- School of Art

Transcription

- School of Art

Graduate
Exhibition
2006
ANU School of Art
credits
Publisher:
Gallery Program Co-ordinator:
Gallery Administrative Assistants:
Australian National University
James Holland (Acting)
Julie Cuerden-Clifford
& Jay Kochel
EASS Co-ordinator:
Installation Team:
Sharon Komidar
Tania Evans, Raquel Gabiola, Stephanie Jones, David McRoberts, Simon Ramsey,
Simon Scheuerle,
Cover Art & Photography:
Catalogue Design and Layout:
Editorial Assistance:
Printing:
Lucy Quinn
James Holland & Jay Kochel
Tania Evans
Goanna Print, Canberra
Edition:
ISBN:
1300
07315 30500
© The artists and the ANU School of Art Gallery.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means electronic or mechanical,
including photocopy, recording or any information storage or retrieval system, without prior permission of the publisher.
Street Address:
Postal Address:
Corner of Ellery Crescent and Liversidge Street,
Acton ACT
ANU School of Art Gallery, Building 105,
Australian National University ACT 0200 Australia
W: http://www.anu.edu.au/art E: sofagallery@anu.edu.au
T: (02) 6125 5841 F: (02) 6125 0491
contents
foreword
emerging artists support scheme
with thanks to our patrons
workshops
ceramics
4
6
7
8
glass
20
gold & silversmithing
28
painting
38
photomedia
64
printmedia & drawing
82
sculpture
98
textiles
112
wood/furniture
122
workshop staff 2006
about the school
index of artists
132
135
136
foreword
The end of year exhibition at the ANU, School of Art is always wonderful.
It is the largest and most joyful public event on our calendar. Hundreds of
people attend the exhibition to celebrate the work of candidates for the
Diploma of Art, the Bachelor of Arts (Visual), the Bachelor of Arts (Visual)
with honours, and combined degrees. This catalogue is the record of our
Graduate Exhibition 2006. The work exhibited here is the final work that our
students have presented for assessment. It represents the fruit of years of
disciplined hard work.
The ANU School of Art educates its student practitioners in first class
facilities for visual arts, crafts, design, computer, video and environmental
teaching and research. The School is practice based and has attracted to
its staff some of the country’s most distinguished artists with national and
international reputations in Ceramics, Printmedia and Drawing, Glass, Gold
and Silversmithing, Painting, Photomedia, Sculpture, Textiles and Wood/
Furniture. The Environment Studio, Computer Art Studio, video and Art
Theory Workshop support these disciplines.
Graduate Exhibition 2006 is a huge production 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.
Each December we join our graduating students to celebrate their accomplishments. It is an exciting time of year
when months of preparation culminate in the successful production of this catalogue and grand scale exhibition.
The ANU School of Art thanks Patsy Hely, Honours Co-ordinator; Anita McIntyre, Visiting Fellow and Student
Academic Advisor; and the academic staff and Workshop Technical Officers, all of whom have worked with the
ANU School of Art Gallery staff, Bronwen Sandland, James Holland, Julie Cuerden-Clifford and Jay Kochel to
make Graduate Exhibition 2006 a great success.
Patrons of our Emerging Artists Support Scheme (EASS) and the ANU Foundation for the Visual Arts continue to
support our graduating students as they start their professional careers. We gratefully acknowledge and thank our
4 Foreword
many patrons for their dedication and enthusiasm, this year co-ordinated by Sharon Komidar.
Finally, congratulations to the Graduates of 2006 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.
Welcome to Graduate Exhibition 2006!
Gordon Bull
Head, School of Art
Australian National University
December 2006
Foreword 5
emerging artists support scheme
The Australian National University School of Art’s successful Emerging Artists Support Scheme (EASS) has been operating for
the past sixteen years. Many of our Patrons such as Mallesons Stephen Jaques, KPMG, Henry Ergas and The Australian National
University have supported School of Art graduating and postgraduate students throughout this period. Through this scheme,
Patrons can award prizes, scholarships and commissions, and acquire artworks for their own collection.
The ANU School of Art and its graduates greatly appreciate this support from the ACT community. Such generous sponsorship
from individuals, families, local business, the corporate sector and arts organisations represents assistance for graduating artists
at a time when it is most valuable at the beginning 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, ANCA, Alliance Francaise,
Helen Maxwell Gallery, Craft ACT, M16, The Hive, The Front Gallery and Cafe, Belconnen Arts Centre, BowerHouse Gallery,
Mawson Gallery, Canberra Grammar, Hawker College and the Canberra Potters’ Society are particularly valuable.
In addition to the residencies and exhibition opportunities, scholarship support exists due to the contributions from Henry Ergas,
Peter and Lena Karmel, Karina Harris and Neil Hobbs, Peter Barclay, Lou and Mandy Westende, Rosanna Hindmarsh, Peter Fay,
David and Margaret Williams, the Embassy of Spain and the ANU Emeritus Faculty.
The ANU School of Art Emerging Artists 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 and craft community from which we all
benefit. The ANU School of Art expresses its sincere appreciation and thanks to all EASS Patrons.
