Grad Show 2004 - School of Art

Transcription

green
2004 GRADUATING STUDENT CATALOGUE
ANU School of Art
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Director’s Foreword
green:2004 graduating students exhibition is a celebration. It marks
the culmination of studies by candidates for the Bachelor of Arts (Visual) with Honours;
Bachelor of Arts (Visual); combined degrees and the Diploma of Art at the Australian National
University School of Art. The achievements are of students who have come to the Australian
National University from the local region, elsewhere in Australia and from overseas.
Courses at the ANU School of Art offer in-depth studies in a variety of visual arts and crafts
disciplines in a stimulating tertiary environment and in well equipped workshops. Students
have the opportunity to combine degrees, can participate in field studies, computer studies,
artist books, papermaking and applied design, which complement and enhance their studio and
art theory programs. All our lecturers are professional artists and craftspeople. They are great
assets to the School and the University and the students benefit greatly from their experience
and expertise. The Schoolʼs active Visiting Artists Program complements the teaching staff
and the lively student exchange program offers new experiences to those who study overseas
as well as bringing students from all over the world to our campus.
green:2004 graduating students exhibition is a large scale exhibition
presented in the ANU School of Art Gallery, Foyer Gallery, Photospace and in Workshop
spaces throughout the School. The ANU School of Art Gallery shows a single work by each
student produced in their final year of study. Further works can be seen in Workshop exhibitions
around the school, to which the public is welcomed.
Every December we join our graduating students to celebrate their accomplishments. It is an
exciting time of year when months of preparation culminate in the succesful production of
this full colour catalogue and grand scale exhibition.
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The ANU School of Art thanks Patsy Hely, Honours Co-ordinator; Anita McIntyre, Visiting
Fellow and Student Academic Advisor; and the academic staff and technical officers from all
Workshops, all of whom have worked with the School of Art Gallery staff Bronwen Sandland,
James Holland and Julie Cuerden-Clifford, to make green:2004 graduating
students exhibition a great success.
Patrons of our Emerging Artists Support Scheme (EASS) continue to support our graduating
students as they start their professional careers. We gratefully acknowledge and thank
our many EASS Patrons for their dedication and enthusiasm for this program, this year
co-ordinated by Waratah Lahy.
Finally, congratulations to the graduates of 2004, on their impressive achievements. I
commend their work to audiences now and in the future. The ANU School of Art staff and
students wish all the graduates successful and productive careers and invite them to remain
an active part of the ANU through our national and international Alumni networks.
Professor David Williams
Director
School of Art
Australian National University
December 2004
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EASS
Emerging Artist Support Scheme
The Australian National University School of Artʼs successful Emerging Artists Support
Scheme (EASS) has been operating for the past fifteen years. Many of our patrons such
as Mallesons Stephen Jaques, NECG, KPMG and the Australian National University have
supported ANU School of Art graduates throughout this period. We are always pleased to
welcome new and continuing patrons to the 2004 EASS program. Through this scheme
patrons can sponsor awards, scholarships, prizes and commissions, can acquire art for their
own collection or borrow works through the EASS Loan Scheme.
The ANU School of Art and its graduates greatly appreciate this support from the ACT
community. Such generous sponsorship from local business and arts organisations
represents assistance for graduating artists at a time when it is most valuable; at the
commencement of their independent studio practice. The scheme also plays a significant
role in encouraging emerging practitioners to remain in the region. In this regard the
residencies and exhibition opportunities offered by Megalo Access Arts Inc., PhotoAccess,
Strathnairn Arts Association, Canberra Contemporary Art Space, Craft ACT, M16, The
Hive, Belconnen Arts Centre, Tuggeranong Community Arts Centre, Canberra Grammar,
Hawker College and the Potterʼs Society are particularly valuable.
The ANU School of Art Emerging Artist Support Scheme continues to provide much needed
support for artists as they graduate, establish an independent practice and contribute to
the lively and growing visual arts community from which we all benefit. The Australian
National University School of Art expresses appreciation and thanks to all EASS Patrons
and this yearʼs EASS Coordinator, Waratah Lahy.
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With Thanks to our
Patrons
MAJOR SPONSOR
NECG: Network Economics Consulting Group
SCHOLARSHIPS, AWARDS & PRIZES
Peter and Lena Karmel Anniversary Award
Embassy of Spain Travelling Scholarship
Nigel Thompson Travelling Scholarship
Pamille Berg & Robin Blau Logos Award
Canberra Museum and Gallery Award
Westende Travelling Scholarships
ANU School of Art Drawing Prize
NECG Honours Scholarships
The Kamberra Glass Prize
Neil Roberts Award
Parker Financial Award
Hiroe and Cornel Swen Award
The Burgmann College Art Scholarship
The PIE Award in memory of David Watt
ANU Research School for Pacific and Asian Studies Award
King O’Malley School of Art Graduate Materials Award
ANU Centre for Resources and Environmental Studies Award
The Artists Society of Canberra Inc. Travelling Scholarship
Australian Decorative and Fine Arts Society, Canberra Inc. Award
EASS ACQUISITIVE AND LOAN COLLECTION AWARDS, SPONSORED BY:
Mallesons Stephen Jaques Solicitors (Founding Patron)
The Australian National University Art Collection
Animal Health Australia, ACT
ACT Legislative Assembly
The ANU School of Art
Chamberlain Law Firm
Comsuper
KPMG, Canberra
Rarified: Art, Framing, Design
NECG: Network Economics Consulting Group
Independent Competitions and Regulatory Commission
The Australian National University Public Artworks Program
SUBSCRIPTION & MATERIALS AWARDS, SPONSORED BY:
Art Monthly Australia + Ceramics Art and Perception +
Clay Works + Object Magazine + Walker Ceramics + Pottery in Australia
RESIDENCY & EXHIBITION AWARDS, SPONSORED BY:
