Museum of Me e-catalogue

CURATED BY

Amy Bartholomeusz

Cristina Ulloa Sobarzo

Hui Wen Beverly Hew

Curator’s statement

Amy

Questionable Internet connections, endless Teams notifications, video calls and bedroom turned office, were all part of the making behind ‘Museum of Me’. At a time when we are all physically apart, ‘Museum of Me’ of Me brings us together and reminds us of the unity we each share with our unique passions as well as our place within the RMIT student community. I am both honoured and happy to have worked alongside my fellow students Cristina and Beverly as we brought our knowledge together. I have enjoyed interacting with the student exhibitors as well as learning about their individual creative practice and I hope we can remember the Museum of Me as a collective of students who supported each other through this particularly difficult time. That is what I believe makes MoM special.

Beverly

This year is a very different year for all of us - Covid 19. Students were affected by not being able to go to school, or hang around with their friends and are instead stuck at home due to lockdown measures. The sense of belonging is not as strong as before and hence, ‘Museum of Me’ is a good way to connect people together. I am really happy that I’m part of the team as I have learnt a lot of things from the curator side. Even though the team have not met in real life and its always on screen, I feel that we have bonded and connected well. As a design student, I’m glad that I am able to do the digital graphics for Museum of Me and get the intended message across clearly.

Cristina

Right now, students are missing out on that on-campus experience – seeing our peers and tutors, and being able to learn hands-on. This is why I think it is so important to find alternative ways of cultivating a sense of student belonging and ‘Museum of Me’ is one of those ways. Working on this exhibition has been both challenging and rewarding, and I feel like I have really connected with the whole team, especially with Amy and Beverly despite not having met each other in person. As a media student, I believe it is so important for student works to be seen, shared, and appreciated, and I’m very proud of what we and all the exhibitors have achieved with ‘Museum of Me’

How will you remember 2020? When you look back on this disrupted year what will you recall of the cultural inspiration that helped you get through social isolation? Think of the music, online streaming, cooking, Zoom sessions and memes and art that provided a sense of hope and belonging over the long months of lockdown and social distancing.

‘Museum of Me’  is an upcoming RMIT Gallery online student exhibition showcasing creativity across the university.

RMIT students have been invited to participate in curating an exhibition about themselves, submitting photos, music, creative writing, drawings, soundscapes, or videos they have created this year.

Students were also asked to select creative works from the public domain, as well as RMIT’s very own Cultural Collections (RMIT Design Archives, AFI Research Collection, RMIT Art Collection), that  have provided a jolt of inspiration, or simply brought joy.

The exhibition is completely student run – a creative team of RMIT Culture interns are responsible for ‘Museum of Me’ design, curation, promotion and an accompanying digital publication.

As we found ourselves confined to the indoors, ‘Museum of Me’ was born. Transcending the traditional notion of what we understood the Gallery to be, this exhibition has been produced purely online and created by a creative team who have only ever seen and spoken to each other through a computer screen.

It is in this way, that ‘Museum of Me’ is unique and representative of the future of RMIT student work and collaboration. ‘Museum of Me’ is an introspective of the self. Who am I? Where have I come from? Where will I go? These are the questions that are interwoven throughout the exhibition.

As someone who is a ‘digital native’, this project supports the coming together of creativity and technology. This is something I am deeply interested in. Upon completing my own ‘Museum of Me’ submission, I found myself looking back at my childhood and the artworks that have come and gone throughout my life into adulthood to shape me into who I am today – and who I will become.

Through this reflection I only hope that the students involved in this project discover more about themselves. Learning who we are, and to be able to share that with others, is a valuable thing.

Now more than ever it is important to foster this student bond at a time that we may feel detached from both each other and the University. ‘Museum of Me’ brings creativity and cultural inspiration into the light at a time when many of us may feel we have been caught in the dark.”

Incorporating works from RMIT’s impressive Cultural Collections, and presented alongside students’ creative practice, ‘Museum of Me’ celebrates resilience and the connection we have with each other throughout this pandemic.

Amy Bartholomeusz, a Master of Arts (Arts Management) student and part of the exhibition’s creative team, explains the genesis of the exhibition:

List of RMIT STUDENT EXHIBITORS

Alisha

Spoorthi

Anya

Subhasree

Zai

Natalie

Zoe

Gemma

Louise

Tab

Sacha

Lu

Student works

Jade Armstrong

Selected works from RMIT Culture collections

Lisa Roet ,Chimpanzee Hands, 2007

Every day, before COVID-19 lockdown, I walked past this sculpture on my way into the art studios at RMIT. It was a constant. Most of the time I barely acknowledged it was there. Yet on the few days I stopped and took the time to observe the sculpture, the open palms had a welcoming feel as though they were enticing you to look deeper. I look forward to when I can walk past this sculpture again on my way into class. Perhaps spending time apart from it will encourage me to appreciate it that little bit more.

Lisa Roet

Chimpanzee Hands, 2007

Bronze

Edition: 1/6

Right hand 103 x 44 x 23 cm (irreg.); left hand 97 x 42 x 25 cm (irreg.)

Purchased through the RMIT Art Fund, 2012

RMIT University Art Collection

Wayne Guest, Brooch, 1976 Artworks which create a realistic representation of a known item fascinate me as they can twist reality. I was drawn to this playful interpretation of a sardine tin when I saw it on display at RMIT Gallery last year. Looking at the work I can imagine the feeling of unravelling the top of the tin. For me, it also has a sense of warmth and nostalgia as I was fortunate to have been taught silversmithing by the artist, Wayne Guest.

Wayne Guest Brooch, 1976 9ct gold, titanium, sterling silver 1 x 4 x 3 cm

Acquired through the Puzar Prize, 1976 WE McMillan Collection: RMIT University Art Collection

Link to artwork: https://www.thomasdanegallery.com/artists/36-anya-gallaccio/works/3206/

Anya Gallaccio, Intensities and Surfaces, 1996 Creating artwork can sometimes be a lonely process, which has been exaggerated through the COVID-19 lockdown. I discovered Gallaccio’s work this year and felt an instant connection to the themes she is exploring, in particular the passage of time and the process of decay in natural materials. I admire the visual presence she creates through her work. This melting block of ice captures you with its large scale and the beauty of the colours and forms it creates. To me it also has a sensory feel, just looking at a photograph of the work makes me feel cold.

Works by Jade Armstrong

01 Beauty’s Time

The installation Beauty’s Time features the most romantic of flowers: rose petals.  It showcases the gradual change as the rose petals change in colour, shrink, dry and form into intricate shapes.  Like people, the petals change over time.  Their beauty remains constant, yet it transforms in unique and unexpected ways.

Video links

https://vimeo.com/458561024 and https://vimeo.com/442959804

Bitter Fractal

Bitter Fractal showcases the beauty and hidden structures found in nature . It is a small sculpture series , formed by peeling and baking the core of a bitter melon fruit. When viewed in person you can smell the subtle scent of baked fruit.

The pyramid design explores the endlessly repeating fractal patterns which are the building blocks of nature. These fractals can also be seen in the vein structure of the bitter melon. The work creates a sense of mysticism and awe, which mirrors the way the artist sees nature.

The Silver Lining

Hope can be difficult to find in times of widespread disaster. The Silver Lining aims to help people during these times. It is a website which shares relatable stories where people found the silver lining in a difficult situation. It is hoped that this artwork will act as a source of inspiration through the COVID-19 pandemic and beyond. The website collates stories shared on social media which were tagged with #silverlining. A selection of these stories was also published in a book.

Website link

http://thesilverlining.news/

Amy Bartholomeusz

Amy is an emerging curator with a passion for the Internet and studying its effect on identity, society and contemporary art. Amy holds a BA in Art History and Sociology and is currently studying a Master of Arts (Arts Management) at RMIT. She is also the Curator-Intern for The Museum of Me with RMIT Gallery and serves on the First Site Gallery 2020 Committee as Administrator.

Selected works from RMIT Culture collections and International Collections

Alexander Knox, We Love This Life, 2012-2013

I was immediately drawn to this work because of how it looks like the intersecting cables behind a computer. My interpretation of this work is how we are all connected because of the Internet as it continues to advance and lead us in different directions. This can be frightening or exciting as technology continues to improve and as a result this work makes me think about what our connection with the Internet could look like in the future.

Alexander Knox

We Love This Life, 2012-2013

Steel and 2 pac paint

497.8 x 628.9 x 17.5 cm

Commissioned through the RMIT Art Fund, 2011 RMIT University Art Collection

Howard Arkley, Suburban Exterior, 1983

In my Year 3 primary school Art class, at the start of each class the teacher would introduce us to an artist and their artwork. Howard Arkley is the only artist I remember being shown to me because I distinctly remember the ‘cartoon-esque’ colours and forms of houses that I recognised on my walks home after school. It also began my passion for art.

Howard Arkley

Suburban Exterior, 1983

©The Estate of Howard Arkley, Courtesy Kalli Rolfe Contemporary Art Synthetic polymer paint on canvas

159.8 x 120 cm

Purchased by the Phillip Institute of Technology, 1984 Phillip Institute Collection, RMIT University Art Collection

Works

ABSTRACT OF CURATORIAL ESSAY

ABSTRACT OF CURATORIAL ESSAY

Prove You Are Human

Prove You Are Human is a curatorial essay exploring an exhibition concept of prompting audiences to think about what makes us human and what we do to prove that we are human in a digital age. Do humans create the Internet or, did the Internet create us? While humans created the Internet initially to have a productive purpose, it is now shaping us into the humans we are today, as well as the world we live in.

02 Hybrigical

Hybrigical is a concept that explains the hybrid space that is the physical and the digital. This curatorial essay focuses on how as a society, we are constantly engaging with spaces that encompass both the online realm as well as the real world, despite the physical distance between each other. As we continue to present our private spaces through a digital lens, the connections we form with each other, are created through how we understand the way we present our spaces online and, how we experience each other’s private and physical spaces.

Sari guns

Sari Guns was created at a time when the Sri Lankan civil war was occurring and creates a stark contrast between Sri Lankan culture and war. The intricate designs and bright colourful fabric are synonymous with traditional sari dress and design. With the guns being wrapped in these fabrics, the viewer is forced to see the beauty of Sri Lankan culture but also the violence symbolised in the guns - violence which now taints Sri Lankan history and its people.

Sari Guns (2013) Sari material, cloth, various craft materials, plastic toy gun Dimensions variable

Taygan Bassi

Taygan Bassi is a Melbourne based mixed media artist currently engaged in her Honours at the RMIT School of Art. Originally trained as a commercial photographer, she uses these techniques in her contemporary mixed media artistic work to explore the concepts of mental health and identity within the reality of societal norms.

Selected works from RMIT Culture collections and International Collections

Clare Humphries, I have never been able to bury her, 2013 I was instantly drawn to this work's haunting appeal, both in the imagery and the title. Neither give the whole story but suggest a sombre narrative, allowing the viewer to fill in the blanks. I find myself heavily influenced by this type of work; leaving clues and hinting at a depth that is not directly obvious. I love this work as an example of how a well thought out title can influence the message.

Clare Humphries

I have never been able to bury her, 2013 Ink on paper

Edition: 2/5

59 x 61.5 cm

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Upon first glance this photograph looks like a painting, which is exactly what drew me in. It has flat lighting, but is made to look as though there are harsh shadows through the use of creative make-up. I have always been drawn to imagery that makes the viewer question the technique and prompt a desire to look closer; this style of working blurs reality, which has become a major influence to my own practice.

Purchased

Robyn Beeche, Sonia II, 1983

Robyn Beeche Sonia II, 1983 Photograph 50 x 50 cm (image)

by RMIT Gallery, 2007 RMIT University Art Collection

Works by Tagan Bassi

Both works are from the same series

Not every cage is a prison

Not every silence is empty

Some days I feel at war with my identity. Living with mental illness, I constantly find myself questioning my reality and my place in a normal society. This series is about the feeling of loss and detachment associated with this experience and how I can feel as though I’m hiding behind a person I don’t recognise. It isn’t necessarily a scary place to be, I’m just along for the ride, in a calm kind of melancholy.

Photography (self portrait) and painting

Photography (self portrait) and digital watercolour

Jean Baulch

Jean’s practice centers around her fascination with photography, and the disconnections it creates between what’s observed through a camera, and what the audience sees in an image. Their work explores how memories travel through time, and the ghosts we create as we translate experience into memory, and memories into materials.

Selected works from RMIT Culture collections and International Collections

Sidney Nolan, First Class Marksman, 1978-79

It’s the eyes that always get me with this one—like goggly eyes you get from the craft store, suspended in mid-air in his Ned Kelly headgear. I love the feeling of the bushland behind Ned, the chaos and beauty of its shapes and colours, it takes me home to the red dirt driveway on our farm, and the feeling of living in the bush and being surrounded by its mysteries every day.

Sidney Nolan

First Class Marksman, 1978-79

Screenprint on velin arches 300 gsm paper

18/75

48 x 63.5 cm (image)

Purchased by the Preston Institute of Technology, 1980 Phillip Institute Collection: RMIT University Art Collection

Sue Robey, Splay, 2010

Every time I look at this creature, I want to know more about it. I love trying to imagine how it might move; scampering with the uncoordinated energy of a puppy, or maybe the easy confidence of a centipede. Sometimes it reminds me of an old bonnet style pram that escaped it’s children, other times I see a garbage truck dressed up for a cocktail party. I love art that inspires its audience to go home and make art for themselves, and this makes me want to gather all the nick-nacks in my house and test out their strange creature potential.

Sue Robey

Splay, 2010

Ceramic and paperclay

15 x 20 x 13 cm

Donated by the Bluestone Collection, 2019 Bluestone Collection: RMIT University Art Collection

Janina Green, Untitled, 1989

The gentleness in the way Janina Green thinks about art, and how she makes her work, inspires me. There’s a darkness and dreaminess in this image that’s hard to pinpoint. Sometimes it’s the shapes and curves that I find fascinating; how they bounce back and forth between the bodies and the buildings. Other times it makes me think about different kinds of daily grinds, different pressures on our time and our bodies, and about women’s bodies as human factories (to serve other humans, to make new humans). I love that I can find a different story in this image every time I look at it.

Janina Green Untitled, 1989 Silver gelatin photograph 75.7 x 213.2 cm (Image)

Purchased by the Phillip Institute of Technology, 1992 Phillip Institute Collection: RMIT University Art Collection

Works by Jean Baulch

01

Untitled

I’ve become closely acquainted with the streets around my house this year, exploring the alleyways and their creatures, and finding they are as surreal as the feeling of our lockdown. The grainy texture of black and white film leads us to read photographs in certain ways; they take on a timeless feeling, and a feeling of the distant past, and I like playing with that as an undercurrent in my images.

The Rivers

This is part of an ongoing series, where I find old disposable cameras in op shops that have been used but discarded without developing the film. I take out the films and reshoot them with images from my own life, without knowing what memories are already there. Unconnected timelines get entangled on the emulsion, ghosts appearing in each other’s lives. In this image there is girl canoeing on a river, while my kayak glides along another river, different waters from different moments in time overlapping, the odds of it feel to strange to be real.