6 EASS
with thanks to our patrons
MAJOR PATRONS
Peter and Lena Karmel
Henry Ergas
SCHOLARSHIPS, AWARDS & PRIZES
Peter and Lena Karmel Anniversary Award
Embassy of Spain Travelling Scholarship
Nigel Thompson Travelling Scholarship
Pamille Berg & Robin Blau Logos Award
David and Margaret Williams
Westende Travelling Scholarships
ANU School of Art Drawing Prize
ANU Emeritus Faculty Scholarship
Henry Ergas Honours Scholarships
Konica Minolta Scholarship
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 of Pacific and Asian
Studies Award
King O’Malley School of Art Graduate
Materials Award
Peter Fay
ANU Centre for Resource and Environmental
Studies Award
Australian Decorative and Fine Arts Society, Canberra
Inc. Award
The Goodrick family
Molonglo Group Acton Prize
Neil Hobbs and Karina Harris
Silver Society of Australia
EASS ACQUISITIVE & LOAN COLLECTION
AWARDS
Mallesons Stephen Jaques Solicitors
(Founding Patron)
ANU Art Collection
Animal Health Australia, ACT
ACT Legislative Assembly
ANU School of Art Alumni
ANU Public Art Program
T2 Consulting
Bradley Allen
ACT Chief Ministers Department
Chamberlain Law Firm
ComSuper
John & Elizabeth Baker Sculpture Award
KPMG, Canberra
Independent Competition and Regulatory
Commission
SUBSCRIPTION & MATERIALS AWARDS
Art Monthly Australia • Ceramics Art and Perception • Clay
Works • Object Magazine • Walker Ceramics • Pottery in
Australia
RESIDENCY & EXHIBITION AWARDS
Canberra Contemporary Art Space • Craft ACT: Craft and
Design Centre • National Gallery of Australia Shop • Megalo
Access Arts Inc • PhotoAccess • Strathnairn Arts Association
• Finlay Press, Braidwood • Tuggeranong Community Arts
Centre • Canberra Potters’ Society • The Hive • The Front
Gallery and Cafe • Belconnen Arts Centre • Bower House
Gallery • Helen Maxwell Gallery • Canberra Spinners and
Weavers • Hawker College • Canberra Grammar • Alliance
Française • ANCA (Australian National Capital Artists) •
M16 • Mawson Gallery
Patrons 7
Cristina Baratinskas Goodman
Richard George Butlin
ceramics
Margaret Carlin
Dian Hall
Dianne Hove
Alicia Kane
Trenna Langdon
Gosia Pilat
Milena Sallustio
John Tuckwell
Helen Yau
Cristina Baratinskas Goodman
Bachelor of Arts (Visual) Honours
A snapshot of time when we see
something that lasts but a moment, a
beautiful sunset, a lightning storm – the
memory is retained.
Sunshine and Shadows, 2006
Bone China, oxides and body stains
13.5 x 10.5 x 10.5 cm
Ceramics 9
Richard George Butlin
Bachelor of Arts (Visual)/Bachelor of Arts
The attribution of order in-the-world is the core of human meaning, whether scientific or aesthetic. Art frees the viewer’s
contemplation, allowing the imagination to transcend the mere empirical sequence of things - in order to reach some
intellectual truth beyond the purely rational.
Apollonian Ecstasy, 2006
ceramic and silken cord
dimensions variable
Richard has completed the Bachelor of Arts (Visual) component in a Bachelor of Arts (Visual)/Bachelor of Arts combined degree..
10 Ceramics
Bachelor of Arts (Visual)
Margaret Carlin
The box shape is a metaphor for the manner
in which photos are stored, and therefore,
also for the containment and construction
of memory. The peeling back of the boxes
re-enforces the tenuous links we have with
the past, as well as referencing the physical
deterioration of the containers we use to hold
memories.
Constructed Memories – Recipe, 2005
porcelain, paper porcelain, oxides
15 x 12 x 12 cm
photography: Andy MacDonald
Ceramics 11
Dian Hall
Diploma of Art
If the practical function of a pair of shoes is removed
you are left with an object of beauty; an ornament
to be coveted, fetishised, studied, looked over and
dissected.
Once the unfettered imagination is engaged, the
shape can morph into whimsical curlicues and
arabesques. The surface can burst into foliage, crack
and peel into metal, run light mercury.
I am inspired by travel memories, by the tactility of
textiles and the serendipitous outcome of solar barth
papers.
Shell Couture, 2006
slip cast earthenware
40 x 19 x 19 cm
12 Ceramics
Diploma of Art
Dianne Hove
Teapots provide a challenge of combining
good form and function. Terra sigillatas
from Tanja clay reflect my interest in the
Australian landscape – so different than
Canada’s.
Teapot, 2006
soda fired stoneware
20 x 12.5 x 12.5 cm
Ceramics 13
Alicia Kane
“All my life
I call yesterday
The spicks and specks
Of my life have gone away”
Spicks and Specks, Bee Gees second album, track 8,
1966
Parcel, 2006
slabs of clay, string
17 x 11 x 9 cm
photography: Stuart Hay
14 Ceramics
Diploma of Art
Trenna Langdon
My work refers to the illusive nature of the Raven in the landscape. Unexpected; random and observed.
Exploration 4 (detail), 2006
ceramic
30 x 35 x 8 cm
Ceramics 15
Gosia Pilat
Let me wrap you in bubble wrap, and put you somewhere safe so that in your safety your spirit will die while your body lives
on. But then - could you be so beautiful if you were permanent?
Syndrome of need, 2006
various clays, stoneware fired, wood
14 x 36 x 86 cm
16 Ceramics
Diploma of Art
Milena Sallustio
MALOCCHIO, 2006
ceramic and video installation
dimensions variable
Ceramics 17
John Tuckwell
Diploma of Art
This work refers to the way time has changed
land use on the east coast but specifically in the
area where I live. The ideas formed following a
move, after twenty years, from a very private
home deep in thick bush to a new house on the
edge of town.
Untitled; Chronological layering series, 2006
porcelain
18 x 30 x 8 cm
18 Ceramics
Diploma of Art
Helen Yau
RAM (Random Access Memory)
Times change, yet memories persist.
Nature records the earth’s transformation in layers of rock. RAM revives the stories of these changes. The fragments are
created as unique carriers of RAM-encoded stories, whilst the bowls, viewed as enlarged water particles, reflect, magnify and
transmit the messages stored in the fragments. Refracted through the water, the stories come alive.
RAM (Random Access Memory), 2006
porcelain
13 x 45 x 45 cm
Ceramics 19
Charles Butcher
Cobi Cockburn
glass
Jennifer Collins
Sue Kesteven
Patricia Roan
Minoru Shimomura
Jessie Surplice
Charles Butcher
I have the desire to make objects which are a product of contemplation and which invite the interest of the viewer to spend
time in contemplation also. Because of the subject matter I am interested in (sculptural and architectural forms) I minimize
the decorative qualities of glass to bring forth more industrial and architectural aspects of glass.
Silence, 2006
cast glass
120 x 38 x 6 cm
photography: Greg Piper
Glass 21
Cobi Cockburn
Swathe highlights a new direction in my work.
In developing these cradling forms, I have carefully blended my interest in fibres, my love for our natural landscape and my
growth as a young mother and artist.
Swathe, 2006
fused and slumped glass
56 x 16 x 8 cm
photography: Greg Piper
22 Glass
Jennifer Collins
I look at the ways you can be reminded of someone, and get a sense of who they are by the
objects that they keep, collect, acquire, and surround themselves with. My mother has a great
love and collection of teacups; this work is about her.