Canberra Contemporary Art Space + Craft ACT: Craft and Design + National
Gallery of Australia + Megalo Access Arts Inc + PhotoAccess + Strathnairn Arts
Association + Finlay Press, Braidwood + Tuggeranong Arts Centre + Canberra
Potters Society + The Hive + Belconnen Arts Centre + BowerHouse Gallery + Helen
Maxwell Gallery + Canberra Spinners and Weavers + Hawker College + Canberra
Grammar + Alliance Francaise + ANCA (Australian National Capital Artists)
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Index Of Artists
Surya Bajracharya
Nerida Barber
Sonja Barfoed
Ana Biffin
Annette Blair
Megan Bottari
Alexander Boynes
Jovica Bozic
Sian Bradfield
Richard Broers
Beverly Bruen
Leah Bullen
James Campbell
Belle Charter
Ragen Chisholm
Trevelyan Clay
Rob Cowan
Liza Crowe
Amelia Davies
Aaron de Smet
Lara Doolette
Erin Duffield
Paul Dumetz
Sonar English
Zoe Olivia Evershed
Deirdre Feeney
Erin Field
Janet Fieldhouse
Annette Fisher
Peta Faherty
Daniel Flood
Raquel Gabiola
Caroline Giddings
Madeleine Gisz
Jozsef Godolley
Robyn Gough
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94
9
95
96
27
28
38
42
75
122
140
43
76
77
44
45
123
124
141
39
125
126
10
153
78
29
97
11
46
98
47
154
99
155
12
13
30
48
142
14
49
31
100
127
50
101
32
51
79
102
15
128
52
16
143
156
53
54
80
103
17
81
104
105
82
55
33
129
130
18
34
56
Akie Haga
Jeanie Hancocks
Willow Hart
Maryke Henderson
Karina Henderson
Gabrielle Heywood
Stephanie Hicks
Melanie Rose Hind
Greg Hodge
Julie Holmes
Jessica Holtz
Johnny Hu
Alex James
Manal Jbeili
Chiko Jones
Libby Jones
James Kapociunis
Ben Kendon
Libby Kennedy
Julie Kennett
Karena Keys
Jason Kidd
Beth Kiernan
Mark Kobal
Choi Ling (Elaine) Kong
Magda Ksiezak
Julian Laffan
David Lightfoot
Stan Lim Ching Huat
Trish Linehan
Colin Lister
Kristie Mack
Gaida Macs
Helen Martin
Lee Mathers
Elsie McAndrew
Index Of Artists
Lauren McCarthy
Carmel McCrow
Andrea McCuaig
Aimée McLeod
David McRoberts
Casey Meyen
Nazanin Moradi
Calli Moreing
Beverley Moxon
Marina Neilson
Leanne Newman
Amy Nguyen
Aki Nishiumi
Sarina Noordhuis-Fairfax
Patrick Norris
Emily O’Brien
Meelan Oh
Rose Osborne
Cathy Paver
Emma Pickering
Robyn Porritt
Rachel Pringle
Emma Rees
Trevor Reid
Anita Reynolds
Sandy Rickert
Meg Roberts
Flora (Ola) Robertson
Derek Ross
Christine Rushall
Paula Sammut
Yoriko Sato
Simon Scheuerle
Stephanie Scroope
Jayde Shavak
Kerry Shepherdson
83
57
58
19
131
106
107
144
145
108
109
110
84
111
35
40
112
85
59
86
20
60
146
149
113
132
61
148
62
149
87
114
133
63
150
64
115
65
66
116
88
89
134
67
135
90
68
36
21
91
151
136
22
69
70
71
23
117
157
24
158
92
137
159
118
72
73
119
138
25
120
Demelza Sherwood
Jason Shuttleworth
A.G.Stokes (Ann Smith)
Kate Smith
Ben Smith-Whatley
Charles Sofo
Merryn Spencer
Peggy Spratt
Daniel Stewart-Moore
Tess Stewart-Moore
Penny Stott
April Surgent
Joel Tan
Timothy Thomas
Alanna Thorley
Claire Tracey
Clementine Underdown
Frank Van Brunschot
Annie Van Limbeek
Christopher Wanklyn
Sharon Wessels
Eessu Witcombe
Forrest Whitten
Robyn Whitworth
Derek Wiffen
Heather Wilkins
Fiona Wilson
Henry Wilson
Sarah Woods
Paul Wotherspoon
Gina Wyatt
Susannah Wyeth
Shannon Wykes
Kaede Yamada
Yoko Yamaguchi
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Ceramics
Nerida Barber + Paul Dumetz + Janet Fieldhouse + Jozsef Godolley
+ Robyn Gough + Maryke Henderson + Chiko Jones + Ben Kendon +
Choi Ling (Elaine) Kong + Helen Martin + Aimée McLeod
+ Robyn Porritt + Joel Tan + Clementine Underdown
+ Sharon Wessels + Robyn Whitworth + Kaede Yamada
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Nerida Barber
Diploma of Art
... this work is indicative of my quest for serenity, harmony and humour.
Minuet 2004, Southern Ice porcelain, wheelthrown, turned by hand and polished. Fired to cone 10, oxidation, and glazed on the inside
with a limestone glaze, 6.4 x 10 x 9.2 cm, 7.5 x 12.5 x 12.5 cm, 9.2 x 11.5 x 12 cm. Photo: ANU Photography.
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Paul Dumetz
Bachelor of Arts (Visual)
My work aims not only to reflect sheer beauty, but also to reflect my passion for both drawing and
ceramics. Animals are important for my art because they symbolize all the important aspects for my
work – beauty, character, expression, power, nature and purity.
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Gang of Blue tongues 2004, stoneware, cobalt slip, sgraffito technique, 10.9 x 10.8 x 9.7 cm.
Janet Fieldhouse
Bachelor of Arts (Visual) Honours
My work is an expression of material culture, rituals of social and religious life, and artifacts which
are created to fulfill the functional and spiritual needs of peoples of the Torres Strait.
Bridal Pendants 2004, ceramic, 8.9 x 11 x 36.2 cm. Photo: Sean Booth.
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Jozsef Godolley
Diploma of Art
With my work I have expressed my deep feelings for the Kimberley’s where I have lived for over 12 years.
The Boab tree represents a great strength with it’s shape, toughness and beauty. The aeroplanes are
big part of my life. I have expressed my feelings for nature and machines in these images.
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Boab Series 2004, maiolica, left: Ø28 cm, right: Ø25 cm.
Robyn Gough
Diploma of Art
I have begun an adventure to last a lifetime, an exploration of the interaction between clay and soda
vapour. One exciting discovery has been the formation of a beautiful glass drop.
Am I blue? 2004, soda glazed porcelain, dimensions variable. Photo: Robyn Whitworth.
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Maryke Henderson
I like to think of my work in terms of presentation, rather than representation. These works involve
the space around and therefore the person who may happen to be in that space, building a relationship
between themselves and the vessel. I wonder if the everyday use of these vessels in the home, may
change them and the moment into something more, that they have the potential to take on their own
identity, uniting as one, form, function, surface and substance and interacting with the user by asking
to be used. These are thrown pieces, cut and manipulated to form the handle while the clay is still
plastic and joined to the base.
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Bowl 2004, stoneware, soda glaze, 30 x 6 cm. Photo: Melody Gough.
Chiko Jones
Diploma of Art
This work is about an investigation and research into the technique of colour clay lamination and
shellac resist on the surface of porcelain and creating an image that takes viewers beyond the confines
of the form.
Distant Shores 2004, Southern Ice porcelain, 16 x 8 x 7 cm, 11 x 8 x 7 cm. Photo: ANU Photography.
