm Untitled #3 | 2018 Photograph 59.4 x 84.1cm

KRYSTAL MCGREGOR Creative Advertising krystalashlee.com Krystal McGregor Ocano Femenino. They spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine and as something that gave or withheld great favours, and if she did wild or wicked things it was because she could not help them.

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Roberto 1 | 2018 Archival Inkjet Print 84cm x 59cm Roberto 2 | 2018 Archival Inkjet Print 118cm x 84cm

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JACK HART Creative Advertising jackharts.com My series of work centralises around the cinematic narrative and luxury product advertising photography. Blending both location and studio, the work intends to engage the viewer with not just a straight-forward product advertisement, but with one that has mystery and tension within the frame.

Digital Haze- All the lonely people | 2018 Archival Inkjet Print 59.4cm x 87.0cm Digital Haze- Way beyond myself? | 2018 Archival Inkjet Print 59.4cm x 87.0cm Digital Haze- Digital Date | 2018 Archival Inkjet Print 59.4cm x 87.0cm

LEVI BELL Creative Advertising levibell.com Our acceleration into the technological sphere of life has been accompanied by an unfortunate decline in the sociorelational and ethical aspects of our existence. The series Digital Haze conveys the message that excessive digital technology reliance can create a drug like dependency that hold users’ captive, while often unaware. Instead of experiencing the freedom that they desire, the individual becomes confined, unable to participate effectively in the most significant aspects of their life.

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Generations | 2018 Archival inkjet print 150 x 90cm Full commitment to score | 2018 Archival inkjet print 150 x 90cm Like Dad | 2018 Archival inkjet print 150 x 90cm

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JIM O’REILLY Creative Advertising jimoreillyphotography.com “When I grow up!” This project centres on the generational influences of Rugby with in a singular family—consisting of a father and three sons. Through staged studio portraits the work explores the sons’ cultural memories and the visible influence of their father and other professional players.

Are You Satisfied?: Untitled 1 | 2018 Archival Inkjet Print Are You Satisfied?: Untitled 2 | 2018 Archival Inkjet Print

ZOE BROWN Creative Advertising

Mass media and the fashion industry influence views on what society considers beautiful. The unrealistic ideals we are exposed to everyday lead some to form a low self-image.

This can manifest psychologically and develop into an eating disorder (ED). This project aims to reveal the disturbing symptoms and side effects ED’s can have on the body. I have chosen to undertake a fashion series with a twist to show the insidious parallels that exist between mass media and ED’s.

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Turtle Ephemera no.1 | 2018 Back-lit Transparency 594 x 841 mm

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CIAN SANDERS Creative Advertising ciansanders.com This series aims to represent the fragility of the natural environment through the portrayal of Australian fauna ephemerally printed with light. The juxtaposition between the altered landscapes and the light animals illustrates how technology and urbanisation are not a replacement for nature.

Beautifully Grotesque - Vogue September 18 | 2018 Archival inkjet print 59.4 x 42.0cm Beautifully Grotesque - Harper’s Bazaar July 18 | 2018 Archival inkjet print 59.4 x 42.0cm Beautifully Grotesque - i-D January 18 | 2018 Archival inkjet print 59.4 x 42.0cm

THOMAS HOYES Creative Advertising thomashoyes.com Body image is an ever-present issue that translates through fashion photography and establishes unrealistic body standards. My project aims to destabilise these farfetched ideals in a comedic manner. By using photo editing software, these images have been manipulated to an extreme, resulting in the subjects becoming beautifully grotesque. The goal for this body of work was to incorporate outlandish elements while still retaining an underlying fragment of beauty.

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Burger Trap | 2018 archival inkjet print 59.4 cm x 84.1 cm

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Creative Advertising

Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don’t need Tyler Durden (Fight Club) The media has conditioned us to become mindless consumers. Advertisements are marketed to us 24/7. It is what we fixate on, and it serves as a constant distraction.

‘70s Flared Jeans | 2018 Archival Inkjet Print 65cm x 65cm ‘40s Trench Coat | 2018 Archival Inkjet Print 65cm x 65cm ‘60s Tweed Dress | 2018 Archival Inkjet Print 65cm x 65cm

ALEISHA EDWARDS Creative Advertising aleishaedwards.com Retro Reflection explores the cyclic nature of fashion. This editorial series features ten unique pieces of clothing that have been revived back into the contemporary fashion, with each shot comparing how each individual piece was worn back when it was first popular vs today.

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Sensorial Hedonism | 2018 Archival Ink Jet Print 84.1cm X 118.9cm

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SOPHIA AARONS Creative Advertising

This project began to explore the seductive natures of both high end food and luxury fashion. Combining these avenues, a relationship was formed and a narrative developed as the series progressed. Breaking away from traditional food photography, I aimed to challenge the styling and construction of the ‘iconic’ white plate. With the careful selection of rich colours, glamours jewels and ingredients, each element assists in representing an overall aesthetic of seduction, luxury and attraction.

Hairpin Trigger – Mulan | 2018 Photograph A Little Learning, a Dangerous Thing – Belle | 2018 Photograph From the Peanut Gallery – Pocahontas | 2018 Photograph

ZOË PRINCE

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Creative Advertising

The Happy Never After Despite their many iterations, fairy tales remain integral to society. This can be evidenced by the numerous and continuous revisiting of these stories. They reflect society’s values, morals and dreams at any given point in time. The new wave of Disney films acknowledges the diversity of female perspectives, echoing social evolution.

This body of work explores the interplay between feminism and fashion via the lens of fairy tales. This work draws inspiration from Disney and brings together quirky undertones to my favourite fashion accessory, the high heel.