Serenity (detail), 2006
glass, blown and engraved
30 x 35 x 35 cm
Serenity and Friends (components), 2006
glass, blown and engraved
20.5 x 28 x 28 cm
Glass 23
Sue Kesteven
Diploma of Art
Glass is a most unlikely material for books, since it neither resembles paper nor behaves like paper. The ‘reader’ can read
through the layers or ‘pages’, from the front or from the back, or even through the spine. So although I have drawn attention
to the form of the book by using a material which is very unusual for that form, I have paradoxically used one which
‘disappears’ and so it is the content that becomes obvious.
First Editions, 2006
glass
dimensions variable: maximum height 20 cm
photography: ANU Photography
24 Glass
Patricia Roan
light globe, 2006
glass, water, wire, thimble
9 x 5 x 5 cm
Glass 25
Minoru Shimomura
When we experience a place, our experience
encompasses a range of different perceptions and
takes place on a variety of levels; our experience of
reality is always multi-faceted, not objective.
Playing of Light, 2006
cast glass, cold worked
35 x 35 x 4 cm
26 Glass
Jessie Surplice
Untitled (detail), 2006
glass, kaolin
dimensions variable
Glass 27
gold & silversmithing
Elizabeth Campbell
Mia-Lee Ching
Katharine Edghill
Katherine Green
Alison Jackson
Halie Lamb
Mathew Little
Lan Nguyen-Hoan
Eileen Procter
Elizabeth Campbell
Rings, 2006
925 silver, titanium
dimensions variable
photography: J Kuhnen
Gold & Silversmithing 29
Mia-Lee Ching
Bachelor of Arts/Bachelor of Arts (Visual) Honours
Remind Me to Fly, 2006
sterling silver 925, stainless steel, cicada wing
7.2 cm (dia.)
30 Gold & Silversmithing
Katharine Edghill
Caoir Na Mara (detail), 2006
stainless steel, aluminium
90 cm (length)
Katherine Green
Narcissus pseudo-narcissus, 2006
sterling silver, anodised aluminium, acrylic.
2.5 cm (dia.)
Alison Jackson
Luminance One, 2006
stainless steel, Luxeon LED, aluminium, silver 925
24 x 17 x 15 cm
Halie Lamb
Louvre, 2006
stainless steel, sterling 925, acrylic
2.5 x 5 x 1 cm
Diploma of Art
Mathew Little
Screw cups, 2006
Pro engineer model, 3D studio max rendering
10 x 6 cm
Lan Nguyen-Hoan
Skin, 2006
stainless steel, acrylic, polypropylene, silver 925, silicon tubing
dimensions variable
Eileen Procter
Plato’s Republic (detail), 2006
Argentium sterling silver, Bright silver,
Oxantis silver, Spinning silver, Sterilite Silver, sterling silver
dimensions variable
Julie Battisti
Catherine Bennetts
Julia Castiglioni-Bradshaw
Tiffany Cole
Michael Edwards
Tania Evans
Rachael Freeman
Tanya-Maree Garside
Stephanie Haygarth
Della Jackson
Rebecca Kettle
Erik Krebs-Schade
Fiona Little
Alan McGovern
painting
Elena Papanikolakis
Cathy Paver
Kalina Pilat
Timothy Price
Ian Robertson
Dionisia Salas Hammer
Aria Stone
Tugba Tanfer
Ljubica Vukeljic
Alexandra Ward
Julie Battisti
‘Decadent:
-Adjective1. characterised by moral or cultural decline. 2. Luxuriously self-indulgent.
-Derivatives: decadence noun decadently adverb.
-ORIGIN: French, from Latin decadentia; related to Decay.’
Untitled #5, 2006
oil on canvas
76 x 101 cm
Painting 39
Catherine Bennetts
Untitled, 2006
oil on canvas
101 x 350 cm
40 Painting
Julia Castiglioni-Bradshaw
Untitled, 2006
acrylic, pencil, wallpaper on paper
30 x 42 cm
Painting 41
Tiffany Cole
mouse, 2006
oil on found patterned fabric
30 x 40 cm
42 Painting
Michael Edwards
Still life with FOI Request, 2006
oil on canvas
47 x 64 cm
Painting 43
Tania Evans
Plankton, 2006
ink and oil on canvas
99 x 99 cm
44 Painting
Rachael Freeman
Implosion#1 (diptych), 2006
oil on canvas
61 x 61 cm (each panel)
Painting 45
Tanya-Maree Garside
Theomachy, 2006
oil on canvas
150 x 120 cm
46 Painting
Stephanie Haygarth
Skin, wire 3 (from the series Beaumaris ghost), 2006
acrylic and pencil on paper
113 x 170 cm
Painting 47
Della Jackson
Look at me forever, 2006
oil, biro, texta on calico
24 x 18 cm
48 Painting
Rebecca Kettle
For us there is only one season, the season of sorrow. The very sun and the moon seem taken from us. Outside, the day may
be blue and gold, but the light that creeps down through the thickly-muffled glass of the small iron-barred window beneath
which one sits is grey and black. It is always twilight in one’s cell, as it is always twilight in one’s heart.
The Season (triptych), 2006
oil on canvas
80 x 130 cm (3 panels)
Painting 49
Erik Krebs-Schade
“I would stand transfixed before the windows of the confectioners’ shops, fascinated by the luminous sparkle of candied fruits,
the cloudy lustre of jellies, the kaleidoscope inflorescence of acidulated fruitdrops - red, green, orange, violet: I coveted the
colours themselves as much as the pleasure they promised me…”
Simone de Beauvoir (1908-1986) www.candyfavourites.com
Fruits of the Forest (detail), 2006
acrylic on canvas on foam
75 x 100 x 7 cm
50 Painting
Fiona Little
Untitled, 2006
acrylic and oil on paper on board
115 x 80 cm
Painting 51
Alan McGovern
Composition 1- Series 1, 2006
acrylic and spray-paint on canvas
150 x 150 cm
52 Painting
Elena Papanikolakis
Untitled, 2006
synthetic polymer paint on canvas
60 x 90 cm
Painting 53
Cathy Paver
This body of work presents the tension that exists between biotechnology and humanity. The manner in which the painting is
made is a metaphor for this tension.