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Ben Kendon
Diploma of Art
My inspiration originates from colour, light and pattern, as seen in landscape both terrestrial and
celestial. My ceramic focus in 2004 has been an exploration of this theme, through the application of
glazes suited to reduction firing to wheel thrown forms.
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Near Surface, Bowl and Vase Forms 2004, ceramics, bowl 8 x Ø28 cm.
Choi Ling (Elaine) Kong
Diploma of Art
Eternity. In my belief, only God is eternally existent. And, seeking eternity is indeed in the heart
of everyone. Expressing eternity is a strong passion that leads the whole journey of my works. It is
not just a physical journey but also a spiritual one. One may discover meaning through the unseen
mystery.
Eternity #7 2004, slab built stoneware with terrasigillata slip, 29 x 24 x 25 cm.
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Helen Martin
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Dreams and memories: made with love 2004, glazed knitting, 5 x Ø12 cm.
Aimée McLeod
Diploma of Art
Koru Vessel 2004, earthenware, 39 x 60 cm, 26 x 50 cm. Photo: ANU Photography.
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Robyn Porritt
Diploma of Art
Installations to capture the ethereal and ephemeral elements of flowers and fungi. Pieces are articulated
on stainless steel wires giving a lightness and movement to the work and a contrasting permanence which
nature does not.
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Fungal Fantasy 2004, clay discs, fired 1200, oxidation, stainless steel wires, steel tray, and
support frame, 112 x 52 x 40 cm. Photo: ANU Photography.
Joel Tan
Diploma of Art
Untitled 2004, ceramics, dimensions variable.
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Clementine Underdown
Diploma of Art
These forms are the tangible expression of the relationship between trees and man. How we are both made
up of layers of texture and colour. We each carry scars and need to bend and twist with our experiences.
Our survival is interdependent upon each other. If the essence of the tree is lost, will we be lost?
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Gardians of the Earth 2004, ceramics, 54 x 8 x 5 cm, 27 x 6 x 6 cm, 64 x 16 x 7 cm.
Sharon Wessels
Mogreen 2004, photograph, Seoul, South Korea, dimensions variable.
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Robyn Whitworth
Diploma of Art
While walking through the landscape I absorb sights, sounds and smells and I feel trees, plants,
rocks, soil, snow and sand - the textures of nature. These are my inspiration. As in nature no two
are the same, each is shaped by the clay, the tool, my mood, and how they are fired.
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See Me Series 2004, porcelain, 15 x 20 x 15 cm, Hold Me Series 2004, porcelain, soda fired, 7 x 5
x 5 cm, Hold me Series 2004, stoneware, soda fired , 10 x 5 x 5 cm.
Kaede Yamada
Fruit Series 2004, porcelain with overglaze enamel, 10 X 10 X 8 cm.
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Glass
Annette Blair + Megan Bottari + Deirdre Feeney + Akie
Haga + Gabrielle Heywood + Jessica Holtz + Colin
Lister + Lee Mathers + Patrick Norris + April Surgent
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Annette Blair
My work is an exploration into the combination of portraiture and traditional blown glass techniques. I
use the individual vessel as a container of memory and the repetition of these vessels as an expression
of personal identity.
self portrait (detail) 2004, blown glass, dimensions variable.
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Megan Bottari
As a writer-turned-visual-artist it is hardly surprising that my creative bent should
remain firmly rooted in narrative. My Honours work, ostensibly about the Ned Kelly story,
delved into the socio-historic in order to investigate the psychological landscape that yet
gives warp to our enduringly rebellious national character. Capturing a graphic sense of
arrested violence, the gunshot landscape alludes to the mountainous terrain of the Wombat/
Strathbogie Ranges from whence Ned and the boys were calamitously propelled irrevocably
into outlawry following the police ‘massacre’ at Stringybark Creek.
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Great Savage Land 2004, gunshot plate glass, 180 x 30 x 35 cm. Photo: John Boucher.
Deirdre Feeney
Untitled 2004, video still of digital animation on cast glass, 26 x 26 x 16 cm.
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Akie Haga
The past is never dead. It’s not even past.
William Faulkner, As eve said to the serpent; Georgia: University of Georgia Press, 2001, p.192.
The past dwells as a ‘stain’ under the skin. The body is the vehicle of the mind, and the mind is
the canvas of the body. The interplay between the physical realm and the psychological realm is the
fundamental theme of my work.
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When Seeing the Echoes in a Forest 2004, glass, dimensions variable.
Gabrielle Heywood
This work looks at rural landscapes, human habitation and the disappearing remnants of the natural
world. My work reflects both a sense of being in this landscape and the observations of the rapid
depletion of surrounding natural entities in favour of the remodelled, the constructed and the built
environment.
Forest from Landscape Veneers Series 2004, float glass, low fire enamels, 35 x 120 cm. Photo: ANU Photography.
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Jessica Holtz
These wall forms are a way of expressing intangible moments or emotions. I am trying to capture that
essence of a moment, such as a passing cloud.
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Cloudscape 2004, fused and sandblasted glass, largest piece: 24 x 10 cm.
Colin Lister
Cyber culture has been the guiding influence in my work exploring the concept of customisation and
interactivity and the role choice plays in the design of a hyper consumer object. The user can
decide for them selves what colour and what feature panel or “skin” is included into the bowl.
interactive bowl project, yellow with skin 2004, hot blown glass and metal with magnets, 17 x 17 x 17 cm.
33
Lee Mathers
lightly shadowed
sanely insane
pleasurable pain
wakeful sleeping
beautifully grotesque
whispered screaming
can you feel me...
living dying.
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untitled 2004, glass, dimensions variable.
Patrcik Norris
Sculpting Spectral Light 2004, glass, stainless steel, 110 x 60 cm.
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April Surgent
My work is a discussion about place. I capture the being of places as I have experienced them.
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Melbourne 2004, glass, 20.5 x 14 cm.
Gold and Silver
Alexander Boynes + Aaron de Smet + Emily O’Brien
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Alexander Boynes
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(above) While They Slept...(Danny and Mia) 2004, (below) While They Slept...(Kukame and Laura) 2004,
aluminium, polypropelene, halogen lighting, 40 x 60 x 10 cm.
Aaron de Smet
A water vessel is designed to hold liquid. I have taken the approach to my work that the vessel should
reflect that which it is holding, embracing the fluidic nature of the substance, like a droplet falling
into a body of water.
Water vessel 2004, silver plated-gilding metal, anodised aluminium, 27 x 27 x 30 cm.
39
Emily O’Brien
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Hair Chairs 2004, anodised aluminium and enamel paint resist, dimensions variable.