03

Orbit

A celestial event in an ordinary place—shadows of moons on the prowl, a solar eclipse, an orbit. I’d never observed my backyard as closely as I have this year, and never been more grateful to have one. It can feel like a space where only the ordinary and the everyday can happen, but tinker with time, and dig up that childhood thrill of dress-ups, and the trees and leaves can be a cosmos, and the light in the backyard more curious.

Andrew Briganti

Andrew Briganti (b. Australia 1988), currently lives and works in Australia. After graduating with a Bachelor of Arts at Central European University, (Budapest 2006) and Bachelor of Science at Bocconi University, (Milan 2009), Briganti undertook Post–graduate studies at the Copenhagen Business School (Copenhagen 2010 – 2012). He currently studies a Certificate IV in Design in via remote learning at RMIT (Melbourne 2020).

Selected works from RMIT Culture collections and International Collections

Sam Jinks, Unsettled Dogs, 2012

I find this work really captivating and can relate it to it because when I sleep with my dog I often feel like we are two equals, just two mammals, resting on a bed, breathing, and dreaming, together, but alone. The fact that these are physically handmade and coloured by the artist using moulded silicone and real hair is really inspiring.

Sam Jinks

Unsettled Dogs, 2012

Silicone, pigment, resin, hair and fur

23 x 63.5 x 63.5 cm

Purchased through the RMIT Art Fund, 2012

RMIT University Art Collection

Works by Andrew Briganti

01 Urchin

I collected these shells on the shoreline of the Palm Jumeirah island in Dubai. Even though the island is artificial, the shells still wash up majestically on the shore. The sculpture can be placed on any side and it will balance, giving it a hovering effect.

03 Toothpick balls

These sculptures are part of a series made during the first 8 weeks of the COVID-19 pandemic with my flatmate. We first made natural bamboo balls and then experimented with different designs using food dye, fabric dye and metallic spray paint.

Andrew Briganti

Toothpick balls, 2020

14 x 14cm (average)

Toothpicks, polystyrene ball, glue, food dye

02Deer antlers

Fallow deer antlers naturally shed every year and were collected in remote Queensland. They were painted and hot glued to a wall, they cast shadows on the wall at different angles. I have since experimented with luminescent paint.

Andrew Briganti , Urchin, 2012 , 28 x 28cm, Turritella seashells, rubber ball, paper mache, hot glue

Andrew Briganti , Antlers, 2020 , 74 cm x 58 cm, Deer antlers, primer, luminescent paint, hot glue

Rhys Cousins

primarily by mouse, he often explores ideas through the act of making. A PhD candidate at RMIT University, his research is concerned with visual DOoH (digital out-of-home) display technologies and its designed effect on the urban landscape.

Selected works from RMIT Culture collections and International Collections

Ogawa Kazumasa, Lotus Flowers, 1887–1897

Regarded as a pioneer in the field of photography and photomechanical printing, Ogawa Kazumasa’s work was first introduced to me when traveling Japan in early 2019. Since my introduction to his work, I intermittently visit his works, drawn to the level of detail, where each image contains a world within itself.

Robert Pataki, Logo design for Neo Technics, 1987-1996 This work by Robert Pataki brings a certain nostalgia to it. My early years of childhood was an indoctrination into the T.V, every present at dinner time and as a keep quiet tool. When I see this particular aesthetic - the bright and bold colours. the strong use of line, I reflect on my early childhood in the 90’s.

Robert Pataki, designer, Logo design for Neo Technics’ (1987 – 1996), photograph, 30.5 x 20.2cm, RMIT Design Archives, Gift of Jackie and Robert Pataki, 2012. Robert Pataki was the Co-director Neo Technics and an industrial designer. 0108.2012.0011

Robin Boyd, Black and white photography of model of Wynn house, 1954

I loved my early formal education in Landscape Architecture. The transition from high school to university? Not so much. It was a leap that I was not ready for and often was lost with the ambiguity of theory, and the academic world. So, to ground myself, I went back to where I was comfortable - making models, often of architectural forms. Robin Boyd was an early inspiration in making and representation. Black and white, for me, has always produced qualities that are lost when colour is introduced.

Donated

0020.2008.0858

Robin Boyd, architect, ‘Black and white photograph of model of Wynn house’, (1954), photograph by unknown photographer, 15 x 19.8cm. RMIT Design Archives

through the Australian Government's Cultural Gifts Program in memory of Frederick Romberg and Robin Boyd 2008

Works by Rhys Cousins

From my window facing the street

Despite living in close proximity to the city, I always headed into university. When the pandemic hit, and I was notified semesters will be online, it was a real blow to my sense of community, connection and interaction. Online is not the same. I moved into my own studio space just before covid started and viewed the pandemic as an opportunity to focus on my aspirations as an early career artist. The studio itself has become a project titled "from my window facing the street". I would bring the aspects from campus I believe most desirable to me.

First – Purchase coffee machine and start brewin’. Thinking time!

Second – as a form of intervention, draw pedestrians to my window through a small step and a sign: Free coffee! (but bring your own mug).

Third – Extended my hand to the local strangers. Fourth – I now serve free coffee through the ‘bars’ of my window. Despite the interaction being short, it provides a sense of inclusion and welcome to the area.

Fifth – Ask repeat visitors to bring an item or thing from their home, to add to mine

From my window facing the street, I have made my own community.

Image credit: Rhys Cousins, “From my window facing the street”, 2020.

Mackenzie Curtis

Mackenzie Curtis focuses on creating vibrant and dynamic work across a variety of media. Through her studies she has worked primarily in experimental film where she explores the relationship between maker, work and audience and the emotional connections that can be made. Mackenzie’s latest film Bug was selected to premiere at the Geelong International Film Festival and official selection for VASTlab Experimental Festival, being held in Los Angeles later this year.

Selected works from RMIT Culture collections and International Collections

Reko Rennie, I wear my own crown, 2013 Neon Lights always spark my interest and when I look at them, I feel an instant sense of joy and inspiration. I love the way they glow; for me they represent independence and individuality. This piece really stands out to me and I instantly felt empowered, not only do I love neon lights but by reading ‘I wear my own crown’ a feeling of hope and power instantly washes over me and inspires me.

Reko Rennie

I wear my own crown, 2013

Neon and glass

Edition: 1/2

15 x 128 x 8 cm (installation size variable)

Purchased through the RMIT Art Fund, 2014 RMIT University Art Collection

Georges Seurat, Seascape (Gravelines), 1890 The Neo-impressionist idea of allowing art viewers to ‘finish the painting in my mind’ is something that inspires me through my work in film. The use of different vibrant colours along with the short dash strokes allow the view to project and find their own meaning in the piece. I find this piece by Georges Seurat is so abstract that is really acts as an invitation for a viewer to regenerate the piece in their mind.

Georges Seurat Seascape (Gravelines), 1890 Oil on wood Original from the National Gallery of Art

Open Access Image. Public Domain : https://www.nga.gov/collection/art-object-page.157929.html

Works by Mackenzie Curtis

Experimental video

A meditation on memory, the domestic space and the self; Bug draws inspiration from digital glitch art exploring the distinct aesthetic through the moving image. Born during the Coronavirus isolation period, ‘Bug’ presents an experience of the pandemic with space for contemplation to allow for the audience to project their own experience.

Mackenzie Curtis Bug (2020) Experimental video

Aleisha Earp

Aleisha Earp is a freelance designer and illustrator from Melbourne, Australia. Working across a range of digital platforms, her work is colourful, vibrant and illustrative. Aleisha holds a BA in Literature & Visual Art from Deakin university, and is currently completing a Diploma of Graphic Design at RMIT.

Selected works from RMIT Culture collections and International Collections

Grand Featherstone, Leaflet, 1968-1976

In going through the RMIT design archives, I was drawn to the various 1960’s furniture design advertising material. The distinct patterns, colours and shapes exude style and nostalgia. They allow you to peer into a seemingly perfect world where a great chair is the answer to all life’s problems.

Furniture Makers of Australia, manufacturers, Leaflet advertising Aristoc Gyro designed by Grant Featherston, 1968-1976, leaflet, 17.7 x 24.7 cm, RMIT Design Archives, Gift of Ian Howard, 20180001.2018.0023

Aristoc Fler Pty Ltd, Leaflet Advertising Fleresque, 1968-1976

I’m drawn to these leaflets for their meticulous choice of colour palettes and contrasting wallpapers and artworks. The 1960’s are considered a peak time period for designers and the approach they took still feels fresh.

Aristoc Fler Pty Ltd, designers and manufacturers, Leaflet Advertising Fleresque, 1968-1976, leaflet, 17.8 x 24.8 cm, RMIT Design Archives, Gift of Ian Howard, 20180001.2018.0018

Isolation leaflet 2020

In response to the 1960’s furniture advertising materials found in the RMIT Design Archives, I have created a contemporary take on the leaflet. The sense of perfection that is presented in these works is aspirational but ignores the mundane, annoying and ugly qualities in life.

My version of this leaflet looks at isolation in 2020. Saturated in bold colours and bombarding patterns, it imagines life in lockdown with a dose of reality and an injection of flower power.

Brayden Fraser

Brayden Fraser is a gay creative writer studying the Bachelor’s Degree in Creative Writing at RMIT University and lives in Bendigo, Australia. He’s twenty-two years old and writes essays, short stories, poetry, and fiction. He often writes in isolation, preferably at night. You can find his website here

https://braydenfraser.wordpress.com and his poetry page here

https://www.instagram.com/stormy_ascent2

Selected works from RMIT Culture collections and International Collections

Peter Ackermann, Untitled (In Gesellschaft), 1970

I’ve selected Ackermann’s etching due to the ‘provocative’ content. The male figures holding each other held my attention as it’s something I’ve longed for due to the self-isolation. The etching is exquisite, and the level of detail is phenomenal – especially the shading of the etching. The architecture is another element which grabs my attention, as architecture is now overlooked in today’s society, and isn’t nearly as grand as it once was. I also enjoy the exploration of companionship between men, whether it be sex, love, or comradely.

Peter Ackermann

Untitled (In Gesellschaft), 1970

Etching on fabriano paper

Edition: 69/85

38 x 29.5 cm (plate-mark), 54 x 41.8 cm (sheet)

Donated by the Goethe-Institut Australien, 2010

RMIT University Art Collection

Leon Hanson, The Three Gums-Burragorang, 1950 I’ve selected Hanson’s oil painting due to the personal connection to the piece and the form. I’ve been drawn to oil paintings ever since I was a kid as they have a unique style to them that I can’t quite explain, and Hanson’s painting evokes a deep-rooted nostalgia and longing to explore the countryside in summer which made me select it. Hanson’s piece reminds me of a place I may not be able to see any longer in person, however, a place that is in my blood and will be cherished for years to come.

Leon Hanson

The Three Gums – Burragorang, 1950 Oil paint on canvas

61 x 76.5 cm

Acquired from the Malcolm Moore Estate, c.1973 RMIT University Art Collection

Sidney Nolan, Landscape, 1948

I’ve selected Nolan’s oil painting as it caught my attention with the muted colour-palette and the beauty of the landscape. The colours of the sky – a source of inspiration for me – are beautiful, and the clouds look elegant, and the contouring of the hills is refined and seamless. Nolan’s painting brings comfort, as it’s not a visually striking piece which isn’t my style and sticks to warmer colours. Like Hanson’s oil painting, I feel connected to it as it evokes emotion, however, Nolan’s is sombre, and serene.

Sidney Nolan

Landscape, 1948

Oil paint on board

19.5 x 24.5 cm

Purchased by the RMIT School of Art, 1978

Edward Collection: RMIT University Art Collection

Works by Brayden Fraser

The Date – Script

The Date is a gay romantic short film script created in my screenplay Studio Specialisation class. It was written and edited in a 6-week deadline for an assignment. It follows protagonist Dan on a night that could change the rest of his life. The piece bears lots of sentimental value, considering the content and the sparking of my interest in the screenplay format.

Full version : https://braydenfraser.wordpress.com/2020/08/17/script-2-th e-date-screenplay-studio-specialisation-assignment/

Passenger – Short Story

This piece was inspired by the film Urban Legend and the Killer in the Backseat legend. The Cask of Amontillado, by Edgar Allen Poe, and, The Landlady, by Ronald Dahl, inspired this piece by holding unease and suspense and using a shock ending, respectively. Passenger explores aspects of horror and the uncanny which interested me from the course. There was a 1,500-word limit which also motivated me to explore something in detail in an alternative way.

Full version : https://braydenfraser.wordpress.com/2019/12/15/short-stor y-4-passenger-short-story-writing-assignment/

03

The Broken Stars – Short Story

The Broken Stars was a scrapped short story for a creative writing assignment which later was used to write an exegetical essay on. The short story was prompted by the idea of ‘Two people meet, and tragedy befalls one of them.’ The story holds a lot of sentimental value, as it’s the first scrapped piece I’ve salvaged and built on instead of discarding. The reason why I decided to salvage the piece was for its ‘poetic’-ness, the strong exploration of themes, and the dramatic ending.

Full version : https://braydenfraser.wordpress.com/2019/11/06/short-story3-the-broken-stars-rmit-bachelors-in-creative-writing-piece/

Angie Geary

Angie is a mid-fat trans boy currently residing on Kaurna Land. Their creative practice consists of machine knitted, woven and experimental textiles that explore the utilisation of repurposed materials. Their surface design is a form of therapy focusing on fat acceptance. Angie’s work explores the sensorial qualities of textiles that can create psychological and physical benefits for the user.

Selected works from RMIT Culture collections and International Collections

Ema Shin, Soft Alchemy (Lily), 2017

This piece caught my attention for its bold imagery and colour use. The combination of weaving and nude life drawing speaks to me. Those two techniques are personal to me as I find they promote self-soothing and healing. Weaving is an opportunity for me to express myself through colours and textures while the motion of weaving, is a form of grounding method for me and helps me connect my mind and body together.

Ema Shin

Soft Alchemy (Lily), 2017

Cotton and wool

25 x 22 cm

Donated by the Bluestone Collection, 2019 Bluestone Collection: RMIT University Art Collection

Nicholas Bastin, Round Container with Mountain and Colour, 2010-2012

I really enjoy this piece because of its good use of bright colours and composition. This piece reminds me of an Assemblage project I created through layering found objects into a composition. This textile piece sparks memories of being a kid, stealing and collecting stickers, tiny and obscure objects and taking them home to assemble them into a little creation. This piece reminds me of exploring to my inner child creativity.

Nicholas Bastin

Round Container with Mountain and Colour, 2010-2012

Polyurethane, resin, wood and linen

10 x 10.5 x 60 cm

Donated by the Bluestone Collection, 2019 Bluestone Collection: RMIT University Art Collection

Striving for thinness screwed me up - self-portrait drawing

This self-portrait was made with felt tip pen and was inspired by my fat body.

The reason why I create nude self-portraits is to familiar myself with my body and accept the parts that aren’t accepted in society. This portrait is to tackle my inner fatphobia and is a form of therapy and self-care.

Inedible - bead woven length

This woven length is made from repurposed newspapers formed into paper pulp beads, painted with acrylic paint and woven through a handmade beaded loom. This woven textile was inspired by my Experimental classes where we explored different experimental techniques. This length was made during a time of isolation restrictions which encouraged me to re-use discarded materials in my environment. Using re-purposed materials is considered throughout my creative practices and inspires me to think outside of the box.

