RESEARCH ON GOLD FOIL Yuko’s practice centres on the poetic potential of gold foil—a material that transforms the ordinary into the extraordinary. Through her work, she explores how this fragile metal leaf can give new life to overlooked materials, revealing
does a sticker make me good? i return to childhood memories where stickers functioned as a currency for achievement. a curated band-aid. a brightly adhesive sign that i had done something right. i can’t quite explain the fixation. i think
Recipient of the Composite Moving Image Agency and Media Bank Award and the Jack Willet 1301SW Honours Award. _________________________________ HERE/THERE (AND ME IN-BETWEEN) Just like walking in an alley, looking to see what will happen, then walking into another alley
AND SO THE CYCLE CONTINUES explores the conversation between influence and identity. Experiencing life through memories and cultivating a persona based on superficial notions of nostalgia, identity can be defined in the 21st century as a reflection of the enmeshing
Mary Oliphant Prize. Seventh Gallery Award. BESTOWED: EXPLORING TRAUMA AS A FORM OF INHERITANCE THROUGH CERAMIC SCULPTURES AND RITUALISED PERFORMANCE Reimagining heirlooms from the artist’s Javanese heritage to create ceramic sculptural work, Bestowed challenges the persistence of filial piety in
ORDER & CHAOS delves into transformation, spiritual healing, and the belief in a higher self through my unique perspective on spirituality and the search for purpose. Inspired by alchemy, spiritual philosophy, and fantastical themes, this project emphasizes my personal philosophy
Project executive summary Name: Adrienne Cameron, s3996963 Title: So, you want to be a collector? Outcome: Pamphlet Collector pamphlet Abstract: This project explores the parameters of creating a valuable contemporary fine art collection over a lifetime. Extensive academic research has
The imagery in my work is akin to a form of assemblage and is intended to challenge notions of totality. Through relations of exteriority and emergent properties, these works may be understood in terms of material, expression, stability and coding.
Awarded the 2025 Sunshine Print Artspace, OBSA Award IN METRO is a varied edition stone lithograph with LEDs and LCD screens, that uses the site of the city to explore the diversity of coexisting human experiences. The high concentration of
Born in 2002, Aiko is an Australian painter of Asian diaspora, currently maintaining her practice on Wurundjeri Land of the Kulin Nations in Naarm/Melbourne. Currently enrolled in the Honours Fine Art course at RMIT School of Art, she excels in
MY BODY, NOT MY RULES centres on creating a series of paintings that investigate themes of sexual violence and ‘The Gaze’ while seeking agency as well as explore the female body and reclaiming authority. My eagerness to confront women’s issues
Recipient of the ACAE Gallery Award. _________________________________ PAINTING AS AN ACT OF TRANSLATION Through painting, I aim to echo musical forms into the visual. The resultant body of work explores the kinetic symbology of music, linguistics, hybridity, and inner worlds.
FROM YOUR BIRTH TO THE ONE YOU GAVE ME Within my work I aim to explore notions of rebirth and queer femme identity, utilising text and humour. In the digital age, I am surrounded by constant sources of stimuli, which
I acknowledge, pay respect, and pay the rent to the Traditional Custodians and their Ancestors of the lands on which I live and work: the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nations.
A POSTCARD TO NATURE – AN APPRECIATION FOR THE NATURAL WORLD My work engages with nature, aiming to capture an appreciation for life and celebrate the beauty in the world around us. It explores my personal connection to the natural
Loss of my assumptive world refers to a significant part of my grieving process, the expectation for a person to continue to be in your life and needing to adjust this assumption after their passing. I explore the changes that
WINNER – DRAWING STUDIO Jack Willet Industry Engagement Award, 2025 Memory Transplants is a collection of paintings based on my grandparents’ photographic slides that explores identity, cultural memory, and the knowledge passed down and lost through generations of migration. Through
SCAR TISSUE This body of work reimagines the car beyond its associations with function, speed and masculinity, framing it instead as a site of seduction, fragility, and care. Working with salvaged car panels, the approach treats them as sculptural surfaces
Working across drawing, painting and sculpture, I investigate spatial, material and hierarchical approaches to making and reconfiguring things to become artworks. An investigation of conditions ensues; conditions of the gallery, materials, sculpture, painting… And what happens when we fall between these
PAST LIVING: Memory is a Monster/KUTIS I work fluidly in my studio, constantly experimenting and researching materials and methods to find the best ways in which to express two main ideas. The first being the exploration of mental
Recipient of the The ADFAS (Australian Decorative & Fine Arts Society), Yarra Branch Award _________________________________ ISOLATED FACES metaphorically explores anxieties of isolation and belonging. This project is a self-reflexive study that utilises non-traditional portraiture by shadowing the faces of loved ones to
Human agent: AN ENTANGLED ALMAGAMATION OF CUMULATIVE EXPERIENCE: The experience of being aware of being. The experience of relating to natural forces. EMBODIED MATTER That which is the vital foundation is fundamentally intricate and non-finite. Prioritising
instagram: @notawizard_yet www.alexanderpugwilliams.com GLYPH OF NON-ATTACHMENT My 2023 capstone project is the Glyph of Non-attachment (GON-A). GON-A is a non-static assemblage composed from sculptural objects I have created over the course of my degree. These sculptures are made from industrial
Drawing Studio Award for excellence in drawing-based practices. BETWEEN YARN AND A HARD PLACE is an ongoing exploration of mother-daughter relationships and, by extension, the complex interaction between the maker and the made. In my semi-autobiographical practice, I explore the
RMIT Creative Residency Award The female body is judged biologically, evolutionarily and culturally for its fertility, sexuality, and aesthetics. As a young Western woman, I am shaped by this judgement, battling to find acceptance within my skin. My practice-led research
IMPRINT & IMPRESSION An exploration of the materiality of fabric through the print medium. How one material can be transformed through the matrix, and furthermore, the print itself. A print-based triptych that explores the nature of fabric in its form
SASHA’S A to Я COLLECTION: A REFLECTION ON NATIONAL IDENTITY THROUGH PRINTED IMAGES OF ICONIC SYMBOLS AND EMBLEMS. My work explores the interplay between consumerist culture and identity, examining how everyday objects detached from their practical use become moguls
ALPHA 60 AWARD WINNER VEILED REFLECTIONS – THE WARDROBE AS A LIMINAL STRUCTURE OF INTERSECTING IDENTITIES explores the healing potential of material manipulation and repetitive processes. My practice becomes a physical means of breaking down psychological barriers and confronting
Sculpture Workshop Prize. THE RABBITS is an assemblage of found materials transformed and altered, arranged to echo an imagined agricultural or domestic garden exterior landscape and at the same time an interior domestic setting, similar to a sitting room. As the
