Embed Size (px)
Citation preview
RMIT UNIVERSITYSCHOOL OF ARTMASTER OF FINE ART
GRADUATES
CooRDinATinG STAff 2013
P. 6
PoSTGRADUATE CAnDiDATES 2013
P. 8
GRADUATE woRkS
P. 10
ACknowlEDGEmEnTS
P. 62
RmiT UniVERSiTYSCHool of ARTmASTER of finE ART
GRADUATES
CooRDinATinG STAff2013
6
Program Director
Sally Mannall
acaDemic aDvisors
Sally Mannall
Dr Laresa Kosloff
Jan Nelson
Michael Graeve
Ronnie van Hout
Dr Ruth Johnstone
Mark Edgoose
Sally Cleary
Peter Cripps
Nikos Pantazopoulos
aDministrative officer
Gypsy Carthew
PostgraDuate technician
Alan Roberts
mfa Professional Practice aDvanceD seminar Phip Murray
With thanks
Australian Decorative and Fine Arts Society Yarra inc.
seminar contributorsBala Starr Philip BrophyFrancis Parker Susan CohnHannah Mathews Rhett D’Costa Laresa KosloffVikki McInnesKate Barber Justin Clemens Masato Takasaka Jason Maling Tai Snaith Penny Modra eter Tyndall Phoebe Welman Whitman
Renee Ugazio PSimone SteelJeremy WortsmanNaomi CassJacqui DoughtyVeronica Kent Taree MackenzieRobin KingstonMegan CopeDanny LacyLisa Radford Charles O’LoughlinJohn BillanSally MannallWilloh S. Weiland
8
JUSTINE AUSTEN 10CLAUS BREDOW 12WENDY BUSCH 14ANAT COSSEN 16CHRISTELLA DEMETRIOU 18MARIANNE DIAZ 20BRUCE DICKSON 22JESSICA DONELAN 24LISA FRANKLAND 26ELINA GAULT 28MARY GOOD 30RIA GREEN 32MICHAEL HAWKINS 34SAMANTHA HERIZ 36ROSANNE JOHNSON 38LIGEL LAMBERT 40YIxING LIU (ROY) 42KIRSTEN LYTTLE 44MELISSA MATVEYEFF 46ASHLLEY MORGAN - SHAE 48ANA RADOVCICH 50PHIL SOLIMAN 52DANLI SUN 54CAITLIN TELFORD 56STEPHEN WELLER 58
PoSTGRADUATECAnDiDATES2013
My art practice investigates the parallels between the physical and psychological aspects of the body and architecture through jewellery. I am interested in the performative nature of jewellery and architecture and explore this by linking “building structures” to the body using traditional Gold and Silversmith techniques.
THREE, 2012Sterling silver, steel, threadDimensions variablePhotographer: Andrew Barcham
justineausten.com.au
JUSTinE AUSTEn
10
Claus Bredow’s sculptures make reference to the human form, in particular to the head. His works explore the delicate, fragile and precious aspects of human life.
VARiATion on Pk#4, 5, 6, 2013Fired earthenwareEach approx. 50cm high
ClAUS BREDow
12
wEnDY BUSCHI have produced a series of figurative paintings in order to explore the anxiety involved in human subjectivity. My studio based research aims to suggest psychological tension, through contrasting painterly mark and intense colour.
UnTiTlED ii, 2013Oil and Enamel on CanvasGossard Space, RMIT, Melbourne
90 x 101 cm
UnTiTlED iV, 2013Oil and Enamel on CanvasGossard Space, RMIT, Melbourne
60 x 45 cm
14
AnAT CoSSEnBy capturing constructed sets, my project aims to contest notions of identity in relation to time and place. High definition video records slow-paced movement to shift perception over time. The materials filmed or photographed are chosen due to their dark tone and ability to elude scale. With abstraction and analogy, it mirrors the gap between familiar and unfamiliar, here and there, now and then. These devices create uncertainty in relation to the viewer’s ability to draw a fixed conclusion.