03

Soft Chips - machine knitted sample

Soft Chips is a machine knitted sample stuffed with loose yarn to soften and elevate the welted layers. The textile created here addresses and aid hand pain by promoting rest and elevating hands on supportive layers. The source of inspiration is personal as I suffer from hand pain and sensory issues related to having fibromyalgia. Each element relieves sensory overload and grounds the user through touch, colour use and layering. I want to explore how the inherent sensorial qualities of textiles can create psychological and physical benefits for the user.

Holly Goodridge

Holly Goodridge, Currently based in Melbourne, Australia is a contemporary multi-disciplinary artist, primarily working with paintings, sculptural objects and digital media. Through a lens of absurdist humour, her work explores the art activity outside the institution through the intervention of art within an ordinary private/public space.

Selected works from RMIT Culture collections and International Collections

Augustine Dall'Ava, If Only Carl Knew No 29, 1994

What draws me to this work is the mixture of textures and shapes evident within the work. The direct lighting of the photograph heightens the difference between each segment, from the metal pair and the red and black cone being incredibly reflective to the stone absorbing the light. I have been exploring taking my work into a more sculptural focus as of late and have been really interested in how different paints leave a different finish and how they capture the light. This work is really good at showing the differences.

Augustine Dall'Ava

If Only Carl Knew No 29, 1994

Painted wood, natural wood, painted and natural stone, painted seed pods, granite, bronze, steel and linen thread

100.5 x 117 x 35.5 cm

Purchased through the RMIT Art Fund, 2010 RMIT University Art Collection

Mirdidingkingathi Juwarnda Sally Gabori, Dibirdibi Country, 2009 The synthetic polymer paint shows the gestural marks of the artists’ hands and it gives the work a pulsing rhythm. I really love how the colours interact with one another. My favourite part is the relationship between the bright warm purple and strong orange across the left side of the painting. I find it influential to my practice because I also seek to achieve specific colour harmonies within my paintings and have always admired Gabori’s use of bright colours.

Mirdidingkingathi Juwarnda Sally Gabori Dibirdibi Country, 2009 Synthetic polymer paint on linen 122 x 136 cm

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Darren Wardle, Synthetic State, 2012

Last semester I had the great privilege of being taught by Darren who has been a huge help in guiding me on my own artistic journey. I love the different mix of styles integrated within the work, from the ‘street art’ style in the top hand corner, to the geometric squares in the panel to the realistic architectural spaces created within the work. What I’m most interested in is this blending of styles and concepts in the one work that Darren is especially good at.

Darren Wardle Synthetic State, 2012 Oil paint and acrylic paint on canvas

152.5 x 244 cm

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

LAUNDRY

LAUNDRY is a (self) portrait in which the subject is depicted eating icecream while staring into space. Through these visual cues, one understands that this person is how they say ‘going thru it’ (I hadn’t showered in days). Even though this is a photograph taken of a specific moment the moment still feels frozen as if the individual would have stood there, tongue out until the ice cream fell off the spoon. The vibrant colours and geometric shapes directly contrast the muted patters of the suburban home. As a result, this has a jarring effect, our eyes struggle to find a place to rest. The clutter of the background is both a sign of familiarity and that of distress. It is the physical representation of isolation stagnation.

Bathtub

The home and the personal have become a lot more prevalent as a viable environment to make art the longer this period of self-isolation progresses. As a result, this piece is a product of its time. 300 drawings placed within the cramped walls of a suburban bathroom. A juxtaposition between universal spaces in which we are spending a large amount of time, and the abstract, escapist environments created within the drawings. The work explores the tensions of having to continue to live life as normally as possible as we attempt to grapple with the existential dread of the unknown.

Train stop

The train was chosen as a viable environment because pre-COVID, it was a setting that most would interact with, without giving it much thought. Now getting on the train, however, is an anxiety-inducing experience, and seeing the many empty carriages also adds the unsettling feeling. The tension between the difference in the setting from the usual context in which we view them is used as a vessel to explore my own isolation and frustration within this time period. By placing a bright abstract artwork within the framework of an empty moving train I hope to highlight the contrast between the two of them to create new synergies with both the paintings and the environments in which they are placed within.

Tamar Gordon

Tamar Chaya Gordon was born, grew up, andcontinues to work and practice in Melbourne / Naarm on the lands of the Yalukit.Wilum people of the Kulin Nation. Tamar explores the intersection of language and material, through photography and performance. Tamar works intuitively, playing with the power of the subconscious and chance. Through this, her inner world is unveiled. Tamar has just recently curated an online exhibition ‘What Lies In Between’ at LimmudOz, working with both national and international Jewish Australian artists, exploring religion, identity and ritual.

Selected works from RMIT Culture collections and International Collections

Juan Davila, The Field, 1988

In my second year of painting, I did my artist's presentation on Juan Davila. I was in awe of his use of colour and symbolism after experiencing Art i$ homosexual at Buxton Contemporary. I am in awe of Davila’s fearlessness to tie together a critique of australian cultural politics and sexuality.

Juan Davila

The Field, 1988

© Juan Davila, Courtesy Kalli Rolfe Contemporary Art Screenprint on thick wove velin arches 400 gsm paper

22/30

92.8 x 64.8 (image), 125.6 x 80 (sheet)

Donated through the Australian Government's Cultural Gifts Program by Dr Douglas Kagi, 2012

RMIT University Art Collection

Augustine Dall'Ava, If Only Carl Knew No 29, 1994

I am fascinated by the artist’s play on gravitational forces through the use of different ‘parts’. A part alone is minimalist, although when constructed in this impossible position, it creates a complex ‘whole’.

Augustine Dall'Ava If Only Carl Knew No 29, 1994

Painted wood, natural wood, painted and natural stone, painted seed pods, granite, bronze, steel and linen thread 100.5 x 117 x 35.5 cm

Purchased through the RMIT Art Fund, 2010 RMIT University Art Collection

Look up

This work remembers the importance of looking up. Looking up to what is above us, beyond our individual control, and to remember there is always more. More to know, more to discover, more to let go of. This work I am envisioning remembers individuality/ism through the transparency of windows. The window as a shape, as a grid and an insight into a world. A world of an individual.

Behind the scenes with G D

Our garments help establish our character. What does it mean to explore a person that is not necessarily you? Who is creating the expression? How intuitive is it? This was created after feeling extremely disconnected from practice and creative momentum. Along with my housemate, we hung objects on our washing lines, and just got a little silly. What happens when you make art just to be a bit silly?

Roberta Govoni

Roberta Govoni is photography student and creative producer based in Melbourne. She has been freelancing since 2014 and she enjoys using her skills to create and brainstorm artistic projects. She is influenced by surrealism, symbols and metaphors and is passionate about making meaningful artwork and collaborating with other artists.

Selected works from RMIT Culture collections and International Collections

Jazmina Cininas, Christina sleeps on both sides of Grandma’s bed, 2010

Growing up with a sister 9 years older than me, I also got to watch horror movies since I was a kid. I was an avid reader of German and Irish fairy tales, where there is not always a happy ending. Finding beauty in darkness and decay has accompanied me all in my life and art making, helping me to face my fears and issues. Cininas’ interpretation of the tale “Little Red Riding Hood”, pictures Red Hood in both side of the bed, as to say she is both the wolf and the girl at the same time. The dark colors and contrast of the print is creepy and fascinating, a Dr Jekyll and Mr Hyde situation.

Jazmina Cininas

Christina sleeps on both sides of Grandma’s bed, 2010 Linocut on paper

Edition: 21/22

52.8x71.8 cm(image), 76.5x 91.5 cm (sheet)

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Rew Hanks, Stop! There’s no need to shoot the natives, 2013 When I moved to Perth, Australia in 2013 I observed Aboriginal people fighting on the street, often drunk, and other people just passing by, shaking their heads. When I moved to Darwin, the situation was even more disconcerting, Aboriginal people were not allowed to enter in bar and pubs, even if well dressed, even with ID, even if sober. A real segregation is still happening, and it makes me so furious. Making art with meaning is a priority for me, it is my way to create awareness around social issues. Hanks’ work screams injustice and genocide, inequality and racism. Was it really necessary to shoot the natives, Captain Cook?

Rew Hanks

Stop! There’s no need to shoot the natives, 2013 Linocut on paper

Edition: 4/30

75cm x 106cm (image), 80cm x 120.5cm (sheet)

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Simon Perry, The Pattern Table, 2012-13 Perry is best known for his large-scale public art site specific works. In ‘The Pattern Table’, he is including a deep research of the site itself, its history and culture, the relationship between the past and present, a sense of becoming, opening and closing, unfolding. I am extremely interested in cultural history, the culture of the city and the people that live in it, I love researching and learning details about what it was and how it is related with the present. Public Art is also interesting to me, because it is the best way to make site specific works.

Simon Perry

The Pattern Table, 2012-13 Aluminum and powder coat, paint on steel panels 276cm x 3367.2 cm (installation, irreg.)

Commissioned through the RMIT Art Fund, 2011 RMIT University Art Collection

Works by Roberta Govoni

I am in a hurry

Small local shops are often unique, managed by passionate and knowledgeable owners. People often don’t have any more time, often focus in their own world, they just look for the best price out, without thinking that they are killing small businesses, leaving suburban streets of Melbourne deserted.

Roberta Govoni

‘I am in a hurry’ (2020)

Photograph 20cmx13cm

Rations

Rations is a collage created with found photographs. In 1859 the daily food ration for Aboriginal people was one pound of flour, two ounces of sugar and half an ounce of tea, with other foods, clothing and material items (such as nets and fishing lines) issued on an occasional basis. Issues were restricted to the old, sick or infirm, orphan children and women with children under 12 years of age. The able-bodied were only given rations if they could not obtain work or subsist by fishing and hunting. The Stolen Generations and unlawful land appropriation by the colonists, was only few of the traumatic experiences that Indigenous people had to suffer. Still today, Aboriginal’s rights are often not acknowledged and not involved in government decisions or power sharing.

Roberta Govoni ‘Rations’ (2020)

Mixed media 35cm x 25cm

The forgotten

Growing up in Italy, I was surrounded by its rich historical architecture, which spans almost 3,500 years. In my photography practice I have always been attracted by the passing of time in relation to the culture of a place, what makes it unique and different. In 2013 I moved to Perth, Australia and I started to observe the lack of historical buildings and an abundance of identical houses and franchised shops. Aboriginal people were considered as “just a bunch of drunks” and their cultural heritage has been wiped out. Melbourne is still guilty of wanting to put their culture under the rug, for the sake of modernity and capitalism, of wanting to belong in “modern times”. From the colonialism of Neerim in 1851, to the subsequential golden rush and building boom of Victorian houses, now gentrification is taking over imperialist buildings, in a rat race to gain more money, squishing people together and “standardisation” to be part of globalisation and cut costs. Colonialism is colonising itself.

Govoni ‘The Forgotten’ (2020) Mixed Media Video link https://www.dropbox.com/s/cvvbnv8mncdlt4j/The%20Forgotten.mp4?dl=0

Roberta

Hui Wen Beverly Hew

Beverly is currently based in Singapore while studying a Bachelor of Design (Digital Media) online due to Covid -19. She has been interested in art at a young age and she is currently creating artworks of different mediums - Arcylic paint, colour pencil, sketching, chalk, marker and pen. Currently, she is interested in creating works with digital medium - AR, VR, 360 video etc.

Selected works from RMIT Culture collections and International Collections

Vincent Van Gogh, Cafe Terrace at Night, 1888

What draws me to this work is the mixture of textures and shapes evident within the work. The direct lighting of the photograph heightens the difference between each segment, from the metal pair and the red and black cone being incredibly reflective to the stone absorbing the light. I have been exploring taking my work into a more sculptural focus as of late and have been really interested in how different paints leave a different finish and how they capture the light. This work is really good at showing the differences.

Vincent Van Gogh

Cafe Terrace at Night

1888

Oil on canvas 80.7cm X 65.3cm

Link to artwork : https://commons.wikimedia.org/wiki/File:Vincent_Willem_van_Gogh_-_Ca fe_Terrace_at_Night_(Yorck).jpg

Lorna Fencer Napurrula, White Bush Potato, 2002 I’ve came in contact with Aboriginal artworks when I was 16 years old as I was doing coursework for my art ‘O’ level. The reason why I am drawn to Aboriginal artworks is because the colours are usually very vibrant, with the creation of simple shapes. With only simple shapes, it creates a different feeling as compared to other paintings. Some of the artworks that I’ve done are also similar to Aboriginal artworks (not exactly similar). But I’ve used shapes to create patterns as well as bright colours.

Lorna Fencer Napurrula

Wapirti White Bush Potato, 2002 Synthetic polymer paint on canvas

157 x 200 cm

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Minoo Falls

This is painting is a reference of what a photo I took when I went to Japan, Minoo Falls. Japan was the second graduation trip I went with my friends and Minoo Falls was absolutely amazing. After the graduation trip, I’ve decided to paint the picture I took using arcylic paint as well as modeling paste for the texture. Looking back now, I really miss the time where we get to go everywhere freely without the need to worry about getting Covid. This is a reminder to myself not to take everything for granted and appreciate what we have in our lives.

Scenary experiment

This was my second artwork using only pen. It was challenging for me at first as it was difficult for me to use only pen to create and blend in different colours. I’ve always used a combination of pen and markers and hence this was a challenging piece for me. As I was creating this artwork, I asked myself “where is this place?” as I have no idea where is it because I found the picture in a book. This artwork has reminded me to stay experimental and enjoy the process of struggling. Yes we will feel defeated and negative emotions but through this process, we will learn and grow as a human and I think this allows us to be stronger and stay happy at the same time.

03 Owl

I started to fall in love with art when I was taught to use a combination of markers and pens. Even as we create simple shapes and repetitive patterns with the right colour combination, the artwork will turn out alright. Through this medium, I have taught myself how to identify different colours in the same colour. Also, marker and pen has taught me that things don’t have to be complicated to look nice. It can be simple but eye catching as well. This is the medium that I’ve felt my art style is somewhat close to Aboriginal style.

Evangeline Hoare

Evangeline is currently undergoing her graduate year in the Bachelor of Fashion (Design) (Honours) and with no machinery at home to create garments during lockdown, she has taught herself 3D modelling and animation to form a new digital perspective of fashion design and presentation. Her work looks at trying to form affective and engaging experiences for viewers through surreal expressions of tradition and known materials and objects.

Selected works from RMIT Culture collections and International Collections

Lenton Parr, Cetus, 1978 - 1979

From when I was a high school art student to now, a soon to be fashion design graduate, I have always loved 3D forms of art. This work by Lenton Parr encapsulates my love for sculpture not only through the form of the piece itself, but the context in which we view it. The presentation, the lighting, the shadows formed on the surface it is placed on, these attributes I believe truly enhance the depth and dimensions of the black paint and the smooth curves of the surface of the steel.

Lenton Parr

Cetus, 1978 - 1979

Steel and paint

31.5 x 90 x 36.5cm

Purchased through RMIT Art Fund, 2012 RMIT University Art Collection

Works by Evangeline Hoare

Liquid Gold

Being stuck at home with lockdown restrictions and losing my job meant I needed to find something productive to fill time. I decided on teaching myself 3D Modelling and Animation, something which I have fallen in love with. Working with 3D forms, lighting and composition through the world of digital design has inspired me to try and look at my own creative practice through a new digital perspective. This series Liquid Gold was the result of experimenting with digital materials imitating glass, pearl and gold in combination with fluid simulations to form abstract forms almost resembling jewellery like objects.