Recipient of the BDS Sculpture Prize. _________________________________ BENEATH DAPHNE I am an aspiring sculptural and installation-based artist located in Kulin country, Melbourne Australia. I will soon be graduating with my Bachelor of Fine Art, specialising in Sculpture at RMIT. I
Of Figure, Feather, and the Pursuit of a Fable | Encapsulating the Invisible Illness Experience through the Intersection of Painting and Allegory My area of artistic inquiry explores how material, the natural world, and figurative manipulation can intersect to
This thesis explores the potential of The Muse Mandarin (TMM), a Melbourne-based cultural tour business designed for Mandarin-speaking audiences. By leveraging the founder’s expertise in event management and arts management, TMM aims to offer immersive and educational experiences at Melbourne’s
WINNER – DRAWING STUDIO Alpha 60 Prize, 2025 THE AVIARY The Aviary is an investigation of memory as a simulacrum: the notion that memory is reconstructive, simulatory, and slippery. The concept of the performance arrived to the artist in the
ADDITIONAL VALUE A series of matchbox sculptures to explore material and consumerism. In the wave of consumerism, commodities are taking over our lives and defining everyone. I am hoping to expose this power and draw attention to the power of
My work is a wide-ranging entanglement of found imagery and intersecting concepts that manifest in chaotic and often psycho-surreal narratives. Ultimately, I see my practice as a form of sensation seeking and psychoanalytical tool that speaks of the human condition
AWARD WINNER – BDS Sculpture Prize for outstanding folio, 2025 HOLD ON TO YOURSELF unfolds as a space of tension between protection and exposure, vulnerability and strength. The work invites a process of returning to one’s authentic self —
Bio Statement: Amelia Faye Perri is a ballet-trained artist and emerging arts manager currently completing a Master of Arts Management at RMIT University. A graduate of the Royal Conservatoire of Scotland’s Bachelor of Arts in Modern Ballet, her practice and
WEATHER PAINTINGS These works are about the sensibilities of past upper classes, and the cyclical growth of vegetation. I am a painter and draughtsman based in Melbourne and was born on a farm in New Zealand. In my work, through
MAKING SPACE FOR DETAIL Reflecting the adolescent urge to document everything, my work is an act of noticing, collecting, and giving attention to the minute minutiae, the detritus of our culture and the beauty of the mundane, transforming each detail
FOUND MOVEMENT IN FOUND SPACE Dance as art and choreology are the foundation of my current practice, looking at the relationship between personal movement style and visual aesthetic as the remnants of an artist left in their work. Starting with
FIRE-BORN MOODS (2025) applies instinctually creative practice to depict landscapes of personal significance. Over this three-year period of study, the landscapes of my backyard and the Dandenong Creek have taken over my creative subconscious. Townsend describes her similar experience as
WINNER – DRAWING STUDIO Adele Wilkes Industry Engagement Award, 2025 I HAVE DETAINED YOUR ATTENTION My practice begins where systems break. In the noise of the glitch, in the unfinished code, in the loops that never resolve, I find a
Winner: The Fullstop Framing Company Award. https://www.fullstopframing.com/ Highly Commended: ACAE Gallery. https://acaearts.com.au/ My work emerges from a process that is both instinctual and uncertain, unfolding without a clear destination. I often don’t recognise what I’ve made until the end.
THE DIVINE EQUINE. Amy Gagnon (b.2000) is an artist residing and practising on Wurundjeri Land in Naarm (Melbourne). She is currently in her final year of a Bachelor of Fine Arts (Painting) at RMIT University. Recent exhibitions include the group
Firestation Print Studio Exhibition Prize for high academic achievement. Sunshine Print Artspace Graduate Award for high academic achievement in Third Year. MEDIEVAL AND THE MODERN Through a practice of print and illustration my work engages with the ways history and
WUNDERKAMMER. Dissection of the mind and matters. Eclectic. Found objects. Curiosities. Undiscovered. Line. Boundary. Trashy. Tacky. Campy. Lace. Tulips. Bugs. Moon. Sun. Bears. Fish. Hearts. Stickers. Gems. Dolls. Teeth. Contemplation. Pearls. Apologies. Locket. Keys. Ribbon. Sequins. Ornate frames. Grudge. Pink.
111 WAYS TO FORGET ̶Y̶O̶U̶ MYSELF This project emerges from Ana’s lived experiences and the dynamics of emotionality and shame. Ana creates pieces of participatory art and ritual performances using her body as a test subject to discover how
BEAUTY IN BODILY REALITIES: RECONTEXTUALISING THE FEMININE EXPERIENCE THROUGH EXPANDED CERAMIC PRACTICE is a studio based research project that employs an expanded ceramic practice and unconventional installation strategies to investigate an recontextualise the feminine experience. Aspects of the grotesque,
Chapman & Bailey Award. A WALK AMONGST NATURE. My practice relates to New Materialism, a philosophy that allows me to open up to an intimate, reciprocal engagement with my materials and immediate surroundings. My current work sits between painting and
Yarra Sculpture Gallery Exhibition Award http://www.yarrasculpturegallery.com.au/ WHEN PUSH COMES TO SHOVE is an invitation to propel this object into motion. I ask you to feel my materials and to watch them turn over, in, and around, as I have. This
THE SYMPHONY OF JOCULARITY: UNVEILING THE JOURNEY FROM CHILDHOOD TO ADULTHOOD is a project that explores the harmonious interplay between craft and childhood by weaving together found objects and metals in an effort to explore connections between past and present
Home as Qualia: Reflections on the miniature object. My practice-led research project Home as Qualia: Reflections on the miniature object is an ode to places of memory and devotion—the home. I hand-craft miniatures, boxes, and lockets to examine how home
The Moat Bar Awards for excellence in Video and Drawing. DRESS YOU UP IN YOUR LOVE explores the body, identity, and sexuality through a queer feminist lens. Viewers will enter a boudoir-like space to experience an immersive installation comprising
MISOPHONIA. (installation, performance and sound) Misphonia explores performativity; social scripting/masking, the psyche, the central nervous system and the erotic (as power/life source), through lived experience of patriarchy, trauma and (inevitably) late diagnosed neurodiversity. [(Currently), most AFAB people aren’t diagnosed until
ETERNAL LOOP~REIMAGINING THE BUCKLE In this project I explored contemporary buckle making through the lens of intuitive making. This work seeks to create discussion on the functionality of different buckles by abstracting their form, scale and function. I’m interested
Stardust: Ascension and the Art I Never Made. My practice-based research investigates the potential of artificial intelligence (AI) within a queer photographic and video practice to explore and amplify themes of fantasy, identity, and healing. Grounded in Deleuzian theory, which
A Ogierman, ‘Cascading’, 2025, sterling silver, 2.1 x 17.8 x 2.2cm. UNTITLED/UNRAVELLING Untitled/Unravelling uses a collection of jewellery objects to reflect and highlight the malleability of the human body, exploring ways the body moves and interacts with its surroundings.