My intention is to bring focus to the differing sub-groups of feminist culture, whilst aiming to provoke further thought as to how society views and interacts with women. Moreover, how women view and value themselves.

Alter Egos I | 2018 Photography 15cm x 22.5cm Alter Egos II | 2018 Photography 15cm x 22.5cm Alter Egos III | 2018 Photography 15cm x 22.5cm

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DYLAN CRAWFORD Documentary Photography seewhatdsees.com My work consists of a visual ethnography where I created environmental portraits showcasing how cosplayers costumes help empower them to form their identities and overcome adversity.

Home | 2018 Photographic print 59cm x 84cm Time Together? | 2018 Photographic print 42cm x 59cm Ice Cream | 2018 Photographic print 59cm x 84cm

KYLIE BOAG Documentary Photography

Alex and Tori are a young newlywed couple. Their everyday communication is documented to observe the presence of digital media and how they exist in a mediatized society.

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Tuesdays | 2018 Photography 40 x 30 Waiting for a Beating | 2018 Photography 40 x 30 The Midst of a Scene | 2018 Photography 40 x 30

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CATHY ROSS Documentary Photography

I am a documentary photographer interested in people and behaviour. At the heart of my photographic practice is curiosity and empathy. My work aims to make space for discussion and understanding; we are all individual and different, but we are all human and we all deserve respect.

Alice #1 | 2018 Photography 100 x 150 Alice #2 | 2018 Photography 600 x 800 Alice #3 | 2018 Photography 600 x 800

KATHY FOSTER Documentary Photography kathyfosterphoto.com “Alice” is a personal work that looks at the life of one bipolar woman and her strategies for keeping her mind and body busy. The work reflects my passion for photography that explores the humanity and emotion of day to day life.

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Love on the Spectrum (Untitled #1) | 2018 Archival Inkjet Print 32.9cm x 48.3cm Love on the Spectrum (Untitled #2) | 2018 Archival Inkjet Print 32.9cm x 48.3cm Love on the Spectrum (Untitled #3) | 2018 Archival Inkjet Print 32.9cm x 48.3cm

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PAIGE SPARKS Documentary Photography instagram.com/aiubico/ This is Drew, a 14 year old boy on the Autism Spectrum who also has epilepsy.

Drew is non-verbal and communications via sounds and hand gestures. Drew is fully dependant on his support network and lives at home with his family. His Mother, Katie and Father, Jay, along with Brother, Connor and Sister, Layla and two carers, Geraldine and Nikki are his primary carers.

This is the photographic story of their life, love and relationship.

Only successful candidates will be contacted I| 2018 Archival Inkjet Print 38 cm x 26cm Only successful candidates will be contacted II| 2018 Archival Inkjet Print 240cm x 160 cm

SHAUN SINGLETON Documentary Photography shaunsingleton.com Ageism is a prejudice we inflict on our older selves. My work seeks to explore the emotional impact on middle aged Australian workers who are locked out of the workforce through the application of ageist hiring policies.

I have selected an autoethnographic approach to explore these concepts.

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When Different Worlds Collide | 2018 Film

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KATRINA GARVEY Documentary Photography www.katrinagarvey.com By exploring an artistic narrative through film, my work aims to capture the challenges of deaf identity. The films purposefully expose the very real trauma experienced within the deaf community, such as barriers with communication, inequality in access to culture and a range of other limitations in social ideologies pertaining to deaf community and self.

The subjects and I collaborated within this experience, interacting and finding common vulnerabilities with the deaf

individuals who had similar experiences in their childhood, and shaping how they face their lives in the real world.

My futuristic artwork represents an opportunity to show the diversity of deaf culture, influencing and educating people to recognise and understand the importance of deaf culture and the rich grammar of sign language (Auslan), with its strong gestures and visual body cues. The Australian deaf community can’t live without Auslan - without it there is isolation or mental illness!

Erase | 2018 Ink-jet Matte Print Approx. 68cm x 83cm

MOLLY BURLEY

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Documentary Photography

This has been an in depth study into the affect of deforestation due to urbanisation and the effects that this has had on our native flora in south-east Queensland. This is a significant issue because Queensland is one of the top 10 contributors to deforestation world wide. The purpose of this work is to highlight the importance of our native flora that is being over looked and erased by steady deforestation by using a scientific and documentary field work approach.

Over exposing just the native plant invites the question of how much do people pay attention to the native flora around them. The over exposure and erasing of just one native plant is a visual metaphor for loss from deforestation and the resultant damage due to invasive alien plant species that fill the void and threaten our native ecosystems.

PHOTOGRAPHY STAFF 2018 ACADEMIC STAFF

SESSIONAL STAFF

Dr Heather Faulkner (Program Director)

Dr Renata Buziak

Mr Isaac Brown (contract)

Ms Alannah Gunter

Ms Amy Carkeek Mr Martin Smith Mr Peter Thiedeke Prof Jay Younger

Dr Joachim Froese Ms Christine Ko Mr Louis Lim Dr Kelly McIllvenny Mr Josef Ruckli Dr AKM Shehab Uddin Ms Emma Leslie Ms Michelle Vine Mr Andrew Willis Ms Elisabeth Harvey Mr Carl Warner Mr Thomas Oliver Mokany Mr Russell Shakespeare

SUPPORT STAFF Mr Tony Hamilton Mr Greg Hoy Ms Christine Ko Ms Emma Leslie Mr Louis Lim 48

Ms Chantel Schott

PROUDLY SUPPORTED BY

Anna Smith Portraiture Award

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