Evangeline Hoare Liquid Gold 2020 3D Digital Modelling

Rohan Kalisch

Rohan Kalisch is a Canberra born, Melbourne based, self taught painter and muralist. He is currently studying Mechanical Engineering at RMIT.

With some of his time spent involved in some of RMIT’s co-curricular engineering projects, painting allows a mental break through the pursuit of purely creative thought processes.

Selected works from RMIT Culture collections and International Collections

Gene Davis, Black watch series I, 1974

I love this one!

I’ve always enjoyed art that employs the use of spaced line work. That, combined with certain colour combinations create a busy, whilst very clean image. Two of my favourite artists at the moment are Josh Sperling and Felipe Pantone, so it fits well within that aesthetic.

Gene davis

Black watch series I, 1974

Screenprint on canvas paper

Edition: 91/150

172 x 106 cm (image), 182.9 x 114.3 cm (sheet)

Purchased by the RMIT School of Art, 1976 Edward Collection: RMIT University Art Collection

Mark Rothko, #20, 1957

Growing up in Canberra meant frequent trips to the NGA where the #20 lives. So I’ve seen this one in the flesh a few times and it never ceases to amaze me. I like the way that Rothko always creates such a soft image through the way he blends and layers the colours he uses, whilst still invoking a response from the viewer through the chosen colours. I’ve always seen his work as the precursor to the James Turrell installations.

Works by Rohan Kalisch

Find yours

This painting was actually a commission and was easily the biggest canvas I’ve ever painted. I remember having picked up the custom blank, obnoxiously taking it home on the tram, putting it in my room and just staring at it. It was strangely intimidating because I had no clue where to start, but it just happened.

Other side

This mural will always mean the most to me out of most of the pieces that I have or will ever paint. It came about when a couple of my friends moved to a share-house, and they got the landlord’s permission for me to paint a mural on their kitchen wall. The mural just reminds me of that whole day, listening to music, having a couple of wines and talking smack with them as I painted.

Rohan Kalisch Find yours, 2020 Acrylic, aerosol and pigment on canvas 150x100cm

Rohan Kalisch Other side, 2020 Mural 70x100cm

Good Karma

This was the painting that, for me, most defines the new style and techniques that I’d been experimenting with this year. I’m not sick of looking at it yet, so I’ve got it hanging on the main hook in my room. From a technical standpoint, it’s the happiest I’ve been with a composition.

Acrylic,

Rohan Kalisch

Good Karma, 2020

aerosol and pigment on canvas 100x80cm

Sharon Li

Sharon is a Chinese Australian angel who draws from her lived experiences navigating this sino diaspora to create characters and worlds that emulate this in a cutely grotesque manner. She works across disciplines, with traditional fashion practices as the main scaffolding in her work, but merges with digital art and motion design.

Selected works from RMIT Culture collections and International Collections

Xiao Xian Liu, The Way We Eat, 2010-2011

Growing up, the moments spent together eating with my family and friends are the warmest in my memory. Even now as I get older, the value of being together and community is something that I prioritise and cherish most. This work resonates to me as it invokes these nostalgic feelings. Not only that but its original intentions in embodying Chinese diaspora living between Western and Australian cultures, also strikes a chord since I empathise with having to navigate these experiences.

Xiao Xian Liu

The Way We Eat, 2010-2011

Porcelain and celadon glaze

Edition: 2/3

880 x 400 x 160 cm (installation size)

Commissioned through the RMIT Art Fund, 2010-2011

RMIT University Art Collection

Works by Sharon Li

Damask rose

Damask rose serves as a response to the increase of masks made in response to the enforcement of compulsory mask wearing in Melbourne amid COVID-19 lockdown laws. With little access to materials and equipment due to restrictions, a digital filter for a mask was made to contribute to the movement. In this way, it takes a more sustainable approach with no fabric waste made, and becomes a more accessible means of interacting with digital fashion as it stands leveraged by social networking platforms.

Link : https://www.instagram.com/ar/2674501586203791/

Mian Zi

Mian Zi is an expression of the experiences in navigating sino diaspora, following an avatar figure as she explores two contrasting worlds. These worlds respond to her, appearing as if she belongs to them, but in both there is a sense of discomfort that she’s not truly alike to either. The avatar is modelled to embody myself, my digital vessel which is me yet simultaneously is a disembodiment of me. The assemblage of the worlds and the avatar all reference my previous, showcasing a digitally situated practice of dress in the relationship between me, the avatar, and all the virtual constituents. The audience is invited to immerse themselves in this world

Link : https://www.instagram.com/ar/343001550175818/

Cherry Lin

Cherry Lin is a first year media student with limited experience however a restless mind with endless curiosity about the world surrounding her. She has a special interest in the world of film making and would like to produce impactful stories in her future works.

Selected works from RMIT Culture collections and International Collections

Sam Jinks, Unsettled Dogs, 2012

What initially attracted me was the minimalism of the art’s composition, it conveys a seemingly superficial visual aesthetic yet hides a layer of abstract symbolism. The naked human bodies expose a typical intimate moment, giving the interpreters space to develop vulnerability towards the art. This idea echoes the theme of some of my own work. I like to create art that touches people, especially enlightening them with a fresh perspective towards the space surrounding us.

Sam Jinks

Unsettled Dogs, 2012

Silicone, pigment, resin, hair and fur

23 x 63.5 x 63.5 cm

Purchased through the RMIT Art Fund, 2012

RMIT University Art Collection

Fritz Köethe, Superstar, 1973

The style of drawing plus the saturated colour is what initially drew me to this piece of work, which created a strong juxtaposition with the bottom right side of the painting. The tittle Superstar is likely an insinuation of the draining nature of the entertainment industry. The confronting contrast between the texture of the skin and the icy, shadowy mechanical steel, symbolises the likely emotional damage celebrities experience. The ripped page mirrors the action of an exposé, which inspires me to also use my work as a platform to reflect on underrated issues in today’s society.

Fritz Köethe Superstar, 1973

Screen print on light cardboard

Edition: 766/1000

45.5 x 58.6 cm (image), 59.9 x 72.2 cm (sheet)

Donated by the Goethe-Institut Australien, 2010 RMIT University Art Collection

Gosia Wlodarczak, A Room Without a View, 2013

What seems like some random, meaningless scribbles sparked my curiosity. When I enlarged the artwork, I began to recognise the illustrations and letters hidden underneath. These details would’ve been easily dismissed from the first glance. In a way I’m able to relate to this style of art, whether it’s the action of self-doubting or creating hidden messages in our work. I believe every piece of art has its meaning and purpose.

Gosia Wlodarczak

A Room Without a View, 2013

Pigment pen, polymer paint and acrylic paint on board

121.2 x 341 cm

Donated by the artist, 2013 RMIT University Art Collection

Works by Cherry Lin

A piece of my mind

This video is an assignment work for Place and Media with the prompt being ‘your significant place’. Rather than picking a real life location, I wanted to share a piece of my thoughts with the public. Although, the disjunction during parts of the video might cause confusion for some, I still wanted to present this piece and somehow create a visual for the infinite possibilities my place holds. I understand this can be a very abstract and interpretable piece of media, but I believe it is the style I would like to explore with my future work.

https://youtu.be/qFEBEKyyDpo

Cherry Lin – A Piece of My Mind, 2020

Video filmed with DSC-RX100 III and iPhone X Mp4

Jerome Lin

Jerome Lin is an emerging artist and student at RMIT, focusing on the expanded field, experimentation and distortion. Their practice explores the intersections of digital and traditional art, through processes such as 3D modelling and digital collage, primarily in painting, printmaking, and digital art.

Selected works from RMIT Culture collections and International Collections

Stephen Haley, One Second (All Together), 2010

Stephen Haley is one of the first artists I saw whose artwork focused on digital and virtual forms. I remember seeing this work in particular several years ago and being fascinated by how he used digital processes to make a work of art. This is something which inspired my aims and motivations in my own art practice.

Stephen Haley

One Second (All Together), 2010

Type c lightjet print

Edition: 1/5

120cm x 300cm

Purchased through the RMIT Art Fund, 2010 RMIT University Art Collection

Xiao Xian Liu, The Way We Eat, 2010-2011

I am the child of a Chinese immigrant, and a second-generation Italian-Australian. As a result, I have grown up exposed to three different cultures, which at times have left me feeling like an outsider and at others, included. Liu Xiao Xian’s artwork which investigates traditional Chinese culture through a Western lens resonates with my personal experience with cultural and ethnic identity.

Xiao Xian Liu

The Way We Eat, 2010-2011

Porcelain and celadon glaze

Edition: 2/3

880 x 400 x 160 cm (installation size)

Commissioned through the RMIT Art Fund, 2010-2011 RMIT University Art Collection

Works by Jerome Lin

Unknown cataclysm causing chaos

These artworks have been made through experimenting with various digital processes to create manipulated imagery. By converting images from my life and artworks taken in 2020 into ASCII, I can freely edit and manipulate these snapshots of reality. I make digital collages using these images, as a way of experimentation and illustration of pre-existing content. Digital art allows me to experiment with concepts like distortion, manipulation, and composition, and has been a particular interest for me this year.

Jerome Lin

‘unknown cataclysm causing chaos’

2020

Digital ASCII collage

Dimensions variable

Jerome Lin ‘untitled’

2020

Digital ASCII collage Dimensions variable

Jerome Lin

‘8.5.3’

2020

Digital ASCII collage Dimensions variable

Alexandra Linehan

Alex Linehan is a second year Environment and Society student, and a lover of language and writing. She is a regular contributing writer for RMIT’s student magazine and is currently interning at Sowing Seeds Magazine. Her piece, Autumn Nostalgia, is a return to her first love of creative writing, and explores the emotions hidden in everyday life.

Selected works from RMIT Culture collections and International Collections

Arthur Boyd, Pulpit Rock Landscape, 1994

I was born in Australia and have lived almost my entire life here. Everyday I am inspired by the beautiful nature of my country, especially its birdlife. This love for Australian nature has helped shape my life; it inspired me to change careers to study in the environment field, it helped me appreciate the healing properties of nature, and it gives me purpose in my everyday life. I chose this piece because it shows the beauty of the Australian wilderness and coast, the unique colours, and included a bird at the forefront.

Arthur Boyd

Pulpit Rock Landscape, 1994

Lithograph on fabriano 100/100 cotton paper

Edition: 55/90

73.5 x 54 cm (image), 88.3 x 65.4 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Dr Douglas Kagi, 2012

RMIT University Art Collection

George Johnson, Point of View, 1992 I started collecting postcards when I was twelve years old, ten years ago. For some reason, a postcard depicting this artwork is one of the first ones I found. Since then, it has been displayed with the others on my bedroom wall. These postcards are a constant in my life, they are always there for me to look at and gain inspiration from, and I have assigned meaning to many of them. In some ways they represent a private part of me. Because of its association with my collection, this piece will always have a special meaning to me.

George Johnson Point of View, 1992 Acrylic paint on canvas 137 x 122 cm

Donated through the Australian Government's Cultural Gifts Program by Jenny Zimmer, 2013 RMIT University Art Collection

Note : The Avant Card postcard depicting Johnson’s work was used to promote the 2019 exhibition Melbourne Modern at RMIT Gallery

Boris Mikhailovich Kustidiyev, The Bolshevik, 1920 Russian culture and history have always fascinated me, to the point where I learnt Russian and went to study in Moscow. One of my favourite memories was finally seeing all the art I had read about for years, including pieces such as this painting. Furthermore, the brutalist aesthetic reminds me of the tower I lived in, in a run-down, 1950s suburb filled with the decaying relics of communism.

Boris Mikhailovich Kustidiyev

The Bolshevik, 1920

Oil on canvas

101 x 140.5cm

Tretyakov State Gallery Online Collection

Link to artwork : https://commons.wikimedia.org/wiki/File:Kustodiev_The_Bolshevik.jpg

Works by Alexandra Linehan

Autumn Nostalgia

The 6:55 to Belgrave pulled out of Flinders Street station towards Richmond. Dawn was breaking over the cityscape, and the sky was a mélange of fading navy and milky purple. Metal wheels clattered rhythmically against the train tracks but the carriage was silent.

Mia pulled her coat further around herself and felt the fleece against her bare arms, wiped under her eyes again to brush away the mascara that had fallen from her eyelashes.

She lifted her head to look up around the carriage. Her lids were heavy with makeup and lack of sleep. Around her lay the dregs from Saturday night. Girls in heels and short skirts were slumped on seats, bartenders in black blinked at their phones, a few workers from the tunnel project in their high-vis sat yawning on their way home to sleep. She closed her eyes for a moment, lay back in the seat.

“Now arriving at…Richmond. Change here for…Cranbourne, Pakenham, Sandringham, and Frankston services.” Came the monotonous automated voice.

Mia pulled out her phone. Not enough battery to listen to music. One message in the group chat.

Message us when you get home!! xx. She turned the screen o and looked out the window

The train pulled into Richmond. Mia looked out over Hoddle Street, at the tra c flowing past in an even tempo. A billboard pierced on top of a tax agent's o ce swung hypnotically around, advertising a real estate agent on one side, and a shampoo on the other. The doors beeped as they closed and Mia looked as someone sat down across from her. Suit, briefcase, polished shoes. Out of place for sure. She didn’t catch the face and looked back out the window

They pulled out of Richmond. Mia could smell co ee and her tired body ached for the taste. She lifted her gaze toward the suit and watched as he lifted the cup to his lips. He looked straight back into her eyes.

There was a moment of surprise. Each of them wondered if this was even possible.

She recognised him straight away, despite the suit and tie, but what on earth was he doing here?

She had never considered a way their lives would unfold that would lead to this, to him sitting across from her on the early Sunday morning train.

His brown eyes narrowed as he slowly lowered the co ee cup from his lips. “Mia? Is it…is it you?”

“Damian?” She replied, somehow fixing her mouth around the syllables. Everything else was immaterial. She couldn’t even hear the clattering of the train anymore.

Yes.” He blinked. Her gaze travelled up and down his body, the dark blue suit, the brown shining leather shoes, the patterned tie, expertly knotted. He was clean-shaven, dark hair pressed back, briefcase in hand.

“What are you doing here?” The words were blurted out before she could replace them with anything more tactful.

“I um…” Damian cleared his throat, blinked again. “I’m heading to a meeting. The firm I work for… we’re meeting some foreign clients today.”

“On a Sunday?” Mia frowned, although that was the part of the sentence that made the most sense. Damian? Working for some fancy firm?

Damian smiled, his face slightly taught. “Yes, unfortunately. And yourself?” Attached to the question was a slight upward inflection, a slight movement in his eyebrows, a slight accusation. Mia sat up straighter, did up her coat up over her dress. “Heading home. Was out at a friend s place last night.”