PASS THE BUTTER is a self-portrait that unfolds across various mediums and techniques. This piece delves into the emotions I can encounter in the creative process as well as everyday life. I aim to capture how relentless my thoughts and mindset
COMMUNITY is an installation of eighty-eight wheel thrown vases. I view each vessel that I make as a person – individual and unique. In physical form a pot is like a person with a neck, shoulders, belly, hip and foot. When
REFRACTIONS OF REFLECTIONS is an exploration of the inner self channelled through the waves of water—an embodied experience of fluidity within my identity. The extensions of water, and the structure it holds is as transient as our flow with life
SCENERY FROM THE SUBCONSCIOUS A subconscious exploration of memory and place through the use of intuitive marks and abstraction. This multi-media project explores the artistic potential of the subconscious mind and its relationship to place. More specifically, the natural world
OF AIR , LIGHT AND WATER Shifting colours move through bands of blues and violets with a shimmer of red. The atmosphere becomes dusky as the large fabric installation lights up: iridescent silky silver-blue flows from above, mingling with
GOOD VS EVIL I am an artist with a practice that focuses on sculpture and installation. My practice is a constant exploration of history, religion and the vast realm of the human condition. As a sculpture student at RMIT, I am
FOND MEMORIES IN MY HEAD Be loud, Be funny, Reach each catharsis, Release shame. I want to put intimate things on a wall. Talk about things people have shamed me for. Become shameless and be myself, and in turn help
BODY VERTICAL My video installation uses advanced editing, special effects and compositing techniques to interrogate patriarchally-skewed cinematic codes embedded in mainstream film. Crucially, it responds to feminist screen theory in seeking new ways to represent the material female body. By
UNRAVELLING is a textile-based work that uses both handmade and found materials to delve into the themes of women’s work, girlhood and personal history. Through weaving and patchworking, the work explores how textiles can hold memory and identity, much like
AWARD WINNER – Breaking the Mold Sculpture Prize for experimentation in the Sculpture Studio, 2025 I work across mediums to create intriguing and playful encounters that puncture the common sense of capitalism. I interpret economic analysis through intuitive associations
OBJECTIFIED SWANS Through the lens of a sexual fantasy featuring the feminine within a 70s kitsch-pornographic-inspired environment, Objectified Swans attempts to undermine female binaries and expose them to be patriarchal weapons adopted to suppress a woman’s sexual
Based in Naarm/Melbourne, Sanders’ work addresses the body as material, meaning and muse. Her origins begin with self, yet through analogue manipulation the familiar becomes augmented and re-assembled. Her work spans a multitude of disciplines including, but not limited
Recipient of the Drawing Studio Award. _________________________________ THE NATURE OF LOVE ‘Trauma and shit going down in childhood is [not] inherently interesting…it’s chronic, commonplace, sometimes dramatic and often tedious in its stranglehold of repetitions, daily struggles, and predictable and
CUT FROM THE SAME CLOTH. The Currawong bird call repeats as dusk approaches and a warm spring air is present. The sun sets over the top paddock as the kangaroos graze on the grass below. My fingernail beds are coated
THE SENSATION OF CONNECTIVE CHROMATIC ENERGY: Lyrical abstraction and the metaphysical in painting. My Master’s project investigates lyrical abstraction through the medium of gestural, embodied and immersive painting. My inspiration is expressed through an intuitive process that explores spiritual
Sub 27 Exhibition Award Winner CIGARETTES, SLUGS, SHAREHOUSES, PREACH INCLUSION, STAY SKINNY, SEEM POOR, HAVE THINGS. Maybe your t-shirt wants to be a part of a flag. Would the bricks in your house rather be a painting? I think
My art practice is closely connected to my life experiences, and this year, I focused on my relationship with my mother as a central theme. I explored the patterns of our communication and how our bond shifted due to the
Reds, Greens, and White. They remind me of Christmas, an American one. A clown mask. The colours on a Liverpool Football Club scarf, a big bushel of Red poppies or a traffic light if White replaced the orange light. Red,
WINNER – DRAWING STUDIO Bold and the Beautiful prize, 2025
CHERCHEZ LA FEMME! My work is concerned with how women are viewed both in an art world setting and in other narrative forms. We see images of women covering the walls of galleries, so we assume they are present. We
The material language of identity is the catalyst of my artistic inquiry into embodied connection between people, animals, and environment. This body of work combines painting, performance, natural materials, and found objects to encourage empathy and embodiment beyond the self.