Laboratory of unknown outcomes, 2006
acrylic and oil on canvas
150 x 120 cm
54 Painting
Kalina Pilat
My work starts with walking through the
landscapes around me. These can be bushland,
forests, suburbs, cityscapes, or beaches. Walking
triggers awareness of both the outer world
around me, and my inner world (thoughts,
imaginings, memories, emotions, concerns).
Sometimes my thoughts are triggered directly
by what I see and experience in the world,
sometimes they are completely separate. At any
one point in both the inner and outer world
that I inhabit, I am aware of numerous coexisting realities.
I have in my work been making a record of
my observations of the outer landscape I
walk through, and also a record of my “inner
landscape”. I have been documenting my
experience of the everyday world around me,
and combining this with imagined elements
to construct strange scenes and organisms. In
these scenes, the natural, the man-made, bits of
technology, the everyday, and the fantastic are
no longer separate, but are instead fused into
complete forms. These landscapes have taken
the form of large scale drawings.
The intention of the work has been to invoke
the contrasting emotions of wonderment at
the magic and richness of this strange, layered
world, and anxiety about its possible future or
end.
Perhaps Apocalypse, 2006
charcoal, pencil, pastel, watercolour, gouache on paper
245 x 215 cm
Painting 55
Timothy Price
This painting is to inspire people to play music
Ghosts and friends, 2006
oil on canvas
70 x 90 cm
56 Painting
Ian Robertson
My studio practice goal was to capture with oil paint on canvas a sense of uncanny desert landforms, to communicate in an
authentic personal style my attachment to land and to use essential elements of painting common to indigenous and non
indigenous art.
At Lake Mungo National Park, an eerie, seemingly empty vast expanse of land, there is a continuing uninterrupted connection
to eons of indigenous history. Here you get a sense of the infinite as you stand in a moment of passing spaceless time or
timeless space. Under the piled sands are the remnants of humanity. The traces stretch back eons but do not preserve the
ephemeral moments of laughter, fear, pain, sorrow or contentment that construct a human life.
Desert First Glimpse, 2006
oil on canvas
50 x 100 cm
Painting 57
Dionisia Salas Hammer
The Young Queen, 2006
texta and pencil on paper
29.7 x 42 cm
photography: Stuart Hay, ANU Photography
58 Painting
Aria Stone
Between Now and Then, 2006
acrylic and oil on canvas
120 x 90 cm
Painting 59
Tugba Tanfer
I’m ok, 2006
charcoal study for oil on canvas
70 x 70 cm
photography: Rene Lawler
60 Painting
Ljubica Vukeljic
I have been exploring the significance of symbols in my culture. These symbols are objects which have translated similar
meanings throughout history and in modern times. As a Serbian growing up in Australia, I found myself taken by the difference
in the cultures which played a huge part in my life. Now these symbols of one culture mix with another to create new
meanings and my paintings seek to capture this combination.
Now and Then, 2006
oil on canvas
33 x 41 cm
Painting 61
Alexandra Ward
Untitled, 2006
monoprint
60 x 85 cm
62 Painting
Sian Bradfield
Majella Brown
Beck Browne
Justin Clune
Alisha Colwell
photomedia
Sarah Evans
Robert Guth
Mel Hill
Amy Holmes
Jana Juranek
Rene Lawler
Timo Nest
Jacqueline Ockwell
Anna Perrett
Anna Raupach
Emma Zoller
Bachelor of Art (Visual) Honours
Sian Bradfield
For my Honours Project, I photographed the results of interactions between people and their belongings that impact on the
integrity and appearance of objects. Their form is momentarily altered by our use of them, and the photographs capture a
particular moment in the process of continual change.
#12 in Unseen Worlds series, 2006
photograph
45 x 68 cm
Photomedia 65
Majella Brown
Vanity Feminine explores the female
psyche through an intersection
between the 1950s pin-up girl style
and today’s beauty consumer industry.
The series delves into the thought
processes a woman will make about
her appearance by her choice in dress
and behaviour in both a public and
private realm.
Bathroom (from the series Vanity Feminine), 2006
hand coloured sepia and selenium toned silver gelatin print
90 x 80 x 10 cm (including frame)
66 Photomedia
Beck Browne
While the nation’s eyes were recently
focused on the turmoil surrounding
Northern Territory Aboriginal
communities, a group of Aboriginal and
white women were quietly building a
link between black and white Australia
through their shared experience. As
part of this unique group of women I
was privileged to photograph Larrakia,
Wagiman, Jawoyn,Yunupingu, Murdudjuri
and Jabiru women on their country.
I employed digital montage using
Photoshop to create my work. Merging
the women’s portraits to build
structured and unstructured patterns,
which assisted in expressing ideas of self
and ‘other’, the individual within a group
and relationships formed.
The large scale of the work is crucial,
allowing the viewer to enjoy the
patterns from a distance, but also on a
more intimate level on closer inspection.
The work is an experience in itself and
can be enjoyed on many levels.
The ‘Other’ within 1 to 6, 2006
C41 print
100 x 100 cm
Photomedia 67
Justin Clune
Headache, 2006
video projection still, 1 channel DVD installation, digitised
black and white 8-millimetre film, looped, stereo sound
projected, dimensions variable
68 Photomedia
Alisha Colwell
Untitled, 2006
black and white RC print
30 x 40 cm
Photomedia 69
Sarah Evans
Reid, 2006
C Type Print
70 x 85 cm
70 Photomedia
Robert Guth
TO EMPOWER THE SITTER
‘The highly personal nature of the choice of
images held in the pendant meant that the
final selection of the two images had to fall
completely to the wearer. This seemed difficult
for Robert to give over the control of such a
central part of the entire piece to the wearer,
but he showed great respect for the choices
taken… the significance of the pendant is
entirely mine; it is an emblem of what is most
important to me, the viewer, in illuminating the
image, becomes, in a sense, intruder, voyeur; an
invited one.’
Lucy Alexander – one of the sitter/
participants.
Portrait lockets, 2006
photography/participatory, aluminium, glass, stainless steel, polycarbonate, LED lights, film
5 x 4.5 x 2.5 cm, variable duration
Photomedia 71
Mel Hill
Faces of a Kingdom
Tonga is an ancient Kingdom, one of a kind in the South Pacific, rich with culture and time honoured
traditions. Its people are loyal and their kind faces reflect centuries of Tongan customs and history.