Autumn Nostalgia

My short story is called Autumn Nostalgia. In it, two people with a shared tragedy meet, and see how that the other is also running from their past. This story reflects the knowledge I have gained as I have slowly become an adult - that people change in the most unexpected ways, that trauma will always stick to us if we do not face it head on, and that so many people exist in a perpetual state of avoidance. It is not meant to be hopeless however, but to provide a snapshot of people’s inner lives and their inner pain.

“Oh. That sounds fun.” Damian smiled, sipped that co"ee again. The scent was filling Mia with longing. She pushed it back.

“What firm do you work for?” She asked, tipping her head slightly. Damian wasn’t the only one who could be judgemental. “When did you move to Melbourne?”

Damian briefly glanced across the carriage, then looked back at her. “I’m a lawyer. I work for PWC legal. I moved to Melbourne last year. I finished my law degree in Sydney.”

Mia nodded, still not quite comprehending. Images flashed through her mind, memories that had remained untouched for years. She saw Thomas, when he had still be alive, with Damian by his side. She remembered the summer after she finished high school, the night they had built a bonfire on the beach, remembered driving along the country roads, blasting Triple J through the speakers.

A di"erent time, a di"erent life, even. Before she had come to Melbourne.

“When did you move down here?”

Mia snapped her head up, pulled out of the nostalgia. “Four years ago. After Thomas died. I finished studying.” She smiled. “Early childhood education. I work in Richmond now, at a kindergarten.”

Damian smiled, but for the first time it was genuine. “That’s great, Mia. Do you like your job?”

“Love it.” Mia smiled despite herself. “And, and you? You know, I didn’t ever see you…being a lawyer?”

Damian had been studying anthropology and Thomas was studying philosophy when they had met, in Sydney. One summer they had rented a run-down house in Bateman’s Bay and invited Mia along. She remembered Damian’s beard and graphic t-shirts, the way he would bite his lip when he was amused.

She remembered the feeling of being so insignificant and so naive compared to her big brother, with his tales of the Sydney nightlife, and his cool boyfriend, and the intellectual conversations he would insist on having after dinner, one hand on Damian’s thigh, the other wrapped elegantly around the stem of a glass of red wine.

“It’s long hours, but I do like it, yes.” Damian nodded.

Thomas and Damian had been together for what, six months when they had spent that time in Bateman’s Bay? And then two years after that was when that semi-trailer had sideswiped Thomas on the freeway when he was driving home from work. An act of randomness that had changed all their lives.

Mia had tried to stay in contact with Damian, but when she had seen him at the funeral, at the wake…his grief had seemed to immense, a huge cloud enveloping him and threatening to pull in anyone close to him. She hadn’t had the strength to take on his grief as well as her own. She simply would have collapsed under the weight.

They hadn’t kept in contact really. A courtesy visit a few months later when she was leaving for Melbourne, after she had enrolled at TAFE, had been all. Damian in the living room of his crummy share house in Parramatta. Mia standing awkwardly in his door frame, looking down at him, feeling his grief swell and pull her towards him like it was gravity.

Why were they pretending with the niceties? The children Mia worked with didn’t pretend, they just said what should be said. They had infinite wisdom, she realised.

“I still celebrate his birthday, you know. I think it’s important to remember him. We always talk about him at Christmas, when I head back home.” She spoke too quickly, the words stumbling out. “You know, remember all the good times. You should…you should come along one year.” She had no idea where the last impulse had come from, and quickly looked down at the stained floor.

“That, um.” Damian swallowed, breathed in sharply. “Won’t be necessary. But thank you, it’s a very kind o"er, Mia. Very kind.”

“Of course.” She nodded. They had sped through stations. It was Hawthorn now. “Well um, this is me.” She got up, suddenly conscious of her bare legs, her sneakers. She brushed down the skirt of her dress.

“It was nice to bump into you.” Damian stood up too. Smiled, stuck out his hand. Mia frowned, but took it none the less. His touch pulled her back into the summer heat, into the salt water and late nights and smell of cigarette smoke and Thomas’ smile. She almost gasped. “Yes…you too, Damian. Take care.” She smiled one more time, then headed toward the door. As she stepped out of the carriage she turned back, but Damian had already pulled his phone out. The dead leaves brushed her ankles as she walked up the ramp from the station. She pushed her hands deep into her pockets. Damian? In Melbourne? A lawyer? It was surreal. It would be easier for Mia to think that it had not happened at all than to absorb the reality.

The sun was peaking above the horizon now. Purple faded to blue. The stars had almost disappeared except a few stragglers. The eucalyptus trees swayed in the breeze as the city took its first breaths of the day.

A tram clattered past and shattered the moment. Mia turned around and started to walk home. Could Damian also sense that he still carried it with him? That she could still see the outline of grief that clung to him, see his tiredness from lugging the deadweight?

The adrenaline of the night had worn o". The alcohol was long gone. She suddenly felt the crushing weight of her tiredness, the bite of the cold, and the dirt on the street. Of course Damian could sense his own sadness, and he would have clocked hers straight away too. Takes one to know one, after all, she thought, looking up at the rising sun.

JiaYi Liu

Jiayi Liu is an illustrator based in Melbourne, born in Shanghai, currently a student of Associated Degree of Graphic Design in RMIT. She is always inspired by connections between human beings, animals and environments. Through illustration and pattern, she is focusing on creating bold colourful work showcasing her understanding of the world around her.

Follow her work on Instagram: @660.scribble

Selected works from RMIT Culture collections and International Collections

Sam Jinks, Unsettled Dogs, 2012

While I was browsing through the sculpture section of RMIT University Art Collection, this artwork caught my eyes immediately. I had an instant connection to it and I felt my mental state at that moment was reflected by the creature on the right so accurately - the constant unsettling worries and vulnerability. In addition, how awesome would it be if we could all have animal heads attached to human bodies?

Sam Jinks

Unsettled Dogs, 2012

Silicone, pigment, resin, hair and fur

23 x 63.5 x 63.5 cm

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Works by Jia Yi Liu

When you kiss me

Kissing triggers our brains to release a cocktail of chemicals include oxytocin, dopamine and serotonin, makes us feel euphoric and bonded. It also lowers cortisol which is known as the stress hormone. Hence, everyone should kiss their loved ones more during this COVID-19 pandemic as connections are so important for us human beings.

Motherhood

Inspired by how mother is protecting her child in this dangerous period of time, providing and also receiving physical and mental nourishment from her baby.

Jiayi Liu

‘When You Kiss Me’ (2020)

Acrylic colour on watercolour paper 13 x 13 cm

Jiayi Liu ‘Motherhood’ (2020)

Acrylic colour on watercolour paper 13 x 13 cm

Best friends

An imagined trip with friends at an orange farm with imagined joys while my physical body is trapped in a small apartment in Melbourne CBD.

‘Best Friends’

(2020)

Acrylic colour on watercolour paper

13 x 13 cm

Jiayi Liu

Lucy Maddox

Lucy Maddox is a student in the Advanced Diploma of Visual Arts whose practice relates to humanism and the human body – if only in parts.

Working primarily in painting and printmaking, she explores the emotional power of the human form. In particular, with a background in linguistics, she investigates the communicative potential of hands and gesture.

Selected works from RMIT Culture collections and International Collections

Jack Stone, Untitled, 1988

This portrait by Jack Stone is notable to me in that the face itself is unrecognizable. The nose and mouth are covered, the chin is reduced to just a shadow, and the eyes and eyebrows are drawn as if cut out and placed on a flat surface. The most identifying part of the work is the hands. As artists, our hands are how we make meaning in the world; creating art gives us a sense of self and purpose. We often focus on the face when we think about identity and connection, but I believe our hands are just as capable of being our self-portrait.

Jack Stone

Untitled, 1988

Lithograph on paper

Edition: A/P

25.2 x 20.4 cm (image)

Gift of the artist to the Phillip Institute of Technology, 1988 Phillip Institute Collection, RMIT University Art Collection

Lisa Roet, Chimpanzee Hands, 2007 Lisa Roet’s practice centres around primates and their relationship to humans, both ancestral and modern. It’s impossible not to see the connection between ourselves and our nearest cousins when we view this work, which has pride of place on Bowen Street. The pose she has chosen conveys a sense of offering, and it is no less powerful or emotive for being made by the hands of chimpanzees rather than those of humans.

Lisa Roet

Chimpanzee Hands, 2007 Bronze

Edition: 1/6

Right hand 103 x 44 x 23 cm (irreg.); left hand 97 x 42 x 25 cm (irreg.)

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Works by Lucy Maddox

Alone

Since isolation began, my world has shrunk to the size of my own body. In lonely hours spent staring at my torn cuticles or my fading freckles, I feel disconnected from my family on the other side of the world and even from my friends only a few kilometres away. Despite all this, my partner and I find strength in our connection that has grown in the time we’ve spent together in lockdown.

Safety

Our hands have become a source of both comfort and anxiety in this new era. On the rare occasion that we leave the house, we wash and sanitize our hands endlessly, until the skin cracks and bleeds. We are lonely and touch starved, but terrified of an invisible monster that could be on any surface. In this work, I’ve chosen one of the few objects I still carry with me, my housekey, as a symbol of the refuge that my home now represents to me.

Lucy Maddox Alone 2020

Oil on canvas

60 x 51cm

Lucy Maddox Safety 2020 Linocut on rag paper 19 x 28.5cm

Alisha Mahendran

Based in Melbourne, Alisha Mahendran creates poems that encourage spiritual growth, environmental connection and introspective thinking. Alisha studies Environmental Science in RMIT and has a deep passion for exploration and discovery. Both of such concepts she evidently expresses through her writings.

Selected works from RMIT Culture collections and International Collections

Andrew Sibley, Angelicon, 1985

I am absolutely fascinated with ethereal forms in artworks. This artwork really stood out to me because of the use of red and blue contrast which have always symbolised feminine and masculine energies of life to me and having them together always feels empowering. I am always attracted to any form of spiritual expression in art because I also my writing to explore my own divinity. There is also a rawness in this work that I appreciate, with the line work giving a sense of ‘beyond’ form; alluding to a sense of spirituality that I connect with.

Andrew Sibley

Angelicon, 1985

Lithograph on arches paper

Edition: A/P

76.9 x 57 cm (sheet)

Donated through the Australian Government's Cultural Gifts Program by Dr Douglas Kagi, 2012 RMIT University Art Collection

02

John Brack, Nude with Crimson Rug, 1976 I appreciate the way nudity is embraced in this artwork. I am always fascinated by the beauty of the human body and form, and the way that the simplicity of the human figure is captured without sexual intentions stands out to me. This embrace of the human body is very inspiring and highlights the simple moments of living as well as a sense of vulnerability. This is something I look forward to exploring in my own artworks.

John Brack

Nude with Crimson Rug, 1976 Watercolour, ink and conte on medium weight wove paper 45.5 x 65.7 cm (image)

Purchased by the RMIT School of Art, 1976 Edward Collection, RMIT University Art Collection

03

Claude Monet, White Water Lilies’, 1899 In VCE Studio Arts I studied Claude Monet’s Impressionist work. I was drawn to his ability to capture brightness within his paintings. This sense of aliveness in his art has greatly influenced my own works, especially as I continue to explore light. Monet’s Lilies series in particular, inspired me to showcase the essence of feeling within the moments I try to capture in my art. It opened my mind to looking beyond seeing an artwork and to search for a feeling.

Claude Monet

White Water Lilies, 1989

Oil painting on canvas 89 x 93cm Pushkin Museum, Moscow

“White Water Lilies” by Claude Monet is licensed under CC BY-NC-ND 4.0

Link to artwork : https://pushkinmuseum.art/data/fonds/europe_and_america/j/2001_3000/ zh_3309/index.php?lang=en

Works by Alisha Mahendran

Keep your heart open

Keep your heart open is a poem directed towards regrowth. I found that this time of staying at home held tremendous potential to reflect upon events and use them as an opportunity to learn and develop. Keeping an open heart and staying hopeful is vital in allowing continuous growth. It is a universal truth that flowers grow from the nutrients of fallen leaves. Especially in the current circumstances, I wanted to share this message with everyone.

Tree of life

Tree of Life is a poem about the beauty of trees. It can be easy to forget about the beauty and importance of the nature around us when we live busy lives. But this time has really showcased the vitality of our natural environment. Going out for walks in nature has been extremely important to regenerate hope and excitement. This poem is a homecoming to this feeling of being connected with nature, and it is a way to appreciate its endless giving. I really wanted to highlight our fundamental connection with the natural environment; giving us life. It is this love and appreciation that I hope will motivate us to protect our planet.

Movement

Movement is a poem about the importance of staying active and flexible; both mentally and physically. In particular, this poem was to encourage people to stay healthy in lockdown and even do yoga every day! I have found that meditation and yoga has helped me both mentally and physically during these challenging times, to embrace this time and use it to grow. I really wanted to share this message and hope that it will inspire everyone to take care of themselves by staying healthy.

Spoorthi Marakkini

Spoorthi Marakkini, originally from Bangalore, India, has been honing her skills in illustrations and abstract art. Currently doing her Masters in Data Science at RMIT University, she uses her passion for art as a gateway from reality and the realms of Science. The themes for her art practice tend to originate from her thoughts and perspectives of the world around her.

Selected works from RMIT Culture collections and International Collections

Lisa Roet, Chimpanzee Hands, 2007

I remember the day very well. I had just joined the University and was checking out the campus with a friend of mine for the first time. That was when I came across this sculpture, in front of the RMIT Building 6. I was so mesmerized and intrigued by the intricacies in it, that I had to take a picture.

Lisa Roet

Chimpanzee Hands, 2007

Bronze Edition: 1/6

Right hand 103 x 44 x 23 cm (irreg.); left hand 97 x 42 x 25 cm (irreg.)

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Fustration

Frustration is a piece from the series Emotions that is based on one of many states of mind of the artist during the ongoing COVID-19 pandemic. It represents the sense of overwhelm felt by an overthinker whilst being confined within the four walls of a room. This piece is a pen and ink illustration with shades of red acrylic color.

Ink and Acrylic on Paper

Content is a piece from the series Emotions that depicts one of many states of mind of the artist during the ongoing COVID-19 pandemic. It represents a sense of gratitude and contentment that is felt by an individual despite the hard times of the pandemic. The piece is a pen and ink illustration with shades of green acrylic color.

Ink and Acrylic on Paper

Anya Minko

Anya Minko is currently enjoying International Studies at RMIT, however she has always loved art because of the freedom it offers, it is a way of joy and expression. She enjoys the doors opened by art that one cannot even imagine until one starts making it.

Selected works from RMIT Culture collections and International Collections

Noel Counihan, Hunger, 1959

This piece speaks to me because more than enough food is produced to feed the global population, however, more than 690 million people still go hungry. Even after decades of steady decline, world hunger has slowly been on the rise. Something is fundamentally wrong with capitalism and globalisation.

Noel Counihan Hunger, 1959

Linocut on cream wove paper

Edition: 30/50

61 x 44.4 cm (sheet)

Acquired by the Preston Institute of Technology before 1972 Phillip Institute Collection, RMIT University Art Collection

Howard Arkley, Suburban Exterior, 1983

I believe a significant part of suburban exterior is ‘silence’ and ‘isolation’. This was a culture shock I experienced upon my return to Australia in 2016, after being away overseas, living in Cambodia for twenty years since the age of three. I am not a fan of suburban life, I miss the colourful noises of South East Asian streets, the smell of street food, laughter, children playing, knowing and loving my neighbours. I miss organic communities, and daily life on bustling streets.