UN-PACK EXPRESSION THROUGH MATERIALITY. My practice consists of expressing emotions through imagery and materiality, pent-up feelings using symbolism as such dog figures which have often seen as faithful, loyal animals. Use of facial imagery and materiality to convey depth within
OUR REGRETTABLE PROPHECY A sculptural installation that calls into question our future under current social condition. It questions society’s cause of climate change and its radical effects on everything, reinforced through the showcase of mundane elements. A portrayal of a
THERE WON’T BE ANOTHER TIME is an exploration of childhood. Looking at both the universality of childhood experience, and the differences in my and my parent’s upbringing, I consider the question: What would it be like to meet our parents
IN THE COMPANY OF PESTS is a set of mixed media woodblock and screenprint images expressing frustration at the level of sexual agency granted to women as the subjects of art. Birds appear throughout the works as a metaphor for
UNADULTERATED Unadulterated is the beginning of a collection that focuses on words that I love. Unadulterated, rage, death, worship, longing, filth, rot, lust, gratification, sickness, torture, gore, hate and solace The collection explores ‘bad emotions’. How do we act when
GIRLHOOD, WOMANHOOD AND THE SPACE BETWEEN This body of works investigates stages of girlhood through to womanhood, and what each of these moments of rebirth might look like from a personal perspective. Each of these moments are driven by periods
MIND, BODY AND VEHICLE My research engages with ideas relating to internet culture and all of the strange dark absurdities of being online. I am fascinated by the stark polarities and extremes of the online experience, the way in which
Melbourne Art Supplies Award Winner Sanctuary Reimagined: Unveiling Spiritual rebirth and bicultural renewal through animism, eternalism, repetition, and layering. Sanctuary Reimagined intricately maps my transformative journey of spiritual rebirth and bi-cultural renewal through mixed-media installation. By employing a methodology of repetition,
Highly commended: ACAE Gallery Award Some beginnings are not chosen but given — and once given, we begin to see, and begin to choose. My practice centres on the notion of Place — a geography that also carries memory, emotion, and
The Work of Quiet Hands considers the importance of prioritising care. While certain individuals like Beggs may place an emphasis on care, in general it is not highly valued. In contemporary society, women, immigrants, people of colour and other oppressed
This practice-led research project investigates the interplay between the seen and unseen within textile art installation practice. Central to this research is the use of agave fibres and other natural materials, which reflect spiritual and ecological interconnections as they allow
The Wayne Conduit Memorial Prize My main area of interest is in contemporary still life painting. My works are observational, using traditional painting methods and working from life. The works often begin by moving, organising and arranging objects before building
THE FEMININE ART OF SHOOTING: the collision between fine art and firearms My shooting is still. Not violence, not fervour. My shooting is controlled breath as I kneel in the grass, surrounded by trees. Millimetric adjustments of my cheek and
Recipient of the Emily Hope Award for a figurative work— Donor Professor AD Hope Endowment. _________________________________ DOMESTIC RITUAL My practice explores the domestic space and the mundane with a focus on the processes and objects involved in food preparation. The
Koodak Award for Enamelling Prize for Technical Excellence. WHIMSY IN THE ORDINARY: AN EXPLORATION OF THE MUNDANE, ROUTINE AND PRECIOUSNESS THROUGH JEWELLERY. My practice explores the domestic space and the ordinary with a focus on processes and objects involved in
THE BOLD AND THE BEAUTIFUL AWARD WINNER fragments of deterioration. Betty’s work explores echoes of human presence, navigating the blurred boundaries between life and death. Her creations, influenced by ritualistic and macabre inspirations, feel like personal offerings, through various mediums:
Recipient of the Experimenta Internship Award. _________________________________ EXPLORING COLLECTIVE CONSCIOUSNESS THROUGH MOVING IMAGE AND MUSIC PROJECTS SITUATED IN PUBLIC SPACE In my Master’s research, I have been using the moving image and music to explore collective consciousness, dreams, and time.
Sacred Unfolding Sacred Unfolding employs intuitive ink painting, patterns, and fabric installation to explore spirituality, Buddhist philosophy, and phenomenology, drawing on my lived experience to reflect on our shared human condition. At its core, my work seeks to reveal inner
The Grand Tour, A Contemporary Take. Solo travelling and backpacking has been a transformative experience for me. Following the isolation we all felt during the Covid years, I went backpacking through Europe during the winter break 2024. I only took
Bo Pang is a multidisciplinary artist who is currently using weaving, casting, engraving and other forms of handmade contemporary jewellery and installations to communicate with herself. In the process, she analyses and reflects on herself and brings the materials closer to her
YELLOW CORRIDOR My site-specific installation practice uses the colour yellow to translate a neurodiverse experience of architectural space. Using a yellow cube as a self-portrait, I explore liminal spaces in institutional buildings to challenge formalist ideas and portray my sensorial
Dean’s Award for Excellence Bachelor of Arts (Fine Art). YELLOW CORRIDOR ‘Look into yellow, feel immersed in colour, anchored when close. The plane of the wall intersecting through my bodily matter to secure, tether me to site.’ My practice involves
Lowenstein Arts Management Prize. THE JUNK PILE draws upon Bonnie-Jean Whitlock’s relationship with material, image and process. “I call the accumulation of experience sustained within my own body my ‘junk pile’, it contaminates everything I say, do and make. I
Analyze the practice of immersive theater in small cities of China ——Case study “Youjian Pingyao” The Chinese performing arts market has been developing at an unprecedented rate in recent years, providing more choices for people’s spiritual life. Many performance groups
THE SOUND OF A PAINTING OF A SONG: EXPLORING HOW SOUND AND IMAGE MAY GENERATE AND ENHANCE EACH OTHER. Over the time of my Master’s study I have made a series of explorations to open creative connections between my concurrent
R.L.Foote Design Studio – Residency Award Unearthed looks at the hidden networks below the surface that create a complex, functioning ecosystem that is older than humanity. I derive my forms to represent the connections between mycelium and tree roots; these
PEER PRINCIPLES IN ARTS MANAGEMENT AND PRACTICE Artists are change agents, agitators, activators – of spaces, places and people. As change agents, today’s artists often work within other frameworks and systems, questioning power dynamics and often leading from
Recipient of the Chapman & Bailey Award for Excellence in Contemporary Painting. _________________________________ LANDSCAPE / ESCAPE ‘As an artist I’m trying to reflect something back to myself. A feeling, understanding, sense of the world…’ —Kiki Smith Exploring the silent language
Scope Creep Scope Creep seeks to address the absurdity of digital capitalism and its effects on ecology and psychology through a multidisciplinary piece comprising performance, video and installation. In managerial rhetoric, the term ‘scope creep’ refers to the sweeping and
THE GOTHIC NURSERY An exploration of childhood spaces through immersive art. From one world you will stepinto another yet unmetShadows rising in the corners,are you one of the mourners?The child no longer seeninto a world in betweenEverything left to
APHOTIC APOTHECA: OPENING SOON. Come one, come all and step inside, you never know what one might find. An immersive installation allowing visitors to travel through to an undisclosed time and discover the curiosities the little shop has to offer.