My series explores the Tongan people, their surroundings, their daily struggles and the lives they lead
through a photographic journey of faces, young and old. Capturing a genuine moment in time, this series
documents the Tongan people as they live today.
Untitled, 2006
ink jet print
60 x 91 cm
72 Photomedia
Amy Holmes
I wanted to be a ballerina and dance en pointe. I
never did.
A.
Etudé (detail), 2006
cyanotype/gum bichromate artist book
24 x 26 cm
Photomedia 73
Jana Juranek
‘Through this body of work I was able to
analyze the photo-documentation that I
had produced in the past 5 years as a single
document.
I have an obsession for remembrance and that
is why I create photo-dominative evidence. I
need to prove to myself that the time did exist
within those years.’
Memories allow an endless flow of connections,
The ballad of sexual dependency,
Nan Goldin,1986
Chris, standing in front of a wall in the
main street of Nimbin, 2006
Encad digital print
86 x 64 cm
74 Photomedia
Marita’s first photo shoots, 2005
Encad digital print
68 x 54 cm
Ia and her mother at a family wedding
reception, 2005
Encad digital print
91 x 85 cm
Rene Lawler
Connections, 2006
backlit digital display print
54 x 79 cm
Photomedia 75
Timo Nest
Minimalism alludes to
the presence of what
isn’t there, and you
have all that is needed
by exploring that
presence from the
feelings it produces.
The Unseen, Early Morning the Gap 2006
Type-C photograph
90 x 90 cm
76 Photomedia
Jacqueline Ockwell
Emily, 2006
inkjet digital print
50 x 60 cm
Photomedia 77
Anna Perrett
Self Portrait #1, 2006
photograph
40 x 60 cm
78 Photomedia
Anna Raupach
Untitled (still taken from installation view), 2006
projected animation
dimensions variable
Photomedia 79
Emma Zoller
Need You Here, 2006
digital print
80 x 60 cm
80 Photomedia
printmedia & drawing
Antonia Aitken
Sara Freeman
Bettina Hill
Kate Maurice
Julia Murray
Paul O’Brien
Angela O’Brien-Malone
Meelan Oh
Kitiya Palaskas
Lucy Quinn
Macushla Robinson
Natalie Sanders
Anita Sheridan
Genevieve Swift
Antonia Aitken
‘… reading [country] is somewhere
between breathing and judging’:
breathing being the natural, rhythmic,
intuitive action and judging being
highly ‘charged with social and
cultural meaning...’
Stephen Muecke, Reading the
Country: Introduction to Nomadology,
Fremantle: Fremantle Arts Centre
Press, 1984, p12
Walking Drawing: every step a mark, Namadgi, 2006
conte on chinese paper roll
40 x 1500 cm
Printmedia & Drawing 83
Sara Freeman
“...beauty begins when the way becomes everything.
When only the way matters.”
Andrei Makine. Once Upon the River Love. Text. 1996. p 35
moment to moment, 2006
egg tempera on wood panels
66 x 80 cm
84 Printmedia & Drawing
Bettina Hill
Constructs, 2006
woodblock print
100 x 141 cm
Kate Maurice
Pick up lines (detail), 2006
embroidery drawing on Japanese paper
22 x 15 cm
Julia Murray
Traces (installation detail), 2006
burnt Kozo paper
dimensions variable
Paul O’Brien
Towards the light (installation detail), 2006
screen-print and collage
34 x 39 cm
photography: Jason O’Brien
Angela O’Brien-Malone
My art practice is centred in the imaginative world, particularly in images which dwell at the edge of consciousness. My images
come from the place where dreams and myths originate. I aim to draw psychological force from that other place and to invest
my works with it.
Metamorphosis (detail), 2006
collograph print
32.5 x 43.3 cm (detail shown in photograph)
Meelan Oh
Crossing series #2: River (detail), 2006
paper cut Hahnemuble on Kozo
dimensions variable
Kitiya Palaskas
I was reversing really fast out of the driveway when
the headlights swung on something in the grass.
Horror! It was Mary&Kit, lying pathetically in the
frosty clover, smothered in fresh tire tracks. “I’m so
sorry!” I wailed, but they said nothing. Things were
different between us, after that.
Mary&Kit (after being run over), 2006
screenprint on calico with thread and stuffing
40 x 15 x 8 cm
Lucy Quinn
European Beauty Myth (Hauptbahnhof), Berlin 2006
projected still photographs onto sanded Perspex (installation)
100 x 80 cm
photographic assistance: Jessie English
Macushla Robinson
This work is concerned with physical and emotional metamorphosis. These etchings, which are curated according to varying
conceptual and aesthetic criteria, reflect the ways in which experiences are assembled. Copper plates undergo irrevocable
changes, while utilising recurring motifs. Change which is necessary is also permanent, but always referencing its past.
Untitled (from the anxiety series), 2006
multi-plate etching
20 x 15 cm
Macushla has completed the Bachelor of Arts (Visual) component in a Bachelor of Arts (Visual)/Bachelor of Arts combined degree..
Natalie Sanders
Sensory system, 2006
etching
34 x 34 cm
Anita Sheridan
“In my beginning is my end. In succession
Houses rise and fall, crumble, are extended,
Are removed, destroyed, restored, or in their
place
Is an open field, or a factory, or a by-pass
Old stone to new building, old timber to new
fires,
Old fires to ashes, and ashes to the earth.”
TS Eliot, East Coker in Four Quartets, Faber &
Faber, London, 1940
In my beginning #1 (still), 2006
still frame from animation, lithography crayon on lithography stone
50 x 30 cm
Genevieve Swift
Brittle like a seashell, salt is a memory of
water. Above the ocean it acts as a natural
cloud seed, bringing rain.
The structure of the boat has become like
a sail, stitched. They are bound like books,
traces of weather, beached and waiting for
the wind.