Howard Arkley Suburban Exterior, 1983

©The Estate of Howard Arkley, Courtesy Kalli Rolfe Contemporary Art Synthetic polymer paint on canvas 159.8 x 120 cm

Purchased by the Phillip Institute of Technology, 1984 Phillip Institute Collection, RMIT University Art Collection

Works by Anya Minko

Colorful faces

I don’t get to see many faces nowadays due to COVID restrictions, however it has been the perfect time to paint a few colourful ones instead. I’ve chosen this artwork because I didn’t plan it, what I had in my mind was not this. This orange I managed to mix has now made me fall in love with the colour orange. I don’t know who this character is, this could be a representation of me, it could be anyone. We’re all voyeurs one way or another.

An egg for an eye

People often point out that I like to paint men, I honestly don’t know what I like to paint. I paint these characters because I can’t paint, I don’t do Realism because I don’t have the patience for it. However, I enjoy art, the freedom it provides, I believe sometime we need to relax and not take art too seriously because art is the universal solvent against the abrasive elements of life.

Anya Minko ‘Colorful faces’ (2020)

Acrylic paint on canvas 30 x 40 cm

Anya Minko ‘An egg for an eye’ (2020)

Acrylic paint on canvas 30 x 40 cm

2 faced

I love creating art around midnight. I drew a circle with the intention to draw a face, instead I ended up with two faces, the one on top displays our true emotions of worry and fearthe face that is often hidden behind our ‘confidence’. My favourite artworks tend to be the ones I had no intention of creating.

Anya Minko ‘2 faced’ (2020)

Watercolour, pastel pencils, fine liner pen 21 x 29.5 cm

Subhasree Mohapatra

Subhasree is an enthusiast about gaining knowledge about technology and arts. She is currently pursuing Masters of Data Science at RMIT University, Melbourne after working in IT sector. Besides paintings, she also shows interests in music and likes to know about different cultures and people.

Selected works from RMIT Culture collections and International Collections

Jock Clutterbuck, On the Heels of the Poltergeist, 1976 It brings the memory of the first horror movie I watched, the Poltergeist, and I was quite fascinated by it. The idea of the existence of different realms which is separated through a fuzzy boundary of co-existence. Here also I do get the feeling of one world divided into three realms, each with their own identity but still giving way to a certain blending or connection. It is sometimes unclear and mysterious. But all cheers to the supremacy of imagination.

Jock Clutterbuck

On the Heels of the Poltergeist, 1976 Etching, aquatint and colour stencil on paper

Edition: 14/20

100 x 94.5 cm (image), 109.5 x 101 cm (sheet)

Purchased by the RMIT School of Art, 1976 Edward Collection, RMIT University Art Collection

Noel Counihan, Hunger, 1959 I had always believed over a saying we have,” Help if you can, and if you can’t pray.” Hunger being the cruellest destiny pushed over humanity. When I can, I feed the hungry. When I can’t, I pray for them. This painting influences me by giving away the emotions of pain and helplessness. I really pray for the person. It reflects the fight within oneself. I can relate this to my own life’s choice to be a volunteer as much as possible.

Noel Counihan Hunger, 1959

Linocut on cream wove paper

Edition: 30/50

61 x 44.4 cm (sheet)

Acquired by the Preston Institute of Technology before 1972 Phillip Institute Collection, RMIT University Art Collection

Works by Subhasree Mohapatra

The soothing nature

The work named The soothing nature is created in intention to demonstrate the contrast between colours in the environment of black. The painting does reflect a personal connection to rivers, trees and the soothing environment close to nature. This has been inspired by a tourist place in my hometown with a twist given to the objects.

Shapes and faces

The painting is a sample of pencil colours shades applied; it is named as the Shapes and faces. This was inspired by pattern designing art. The painting does bear some essence of my childhood memories when I first learnt to draw, and the first sketch I made was a polygon and a square and gradually increased my interest in learning faces. Hence this has been a fusion of shapes and a human face.

The more I seek to learn, the more I get to explore horizons. This was my attempt to make an animal patterned sketch with pens. Being an animal lover, I felt a keen interest to draw this. Different patterns that sometimes does not match appears to be imperfect at places but still give out a nice holistic picture. This reflects my belief that even though at times, we feel like imperfect, but with time we gradually make ourselves by blend with perfection with self-improvising.

Zai Lat Naw

Zai Lat Naw, more commonly known as Zai or Zai Dashi, is a creative individual always exploring different mediums to express himself.

Selected works from RMIT Culture collections and International Collections

Xiao Xian Liu, The Way We Eat, 2010-2011

Flashes of images of different people and food come into my head as soon as I look at this artwork. The contrast cleverly shows a rich history of civilisations. It also reminds me of a time in my early adolescence, when I spent a week practising the proper way of holding chopsticks. I was very proud of myself when I learnt it and I still am.

Xiao Xian Liu

The Way We Eat, 2010-2011

Porcelain and celadon glaze

Edition: 2/3

880 x 400 x 160 cm (installation size)

Commissioned through the RMIT Art Fund, 2010-2011 RMIT University Art Collection

Beata Slifierz, Reminiscing, 2013

The way that red is used in this piece speaks to me calmly and gently.

Beata Slifierz

Reminiscing, 2013

Linocut on paper

57 x 151 cm

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Works by Evangeline Hoare

Pyan Sone Mel Yangon

Pyan Sone Mel Yangon, written in “Myan-Glish”, a combined word of Myanmar and English, which translates to “See you Yangon”. It is a form of writing widely and informally used in texting in Myanmar. The video takes you through a route in Yangon, the biggest city of Myanmar that I would mostly use to get home in the evenings during my visits.This year, I get to use Google Maps to have the same experience from my home in Melbourne.

Video link : https://vimeo.com/459403130

A collaboration with a friend and student in Deakin University. Motivated by the story of Jonah from the Bible, who spent three days three nights inside of a "Great Fish" during a mission. How are we going to listen and serve our purpose in these modern times?

Video link : https://vimeo.com/460820665

Zai Lat Naw

‘Pyan Sone Mel Yangon’

Hka Lumyang & Zai Lat Naw ‘Shelter’

Natalie de Niese

Natalie de Niese is a multidisciplinary artist based in Naarm (Melbourne) and is currently studying the Advanced Diploma of Visual Arts at RMIT. Her practice mainly focuses on expressing the human form by using spontaneous and intuitive creation processes, to display recurring themes of movement, energy and connection.

Selected works from RMIT Culture collections and International Collections

Godwin Bradbeer, Swan of Trespass - Diptych, 2001/2011

I feel this artwork explores the duality of light and dark. It conveys the elegance and grace of the swan but confronted by its own reflection, the villainous side of itself. This work reminds me of the ballet “Swan Lake”, the White Swan versus the Black Swan, depicting the battle between good and evil.

Godwin Bradbeer

Swan of Trespass - Diptych, 2001/2011

Chinagraph, graphite, pastel dust and silver oxide on heavy grade hot pressed acid free fabriano paper 93 x 276cm (diptych, each panel 93 x 138cm)

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Klaus Zimmer, Rising or Falling?, 1999

The red and black shapes in the centre of the artwork appear like an abstract body to me; caught in a motion which could be perceived as though it is falling or rising, like the title questions. This work feels hopeful to me, so I see the figure rising and while it may be painted dark, the figure is surrounded by light, a reminder of balance.

52.5 x 51cm

Donated through the Australian Government's Cultural Gifts Program by Jenny Zimmer, 2013 RMIT University Art Collection

Klaus Zimmer Rising or Falling?, 1999 Gouache and ink on paper

Works by Natalie de Niese

Clarity

Clarity was an experimental and spontaneous creation that focused on playing with and responding to the softness of the sculpey clay. Achieving the curved tips by slowly pulling on the clay, which became a repeated technique used for each small clay sculpture made. To resolve the work, grouping the pieces together on a glass table, and incorporating light to create shadows onto the wall with the reflection from the glass table. Resulting with two shadows that create a dialogue with each other as they intersect with the light and dark versions of itself.

Release

Release focuses on the themes of movement and connection, referencing imagery of dancers and translating their realistic body into an abstract depiction. Working on a larger scale allowed for bigger gestural movements across the fabric, to emphasise the motion and energy radiating from the dancers by using soft edges and sharp lines.

I CAN’T BREATHE

I CAN’T BREATHE is responding to the Black Lives Matter movement and specifically a response to George Floyd’s death in America, as well as David Dungay Jr, an Indigenous man who died in custody in Sydney, Australia 2015. This artwork was created by painting on my body and then making impressions onto the fabric, in a sense using the body as a tool to bring the work to life. This intention, juxtaposing against how carelessly life can be taken without a second thought because of the person’s skin colour.

“I CAN’T BREATHE”

2020

Acrylic on calico fabric

46 x 80cm

Zoe Perks

Zoe Perks is currently a first-year student at RMIT, studying Creative Writing. Her passion lies in writing fiction, although she has begun to experiment with other forms and genres to recite stories of her family.

Selected works from RMIT Culture collections and International Collections

Claude Monet, The Japanese Footbridge, 1899

My Pa is a passionate painter, something he took up as a hobby many years ago. Claude Monet has always been his greatest inspiration. I have fond memories of him showing as various works from Monet, the most memorable being this painting. Last year I was fortunate enough to see some of Claude Monet’s work in New York, and the experience still brings me to tears. I hope to visit Monet’s garden one day to physically see this little bridge that fills me with love and joy.

Claude Monet

The Japanese Footbridge, 1899

Oil on canvas

81.3 x 101.6 cm

Original from the National Gallery of Art

Artwork link:

https://www.nga.gov/collection/art-object-page.74796.html

Godwin Bradbeer, Swan of Trespass - Diptych, 2001/2011

This piece reminds me of my relationship with dance as the first ballet that I ever saw was Swan Lake. The ballet is elegant and delicate as it follows the tragic tale of love. A main aspect of the ballet is the two swans, Odette and Odile, who is commonly portrayed by the same dancer. The dancer must therefore display a duality, showcasing the gentile nature of Odette as well as the fiery spirit of Odile. When I see this piece I am reminded of this duality, of the two characters who shadow one another.

Godwin Bradbeer

Swan of Trespass - Diptych, 2001/2011

Chinagraph, graphite, pastel dust and silver oxide on heavy grade hot pressed acid free fabriano paper 93 x 276cm (diptych, each panel 93 x 138cm)

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Works by Zoe Perks

In this life I have been extremely blessed to have known both my grandparents and great-grandmothers. For my father’s parents, love is expressed over tea and scones. From the moment you step onto the slippery white tiles, whether friend or stranger, you are greeted with the warm smell of fresh homemade scones. The air is electric with love. It is seen in the dozens of family photos that decorate the house, the magnets from various cruises that fill the fridge doors, and the freshly picked roses from the outside bushes that have been tended to with gentle care. A circular glass table still sits in the back corner, surrounded by windows that look out onto a garden overflowing with greenery. The table still wears a lace tablecloth, dressed for any unexpected visitors that might stumble by.

After cheeks are stained with pink lipstick kisses, the table is set with glass bowls of cold cream and half full jars of strawberry and raspberry jam. Tea is served in china cups with floral designs, each with a matching saucer. As a little girl, cups of tea included milk and three heaped teaspoons of sugar that would make the drink inconsumable to most. A thick layer of sugary sludge would form at the bottom of the bone china teacup which I would dig out and consume with childish glee, much to the dissatisfaction of my parents.

On my mother’s side our love language is chocolate. I have fond memories of visiting my great-grandmother at a mere five years old and squeezing my bony fist into a jar filled with chocolates upon her request. She would fuss and always give my sister and I more than my mother suggested. My grandmother is famous for her chocolate cake, something that is now considered cursed to my mother. After finding the sweet in her school lunchbox every day for six years she now turns her nose up at it, feeling nauseous with the flood of memories from high school that the cake brings. Yet embedded in the chronicles of the chocolate cake is a tale of love and friendship, for she would exchange her cake for sandwiches or biscuits from her friends. In the realm of high school, an item such as chocolate cake was hot property in their games of lunchtime lotteries. Now it is a treat my grandmother brings me as a surprise before our weekly family dinners. The cake brings smiles, excited squeals of delight, and the tight hugs that smell heavily of rose perfume and make her hearing aids buzz in my ear when we pull away. It brings love.

Love languages

Writing this piece during 2020 was quite a therapeutic experience. In these difficult and uncertain times, I have been missing my extended family terribly. Family is everything to me, so not being able to see them every week has definitely been hard. Therefore, when asked to write a piece of non-fiction, writing about my family made sense. I endeavoured to capture the nuances of my family as if they were in the room with me, becoming a love letter and tribute to their memory.

Zoe Perks

‘Love Languages’ (2020)

Creative Non-Fiction

Gemma Romiti

Gemma Romiti is a Melbourne-based artist, predominantly working with oil paints. Studying a Bachelor of Environment and Society, Gemma’s creative practice explores human-nature connections and aims to express appreciation of the natural world.

Selected works from RMIT Culture collections and International Collections

Howard Arkley, Suburban Exterior, 1983

Knowing that Arkley lived in Oakleigh, the same suburb I grew up in elicits a feeling of familiarity with the house depicted in Suburban Exterior. Additionally, as I have moved back home during the pandemic, suburban Oakleigh life seems particularly mundane and banal due to all the restrictions. Yet, Arkley portrays the Melbourne home with a sense of energy and liveliness which is a reminder for me not to be so harsh on the suburb I grew up in and consider the uniqueness in the everyday.

Howard Arkley

Suburban Exterior, 1983

©The Estate of Howard Arkley, Courtesy Kalli Rolfe Contemporary Art Synthetic polymer paint on canvas

159.8 x 120 cm

Purchased by the Phillip Institute of Technology, 1984 RMIT University Art Collection

Phillip Institute collection, RMIT University Art Collection

Works by Gemma Romiti

Head in the Trees

Whilst creating Head in the Trees during the Melbourne lockdown I eagerly anticipated a time where I could get out of suburbia and take comfort in the experience of being surrounded by natural, undeveloped land. The woman lies in her bed and her imagination brings about trees in her room, as the subject looks forward to being back amongst the trees in the natural Australian landscape.

Time and seeds

Slowing down and having time to work in the garden has been a small joy during the long lockdown periods in Melbourne. The woman is shown working and admiring her garden. Growing things is an intimate and observant process much like painting, mindful distractions have provided me with some relief during these times.

Gemma Romiti Head in the Trees 2020 Oil on recycled paper 42 x 60 cm

Gemma Romiti Time and seeds 2020 Oil on canvas 30 x 30 cm

Groundwork

Depicted is a collage of memories. Groundwork shows a series of different women in different spaces relaxing, partaking in meaningful work or in a creative flow. The images are of admirable women I met and landscapes I stayed in whilst recently overseas. Groundwork’s fragmented composition reflects on the sped-up nature of experiences whilst travelling, moving through different places quickly and meeting new people often.

Gemma Romiti

Groundwork

2020

Oil on wooden panel 25 x 20 cm

Louise Samuelsson is a multidisciplinary artist working within drawing, textile, and video. Her projects circle around symbiotic binaries that arise through trauma; healing and hurting, connection and disconnection. She is a third year Bachelor of Art (Fine Art) student at RMIT.