Painting
Jovica Bozic + Leah Bullen + Ragen Chisholm + Trevelyan Clay + Annette
Fisher + Daniel Flood + Jeannie Hancocks + Karina Henderson + Greg
Hodge + Johnny Hu + James Kapociunis + Karena Keys + Jason Kidd +
Trish Linehan + Elsie McAndrew + Carmel McCrow + Andrea McCuaig +
Cathy Paver + Rachel Pringle + Meg Roberts + Derek Ross + Stephanie
Scroope + Kerry Shepherdson + Jason Shuttleworth + A.G.Stokes (Ann
Smith) + Peggy Spratt + Penny Stott + Frank van Brunschot + Annie
van Limbeek + Christopher Wanklyn + Paul Wotherspoon + Gina Wyatt
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Jovica Bozic
I am working with imagery of the human body, mainly focused on self-portraiture. In this body of work I am
exploring aspects of my identity, with particular reference to the religious frescoes of the Byzantine period.
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self-portrait #2 2004, acrylic on board, 87.9 x 79.4 cm. Photo: Simon Ramsey.
Leah Bullen
What draws you in is what slips away.
Bill Henson, lux et nox; London: Thames and Hudson, 2003, p.175.
23:57 2004, oil on canvas, 60 x 75 cm.
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Ragen Chisholm
I want to make paintings that root you to the spot, albeit for a split second.
Estelle Thompson, Estelle Thompson; London: Merrell Publishers Limited, 2001.
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Don’t Care 2004, oil on canvas, 148 x 118 cm.
Trevelyan Clay
Karen O standing near sand, oil on board, 67 x 107 cm.
45
Annette Fisher
Images of Angels, is an exploration of angelic moments, the positive moments in every day life. I have
been exploring ‘the angelic’ space, a space that has little room in the scientific and realistic realms
of contemporary society. I have embraced imagination, intuition, memory and even a space where the
spirit may preside.
46
Images of Angels - Memories and Reflections 2004, oil on canvas, 550 x 840 cm.
Daniel Flood
I just wanted to come here. It’s kind of embarassing. I had a dream about this place. I’m in here, but
it’s not day or night, it’s kind of half night, you know? But, it looks just like this, except for the
light. Of all people, you’re standing right over there. By that counter.
David Lynch, (Writer/Director) Mullholland Drive, Universal Studios, 2001.
Birthday 2004, oil on canvas board, 100 x 80 cm.
47
Jeannie Hancocks
48
Vast 2004, oil on canvas, 57.6 x 115.2 cm.
Karina Henderson
Green Stockings 2004, oil on canvas, 180 x 130 cm. Photo: Rachel Pringle.
49
Greg Hodge
50
Untitled 2004, oil on canvas, 130 x 90 cm.
Johnny Hu
untitled 2003, acrylic, 150 x 120 cm.
51
James Kapociunis
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Untitled 2004, concrete, acrylic, 91 x 60 cm.
Karena Keys
Painting on the one hand brings you back to physical reality … the thick oil paint, the bidimensionality
of the surface … But at the same time the imagery refers to other things. The memory of something ….
They do deal with physical reality and illusion simultaneously.
Jonathan Lasker, Jonathan Lasker, 1977-2003: Paintings, Drawings, Studies; Dusseldorf: Ruchter, 2003, p.113.
The time I dropped my honey chicken and it fell all over the road 2004, oil and digital print on canvas,
100 x 120 cm.
53
Jason Kidd
54
Self Portrait 2004, oil on board, 55 x 70 cm.
Trish Linehan
Portrait of Mum 2004, oil on canvas, 61 x 76 cm.
55
Elsie McAndrew
56
Movement 2004, oil paint on masonite board, 75 x 110 cm.
Carmel McCrow
Mind and body become indivisible in beauty. Beauty teaches me that my brain is a physical organ and
that ‘intelligence’ is not limited to thought, but entails feeling and sensation, the whole organism
in concert. Centrally involved is a subtle activity of hormonal excitation in or about the heart – as
between man and woman.
Peter Schjeldahl in Bill Beckley with David Shapiro (ed.s) Uncontrollable Beauty: Towards a New Aesthetics; New York: Allworth Press,
School of Visual Arts, 1998.
Perception 2004, oil on canvas, 60 x 90 cm.
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Andrea McCuaig
58
Untitled 2004, acrylic on canvas, 175 x 175 cm.
Cathy Paver
Breaking Borders 2004, oil, enamel on canvas, 90 x 90 cm. Photo: Derek Ross.
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Rachel Pringle
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Minnie Melody’s Meteoric Meltdown 2004, mixed media, 130 x 170 cm.
Meg Roberts
Bachelor of Arts/Bachelor of Arts (Visual)
Untitled 2004, acrylic and graphite on canvas, 100 x 70 cm.
61
Derek Ross
The natural environment is my focus as an artist, painter, photographer and printmaker.
I explore the various energies of nature and how it shapes our planet, addressing the
forces that challenge one’s ability to measure and comprehend.
62
Aftermath II 2004, oil on canvas, 107 x 92 cm.
Stephanie Scroope
Untitled (Andrea with Scarab Beetles) 2004, oil on canvas, 100 x 120 cm.
63
Kerry Shepherdson
… face to face with the space and light of the natural world, it is difficult to avoid
the realization that in time all must change and pass away, only to be ultimately renewed …
Graham Collier, Form, Space and Vision; Englewood Cliffs, New Jersey, USA: Third Edition by Prentice Hall Inc., 1972. p.66.
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Summer Satellite 2004, acrylic on canvas, 132 x 204 cm.
Jason Shuttleworth
No matter what kind of childhood you have, there’s a feeling of sensing more than just what your able to see in
front of you. A lot of information comes to us, not just in the form of words or pictures. That’s one of the things
I remember about being young.
David Lynch (filmmaker), Discussion of ideas and their origins, interview transcribed by Melissa Musser, KCRW Radio Station, Santa Monica, California,
USA; 19.02.1997.
Startling Revelations 2 2004, oil on board, 40 x 101 cm.
65
A.G.Stokes(Ann Smith)
My paintings may be termed landscapes, yet my interest is ultimately in the human condition. In my
latest works I have taken the suburban environment as a subject through which to convey mood, with
depictions of house and garden or suburban parkland expressive of an unexpected psychological state
of unease.
66
Autumn hanging 2004, oil on canvas, 50 x 85 cm. Photo: ANU Photography.
Peggy Spratt
The bushfires of January 2003 devastated the native forests in the ACT but the regeneration that
has occurred since has been remarkable, especially as we are still in drought. That re-growth
has been the inspiration for this series of paintings.
After the Fire 2004, acrylic on canvas, 120 x 80 cm. Photo: Brian Gunning.
67
Penny Stott
68
Motion in green and red 2004, oil and acrylic on canvas, 120 x 80 cm.
Frank Van Brunschot
Exploding matter 2004, oil on canvas, 150 x 120 cm.
69
Annie Van Limbeek
70
The Second Dead Bird 2004, oil on canvas, 100 x 80 cm. Photo: Hazel Lok.