Shells, 2006
paper, sea salt, linen thread, herringbone stitch
dimensions variable
Daniel Bell
Claudia Bottrill
Jacqueline Bradley
sculpture
Skylen Dall
Sarah Firth
Melanie Fitzmaurice
Rosalind Lemoh
Tracy Luff
Ayako Saito
Patrick Shevlin
Jessica Wade
Rosina Wainwright
Daniel Bell
work space, 2006
dimensions variable
Sculpture 99
Claudia Bottrill
Landscape Elements, 2006
cast wax and plaster
dimensions variable
photography: Sarah Evans
100 Sculpture
Jacqueline Bradley
Wheels, 2006
wax, steel and wood
15 x 152 x 8 cm
Sculpture 101
Skylen Dall
De-construction site, 2006
wood and found objects
dimensions variable
102 Sculpture
Sarah Firth
“There was a pretty grey parakeet who had learned to recognise human things – triangle shapes and car keys and the colour
blue – and to speak the words for them. This little parakeet worked so hard to remember these things. It made me realise
how hard it is to learn anything in life, and even then, there’s no guarantee you might need it.”
Douglas Coupland, Life After God, Scribner, London, 1997 p. 65
An Enormously Tiny Bit of a Lot, 2006
air-drying clay, found objects, wood, seedlings, fruit, plasticine, acrylic paint, hair, earth, hobby grass
and trees, fur, and expanding foam
dimensions variable
Sculpture 103
Melanie Fitzmaurice
I Sit,You Sit, 2006
timber
200 x 40 x 40 cm
104 Sculpture
Rosalind Lemoh
Digging Machine, 2006
mixed media
190 x 76 x 250 cm
Sculpture 105
Tracy Luff
Bowl, 2006
cardboard
7 x 13.5 x 13.5 cm
106 Sculpture
Ayako Saito
(in-yo), 2006
plaster (to be finished in bronze)
14 x 11.5 x 13 cm
Sculpture 107
Patrick Shevlin
Mr Bawk Ba Gawk, 2006
carved mild steel
10 x 30 x 30 cm
108 Sculpture
Jessica Wade
Helix, 2006
mild steel
80 x 50 x 50 cm
Sculpture 109
Rosina Wainwright
Tribal necklace 3006, 2006
plastic
1.5 x 90 x 12 cm
photography: Beck Browne
110 Sculpture
Leonie Andrews
Sally Blake
textiles
Catherine Brownscombe
Holly Gordon
Helen Jensma
Julie Monro-Allison
Ola Robertson
Alison Smith
Beatrice Thompson
Leonie Andrews
In Australia water is a precious but limited commodity. Through these works I examine the place of water in our landscape. The
association of blankets with caring and nurture is symbolic of my desire for a more thoughtful approach to the environment.
Promise, 2006
wool blanket, eucalyptus dyes, machine stitched
201 x 26.5 x 22.5 cm, irregular
Textiles 113
Sally Blake
These are the marks of lived experience.
Resilience/Fragility 4 (detail), 2006
silk, wool, natural dyes, mordants, indigo dye
165 x 35 cm
114 Textiles
Catherine Brownscombe
The installation Two Rooms was created
with the intent of sharing my personal
journey of grief and understanding,
responding to the death of my father.
Guiding the audience through a
constructed reality towards the truth
and ultimately, acceptance, I hope for
viewers to experience my work in
relation to their own lives.
Two Rooms: Simulacra, and
The Passage Between The Real, 2006
textiles, PVA glue, wood, glass,
foam, metal, plastic, paper, acrylic paint
dimensions variable
Textiles 115
Holly Gordon
No 54 Bell st, 2006
velvet, nails, mdf
110 x 230 x 2 cm
Holly Gordon has completed the Bachelor of Arts (Visual) component in a Bachelor of Arts (Visual)/Bachelor of Arts
116 Textiles
Diploma of Art
Helen Jensma
The sea has been the source of inspiration and relaxation for most of my life. I enjoy walking on the beach, collecting shells
and watching the waves. The organic forms of the Mulberry Shell (Morula marginalba), Sea Urchin and wave lines on the beach
have inspired this body of work. Working in black and white is like drawing in pencil. Eliminating colour has enabled me to
look at the form and texture of the design and concentrate on producing unique textile works of art..
Mulberry Shell, 2006
felted silk and wool scarves
dimensions variable
Textiles 117
Julie Monro-Allison
the ethnographers evening walk [item e], 2006
rope, leather, bones, string, hair
23 x 26 x 4 cm
118 Textiles
Diploma of Art
Ola Robertson
The stitching on the fabric twists and turns, symbolic of life as the body wears out by the passage of time.
SKIRTING THE ISSUE, 2006
tissue paper, polyester thread, printing inks
70 x 80 x 60 cm
Textiles 119
Alison Smith
Absence, 2006
nylon tulle, silk organza, wool/mohair yarn, crochet, stitch
203 x 71 cm
120 Textiles
Beatrice Thompson
Bachelor of Arts/Bachelor of Arts (Visual)
The process of weaving involves the rising of the warp and the passing of the weft. This process can produce an infinite
array of weave structures. Similarly in life the arising and passing of every moment leads to an infinite number of experiences
creating the textured fabric of life.
Woven Mandala in Yellow (detail), 2006
cotton warp, wool weft
35 x 35 cm
Textiles 121
wood/furniture
Kimberly Charley
Raquel Gabiola
Elliot Gorham
Christel Hadiwibawa
Rowan Howlett
James Milligan
Candace Rawlings
Jarlath Weingott
Henry Wilson
Jarlath Weingott
Henry Wilson
Kimberly Charley
An appreciation of wood and knowledge is formed after making a fine piece of furniture.
With the maker’s hands holding a tool they become one and within this process they
together will achieve a sense of accomplishment.
Defining Lines (corner table), 2006
Kwila, Silver Ash
100 x 50 x 40 cm
photography: Robin Kinsela
Wood/Furniture 123
Raquel Gabiola
Form, an eight-sided object, represents my exploration into bending and coopering techniques. These elements have been
incorporated throughout my body of work as a means of introducing movement and playfulness into my pieces and engaging
the viewer to interact with the objects.
Form, 2005
Anagre, bending ply, Letraset
dimensions variable
124 Wood/Furniture
Elliot Gorham
Milk Crates, 2006
plywood
32 cm cubed
Wood/Furniture 125
Christel Hadiwibawa
Experiences are only profitable when you’ve learnt
something from them. They create and shape who
we are, and as a result we create and shape things
that reflect our experiences. It’s all about learning.