PERmEABlE BoUnDARiES, 2013Medium: Video stillLength: 18:00 (loop)
1616
CHRiSTEllA DEmETRioU Poetry of Difference investigates the complexities of migration, displacement and illness through painting, multimedia and installation performance. This project uses metaphor and non-linear narratives to address anxieties of the self in a subjective manner; parallels are drawn between the body, nature and architecture, as means of seeking harmony with the environment. YEllow VERTEBRA
Blue Vertebra 1Blue Vertebra 2, 2013Oil, sand, encaustic wax on canvas, 51 X 51 cm each
T: 0420654573E; [email protected]
18
mARiAnnE DiAz
DiAmonDS, 2013HD Digital Video2 minute 24 second
marianne-diaz.tumblr.com
My video-based installation practice re-stages stereotypes about Asian females appropriated from pop culture.
Literalism is used to frame the absurdity of stereotypes by referencing performances from b-grade movies, music videos and Internet memes. Conventions of black humour and ambivalence invite viewers to observe the unraveling of their own cultural expectations.
20
BRUCE DiCkSon I approach meaning with awareness of the fragile nature of life, finding vulnerability, transience and change are paradoxically constant. Using constructed sculptures evocative of domestic furniture I aim to evoke a precarious psychology, uneasy presence inherent in material and form.
CHAiR, 2013Wood, paint, metalApprox 800 x 400 x 600 cm
22
JESSiCA DonElAnMy art practice investigates the juncture between architecture and jewellery and their parallel relationships with materiality and form. My work explores the relationship we have with materials and how the act of wearing can evoke feelings of place or memories. Through these works I aim to raise the consciousness of the wearer to our everyday relationship with materiality and the built environment by rephrasing the language of architecture into jewellery.
lAYERED BRACElETS, 2013Bracelet 1: wood, acrylic, sterling silverBracelet 2: stainless steel, acrylic, sterling silver75 x 75 x 45 mm
www.jessicadonelan.com
24
liSA fRAnklAnDThis project uses video, audio and installation to reference content from my personal life including the lives of people close to me in order to explore ideas of personal choice and self-representation. The play between humour, seriousness and the absurd in my work aims to reference the complexities and ironies of everyday life. CoRVETTE VS. HYUnDAi (DAD VS. liSA)
2012Video still37sec
26
ElinA GAUlTMy multi-channel video installations activate consciousness of the perception of physical and pictorial space and time. By applying devices such as repetition and juxtaposition, I manipulate unrecognizable although familiar recordings of a site. I use immersive scale, installed wooden structures, projections grounded through mapping and activation of visual rhythm to create immersive environments.
28
STRUCT, 2013Video installationD11 @ Docklands, Melbourne.Dimensions variable
GRESSion, 2013Video installationD11 @ Docklands, Melbourne.Dimensions variable
E: [email protected] www.elinagault.com
mARY GooDI have been thinking about the ways people react when they are traumatised. I have made a series of capsules or psychic retreats. They are made from paper sewn over a wire frame. The paper is patched and darned laboriously to focus on the enormous amount of energy which goes into keeping such painful emotional memories hidden from awareness. UnTiTlED, 2013
Paper, Wire and Linen Thread Photograph: Anat CossenApprox 85 x 390 cm
30
RiA GREEnMy practice examines moments of wonderment found in the natural world. This recent body of work explores the possibilities of re-presentation and the effect of reduction through the use of amplified colour and light, simple technologies, video and installation to translate the experience of wonderment.
2013Crystal, string, battery, LED lightDimensions variable
liGHTS AT 10:24Pm, 20136:11 minute video installationDimensions variable
www.riagreen.com32
miCHAEl HAwkinSI employ a cacophony of imagery as a means of engaging with the overload of visual media in contemporary life. I also touch on how individual behaviour and identity are socially regulated. To do so I make visually loaded, black and white drawings and then screen-print them into large scale artworks.