Christopher Wanklyn
...and we have a good home 2004, acrylic paint, 76 x 110 cm. Photo: Simon Ramsey.
71
Paul Wotherspoon
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detail 2004, enamel on vinyl, 120 x 97 cm.
Gina Wyatt
Here it was … the sugary dreams of the poor, lonely six-year-old kid she’d be for the rest of her life.
Her pathetic, pretty rhinestone soul.
Chuck Palahnuik, Diary; London: Jonathoan Cape, 2003.
Delightful (detail) 2004, oil on canvas, 70 x 90 cm.
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Photomedia
Sian Bradfield + James Campbell + Belle Charter + Zoe Olivia Evershed + Alex
James + Beth Kiernan + Magda Ksiezak + Stan Lim Ching Huat + Lauren McCarthy
+ Aki Nishiumi + Rose Osborne + Emma Pickering + Paula Sammut + Ben SmithWhatley + Charles Sofo + Tess Stewart-Moore + Timothy Thomas + Heather Wilkins
74
Sian Bradfield
For my final body of work I combined traditional and digital photographic methods, and used them to
investigate spatial possibilities, colour, surface, depth and challenge the pictorial conventions
between 2D and 3D. I enjoy images that have a strong optical energy, so I strive to create this in my
own work.
Thistle #5 2004, c-type print, 125 x 125 cm.
75
James Campbell
76
After Hours Identity (Self Portrait – DJ RUSH) 2004, digital image printed on aluminium, 78 x 60 cm.
Belle Charter
untitled 2004, c-type print, dimensions variable.
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Zoë Olivia Evershed
Bachelor of Arts (Visual)Honours
I didn’t need to speak, I could lay my thoughts out in his mind like a sheet.
Jane Campion, The Piano; Australia: 1992, 117 min. (Signed by the character Ada.)
He was suddenly aware of the sound of language, and got swimming in the sea of sound, and guided his
intellect on sound rather than the dictionary associations with the meanings of sound.
Allen Ginsberg on Jack Kerouac in Douglas Kahn, Noise Water Meat – A History of Sound in the Arts; London: MIT Press, 1999.
78
still image from the video installation Lengualullaby 2004, digital video projection, dimensions variable.
Alex James
Winter 1852
Limestone histories #4 2004, c-type print, 130 x 95 cm.
79
Beth Kiernan
80
Untitled 2004 (details), video installation, data projectors, LCD screens, slide projector,
dimensions variable.
Magda Ksiezak
Untitled 2004, c-type prints, dimensions variable.
81
Stan Lim Ching Huat
The self is not just made up of what one thinks of oneself, it is also the interrelation amongst the myriad of
impressions conjured within the minds of others. One cannot be without the ‘Others’. In this era of globalization,
this project questions the definition of an individual’s identity in such a seemingly homogenous society.
82
pronouns 2004, digital inkjet print, 100 x 150 cm.
Lauren McCarthy
This work follows the familiar character Alice, beyond the non-sensical world created by
the author Lewis Carroll. Here, she appears as a fully grown women in a domestic realm. Vastly
different from the wonderland envisaged by Carroll, Alice’s new environment is banal and mandane.
Wonder Land 2004, c-type print, 20 x 24 cm.
83
Aki Nishiumi
84
Psycho Geisha 2004, c-type print, 90 x 100 cm.
Rose Osborne
Untitled #7 2004, digital print, 150 x 150 cm.
85
Emma Pickering
Take a closer look at your neighbourhood. You’d be surprised what you know. But it’s what we imagine
that intrigues us. The mood of each house tells a story, willing us to let our minds wander – have our
worst fears come true or has our obsession with watching gone too far?
86
Untitled from the series Inhabited 2004, digital print, 40 x 60 cm.
Paula Sammut
Untitled from the series Eucalyptus Botanical 2004, digital image, 150 x 100 cm.
87
Ben Smith-Whatley
Most visual representations of stories only show the outward appearance of a person’s struggle through
life’s problems. I aim to show what is going on in that person’s mind, giving the audience a greater
understanding of the feelings and thoughts racing through the character’s head.
88
Four stills from the video Inside the Mind of a Hopeless Romantic 2004, digital video, 10 min.
Charles Sofo
These are stills from a video. I asked 22 people to inflate a balloon until it burst. 11 people managed
to follow through with it. I got the idea while I was lying in bed.
Untitled, digital video, 4 min.
89
Tess Stewart-Moore
90
Bench 2004, c-type print, 70 x 90 cm.
Timothy Thomas
In an environment characterized by choice, and against a backdrop of domestic architecture, A Perfect
World rests in a zone between the sign and the signed, where a coded process raises questions about
the real in terms of representation, sign production and photographic discourse.
Big Hedge, A Perfect World 2004, ink jet print, 75 x 75 cm.
91
Heather Wilkins
92
Untitled from the series Backwards from towards the light 2004, digital inkjet prints, dimensions variable.
Printmedia and Drawing
Surya Bajracharya + Sonja Barfoed + Ana Biffin + Erin Field + Peta Flaherty
+ Caroline Giddings + Stephanie Hicks + Julie Holmes + Manal Jbeili + Mark
Kobal + Julian Laffan + David Lightfoot + Casey Meyen + Moradi Nazanin +
Marina Neilson + Leanne Newman + Amy Nguyen + Sarina Noordhuis-Fairfax
+ Meelan Oh + Anita Reynolds + Yoriko Sato + Demelza Sherwood + Kate
Smith + Eessu Witcombe + Sarah Woods + Susannah Wyeth + Yoko Yamaguchi
93
Surya Bajracharya
Meditations on the drawn line as the embodiment of all that we perceive as the physical world; this
is to contemplate an idealised, conditioned reality?
94
TV lightbox (1) 2004, lithograph, mdf, white enamel, perspex, 50 x 65 cm.
Sonja Barfoed
Golden Deals 2004, embroidery, 84 x 91 cm. Photo: Marcia Lochhead.
95
Ana Biffin
liminal zone: the space between knowing and feeling.
96
untitled (detail) 2004, graphite on drafting film, 100 x 3200 cm. Photo: Marcia Lochhead.
Erin Field
I am interested in the way we attempt to order the objects, relationships, places and images surrounding
us in order to gain a sense of control and power. I see the grid as a tool used to order and structure
organic occurrences; it provides a structure for understanding the objects to which it is applied or
created from.
Untitled 2004, vinyl, mdf, polyester filling, buttons, thread, 47 x 47 cm.
97
Peta Flaherty
98
Untitled 2004, screenprint and acrylic on MDF, 100 x 100 cm. Photo: Michael Flaherty.
Caroline Giddings
Optimism for a good season turns to expectation and then waiting becomes a way of life as we hope for
rain. If dry is broken by flood, relief is uncertain. Abstract images evoke emotions of isolation and
hardship while there is recognition of erosion, staining, dissolving, landscape and the microscopic.