It’s all about experiences. It’s all about learning
experiences.
Matchett, 2006
Claret Ash, White Mountain Ash, Danish paper cord
100 x 55 x 41 cm
photography: Robyn Kinsela
126 Wood/Furniture
Rowan Howlett
The harmony of timbers coming together to tell a story or to bring rigidity to one another.
The art of Inlay.
Inlay Joinery, 2006
Queensland Maple, She Teak
100 x 40 x 2 cm
Wood/Furniture 127
James Milligan
The process of making is a direct and intimate one.
When working by hand, the plane, chisel or other hand
tool becomes an extension of the body and as such,
can be used with all the care and fineness that the hand
itself is capable of achieving.
Greenwood Chair, 2006
Claret Ash, White Mountain Ash, Danish paper cord
100 x 55 x 50 cm
128 Wood/Furniture
Diploma of Art
Candace Rawlings
Design is the most important aspect
of contemporary furniture making.
It is where an idea can evolve into a
functionally and aesthetically pleasing 3D
object. In the object may be presented
images of honorable and prestigious
accomplishments. It may evoke memory
and emotion through a narrative
expressed by both, the creator and the
user.
Lectern (detail), 2006
Victorian Ash, Jarrah
120 x 45 x 40 cm
Wood/Furniture 129
Jarlath Weingott
functional hans wegner minimalist natural timelessness
architectural lightness japanese prototype 1:1 wood alvar aalto
streamlined ergonomic dynamic bauhaus environmental static
essential aesthetic form mobile arne jacobsen green form follows
function strength chinese balance organic efficiency rational
logical charles eames durable design danish simplistic harmonious
completeness proportion autonomous expressive warm
Table, 2006
Claret Ash, She Oak
78 x 65 x 105 cm
130 Wood/Furniture
Henry Wilson
Force of nature, 2006
high density foam, plywood, laminate, beech
72 x 70 x 160 cm
Wood/Furniture 131
workshop staff 2006
Ceramics
Janet Deboos (Head)
Greg Daly
Joanne Searle
Tim Spellman (T/O)
Patsy Hely
Anita Mcintyre
Gail Nichols
visiting artists
Tony Franks (Scotland)
Ian Jones (Aus)
Peter Johnson (Canada/USA)
Randy Johnston (USA)
Uranishi Kenji (Aus/Japan)
Kevin Murray (Aus)
Matthias Ostermann (Canada)
Kay Pemberton (Aus)
Ryozo Shibata (Japan)
Kent Swanson (USA)
Sergei Usupov (USA)
Angela Valamanesh (Aus)
Alan Watt (Aus)
Glass
Richard Whiteley (Head)
Nadège Desgenétez
Philip Spelman (T/O)
Itzell Tazzyman
visiting artists
Alexandra Chambers (Aus)
Matt Larwood (Aus)
Nancy Callan (USA)
Tom Rowney (Aus)
Ted Sawyer (USA)
Einar de la Torre (Mexico)
Jamex de la Torre (Mexico)
Mark Zirpel (USA)
132 Staff
Gold & Silversmithing
Johannes Kuhnen (Head)
Cinnamon Lee
Roger Hutchinson (T/O)
Sally Mussett
Ian Perceival
visiting artists
Helen Aitken-Kuhnen (Aus)
Joungme Edo (Korea/Aus)
Darlys Ewolt (USA)
Vicki Mason (Aus)
Oliver Smith (Aus)
Mark Vaarwerk (Aus)
Painting
Ruth Waller (Head)
Peter Maloney
Raquel Ormella
Simon Ramsey (T/O))
Pablo Shopen (T/O)
Deborah Singleton (On Leave)
Nada Celeste
Elisa Crossing
Noel Ford
Peter Jordan
Graham Eadie
visiting artists
Louise Paramour (Aus)
Jude Rae (Aus)
Hossein Valanamesh (Aus)
mentors
Leah Bullen
Karena Keys
Suzanne Moss
Frank Thirion
Photomedia
Martyn Jolly (Head)
Denise Ferris
Peter Fitzpatrick
Jason O’Brien (T/O)
Alexandra Gillespie
Cathy Laudenbach
Marzena Wasikowska
David Wills
visiting artists
A. D. Colemand (USA)
Jon Rhodes H.C. Coombs Creative
Arts Fellow (Aus)
Kris Rosar (Canada)
Printmedia & Drawing
Patsy Payne (Head)
John Pratt
Sasha Kukoc (T/O)
Marina Nielsen (T/A)
Bernie Slater (T/A)
Caren Florance (T/A)
Jan Hogan (T/A)
Alison Alder
Heather Burness
Waratah Lahy
Marie Hagerty
Tess Horwitz
Peter Jordan
Andrew Kaminski
Raquel Ormella
Deborah Perrow
visiting artists
Raymond Arnold (Aus)
Heather Burness (Aus)
Ursula Jacob (Switzerland)
Narae Kim (Korea)
John Loane (Aus)
Marshall Weber (USA)
Sculpture
Michael Le Grand (Head)
Wendy Teakel (Acting Head, Sem. 2)
David Jensz
Paul Hay
Nicholas Stranks (T/O & Foundry
Manager)
Rachel Bowak
Jay Kochel
Amanda Stuart
visiting artists
Michael Agostino (Aus)
G.W. Bot (Aus)
Ante Dabro (Visiting Fellow)
Textiles
Valerie Kirk
Annie Trevillian
Jennifer Robertson
Monique Van Nieuwland (T/O)
Noel Ford
Belinda Jessup
Zelda Trione
visiting artists
Bruce Carnie (Aus)
Hilary Green (Aus)
Maggie Henton (UK)
Nancy Hoskins (Usa)
Barbara Layne (Canada)
Julie Ryder (Aus)
Kei Takemura (Japan)
Ilke White (Aus)
Furniture/Wood
Rodney Hayward (Head)
Ian Guthridge
Greg St John (T/O)
visiting artists
Howard Archbold (Aus)
Philip Goldacre (Aus)
Robyn Kinsela (Aus)
Ian Percival (Aus)
Alan Wale (Aus)
Core Studies
Vivienne Binns (Head)
David Jensz
Tim Spellman (T/O)
Simon Scheuerle (T/O)
Alison Alder
Nada Celeste
Elisa Crossing
Glenn Dunn
Marie Hagerty
Steven Holland
Tess Horwitz
Marcia Lochhead
Roy Marchant
Jan MacKay
Kate Murphy
Gilbert Riedelbauch
Timothy Ringsmuth
Tony Steel
Lia Tajnar
Art Theory
Chaitanya Sambrani (Head)
Anne Brennan (on leave)
Helen Ennis (on leave)
Chris Chapman (T/O Art Forum &
Lecturer)
Sarah Rice
Hanna Hoyne
Chiara O’Reilly
Computer Art Studio
Gilbert Riedelbauch
Environment Studio
John Reid
visiting artists
Ian Bettinson
Marshall Weber (USA)
Inkjet Research Facility
(Photomedia Workshop)
Peter Fitzpatrick (Research)
Jason O’Brien (Research)
Luisa Abello (Production)
School of Art Visiting
Artist
Mileva Albertini (Switzerland)
visiting artists
Victoria Cooper (Aus)
Doug Spowart (Aus)
Staff 133
134 Staff
about the school
The ANU School of Art provides a unique study environment for the visual arts. The University campus offers
excellent resources for research and the study of art and design in a wide range of specialist disciplines. The ANU
School of Art features an extensive art library, exhibition calendar, visiting artists program, and regular access to the
national cultural institutions located in Canberra.