Louise Samuelsson

Link

Selected works from RMIT Culture collections and International Collections

Christophe Charles, Sound of Weather, 2012 - 2013

This collaborative work that spans countries really strikes me now that we are all isolated behind our own borders. Sound of Weather merges abstracted recordings of climatic conditions in Melbourne and Tokyo and explores how these climatic changes interact with urban and natural environments. My own family is scattered in coastal cities around the world and my recent project explores how oceans connect and divide us. Sound of Weather reminds me of more ways we are all connected, different, and similar.

Christophe Charles

Sound of Weather, 2012 - 2013

Sound installation

16 channels, duration 32 mins

Commissioned through the RMIT Art Fund, 2012 Sonic Arts Collection, RMIT University Art Collection

Markus Spiske, Zigg Zagg pattern knitted sweater background Being Swedish and living outside of Sweden I’ve started to cling to the culture harder than ever before. Having a drawing and textile based practice, I looked into traditional embroidery, fabrics, and dying that would connect me back to my home. Building connections over time and space through textile techniques that have been passed down through generations. Waves moving back and forth between us. These invisible forces that pull us together and bring comfort in a world where we have never been further apart.

Markus Spiske Zigzag patterned knitted sweater background

Image uploaded to Rawpixel by Creator. Public Domain CC0 https://markusspiske.com/stockphotos-creative-commons/

Louise Rippert’s, Pink Bindu (small), 2013

I’m always searching for artists who use embroidery techniques so when I found Louise Ripperts Pink Bindu I was thrilled and instantly looked up all her other work. I explore a lot of healing practices in my work and sewing, circles, repetition, and lengthy meditative processes are always recurring. Ripperts layering of synthetic films and papers with silk and pencil create a multifaceted surface full of tension and story.

Louise Rippert’s Pink Bindu (small), 2013

Drafting film, glassine paper, silver gilt, cotton thread, silk thread, nylon thread, pencil and paper on glassine paper

26 x 21 cm

Purchased through the RMIT Art Fund, 2013 RMIT University Art Collection

Works by Louise Samuelsson

01

Decaying body

Last semester during the first lock down my fiddle leaf started dropping leaves. I was researching the binary of healing and hurting within sewing and thought I would embroider this gift from my plant in a hopeless attempt to embellish a dying, decaying body.

Water

I was supposed to go home to Sweden in June 2020. My dad was supposed to come to my graduation in December. Every day earlier this year I would walk down to the water. This giant, unrestricted body connects us more than the digital attempts we’ve made to salvage affection. Far away in their cities, I asked them to look at the water too. I sent my energy to them and they sent it back.

Video link : https://youtu.be/MShcYSJ6IVU

Tab Sejoe

Tab Sejoe is currently studying Textile Design, but her history in visual arts and creating goes much further. With a degree in photography and a practice that also includes illustration and design, Tab’s venture into textiles hopes to bring together all her creative worlds into one, infused with influences from her native Botswana and Australian upbringing.

Selected works from RMIT Culture collections and International Collections

Ostoja-Kotkowski, Stanislaus, Prestige Fabrics, 1952-1953

From the RMIT Design Archive, I found myself drawn to Polish born artist Stanislaus Ostoja-Kotkowsk’s screen printed textile work for Prestige Fabric Design Studio in Melbourne.

The geographic print reminded me of West African motifs found on bogolan or mud cloth prints, along with the use of the softness of the natural toned, moss green background. It also had me reflecting on my own past illustrative work, which I always leaning towards producing more graphic motifs and line work.

Ostoja-Kotkowski, Stanislaus, Prestige Fabrics, Manufacturer, Ink, Rayon, Screen printing, 1952-1953, Prestige Fabrics, 0002.2006.0001

Works by Tab Sejoe

Basket 1

This year I am learning to work in new ways, with paint and turning my illustrations into textile repeats. This recent work, inspired by the textures found on woven baskets, was created with mix of mark-making, painting and collage of torn painted pieces of paper to add to the organic nature of baskets I wanted to replicate as a textile print, whilst still remaining graphic.

The textile print is then represented in a potential end product.

Basket 2

This simple but graphic textile design repeat, also draws inspiration directly from the patterns that can be found on woven baskets, an extensive collection of which I have from Botswana. The design is kept organic and the solid colours are aided by the matte nature of gouache paint which I have come to love.

Digital textile design storyboard Size 29.7x21cm

Gouache paint, torn paper, digital composition

Digital textile design Size 32x32cm Gouache paint, digital composition

Look at Moi

Now well versed in dull Zoom meeting cul-de-sacs, I created this textile repeat to be worn specifically during these meetings to lighten and lift the mood. The print takes a tongue-in-cheek approach, with thanks to Kath & Kim, to the fact that we have no choice but to look at each other in these video meetings.

Digital textile design

Size 32x32cm

Watercolour paint, fine-liner pen, digital composition

Sacha Shaw

climate crisis and its impact on social, economic, and political systems.

Selected works from RMIT Culture collections and International Collections

Link to artwork: http://franknoelker.com/collection/chimp-portraits

Frank Noelker, Chimp Portraits: Toddy, 2002-2006 This is Toddy, a 28-year-old chimpanzee. Born in Africa, in infancy she was sold to a family as a pet, who discovered bullet fragments in her head – likely shrapnel from her mother’s death and Toddy’s subsequent capture. Passed as a pet from family to family then to roadside zoo to breeding farm, she surely carries a history that is marked by abuse and torture. 
Growing up in Sydney Australia I remember going to art exhibitions. One particularly stuck with me – similar to this photo, it was a collection of portraits of chimpanzees. Many people criticised the exhibition as humanising or anthropomorphising these creatures. But I’d like to turn that equation on its head and instead animalise humans. To recognise and accept that, like Toddy we are animals in life and death.

Link to artwork: https://artcollection.rmit.edu.au/?p=rmit-gallery-search#details=ecatalogue.509

Danila Vassilieff
, Murray River, 1955 Vassilieff artworks have fascinated me for many years now. The muted warm colour pallet feels reassuring and familiar. But the turning face- almost to look behind- with ill-defined boundaries lends a gravity to the work.

Danila Vassilieff
 Murray River, 1955 
Gouache and watercolour on light weight wove paper 30.3 x 40.4 cm

Purchased by the RMIT School of Art, 1976 Edward Collection, RMIT University Art Collection

Works by Sacha Shaw

Climate dreaming

Climate Dreaming is an attempt to capture and to visually comprehend some the often devastating and traumatic aspects of anthropogenic climate change. As a student, and as an activist I am frequently confronted with the troubling realities the climate crisis. 

The footage tracks two days of my life during Melbourne’s stage four lockdowns. The window, which I have become almost too familiar with, represents a troubling mind, my mind, my future, my inaction, your inaction, my hopelessness. Climate Dreaming documents the descent into a real-world nightmare.

Video link : https://www.youtube.com/watch?v=zcJLem6Zc-w&ab

Lu An Shih

Lu-An Shih (b. Taiwan 1994) is in second year of BFA at RMIT. Mostly spending time with oil paint, he works from photographs to explore the external environment and inner world. Painting is his language to express and reflect on himself.

Selected works from RMIT Culture collections and International Collections

Juz Kitson, Flowers For Your Funeral, 2013

It is difficult to realize the work is made of porcelain because the complex of the flower and the texture just seem too gentle. The purity of this art almost makes me forget the horrible part of death. Perhaps that is what the flowers for, to accept the end, and to say goodbye. Maybe I want one for my funeral, one with some colors on it.

Juz Kitson

Flowers For Your Funeral, 2013

Porcelain and celadon glaze

42 x 30 cm

Purchased through the RMIT Art Fund, 2014 RMIT University Art Collection

Juan Davila, The Field, 1998

I had an immediate reflection when I saw this work. The palette of blue and pink is one of my favorite combination when painting. The pattern on the edge makes the art look like a framed photo that brings up the sense of memories and the past. How the artist presented the two people is odd and interesting that really stands out.

Juan Davila

The Field, 1998

© Juan Davila, Courtesy Kalli Rolfe Contemporary Art Screenprint on thick wove velin arches 400 gsm paper Edition: 22/30 92.8 x 64.8 (image), 125.6 x 80 (sheet)

Donated through the Australian Government's Cultural Gifts Program by Dr Douglas Kagi, 2012 RMIT University Art Collection

Link to artwork: https://artcollection.rmit.edu.au/?p=rmit-gallery-search#details=ecatalogue.943

Lorna Fencer Napurrula, Wapirti White Bush Potato, 2002

I enjoy watching the patterns of Aboriginal art, including those from where I came from. They seem so alive and bold. In this work I can see the deep connection of the art and the land. The variety of the color palette makes me think of the combination of different people or ideas that I hope in reality such combination can work effectively as the colors in this work do.

Lorna Fencer Napurrula

Wapirti White Bush Potato, 2002 Synthetic polymer paint on canvas

157 x 200 cm

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Works by Lu An Shih

Rough impression

Rough Impression is a continuing series I am working on at the moment. Due to limited activities and working area, I began painting in small sizes based on my photos and memories. I focus on building texture and color layers of the image. They were mainly reflecting my feelings, opposite or negative. This one is me hoping to escape the reality and sail for a sweet dream.

Lu-An Shih

Rough Impression
(2020)

Oil on canvas paper 14.8 cm x 21 cm

02

Rough impression

The blank part was left by the masking tape to hold the paper on the surface to paint and to create a clean edge. I think it can also create distance from the viewer. From that distance, I wish to build a subtle and peace world.

Rough impression

Sometimes my paintings are affected by my negative feelings. This is inspired by current difficult time. I miss the memories in the past, and look forward to the future. To me, constructions can be symbols of people. I wanted it to stay bright and positive. I hope and I know the dark time will past.

Lu-An Shih Rough Impression
(2020) Oil on canvas paper 14.8 cm x 21 cm

Lu-An Shih Rough Impression
(2020) Oil on canvas paper 14.8 cm x 21 cm

Kirtan Singh

Since late high school in 2015, Kirtan’s passion for film has grown and developed as he continues to write, direct and edit his own short films and other productions. Kirtan has aimed to make a short film every year, learning with each experience. Working with friends, family and those in the profession, he’s tackled various genres: from a heist gone wrong, to a student panicking in an exam.

Selected works from RMIT Culture collections and International Collections

Paul Taylor, Concept sketches of Kambrook 'Axis' electric kettles, 1993

This work was chosen because it was visually appealing to me. When I was younger I always loved making everything and anything. They weren’t practical but I loved just putting stuff together. This electric kettle, although an old sketch, seems like what would be envisioned for the future. It seems new and different. It just reminded me of myself and kinda wants me to sketch a few more of my impractical designs.

Concept sketches of Kambrook ‘Axis’ electric kettles (1993) Design

drawings of Kambrook ‘Axis’ kettle by Paul Taylor for Form Australia as part of the Centre for Design at RMIT University. Ink drawing on paper. 29.7 x 42cm

Works by Kirtan Singh

A changing perspective

This year, we have find ourselves stuck at home. Early on and for some still in isolation, it is difficult to be productive. This short film was made with my family and shows how sometimes, it takes one push to get started. TALI, finds inspiration from a fellow student who shares their work online. The short is also a bottled film, so it takes place in one location. It was a personal test for me to make this short under these conditions. The small location reflects how people feel in isolation: alone.

Video link :

https://youtu.be/rkibi3LN638

‘A Changing Perspective’

Written and Directed by Kirtan Singh (2020) Short Film

Substitute is a short film that has been in the work since 2019. Harjeet Kaur recalls her past and her endeavours of maintaining an everlasting relationship with her daughter. The film was made to be open to interpretation and viewed differently after subsequent viewings. While there is a lot to discuss about the relationship, this short film also touches on the inner workings of people’s mentality and their wellbeing. Love is a powerful emotion. It can help one person but also hurt another. Harjeet’s actions may help her ‘rediscover’ her relationship with her daughter but has effects on others.

Video link:

https://youtu.be/zr6lscfUf1I

‘Substitute’

Written and Directed by Kirtan Singh (2020) Short Film

Cristina Ulloa Sobarzo

Cristina has a keen interest in documentary filmmaking and (over-)analysing all sorts of films. She is interested in docu-fictional approaches in recording the world around her. She also has an emerging passion for film photography, and has been experimenting with different video editing techniques during lockdown. Cristina is currently studying a Bachelor of Communications (Media) and is the communications intern for Museum of Me.

Selected works from RMIT Culture collections and International Collections

Heather Shimmen

Portrait of W. Shakespeare, 1979 Gouache, charcoal and collage on arches paper

72.5 x 55.5 cm

Acquired by the RMIT School of Art, c. 1979 RMIT University Art Collection

Heather Shimmen, Portrait of W. Shakespeare, 1979

We all know Shakespeare’s iconic portrait. It’s place in cultural memory is resolute. I love how Heather Shimmen manipulates the facial features, limbs, and the overall aesthetic to create this grotesque, unenviable portrait of the playwright. I was drawn to it because it reminded me of portraits by my favourite artist, Francis Bacon. His grotesque paintings encompass ideas of perceptions and self-identity. To me, this painting is a brilliant departure from the realistic portraiture that dominated the past. It leads me to questions about cultural memory, and how the narratives of huge historical figures change and evolve over time to the point where we will never really know what is true, or what has been formulated over the centuries.

Claude Monet, Woman with a Parasol, Madame Monet and Her Son, 1875 Oil on Canvas 100 x 82 cm Original from the National Gallery of Art

Digitally enhanced by RawPixel https://www.nga.gov/collection/art-object-page.61379.html

Claude Monet, Woman with a Parasol - Madame Monet and Her Son, 1875

This painting is so gorgeous and colourful. I feel as if the subjects are inviting me to go on a picnic with them on a lovely Spring afternoon. Looking at this painting is like a calm escape from the chaos of the outside world, and impressionism is almost always a win in my book. There is a certain dreaminess to this painting that I just adore, and it could easily be a shot from a Jane Austen adaptation film. The low angle and the dark shadow also remind me of old family photos – people and places I have never, and will never, meet or experience.

Sidney Nolan, Red Figures,1940

The boldness of this painting is striking. The colours leap out, forcing you to stare at the mess of lines, and the figures they form. I feel as if I’m witnessing a fight –between strangers or siblings, maybe even a war scene. The brush strokes are steadfast, almost violent. This commitment to line and stroke reminds me of Jean-Michel Basquiat and Keith Haring’s work, and their bold, unapologetic nature. Their incredible joint exhibition at the NGV was the last time I’d had the pleasure of walking through a physical gallery since the pandemic. I think that’s why I was so drawn to this image – recalling great artists and yearning for those sorely missed in-person artistic experiences.

Sidney Nolan Red Figures, 1940 Oil paint on board

375 x 510 cm

Purchased by the RMIT School of Art, 1978 Edward Collection, RMIT University Art Collection

Works by Cristina Ulloa Sobarzo

I took this photo early this year in Anglesea, along the Great Ocean Road, while the fires were raging across New South Wales and Victoria. The smoke hung low, forming an unwelcome blanket above us. The fact that I was able to take this image is a testament to how lucky I was to be able to visit the beach in relative safety – to not live or have family in the bushfire areas.