Undoing the Self: Memory, Temporality, and the Transformative Act of Painting My work unfolds within the fluid terrain of memory, identity, and the human condition. Rooted in autobiography yet reaching toward shared experience, my practice explores memory’s capacity to distort,
Catherine Magill is a Naarm /Melbourne-based dance artist with thirty years performance experience. Creating in the emerging moment, Catherine interweaves spontaneous, responsive movement and spoken word, with set choreography and scripted text. The work is political and poetic, addressing issues
Recipient of the Dean’s Award for Academic Excellence and contribution to the program, Master of Fine Art. _________________________________ TOWARDS REPOSE An exploration of materiality and ephemerality through the use of organic matter and geometric patterns. This multidisciplinary research project frames
CATHERINE’S REEF Through ceramic hand-building, I create sculptures that are heavily textured, painted with bold, bright primary and secondary colours. My ceramic outcome often consists of an installation of sculptural objects grouped to create a larger work. Present-day environmental issues,
THE MOAT AWARD WINNER CACHEXIA. A surreal exploration of the decaying body, born from the intersection of personal experience and the unsettling reality of transformation. This body of work reflects an intimate relationship with my own physical form, fusing surrealist
LESS OF AN INTERNAL MONOLOGUE MORE A PATCHY CONFERENCE CALL is a body of work that seeks to understand and connect with others, through the exploration of my own inner workings. As a woman with ADHD, my works are inevitably a
Garland Award for Innovative Storied Object Celine Babet explores how a cultural lifestyle has influenced her sense of self by making works of multiple ceramic components. Through her conceptual research, she draws upon childhood memories and family relationships, which are
Lowensteins Arts Management Award Winner 2024 Dean’s Award for academic excellence Recipient for DEBUT XXI at Blindside ARI (April 2025) https://blindside.org.au/ Between the Lines (2022-24) explores diasporic identity linked to the psychological impacts of colonialism through sculptural installation. My artworks are
Project Abstract My oil painting series explores the spiritual world within and its profound connection to nature, reflecting an ongoing journey of self-healing and transformation. Through rhythmic brushstrokes, layered textures, and flowing colours, I visualise the invisible energy that bridges
ART AND MUSEUM MANAGEMENT DURING THE COVID-19 DIGITAL ADAPTATION Most of my research projects are written with reference to the situation of Covid-19. I have been living in Melbourne during my study. I have seen so many ways that art
DIGITAL SKIN (she/they)Charlie is a Naarm-based artist working on the land of the Wurundjeri people. Starting their practice as a fine art painter, Charlie now explores new media with a focus on hybrid retro-future technologies, creating installations that consider feelings
Do You Think I’m Spooky? This facsimile of a being I created for myself is crumbling in my hands. But “they” weren’t created for me, were they? This “me” was constructed from offcuts, From years of slights and never quite
Megalo Print Studio Graduate Award MYCELIA – a venture into my past, honouring the previous versions of myself that allowed me to become the person I am today, as well as the people in my life who have shaped my
Spliced is a collection of Photographs, Paintings, and costumes related to the theme of the characterisation of different parts of my own personality portrayed in the primary form of crocheted masks and costumes. Each costume represents a core
I acknowledge the traditional owners of the lands of the Wurundjeri people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nations on whose unceded lands we live, work and learn. I would also like to
STILL WATERS RUN DEEP explores the existence of a ‘safe space’ in response to personal sufferings of anxiety and insomnia. The large acrylic paintings on calico material are designed with intuitive, unconscious gestures as a means of healing through the
KIPPLE. Kipple pays homage to the object and its collector. This work’s nomenclature follows Philip K. Dick’s novel, Do Androids Dream of Electric Sheep?, where ‘kipple’ refers to the clutter of useless junk that reproduces itself when your back is
THE DELICACY OF LIFE Chelsea Parkinson’s practice investigates interconnection between species, exploring how the structures and gestures of the natural world can mirror human emotion, behaviour, and vulnerability. Working across painting, drawing, sculpture, and textile-based installation, her work often draws
As an artist who loves nature and walking, nature is often the subject of my work. I am accustomed to observing the details of things and depicting them in my works, which is reflected in the sculptural paintings of various
MAKING, BREAKING, MAKING: REFLECTING PERSONAL EXPERIENCES OF COMPLEX TRAUMA. This project investigates the multifaceted nature of traumatic memory through the making and breaking of handmade objects grounded in feminine roles. By creatively exploring the process of forming and fragmenting domestic
Recipient of the 44 Frame Factory Graduate Award. ___________________________________ IN/VISIBLE: FEMIN-INE/IST RESPONSES TO DOMESTIC VIOLENCE This project uses hand-made textiles and print-informed media to explore women’s responses to domestic violence. It is informed by my developing understanding of trauma theory
Recipient of the Journal of Public Space Prize. _________________________________ APOCALYPTIC THERAPEUTIC A speculative journey into the future of our climate vulnerable ecologies through virtual reality and participation Apocalyptic therapeutic is a laboratory of drawings, writing, virtual renders, and participatory
SMELL OF uncovers the relationship between olfaction and memory. A materialisation of memory, the mixed-media installation centres around the scent of Yu Yee oil – a traditional Chinese medicated oil – as its primary element of the work. Drawing from
WUNDERKAMMERN OF OBJECTIFIED SIGNIFICANCE – WOMAN CLAIMS THAT A LEFT FOOT BOOT IS HER DAUGHTER AND HER HUSBAND IS A DIRTY COUCH I am a Naarm (Melbourne) based multi-disciplinary artist, who makes installations, video and sculptural works as well as
Helimlich: My Dear Little Grotto Hide me. Don’t look at me. Just let me lie here. Let me curl away under the comfort of my own security. I don’t want to leave here, and I can’t. It hurts me, and
IMMORTAL CLICKSTREAM IMMORTAL CLICKSTREAM uses my browser history as source material for a series of mixed media works exploring meaning and identity in a world overburdened with data and indiscriminate visual noise. Images related to my internet search history are archived
Uniform: An auto-theoretical reflection on agency and conformity within schooling institutions as an adolescent girl with ADHD Uniform employs a combination of representational and abstract painting techniques, drawing, and repurposed school uniform textiles to research the interplay between gendered expectations,
Winner: Tolarno Hotel Award. UNIFORM: Autobiographical reflections on the interplay between conformity, gender and neurodiverse thinking. Uniform explores the intricate dynamics of identity, conformity, and neurodiverse thinking within the rigid structures of the schooling experience. The work examines the complexities
LOSING IT: An exploration involving feelings of loss through Installations with ephemeral sculptures. Losing It consists of three works – Drop, Knocked, and a video work (with sound) titled Pearls in Rain. Each work captures hesitation and anticipation with the use