Uncertain Tides IV (detail) 2004, etching, 73 x 58.5 cm.
99
Stephanie Hicks
Photographs show people being so irrefutably there and at a specific age in their lives; group together
people and things which a moment later have already disbanded, changed, continued along the course of
their independent destinies …
Susan Sontag, On Photography; Harmondsworth: Penguin Books, 1979, p.70.
100
120343834 2004, polaroid photograph, 11 x 9 cm.
Julie Holmes
Your body can feel awkward and uncomfortable.
Your body can feel strange and unfamiliar.
You can feel trapped in your body.
Untitled 2004, photocopy release and graphite on Hahnemuhle paper, 75 × 52 cm. Photo: Marcia Lochhead.
101
Manal Jbeili
102
Fingan Ahwae 2004, digital print, 21 x 30 cm. Photo: Marcia Lochhead.
Mark Kobal
The subject of my work is located within the domestic environment of the home. The recent work I have
produced explores paradoxes that are a part of what I have labelled the Adult Life of Comfort and Comfort
of Home, which in the context of the domestic environment of the home aims to explore the emotions of
detachment and distance and ultimately psychological discomfort.
Photographer Du Bois is quoted in an essay that appeared in a text entitled Pleasures and Terrors of
Domestic Comfort, and comments on a similar theme of distance and detachment in the context of his own
family: In my most intimate photographs there is a detachment that speaks of my isolation. I no longer
see my family as an assured source of comfort but as part of the confusion of my adult life. In the
conflict between intimacy and detachment, I feel the loss of my childhood family.
Peter Galassi, Pleasures and Terrors of Domestic Comfort; (New York: Museum of Modern Art, 1991, p.22.
Comfort of Home 2004, towelling covered furniture, installation, dimensions variable.
103
Julian Laffan
104
true history 1-30 (detail) 2004, woodcuts on marine ply, 13.5 x 14.5 cm.
David Lightfoot
How exquisitely the individual mind to the external world is fitted – and how exquisitely, too the
external world is fitted to the mind and the creation (by no lower name can it be called) which they
with blended might accomplish.
William Wordsworth in Jack Cohen and Ian Stewart, The Collapse of Chaos; New York: Penguin Books, 1994.
Emergent Phenomena 2004, acrylic paint, ink, MDF, dimensions variable.
105
Casey Meyen
Mankind … its self-alienation has reached such a degree that it can experience its own destruction as
an aesthetic pleasure of the first order.
Caroline Tisdall and Angelo Bozzola, Futurism; London: Thames and Hudson, 1977, p.17.
106
Untitled 2004, screenprint, 57 x 76 cm each. Photo: Marcia Lochhead.
Nazanin Moradi
The theme of my work is an exploration of the experience of loss and alienation. This theme is related
to me because I come from another country and culture and I am trying to deal with loss.
Dust from a Restless Soul 2004, mixed media, 75 x 190 cm; Deep in Blood 1 2004, mixed media, 74 x
190 cm; Deep in Blood 2 2004, mixed media, 74 x 216 cm.
107
Marina Neilson
Let everything fall away, and then let’s see what there is. Perhaps that is the most interesting
question of all: to see what happens when there is nothing …
Paul Auster, The Country of Last Things; New York, N.Y., U.S.A.: Viking, 1987.
108
Things 2004, ladel, tea strainer, cat fur and broom bristles, dimensions variable. Photo: Marcia Lochhead.
Leanne Newman
Memories, stories, connections, a daydream, consciousness.
Small moments in time …
Strings of thought 2004, paper pulp and string, 100 x 100 cm. Photo: Marcia Lochhead.
109
Amy Nguyen
As I looked at the dead moth, this minute wayside triumph of so great a force over so mean an
antagonist filled me with wonder. Just as life had been strange a few minutes before, so death was now
as strange.
Virginia Woolf, The Death of the Moth & other Essays; London: Hogarth Press, 1942.
110
Untitled 2004, detail of an installation of 300 etchings, lights, matchboxes and batteries,
dimensions variable. Photo: Marcia Lochhead.
Sarina Noordhuis-Fairfax
Time present and time past
Are both perhaps present in time future
And time future contained in time past
T.S. Eliot, Four Quartets: Burnt Norton; London: Faber and Faber, 1941.
My works are a topographical investigation of a domestic interior, to uncover its remembered spaces.
Place 2004, cathedral satin, stainless steel pins, dimensions variable.
111
Meelan Oh
112
Reconstructing Chinese 2004, oil stick on kraft paper, 156 x 80 cm.
Anita Reynolds
Bachelor of Arts (Visual)Honours
Fluid World 2004, photocopy, acetate spiral bound book, 30 x 44 cm.
113
Yoriko Sato
A citizen who does not rebuke another despises him.
Victor Evangelist quoted in CD liner notes: Fugazi, Carry Out; France: dis70ed, 1993.
114
untitled 2004, linocut, 80 x 100 cm. Photo: Marcia Lochhead.
Demelza Sherwood
The first time a tourist office lady yelled ‘stupido’ as I walked out the door 2004, photograph, 15.7 x 21 cm.
115
Kate Smith
116
rugby farm 2004, cardboard, acrylic paint and hammer, dimensions variable. Photo: Marcia Lochhead.
Eessu Witcombe
Bachelor of Arts/Bachelor of Arts (Visual) Honours
Print from the series Microbia, digital print on photographic paper, 124 x 124 cm.
117
Sarah Woods
I’m fixated with the shadow as a metaphor for the nature of existence. My art explores the relationship
between objects and shadows, tangible things and intangible things, presence and absence. It is a
battle between definition and disintegration – just like life.
118
Hanging Words Installation (detail) 2004, paper, halogen spotlights, dimensions variable. Photo:
Marcia Lochhead.
Susannah Wyeth
Untitled 2004, collage, mixed media, 40 x 57 cm. Photo: Marcia Lochhead.
119
Yoko Yamaguchi
120
The Beauty of Nature 2004, gouache and acrylic on Japanese kozo paper, 90 x 240 cm.
Sculpture
Richard Broers + Rob Cowan + Liza Crowe + Lara Dolette + Erin Duffield
+ Melanie Rose Hind + Libby Jones + Kristie Mack + Gaida Macs +
David McRoberts + Sandy Rickert + Simon Scheuerle + Merryn Spencer +
Daniel Stewart-Moore + Claire Tracey + Fiona Wilson + Shannon Wykes
121
Richard Broers
My work takes as its genesis the paradox that while water remains a scarce resource we
continue to use far more per capita than most other nations. The sculptures are both a visual
depiction of my concern for this precious resource and an exploration of form and material.
122
Finding the Balance 2004, steel, bronze, 94 x 60 x 17 cm.