There’s a feeling of guilt that comes with that too. While beach-goers are submerged in the cold ocean waters, thousands of acres of land are burned, homes and families destroyed – many people still reeling from its effects today. The strange eeriness of this photo is the fact that life goes on, even during such devastation.

Photo

I took this photo in 2019 –a year that feels so far away. I had forgotten that I had taken it, and only found it again just recently. I remember the joyful feeling around this image and the ready anticipation one feels with friends right before a concert is set to start. Now, looking at it a year later, I am filled with nostalgia, and a curiosity as to how these big events might play out in the future.

This photo is of one of my closest friends, and I think it really captures the vulnerable intimacy that we find in female friendships. To be so relaxed and entirely comfortable with someone is not easy for me and takes a lot of time, which is why I really appreciate the friendships that I have now.

Leanne Sta Ana

Leanne Sta Ana is an emerging creative with a particular interest in filmmaking and cinematography. Her recent works are influenced by seeking inherent beauty in what is usually taken for granted as the mundane: nature, solitude and selfhood. I CAN HEAR THE SUN, produced entirely under COVID-19 lockdown, is her first short film.

Selected works from RMIT Culture collections and International Collections

Unknown photographer, Photograph of Clement Meadmore and George Kral, 1958

I love this photograph. It reminds me of Cindy Sherman’s photographic works that were shot to look like they were taken from a narrative film. This particular image is evocative in the way that it makes me question the story behind it, who the people are, what is happening in the time the photo was taken, etc. As an aspiring filmmaker/cinematographer, I’m heavily inspired by cinematic photography, such as this one.

Hugh Ramsay, Untitled (Nude study - female model, half-draped, back view), 1895

This is a beautiful piece of artwork - I always resonate with nude paintings. Pierre-Auguste Renoir’s are one of my favourites. As a woman myself, I think it’s great to celebrate women’s bodies and all of the ‘flaws’ and foibles that come with it. Paintings are a wonderful medium that achieves this. This is a lovely example, especially from an Australian painter. Hugh Ramsay has a very real and sentimental style to his paintings.

RMIT University Design Collection

Hugh Ramsay

Untitled (Nude study - female model, half-draped, back view), 1895 Oil paint on linen canvas

72 x 56.3 cm

Gift of Mrs JO Wicking, 1947

RMIT University Art Collection

Photograph of Clement Meadmore and George Kral (1958) Digital reproduction of photograph of Clement Meadmore (L) and George Kral (R)

Works by Leanne Sta Ana

I can hear the sun

Inspired by a state of prolonged self-isolation, Sta Ana reveals beauty in the truths of solitude and everyday life in I CAN HEAR THE SUN, a coming of age French short film about a young woman who meets someone new on her birthday as she takes a walk in the woods

Short film link: https://youtu.be/bOoRF3mtGpY

Film still

I CAN HEAR THE SUN (Sta Ana, 2020)

Phoebe Thompson

Phoebe Thompson is a multi-disciplinary visual artist and poet living & working on unceded Boon Wurrung land in Naarm. Utilising text, abstraction and representation, their practice places value on intuition and sentimentality, as it investigates the connective overlap of personal catharsis with common experiences. They are currently studying a Bachelor of Fine Arts at RMIT.

Selected works from RMIT Culture collections and International Collections

John Wolseley, Sea Wrack: Tide after Tide - Baniyala, 2010

My wonderful year twelve art teacher, Luisa Bezzi, took our class to a talk by John Wolseley during his exhibition Heartlands and Headwaters. I was struck by the exuberance inherent in his art-making. Ingrained in my consciousness is an action from a video he showed us: Wolseley diving into a muddy lake to retrieve a decaying pelican corpse, which he then covered in ink and heaved onto paper as a primitive print-making tool. The integration of natural material, the moment of finding inspiration and seizing it, and the pleasure of unpredictability have stuck with me since.

John Wolseley

Sea Wrack: Tide after Tide - Baniyala, 2010 
etching on hahnemühle paper

Edition: 3/50

49.5 x 62 cm (platemark), 78.5 x 68 (sheet)

Purchased through the RMIT Art Fund, 2010 RMIT University Art Collection

Rosalie Gascoigne, Galahs Rising, 1984

I adore the way Rosalie Gascoigne creates subtle beauty from found objects, the choices revealing a life before they were chosen to become artwork. My practice often involves the searching for, and selection of discarded or used objects and treating them with softness. I find this piece endlessly elegant: the subtlety of the hues and the way the repeated undulating lines are echoed by the natural patterns in the timber grain. I’m riveted by the contrast between this careful consideration, and the industrial nature of these rough-hewn, raw segments of wood.

Cresside Collette
, Twenty Four Evocations of the Wet/Dry Landscape, 2011
 Cresside Collette's woven landscapes are so incredibly colourful and textured, imbued with the comfort that I find inherent in textile works. I love working with wool and fabric—it brings to mind the crafting of my grandmother, my mother, and my sister, and it allows me to feel connected to the time-honoured female textile tradition. I find that in capturing an image, there's a way that it is held tenderly—first in the mind, then made permanent. This feels immensely evident in the way Collette has recreated these landscapes at different stages with the slow, meditative act of weaving.

Gascoigne

Cresside Collette
 Twenty Four Evocations of the Wet/Dry Landscape, 2011 Wool and cotton
 90 x 90 cm (installation; comprises twenty-four panels, each 20 x 13 cm) Purchased through the RMIT Art Fund, 2014 RMIT University Art Collection

Link to artwork: https://www.roslynoxley9.com.au/artwork/john-wolseley-sea-wrack-tide-after-tide-baniya la-2009/33:14590

An empty bus stop in a familiar place

During isolation, I’ve been walking the streets more than ever. I feel a sentimentality towards the sameness of the suburban streets that I know so intimately. Walking alone, I find myself noticing moments of minutiae, specific to me, yet echoing intermittently in the memories of others or the streets that they walk. An empty bus stop from across the road called to me on a melancholic meander: the way the light reflects, the way it exists almost ornamentally and its usually familiar function feels presently foreign. Who’s going anywhere?

2020

132 x 73 mm

Phoebe Thompson

an empty bus stop in a familiar place acrylic paint on salvaged wood

The sun sets daily while we sit still

There seems to exist a perpetual stasis, unsettled upon Melbourne, while we settle into our slippery routines and find solace in small comforts. Each arriving month is heralded by a chorus of ‘Can you believe it’s this time already?’. We lament our useless diaries, and social media memories show me alien moments from another life: a festival, a different country, a hug. Despite it all, nature continues: the trees drop leaves, bitter winter drifts away, the springtime flowers arrive and leave in a revolving cast that move too quickly for my liking. The sun keeps on, and so do we.

A phone box held dear & never used

I pass this phone box regularly, yet it exists as a strange partial knowledge where I can’t, with absolute certainty, recall which one it is. An archaic phone box strikes me as the perfect metaphor for the struggle to connect in isolation, so much so that while I paint I wonder if it’s too heavy-handed. Endlessly walking, I feel like a moth drawn to lights—warm-glowing within windows, offering outstretched safety in dark streets. I hold these nondescript moments tenderly, and paint them on wood that has been salvaged from the street in the same way.

Phoebe Thompson
 the sun sets daily while we sit still acrylic paint on salvaged wood

Phoebe Thompson
 a phone box held dear & never used
 acrylic paint on salvaged wood
 2020

Sally Won

Won Nan (Sally) is a Bachelor of Arts (Photography) student at RMIT University. She creates photographs containing both Abstract and Realism in images and portrays the position she stands within the world. The primary genre she is passionate is contemporary art photography.

Selected works from RMIT Culture collections and International Collections

Roger Kemp, Rhythm Combination, 1970-75

The image consists layering of colour, pattern and creating shape and dividing the image into light and dark shades. Every time I see the work, my brain builds a new colour within the artwork, creating more layers and making it more complicated. I like how the artwork is like thoughts. The image is creating something new within itself, making it more complicated or simple. It reflects on my current state of feeling lost and complicated due to the impact of the pandemic.

Roger Kemp

Rhythm Combination, 1970-75

Gouache on paper

141.8 x 194.2 cm

Purchased by the RMIT School of Art, 1977 Edward Collection, RMIT University Art Collection

Lisa Roet, Chimpanzee Hands, 2007

This sculpture has a special meaning to my life as a student at RMIT. It is placed in front of Building 6 (City Campus), and every time I go to class, I would see this sculpture. For the past three years of my life at University, I see this sculpture and remind myself with the excited, nervous and creative feeling I felt on the first day. The placement and the shape of the statue open up the possibilities, future of my creative life. The positioning of the hands is like as if it is transferring me the power to stay strong.

Lisa Roet Chimpanzee Hands, 2007 Bronze Edition: 1/6

Right hand 103 x 44 x 23 cm (irreg.); left hand 97 x 42 x 25 cm (irreg.)

Purchased through the RMIT Art Fund, 2012 RMIT University Art Collection

Link to artwork: https://artcollection.rmit.edu.au/?p=rmit-gallery-search#details=ecatalogue.167

Judy Napangardi Watson, Majardi Jukurrpa, 2008

Continuing and respecting the Aboriginal culture and creating artwork in a more modern aspect to allow more audience to engage with the traditional culture and learn more about it. The intention of the artist’s artwork has worked on me as someone who enjoys Contemporary art—allowing more interest to look into the Aboriginal culture with the colourful design of work. Therefore, it is allowing me to learn more about the place and people of Australia as an international student wanting to gain more knowledge about the place I live and learn.

Judy Napangardi Watson

Majardi Jukurrpa, 2008

Screenprint on paper

Edition: 25/45

50 x 40 cm (image), 69 x 55 cm (sheet)

Purchased through the RMIT Art Fund, 2010 RMIT University Art Collection RMIT.2010.16:4

Works by Sally Won

Lose

Feeling lost during the most challenging time of the year of 2020, lost of identity and unstable mental state. I was wanting to disappear and felt like disappearing from this world, the in-between of unsure and displacement. Trying to stay creative as an artist stuck at home during the pandemic, it was challenging to stay positive and make “aesthetically pleasing” work. Therefore, re-defining the idea, I made my own “aesthetic” images making the dark thoughts pretty with bright and clean photographs.

Nan Won ‘Lose’ (2020)

Digital Photograph 21 x 29.7 cm

Yuchen Xin

Born in Shanghai in 1998, now working and living in Melbourne. Yuchen Xin’s artist practice explores the ideas relating to human conditions and unconscious self-expression through various mediums. The unique anthropomorphic characters she creates engage both her personal universe and the common moments in human conditions. She considers her characters to have aspects of absurdity, strangeness, and craziness like all human beings but meanwhile, still retain a lovable quality.

Selected works from RMIT Culture collections and International Collections

Kevin Mortensen, Cassowaries, 2013

This sculpture accompanied me countless days and nights in Building 2. I have walked past it millions of times thinking why three identical cassowaries? They look so serious and so absurd, staring intently at the direction of the elevator like a giant two-legged three-headed monster guarding the entrance of the building. Or maybe it is actually an instrument? That you have to hit them on the heads to perform the most beautiful music in the world to get the chance to take the elevator upstairs?

Kevin Mortensen

Cassowaries, 2013

Bronze and paint

141 x 210 x 82 cm

Purchased through the RMIT Art Fund, 2013

RMIT University Art Collection

Lisa Roet, Chimpanzee Hands, 2007

The gesture of the Chimpanzee Hands reminded me of the palms of the Buddha in the TV series I watched when I was a kid. They are able to zoom infinitely, and no one can escape his palms, not even the Monkey King. One day I passed by and found that they were wrapped up with a note that said they were sent to repair. I was shocked, who has the power of destroying the palm of the Buddha? I must know who it is. . .

Roet Chimpanzee Hands, 2007.

Lisa

Bronze Edition: 1/6

Right hand 103 x 44 x 23 cm (irreg.); left hand 97 x 42 x 25 cm (irreg.)

Purchased through the RMIT Art Fund, 2012

RMIT University Art Collection

Bird Flu Mask

Bird flu, a viral infection that can infect not only birds but also humans and other animals. Use the Bird Flu Mask and give it to your beloved pets, enter a world without bird flu.

Stay at Home 2

Bird Flu Mask

Fabric, mesh, dried slime, oil paint, texture gel

15 x 5 x 23 cm

2020

Stay at home 2 explores the unsatisfied reality under the current quarantine situation, where my studio was forced to merge with the living environment. At a certain level, quarantine is an ideal environment for self-scrutiny and unconsciously self-questioning. The storyline of this video was based on my imagination and anxiety towards this period of claustrophobic aloneness. The work examines and investigates the world we live from a personalised absurd narrative perspective. It is an extension of my state of mind and myself in the current moment of making.

Video link : https://vimeo.com/417098630

Stay at Home 2 single channel video audio Duration 1’’35

03

Yeah?

Yeah? (2020), is an assemblage sculpture piece made up of waste everyday material I collected. Its form is very much dictated by the choice of materials, I believe it is during the collecting and finding process that the value of these object is redefined, not as waste, but rather as an idea or method to evoke expression. In another sense, the choice of ready-mades and assemblages reflect every aspect of our lives, and through our aesthetics, indicate who we are as a person.

Yeah?

Rainbow duster, stool, Christmas decoration, fake flower, glove, gift wrapping 20 x 55 x 60 cm

2020

Museum of Me

Curated by :

Amy Bartholomeusz

Hui Wen Beverly Hew

Cristina

Ulloa Sobarzo

RMIT Gallery website

19 October – 5 March 2020

Acknowledgements:

The curators would like to thank all the participating students who engaged with RMIT’s Cultural Collections and allowed us to showcase their amazing creative work that they have taken up throughout the year. Their creativity and resilience during this truly difficult year is palpable.

We would also like to thank RMIT Gallery for this opportunity. Although we cannot get that in-person gallery experience, the online platform still allows a sense of virtual connection between all those participating.

Special thanks to RMIT Gallery curator, Helen Rayment, and Manager of Public Engagement, Evelyn Tsitas for their invaluable guidance throughout the entire process –without whom, the exhibition would not be possible.

Thank you to RMIT University Collections and Archives Manager, Elizabeth Marsden, RMIT University Curator Collections, Jon Buckingham and Curator Officer, Ann Carew, for helping us ensure that all the art from RMIT's Cultural Collections were credited correctly and to the highest standard.

Additional thanks to Alex Yeap and Vivian Cooper for their help and advice in making the website collating experience as smooth as possible.

RMIT Gallery / RMIT University

www.rmitgallery.com

344 Swanston Street Melbourne Victoria 3000

Tel: +61 3 9925 1717 Fax: +61 3 9925 1738

Email: rmit.gallery@rmit.edu.au

Catalogue published by : RMIT Gallery  October 2020. Online publication.   978-0-6484226-8-6

Graphic design:  Hui Wen Beverly Hew

Catalogue editors: Amy Bartholomeusz Cristina Ulloa Sobarzo

RMIT University acknowledges the people of the Woi Wurrung and Boon wurrung language groups of the eastern Kulin Nations on whose unceded lands we conduct the business of the University. RMIT University respectfully acknowledges their Ancestors and Elders, past and present.

RMIT also acknowledges the Traditional Custodians and their Ancestors of the lands and waters across Australia where we conduct our business.