Christine Murray (she/her) is an object-based artist trained in gold & silver smithing with a Bachelor of Arts (Fine Art) at RMIT. She has also completed a Bachelor of Contemporary Arts majoring in Animation and Digital Culture (Deakin University). Murray
Koodak Award for the Highest Academic Achievement in Third Year Gold & Silversmithing. CONTEMPORARY TALISMANS is a body of work exploring the involvement of jewellery and objects in everyday rituals. Ciara’s practice explores the idea of the talisman, informed by
This practice-led research originates from childhood memories of crossing by ferry from my birthplace to Hong Kong. The ocean on those journeys was a mesmerising spectacle—a vast, tranquil expanse of shifting blues and greens. This personal history is now starkly
Winner – Koodak Award for Enamelling – Technical Excellence (presented by Koodak Jewellery Supplies) Haeng-Bok (행복 Happiness & Luck). As a fan of the K-pop group The Boyz, I aim to share the joy and happiness I have experienced
AWARD WINNER – Sculpture Workshop Prize for excellence in the Sculpture workshop, 2025 I crawl with the bugs in the dirt nothing I love would require work https://www.instagram.com/bilibear_/
claire.mcvea[at]gmail.cominstagram: @clerliv
SEX: EVERYONE AND YOU Sex education plays an incredibly important role in the development of early sexual experiences and sexual behaviours into adulthood. The absence of adequate sexual health education leads to the prevalence of several health and human development
Internal dialogue, self-image, grotesque, gothic, infested, decay, temporality, memento mori, bodily and paradox are words and phrases that could describe my work. Through a self-reflective lens, I use oil painting, drawing and sculpture as a visual language to explore themes,
COSMIC SALAD: DE-FIGURES AND UN-SCENES life’s about hazard and fate. – dad I think there is a structure to chaos, and a divinity in the absurd. Through visual experimentation and the re-contextualisation of found objects, my work explores
BDS Sculpture Prize for outstanding portfolio. TETHERED By temporalities, I am always tethered, but forced to move forward despite it; these opposing internal conflicts causes loss of presentness, how am I to exist? Tethered is a multimedia artwork that investigates
REMEMBERING is an investigation of the metaphor of the body as ‘home’, positioned as a vessel carrying ancestral memory, pain and reclamation. An offering into a portal of sound, video, movement and ritual, I explore how women of diaspora navigate
[1] FUTUREFOUND BUTTON:A dialogue between C (she) and F (the plant) C: They say regrets are based on wrong premises. What do you think.F: I think very little.C: Why are you here.F: To fill in the silence. F: What’s Sam
Kings Artist-Run exhibition award https://www.kingsartistrun.org.au/ DUST PIECE. With everything packed into boxes, all that’s left is dust. instagram.com/ms.homunculus
FEMINISM & THE OCCULT attempts to challenge the viewer as to whether or not their pre-conceived ideas as to what a witch is have been informed by, and/or contributed to, the misogyny, ageism, racism and violence that often overshadows the
44 Frame Factory Graduate Award. AM I ENOUGH? is a personal expression of emotion, identity, and societal reflection. The portrayal of athletic body ideals as symbols of masculine health is often amplified by social media and Hollywood stars resorting to
The theme of my project is an imaginative exploration of unreal dragons: Dragon is Everywhere. The entire project reflects my ongoing exploration of materials and concepts. I focus on dragons, drawing inspiration from Chinese philosophy and the Five Elements (Wu
UNTITLED captures the idea of abstract ceramic forms that combines two textures. One with a fluid, glossy surface that reflects light and another that portrays a rough, matte texture that’s raw and organic. This creates a dynamic tension between the
CENOZOICA is a physical record of a conceptual self. A sculptural work dedicated to the changing and shifting idea of what makes us who we are, and the experiences that change us. Immortalised in 60-million-year-old igneous basalt mined in Victoria,
CHAOS AFTER SORROWS Dan Su’s intuitive abstract painting explores the tensions that stir as we enter and pass through heightened emotions and states. Beginning with a linen or canvas substrate, and employing the visual language of abstraction, Su uses broad
THE WAY FORWARD IS BACK The world, the universe, began in energy, in light. The first thing recorded, whether it is the Big Bang or Genesis, is light. Light is the finger marks of the creation of the universe. When we
Grotesque embodiments in a phenomenological probe of human desire through anatomical dismemberments and the antagonism of corporeal boundaries: A CARNAL DISSECTION
ARTIFACT 7 explores the lines between documentation and artwork through the installation of unorthodox print, video, and painting. I paint on hard surfaces over long durations, and then pour PVA adhesive over it and peel it back as a pseudo monoprint.
THE VERY STATE I am Darcy Lazarus and tonight, you are my voyeur. They are listening to you. While you’re on the phone to your Mum, engaging in half-whispered pillow talk or speaking to your cat in a nauseating
POINT OF VIEW (musing from previous years of art school) I can see the internet as a machine that has already swallowed us all whole. The internet then spews over itself, reformulating its own contents to produce more—feeding itself on
Perry Summers Sculpture Book Prize for excellent in Sculpture Studio: FORGED is a collection of narrative works that seamlessly intertwine two distinct stories. The first story narrates the tale of The Blacksmith and the Devil, while the second story follows The
AWARD WINNER – Sculpture Workshop Prize for excellence in the Sculpture workshop, 2025 TO/FROM SMITHEREENS – Some time ago, I watched as a small cataclysm occurred. While walking down by the creek, something impossibly bright fell from the sky,
SADNESS TOWARDS FADED TEARS My name is Deanna Versace. I’m an emerging artist in Australia who uses the pronouns she/her. I have been part of the RMIT institution for four years, completing my bachelor’s degree in printmaking. I had the
Recipient of the NAVA Ignition Prize. _________________________________ WHISPER WAVES This research project grew out of an interest in how our brains work and the different ways that we can influence them by engaging with creativity and the natural world. The
FRAGMENTS AND THREADS. My art journey started in earnest five years ago. My daughter had just commenced her first year at RMIT studying a Bachelor of Art (Fine Art). Seeing how much she was learning and developing her skills in
Recipient of the Bold and Beautiful Art Prize and the Wolf Wennrich Award for Craftmanship – Mr Michael Wennrich Endowment. _________________________________ In my creative practice, I have explored the inter-dependency of species using the symbiotic relationships between coral and people
SHEARED HAIR, SHAVED HEAD. I am a sculpture artist based on Wadawurrung Country with a background in textile art. My practice interprets a language that bears trace of family linage listening to the materials as a generative process. Sheared Head, Shaved
Garland Award for Innovative Storied Object. Highly commended: Chapman and Bailey. Searching for Light, The One Tree, and the Universe in a Piece of Quartz. Debra Higgins is a multi-disciplinary artist who lives, works, and studies in Naarm/Melbourne. Her recent
EXILE, is a series of print-based works that explores my experiences and feelings towards masculinity. The works are framed from my own perspective, drawing attention to characteristics in our society that remain patriarchal, exclusionary and/or ‘toxic’.