Rob Cowan
The possibilities presented by genetic engineering are intriguing. Thorns sprouting from manufactured
objects speak of a cross-fertilisation of the natural and man-made.
untitled 2004, wood, dimensions variable.
123
Liza Crowe
My work is reminiscent of unique functional structures found in the landscape like water towers. The
nature of the work evokes images of drought and hardship, part of what I have experienced growing up
in a rural environment. Each piece has grown to become a self-portrait.
124
Untitled 2004, back pipeclay, wire, dimensions variable.
Lara Doolette
room to breathe (detail) 2004, leaf stems, tracing paper, cotton, steel, rust, plaster, dimensions variable.
125
Erin Duffield
126
Submersible 2 (work in progress) 2004, metal, rubber and found objects, 85 x 160 x 98 cm.
Melanie Rose Hind
Where have all the car parts gone? Long time passing
Where have all the car parts gone? Long time ago
Where have all the car parts gone? Gone to flowers every one
Where have all the flowers gone? To Roadside memorials every one
When will we ever learn? When will we ever learn?
Words and music by Pete Seeger, Where have all the flowers gone?; Fall River Music Inc, 1961.
Remembered 2004, painted recycled car body parts, 500 x 300 x 100 cm.
127
Libby Jones
128
Mind 2004, cast, recycled 100% rag handmade paper, 140 x 90 x 90 cm.
Kristie Mack
In society your identity is defined by your choice of occupation.
bound 2004, steel, 50 x 50 x 40 cm.
129
Gaida Macs
everything that we have reminds us what we have lost …
everything that we have echoes what we desire …
Deborah Conway, she prefers fire; Bitch Epic: EMI, 1993.
130
Burnt Out 2004, silcon bronze, 15 x 7 x 7 cm.
David McRoberts
half-cocked 2004, aluminium, plastic, 28.5 x 14 x 3.2 cm.
131
Sandy Rickert
132
LIFT 2004, steel, 48 x 330 x 208 cm.
Simon Scheuerle
Natural 2004, mixed media, 200 x 130 x 35 cm.
133
Merryn Spencer
Bachelor of Arts/Bachelor of Arts (Visual) Honours
Writing has a special significance for all colonized groups. Writing has been crucial to the Western
myth of the distinction between oral and written cultures … Writing is pre-eminently the technology
of cyborgs.
Donna Haraway, Simians, Cyborgs and Women - The Reinvention of Nature; New York: Routledge, 1991, p.175-6.
134
Body+Text 2004, performance still, (text projection on skin), DVD, 4 min. 55 sec. Photo: Kit Laughlin.
Daniel Stewart-Moore
Is TV the new religion of the western world? In an attempt to make a pattern for a cardboard
television marquette I discovered that the form of a television is very much like a box and
that a box pattern is essentially a cross.
Watching the box 2004, steel, MDF, 180 x 140 x 0.2 cm.
135
Claire Tracey
Cyborgs have been my starting point. My interest in the relationship between the human-made and the
organic grew out of studying cyber culture and a long interest in science fiction film and literature.
136
Snatch from Hybrid series 2004, electrical conduit, silicon, 50 x 300 x 100 cm.
Fiona Wilson
Memory –
deprived
sojourn,
the more
what a strange thing it is! We can only think of it, in the line of an abstract time that is
of all thickness. The finest specimens of fossilised duration concretised as a result of long
are to be found in and through space. The unconscious abides. Memories are motionless, and
securely they are fixed in space, the sounder they are.
Gaston Bachelard, (Translated from the French by Maria Jolas) The Poetics of Space; Boston: Beacon Press, 1994.
Time 2004, mixed media, 240 x 150 x 70 cm.
137
Shannon Wykes
The base of my work is to challenge the viewer’s assumption of the interior of a modular, geometric cube.
The magician who pulls a rabbit from a hat, defies our understanding of reality. We assume the magicians
hat cannot contain a rabbit, likewise, the possibility of infinite space within the black modular cube.
138
Black Box Sequence 1 2004, automotive paints, mirror, plywood, 60 x 60 x 120 cm. Photo: Paul Chapman.
Textiles
Beverley Bruen + Amelia Davies + Willow Hart + Libby Kennedy +
Calli Moreing + Beverley Moxon + Emma Rees + Trevor Reid + Flora
(Ola) Robertson + Christine Rushall + Jayde Shavak + Alanna Thorley
139
Beverley Bruen
Immense cabinets with thin drawers imprison their rigid corpses. Row upon row of sealed glass jars
contain their little bodies, pale and weightless, drowning endlessly in murky formaldehyde. Can
obscure Latin names describe what once was alive?
140
In the Museum: ancient fragments (detail) 2004, digital print, 26 x 33 cm.
Amelia Davies
Externalising the self, creating a dialogue between public and private. By restructuring and
retelling my stories/emotions through my stitched, collaged, printed and re/deconstructed fabrics I
am able to connect my past to my identity and find inner peace and freedom through understanding and
forgiveness.
imagine freedom 2004, installation, dimensions variable.
141
Willow Hart
We’re going where the sun shines brightly, we’re going where the sea is blue. We’ve all seen it on
the movies, now let’s see if it’s true.
Cliff Richard, Summer Holiday; (album), EMI, 1963
142
Sun Bathing 2004, hand printed cotton and appliqué, 171 x 82 cm.
Libby Kennedy
kitchen dreams (detail) 2004, cotton, cotton linen blend, bias binding, machine stitched, 205 x 145 cm.
143
Calli Moreing
Images of time honoured arts and crafts past down from generation to generation. The memories of family
too important to be forgotten.
144
Spinning Wheel 2004, hand spun and dyed wool, 25 x 25 cm.
Beverley Moxon
Like the inanimate vessel, Woman is rooted in immanence.(1) Space within the vessel, confining and
restrictive, reflects her experience in patriarchal society. Tightly coiled cord is imprinted with the
Law of the Father, stitched and bound by Woman’s own hand.
(1) Iris Marion Young, Throwing Like a Girl and Other Essays; Bloomington and Indianapolis: Indiana University Press, 1990. p.147.
Feminine Essence 2004, screen-printed cotton, cotton cord, cotton thread, dimensions variable.
145
Emma Rees
146
Bachelor of Asian Studies/Bachelor of Arts (Visual)
In The Bag (detail) 2003, plastic bags, windscreen, fishing line, 17 x 17 x 25 cm. Photo: ANU Photography.
Trevor Reid
As a textile artist I am familiar with Making Do as one of the major factors in the development of
patchwork and quilting. Resourcefulness during hard times and isolation forced women and men to use
what was at hand or easily found, to create objects of both practical and decorative use.
Making Do 2004, old blankets, recyled paper, quilting thread and found objects, 30 x 21 cm.