THAT wHiCH CAn BE CoUnTED does not necessarily count, that which counts cannot necessarily be counted, 2013Silkscreen print on paper95 x 197 cm
www.michaelhawkins.co.nz
34
SAmAnTHA J HERizMy practice highlights the overlooked in our fast paced society. Through video and text, I aim to focus our attention, humorously and unexpectedly to subtleties in nature and our own quiet mind. My practice is diverse; recent works have developed through durational video and poetic text as subtitles.
wiTH THiS PAPER GlASS DooR DAwn THERE iS A ViRTUAllY imPoSSiBlE ASPECT of SomETHinG lESS THAn TAnGiBlE ii, 2013Video Installation Warehouse, Brunswick, MelbourneDimensions variable, duration: 15 minutes
36
RoSAnnE JoHnSonCommonplace materials and exacting processes are used to compose minimal works related to human dwelling and the natural world. Suggestions of significance in relation to time and presence aim to evoke notions of the beautiful ordinary
moRoCo wEST, 2013Flyscreen, cotton thread94 x 84 cm
ConTAinmEnT YARD, 2012Flyscreen, cotton thread95 x 90 cm
E: rtegan256@hotmail com
38
liGEl lAmBERTThrough my experiences dealing with issues around racial stereotyping, discrimination and racism, my current work strives to reflect on my identity as a black male living in and traveling to various continents. Amongst many other stereotypes, this work reflects on the criminal element associated with identifying as a black male. 2013
Acrylic on canvas with black toy gun on plinth.99.5 x 150.5 cm
www.ligel.com40
YixinG (RoY) liUThis studio based research project explores my personal cultural background and self-identity through the combination of drawing and photography to create hybrid images that reference a sense of self and belonging in a culturally diverse context.
SUGAR DADDY, 2013Digital photographic print90 x 65 cm
THE SEConD GEnERATion, 2013Digital photographic printTwo panels, 45 x 45 cm each
42
kiRSTEn lYTTlE
My MFA project uses traditional Māori weaving techniques, photography, video and synthetic materials to explore bi-cultural identity and connection to culture. It investigates strategies to reclaim and subvert objects and images that have been misappropriated, commodified and misrepresented by both the colonial gaze and the tourist industry. koEAEA (wHiTEBAiT) wEAVE, 2012
Hand woven inkjet print594mm x 841mm (unframed)
mEkAmEkA wEAVE, 2012Giclee print on Ilford Galerie Gold Fibre Silk, 800mm x 532.8mm (unframed)
T: 0400 839 134 E: [email protected]
44
mEliSSA mATVEYEffRECIPE FOR HULLABALOO ROOM
INGREDIENTS
• Boxes of materials• Add yourself and society• A pinch of humor• A dash of absurdity• A cup of crude• Don’t forget the anxiety• Fold with empathy• Now add some awkwardness• Beat bravely with psychology
Great now you have IT
ConSTRUCT, 2013Assembled objectsDimensions variable
46
ASHllEY moRGAn – SHAEAshlley investigates exclusionist practices within institutions, and the resulting dismemberment in her series of drawings, Limbs.
TAnGlEwooD, 2013pencil and graphite on rag paper55.5 x 75.5 cm
48
AnA RADoVCiCHJennifer Martin’s work explores transformation, concealment, containment, nature, nostalgia, mystery and illusion. She creates habitats with jewellery and objects that reference historical, mystical and personal narratives.
She invites the viewer to take a journey to an imagined world. To sip from the lace cup, don the rabbit’s foot necklace and quietly slip down the rabbit-hole.
UnTiTlED, 2013Fridge doors, acrylic paint, printed adhesive vinylCastlemaine Continuing EducationDimensions variable
50
PHil SolimAnThrough interactive performance, video, installation and sculpture, I question assumptions about truth, belief and morality, specifically within the context of my devout Egyptian Christian upbringing.