FLOTILLA OF BOATS In my creative practice I have explored theories of flow, play, and the relationship between making with memory and place. I combine these concepts by fabricating a fleet of vessels, using traditional gold and silversmithing
RMIT Creative Residency Award Reconstructing the vessel depicted in paintings as novel metal work objects. The act of abstracting metal iterations of vessels from paintings blurs the lines between disciplines, positioning jewellery and objects as equal to traditional art forms
Winner: ACAE Gallery Award. In my practice, I weave together cultural influences, memories, emotions, and the subtleties of everyday existence. Observation is an inherent and fundamental way I interact with and perceive the world, exploring the hidden beauty of my surroundings.
SENSING THE WORLD: Guided by a cultural and spiritual perspective rooted in my Sri Lankan and Buddhist background, this practice-led research explores how mindfulness and presence can foster new ways of seeing. It aims to reinterpret the ordinary as extraordinary
Awarded the 2025 Baldessin Studio, OBSA Graduate Award feeling/feeling is a site-responsive series of work exploring the sensory and emotive dimensions of landscape through photography, material, sonic and textural inquiry. The works form a unified portrait of three areas of remnant
Deans Award Winner ADFAS (Australian Decorative & Fine Arts Society), Yarra Branch – Young and Emerging Artists Fund Award Winner Diya Mathur’s practice explores the transgenerational impacts of the 1947 Partition of India on both collective and personal identities, investigating
COUTURE OF DESIRE, which takes the form of a discomforting installation, challenges the conventional notions of beauty and eroticism and explores depictions of the so-called ‘perverse’ in human fantasy. It is within this delicate tension that my sculptural garments find the
WORLD BUILDING AND SPATIAL DRAWING: PLAY THE GAME, DON’T DIE Rooted in modalities of playfulness, my current work spans object-based installation, drawing and painting. These works navigate structures and hierarchies of gender through symbols and the personification of objects. The
My watercolour painting practice reveals and communicates ideas of an ‘inner self’ via imagery that evokes a conscious and unconscious self, along with personal identity and attachment. Each of my paintings focuses on reconstructing something from the past via thoughts
LEARNING HOW TO BUILD THE ULTIMATE MECHANICAL ORGANISM Hello I’m Dougal. I came to uni, made some friends and built some more. \I’ve been learning how to build robots so they can speak for themselves. Being alive
In my master’s project, Poetics of Emptiness, I explore the emotional resonance of interior architectural spaces through atmospheric watercolor paintings. This work is rooted in personal experiences of displacement and separation from home. Through this lens, I investigate how physical
THE THEATRE OF VIOLENCE This project is an exploration of the intense focus on violence in media and popular culture. I am curious about a society that views violence as entertainment and how this is reflective of rape culture. Rape
Recipient of the Troppo Print Studio Graduate Award. __________________________________ RHYTHMIC DISTURBANCE is a creative project that explores the lived experience of traumatic grief under intense media scrutiny and public opinion. The project uses experimental print-informed techniques to reflect how the
Lowenstein Arts Management Prize. MACHINIC ECOLOGIES is a practice-led project exploring the interfaces between humans, technology and the environment through transmedia installation. The installation space stages a re-imagined landscape composed of screen-based works, 3D prints, robotic assemblages and generative sound. These
Firestation Print Studio Graduate Scholarship MICROCOSM. Microcosm is a body of work investigating the patterns, convergences and linkages between life on earth. I am interested in the linkages of life and matter through coexistence, and this project is formed on
Recipient of the Wayne Conduit Memorial Award. _________________________________ When people ask, I say I paint pictures of vases. These paintings have been drawn from particularly endearing eBay listings of ‘fat lava’ pottery. Digital images have become so ubiquitous that we
‘SOMETIMES ITS DIFFICULT EVEN FOR ME TO UNDERSTAND WHAT I’VE BECOME. AND HARDER STILL TO REMEMBER WHAT I ONCE WAS.’ Painting to me exists not just as a language of self-expression but also as a means of self-understanding. Personal experience
SQUISH Summary: Studying the nature of skin/flesh and its movement. Differing skin types, as in aged, blemished, scarred etc. and what those contexts translate to within the human structure. Skin in daily movement and light, stretched, pulled and squished in
SQUISH: RESEARCHING SKIN WITHIN PAINTING Studies of the human form, with a focus on flesh. Examining the body’s unique movements and malleability. An inquiry into how physical senses such as grabbing and squishing, can be depicted within painting. Finishing my
STRUCTURED BODIES focuses on the never-ending relationship between memory, place and the body and explores these connections through drawing and painting. Driven by the impact of contextual surroundings on the self, the places we choose to inhabit, the places we
Where Did You Go, Are You Here? The MFA project where did you go, are you here? Explores my childhood trauma through constructed sculptural forms and objects. The project aims to construct a world where everything is disruptive, dysfunctional, and
AN UNCHARTED PATH To lay down a path, you begin by digging a hole. It can be challenging work. It involves risk. What if it collapses? What if you uncover something undesirable? What if it all leads to nothing, a
WINNER – DRAWING STUDIO Bold and the Beautiful prize, 2025 @namestevibes Namaste, welcome beautiful lightbeings! Are You ready to Ascend? Liberate Your mind and open up your Heart. Embrace Me. Accept Me as your Leader and I will guide
INTERTWINED: finding the sacred in the everyday Where can I go from your Spirit? Where can I flee from your presence? If I go up to the heavens, you are there; if I make my bed in the
Eliza Baker is a Melbourne-based artist (b. 2003) originally from rural New South Wales. Through her practice, Baker seeks to transform intimate emotional experiences into shared encounters, using art as a conduit for connection and resilience. Presented across gallery,
Fragmented Identities as Hybridity. Searching for belonging in a cultural “third space”. Eliza Byrne’s practice examines the cultural “third space,” where identity is shaped not within a single culture but through the interplay of multiple cultural worldviews. This space emerges
WINNER – DRAWING STUDIO Peter Westwood Legendary T’shirt Award, 2025 GRIDS One day, I noticed it. I cannot remember where or when, or even in what form, but suddenly, grids were everywhere. I have since been aiming to understand grids
Rendered Other and Cast Out: Staging a multi-disciplinary cautionary tale about global warming and Antarctica (2025) My project warns of our uncertain future due to human-caused global warming. Staged as a multi-disciplinary cautionary tale, it consists of a three act