147
Flora (Ola) Robertson
Time weathers and deteriorates the body on the outside, but inside the spirit is ageless.
148
Ageless Spirits 2004 (detail of installation), mixed medium, 100 x 60 cm.
Christine Rushall
My work reflects the image of Canberra that I see, clean and ordered against a bright winter sky.
Through my Eyes 2004, tapestry weaving, cotton warp, cotton and wool weft, 14.5 x 13.5 cm.
149
Jayde Shavak
Recollection involves reconstructing events or facts on the basis of partial cues.
Memory in childhood (ch.12) in Alan D. Baddeley, Essential of human memory; Hove: Psychology Press Ltd, 1999.
In exploring repression of memory, I reference photographic images as evidence to account for a period
of personal infantile amnesia. In creating child sized coverings, my work exudes notions of disownment
and the psychological trauma of the unknown.
150
In the light of remembrance 2004, digital image, heat transfer on cloth, 17 x 17 cm.
Alanna Thorley
landscape 2004, woven cloth: mercerised cotton, natural dyes, warp and weft ikat, 250 x 100 cm.
151
Wood
Sonar English + Raquel Gabiola + Madeleine Gisz + Julie
Kennett + Forrest Whitten + Derek Wiffen + Henry Wilson
152
Sonar English
I use what I have available, and prefer to use salvaged materials, allowing the design of the piece to
come from the material, rather than creating a design and then searching for the required wood. I tend
to subtract, rather than add detail, thus creating elegant, simple and practical furniture.
Stool 1 2003, camphor laurel, 66 x 33 x 41 cm. Photo: Tim Foster.
153
Raquel Gabiola
Simplicity of design allows the viewer to discover details. Each layer can be seen through another;
the design is a melding of the layers.
154
Winged Back green wood chair (detail) 2004, camphor laurel, claret ash and spirit stain, 120 x 60 x 53 cm.
Madeleine Gisz
Scandinavian Workstands 2004, silver ash, laburnum, tulip oak, dimensions variable.
155
Julie Kennett
What is important is the relationship between the old and the new. A journey through the past is an
opportunity to reflect and establish a foundation for my work in the present; making my way through
layers of memories and impressions, not to explore what has been lost but rather discover what there
is to be found and make my way forward again.
156
Synthesis of life 2004, woven stool, Tasmainian blackwood, bradied hemp cordage, 50 x 50 x 40 cm.
Forrest Whitten
Diploma of Art (Visual)
Balance is often over looked because of its simplicity; like where bracken grows, jack jumpers live.
Wood or water can work to balance our busy lives. The materials I use are those of the by-catch of the
wood chipping industry in Tasmania. I strive to encompass the entire process in my work from the log
to the finished product. This is also a statement of what we should do with such a valuable resource
that is being lost to short-term greed.
Work Bench (detail) 2004, stringy bark (Eucalyptus obliqua), celery top pine (Phyllocladus
aspleniifolius), myrtle (Nothofagus cunninghamii), steel fastenings, 92 x 80 x 210 cm.
157
Derek Wiffen
Diploma of Art
Straight lines blending into subtle curves, rounds and flats working together to form a whole that is
something more than the sum of the components, in this case a chair, in others a stool, or table,
endless possibilities.
158
Green Wood Chair 2004, claret ash and camphor laurel, 120 x 65 x 65 cm. Photo: Tim Foster.
Henry Wilson
Hands and Machines are equal. Each works in its own way, each has its own beauty. The designer must
find the right balance of human touch and mechanical structure.
Reiko Sudo in Charlotte and Peter Fiell (ed.s) Designing the 21st Century; Koln: Taschen, 2002.
Material Study 1 2004, plywood, beech and ebony, 85 x 45 x 45 cm. Photo: Tim Foster.
159
About the School
As part of the Australian National University, Faculty of Arts, the School of Art provides a unique
study environment for the visual arts. The campus offers excellent resources for research and the
study of art in a wide range of specialist disciplines. The ANU School of Art features an extensive
visiting artists program, complementary studies and regular access to the national institutions located
in Canberra.
The School has attracted to its staff some of Australiaʼs most distinguished artists with national and
international reputations in ceramics, drawing, glass, gold and silversmithing, painting, printmedia,
sculpture, textiles, wood and art theory. The applied design stream, together with the digital art,
multimedia, Editions and Artistsʼ Books and Papermaking studios, Field Studies and Overseas
Exchanges support these disciplines.
The ANU School of Artʼs undergraduate and postgraduate awards provide for introductory to
advanced study in the practice of art through coursework, project work and research in the range of
visual arts practices offered in the Schoolʼs workshops and studios.
Undergraduate students may take the three-year Bachelor of Arts (Visual), the fourth year Honours
program, or the two-year Diploma of Art. In addition, the combined degrees of Bachelor of Arts
(Visual)/Bachelor of Arts, and Bachelor of Asian Studies (Specialist)/Bachelor of Arts (Visual), are
offered in conjunction with the Faculties of Arts and Asian Studies. The Bachelor of Arts (Digital
Arts) is offered at the Centre for New Media Arts (CNMA).
Through the Australian National University Graduate School, the Visual Arts Graduate Program
offers research degrees leading to the PhD and the Master of Philosophy in both studio practice and
conventional thesis modes. The coursework graduate degrees include the two year Master of Arts
(Visual Arts), the one year Master of Visual Arts and the two semester Graduate Diploma of Art (by
studio practice or by coursework).
For further information and the prospectus contact Student Administration:
telephone: +61 (0) 2 6125 5711, facsimile: +61 (0) 2 6249 5705)
postal address: The Admissions Officer, Student Administration, Faculty
of Arts, Australian National University, Canberra ACT 0200
www.anu.edu.au/art
160
green
2004 graduating students catalogue
Publisher:
Australian National University School of Art Gallery
Gallery Program Coordinator:
Bronwen Sandland
Gallery Administrative Assistants:
James Holland and Julie Cuerden-Clifford
EASS Co-ordinator:
Waratah Lahy
Intern:
Tess Stewart-Moore
Installation Team:
Stephanie Jones, Simon Ramsey, Roy Marchant,
Jay Kochel, Alex Reddaway, Mark Sullivan, Michael Hanson
Catalogue Design and Layout:
Bronwen Sandland
Editor: Bronwen Sandland
Scanning and Printing: Goanna Print
Edition:1300
ISBN:0731530381
Photographs are by the artist unless otherwise credited.
Measurements are in centimetres, height before width, then depth.
© The artists and the ANU School of Art Gallery. All rights reserved.
url:http://www.anu.edu.au/art
t:(02)61255841 f:(02)61250491 e:csa.gallery@anu.edu.au
Street Address: Corner of Ellery Crescent and Liversidge Street Acton ACT
Postal Address: Building 105, Australian National University, ACT, 0200
161

Grad Show 2004 - School of Art

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