Egyptian historical, political and religious discourses provide a starting point for me to explore, with humour and honesty, my identity and my relationship to my family and wider social environment.
wiTH THE fAiTH of A mUSTARD SEED, YoU CAn moVE moUnTAinS, 2013Site-specific found object installation, found video and performanceJohnson Street ARI, Northcote10 mins, dimensions variable
A PoliTiCAl HiSToRY of EGYPT, 2013Dried broad beans, plywood, epoxy glue, rugMoreland Railway Station waiting room
Approx 150w x 200d x 55h cm
www.philsoliman.com52
DAnli SUnInspired by a practical object, or news that touched me, I always start with drawing. This continues during the production process and is linked directly to the making of the work. Translating the qualities of line work and color patterns from my sketches onto wax models and then onto metal is an important part of the making process. Color through the application of enamel on metal sheet and electroformed surfaces is where I begin to build my Chinese background stories through experimenting with electroformed processes and different types of enamel fired on to electroformed copper surfaces.
Dim SUm, 2013Electroformed copper, vitreous enamel, sterling silverDimensions: 50mm x 40mm x 40mm
BABiES, 2013Electroformed copper, vitreous enamel, sterling silverLeft (object): 80mm x 45mm x 135mmMiddle (ring): 50mm x 40mm x 55mmRight (brooch): 70mm x 55mm x 55mm
54
I question how digital intimacy is valued by exploring the commodification of it. Through implementing interdiscursive and ironic performative interventions within recontextalised networked publics and physical spaces, I not only unpack the impact that commodification of digital intimacy has on private communications, but how it has cultivated exhibitionistic and voyeuristic behaviors. SPACE CoDETTE, 2013
Website
Dimensions variable
ConfiDEnTiAl CommoDiTiES, 2013Virtual video installationDimensions variable
www.spacecodette.com
CAiTlin TElfoRD
56
STEPHEn wEllERMy photographic practice aims to bring the natural/phenomenal world into closer consideration to generate an engagement that is a more physical and sensate experience. I have used sculptural forms to explore the phenomenological qualities of both the photographic print surface and its subject – the tree.
TREE ColUmn, 2013Inkjet print on Rag paper, MDFMelbourne250cm x 38cm x 38cm
BARk CURl, 2013Inkjet print on Rag paper, ply boardMelbourne20cm x 80cm
PoSTGRADUATECAnDiDATES2013
JUSTINE AUSTEN 10CLAUS BREDOW 12WENDY BUSCH 14ANAT COSSEN 16CHRISTELLA DEMETRIOU 18MARIANNE DIAZ 20BRUCE DICKSON 22JESSICA DONELAN 24LISA FRANKLAND 26ELINA GAULT 28MARY GOOD 30RIA GREEN 32MICHAEL HAWKINS 34SAMANTHA HERIZ 36ROSANNE JOHNSON 38LIGEL LAMBERT 40YIxING LIU (ROY) 42KIRSTEN LYTTLE 44MELISSA MATVEYEFF 46ASHLLEY MORGAN - SHAE 48ANA RADOVCICH 50PHIL SOLIMAN 52DANLI SUN 54CAITLIN TELFORD 56STEPHEN WELLER 58
PoSTGRADUATECAnDiDATES2013
62
ACknowlEDGEmEnTS
ACknowlEDGEmEnTS
Thank you to all who have contributed to the success
of the Master of Fine Art Program in the RMIT School
of Art: Program Director, Academic advisors, examiners,
visiting lecturers, administrators, technicians, students
and sponsors.
© RMIT University 2013, Copyright in the individual essays
and artwork remains vested with the individual authors and
artists. Except as permitted under the Copyright Act 1968, no
part of this publication may be reproduced by any process,
electronic or otherwise without the permission in writing
from the publishers and authors. Neither may information be
stored electronically in any form whatsoever without such
permission. All opinions expressed in the material contained
in this publication are those of the authors and not necessarily
of the publisher.
RmiT UniVERSiTYSCHool of ARTmASTER of finE ART
GRAPHiC DESiGnRUSHDI ANWAR
WWW.RUSHDI.NET.AU
STUDio SPACE PHoToGRAPHS: JACqUELINE BALL
SCHool of ARTRmiT UniVERSiTYPO BOx 2476V
MELBOURNE
VICTORIA 3001
AUSTRALIA
T. +61 3 9925 1947
F. +61 3 9925 9776
WWW.RMIT.EDU.AU
noTES
noTES
noTES
noTES