The ANU School of Art has attracted to its staff some of Australia’s most distinguished artists with national
and international reputations in ceramics, drawing, glass, gold and silversmithing, painting, printmedia, sculpture,
textiles, wood/furniture and art theory. Major studies are supported by opportunities in digital art, multimedia, the
Computer Art Studio, papermaking, the Environment Studio, field studies and overseas exchange for students.
The ANU School of Art’s undergraduate and postgraduate programs provide for introductory to advanced study in
the practice of art through coursework, project work and research in the range of visual arts and design practices
offered in the School’s workshops and studios.
Undergraduate students may take the three-year Bachelor of Visual Arts (BVA), Bachelor of Design Arts (BDA), the
fourth year Honours program, or the two-year Diploma of Art. In addition, the combined degrees of Bachelor of
Arts/Bachelor of Visual Arts (BA/BVA) and Bachelor of Arts/Bachelor of Asian Studies (Specialist) (B.Asian/BVA),
Bachelor of Science (Forestry)/Bachelor of Visual Arts (BSc/BVA) are available. The Centre for New Media Arts
(CNMA) offers studies in computer animation; computer music and digital video through its BA (Digital Arts) and
BA (New Media Arts) programs.
Through the Australian National University Graduate Program, ANU School of Art visual arts 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:
w
www.anu.edu.au/art
t
(02) 6125 2898 or (02) 6125 5810
e
enquiries.arts@anu.edu.au
About the School 135
index of artists
A
F
Firth, Sarah 103
Fitzmaurice, Melanie 104
Freeman, Rachael 45
Freeman, Sara 84
Aitken, Antonia 83
Andrews, Leonie 113
B
Battisti, Julie 39
Bell, Daniel 99
Bennetts, Catherine 40
Blake, Sally 114
Bottrill, Claudia-Luce 100
Bradfield, Sian 65
Bradley, Jacqueline 101
Brown, Majella 66
Browne, Beck 67
Brownscombe, Catherine 115
Butcher, Charles 21
Butlin, Richard 10
G
Gabiola, Raquel 124
Garside, Tanya-Maree 46
Goodman, Cristina Baratinskas 9
Gordon, Holly 116
Gorham, Elliot 125
Green, Katherine 32
Guth, Robert 71
H
Hadiwibawa, Christel 126
Hall, Dian 12
Haygarth, Stephanie 47
Hill, Bettina 85
Hill, Melanie 72
Holmes, Amy 73
Hove, Dianne 13
Howlett, Rowan 127
C
Campbell, Elizabeth 29
Carlin, Margaret 11
Castiglioni-Bradshaw, Julia 41
Charley, Kimberly 123
Ching, Mia-Lee 30
Clune, Justin 68
Cockburn, Cobi 22
Cole, Tiffany 42
Collins, Jennifer 23
Colwell, Alisha 69
D
Dall, Skylen 102
E
Edghill, Katharine 31
Edwards, Michael 43
Evans, Sarah 70
Evans, Tania 44
136 Artists
J
Jackson, Alison 33
Jackson, Della 48
Jensma, Helen 117
Juranek, Jana 74
K
Kane, Alicia 14
Kesteven, Sue 24
Kettle, Rebecca 49
Krebs-Schade, Erik 50
L
Lamb, Halie 34
Langdon, Trenna 15
Lawler, Rene 75
Lemoh, Rosalind 105
Little, Fiona 51
Little, Mathew 35
Luff, Tracy 106
M
Maurice, Kate 86
McGovern, Alan 52
Milligan, James 128
Monro-Allison, Julie 118
Murray, Julia 87
N
Nest, Timo 76
Nguyen-Hoan, Lan 36
O
O’Brien, Paul 88
O’Brien-Malone, Angela 89
Ockwell, Jacqueline 77
Oh, Meelan 90
P
Palaskas, Kitiya 91
Papanikolakis, Elena 53
Paver, Cathy 54
Perrett, Anna 78
Pilat, Gosia 16
Pilat, Kalina 55
Price, Timothy 56
Procter, Eileen 37
Q
Quinn, Lucy 92
R
Robertson, Ian 57
Robertson, Ola 119
Robinson, Macushla 93
S
Saito, Ayako 107
Salas Hammer, Dionisia 58
Sallustio, Milena 17
Sanders, Natalie 94
Sheridan, Anita 95
Shevlin, Patrick 108
Shimomura, Minoru 26
Smith, Alison 120
Stone, Aria 59
Surplice, Jessie 27
Swift, Genevieve 96
T
Tanfer, Tugba 60
Thompson, Beatrice 121
Tuckwell, John 18
V
Vukeljic, Ljubica 61
W
Wade, Jessica 109
Wainwright, Rosina 110
Ward, Alexandra 62
Weingott, Jarlath 130
Wilson, Henry 131
Y
Yau, Helen 19
Z
Zoller, Emma 80
Raupach, Anna 79
Rawlings, Candace 129
Roan, Patricia 25
Artists 137

- School of Art

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