When I was offered the opportunity to study Printmaking, I was unsure as I didn’t really know what it entailed. At first I struggled with the processes and translating my earlier practice into print. As much as I was
Winner: Chapman and Bailey Award. In this series of paintings, I am thematically concerned with creating intriguing geometric compositions of figures and urban landscapes. I seek to cause the viewer’s gaze to travel across a pictorial plane, not rest in
Longing For Home: Painted Fragments of Landscapes Left Behind ‘Longing for Home’ Is a series of landscapes that stem from a place of grief and a yearning for home. The series follows the loss of my Grandparents, Vincent Brian McKanny
THE WAY HOME is a series of mixed media paintings that explore the idea of home as both a place and a feeling. Each work captures a friend, family member or significant place, painted on fabrics that I have naturally
RABBIT OUT OF A HAT: AN AMALGAMATION OF THE FEMININE UNCONSCIOUS. My unconscious. Canvas & paper & oil paint & ink. Archives. Feminist theory. Religious imagery. Obliteration. Bodies. Heart patterned underwear. Balancing Elephant. Targets and foxes and performers. instagram.com/ellasimpsonartist
CONFINE DELL’INFERNO: PAINTING AS AN EXPULSION This practice-led research project grew out of a need to navigate my obsessive-compulsive (OCD) thoughts and actions related to the fear of disease and illness. My painting practice enables me to confront my
HOLDING THE MOMENT This practice-led research examines how the act of painting can transform ordinary, private moments into heightened visual experiences. Painting allows me to slow down what the camera captures instantly. The digital image is reinterpreted over time through
Elle Goudis is a female artist who is based in Melbourne/Naarm. She is currently studying in her final year (2023) of a Bachelor of Fine Art at RMIT University with a specialisation in Painting. She explores the concept of portraiture
Through intense and obsessive patterning, I have made pen drawings on paper that seek to depict the sublime. Conceptually engaged with the symbols that reverberate from within the Catholic Church, I have linked my matrilineal connection to the Church with
Dean’s Award for Academic Excellence and contribution to the program, Master of Fine Art. WILD THINGS combines my love of portrait photography with sculpture to counter divisive narratives that arise primarily though bodily differences. Through playful materials, colour and absurdity,
Nothing happens in a vacuum. “I believe that neurobiology can contribute to an understanding of aesthetics, but it cannot do so in a vacuum.” This quote from Siri Hustvedt’s Woman Looking at Men Looking at Women encapsulates the essence of
Megalo Print Studio Graduate Award AKIN explores the merging of printmaking and collage, alongside my investigating of different copper-plate making techniques. Print-making is a rhythmic artform, and can form multiple images from one matrix. It is a very cyclical process,
EMOTIONAL! is a children’s picture storybook that explores emotions as they are experienced in all of their new, strange intensity by children and aims to assist them in understanding these feelings. It follows the journey of a young, horned girl
THINGS presents new ceramic works from artist Elspeth Rowell, challenging the confines of Western classification systems through an installation of objects that defy taxonomical boundaries. The concept for this project emerged from my interest in the human act of collection,
AND SHE WAS LYING IN THE GRASS When sharing experiences with others, it’s easy to assume that people feel or think the same way as we do. However, by simply being alive our perspective will never be the
BUTCH FEMME NATAL I am not obsessed with weddings. Nor am I obsessed with men. My art practice is the opposite. I am interested in sexuality, performance and failure. I do this for myself and for other women in my
Masking tape, paper, and other bits and pieces: material exploration and jumping between tasks. Over the last year, my practice has focused on investigating and recontextualising a variety of materials – paper, masking tape, nails, canvas off-cuts, found lolly wrappers,
JOSEPH BEUYS CAFE AWARD WINNER THE MOAT AWARD WINNER ENERGY IN MOTION AND A ‘MOVING DRAWING’ – transformations of individual drawings expand into animated projections, manifesting through spatial investigations and sculptural installations. Lines and forms seemingly grow and shrink, sway
The tacit, the implied and the felt: relinquishing control to ambiguous, intuitive and experiential ways of knowing. Excessive control over outcome-driven processes and high standards of perfectionism can often feel oppressive, limiting, and restrictive, trapping the artist within the constraints
Awarded the 2025 Firestation Print Studio / Arts National Melbourne Annual Young Printmakers Graduate Scholarship My arts practice draws creative inspiration from Australia’s natural environment with a particular interest in the Merri creek, the Victorian Coastline and natural spaces in
AFFINITY investigates how material expression through painting can be used to explore personal affect and relationality to the natural environment. This project contributes and sits alongside wider discussions of connection to the natural landscape and its relation to colonial extractive
I LOOK AT YOU, AND YOU LOOK AT ME: RECOGNISING THE SELF IN THE NATURAL ENVIRONMENT. My work explores the inherent power of the natural environment and its ability to be used as a mirror with which to explore the
NAVA Ignition Prize. DIGITAL WONDERSCAPES Exploring the wonder and new ways of seeing natural phenomena through atmospheric colourful light projections I use the ephemeral nature of light to explore and interrogate new ways of seeing, by employing digital techniques and
I WANTED TO BE CLEVER BUT DECIDED TO JUST GO BIG is a large-scale sculpture engaging in witty institutional critique. Crafted from household materials, the work pokes friendly fun at the art world (whilst not being above it). [Note: The
遷移 (SEN – I) This project encapsulates multidisciplinary works that document and embrace transitory and oppositional forces through a combination of scale, medium and colour. This collection of works walks a fine line between abstraction and representation of the artist’s
MATTERFLOW My creative practice is an exploration of material and transformation, and is focused on ceramic-based processes. I draw on traditional ceramic techniques, such as mould making, slip casting and glaze development, which I use in unconventional ways to create
Essay by Jade Cargill for Contextualising Practice The topic of this essay and my art is imagination. Within a world that prescribes narratives and frameworks to understand ourselves that lack depth, openness and personal connection, how can we create art
Essay by Ella Simpson for Contextualising Practice Every work of art is a child of its time, while often it is the parent of our emotions -Kandinsky (1911:9) Writing about the creative process of making art is difficult – specifically,
Essay by Jennifer Pattinson as part of Contextualising Practice course. I have spent the majority of my life fascinated – bordering on obsessed – with animals, specifically those which are wild, undomesticated, or otherwise out of reach.[1] Since
Essay by Gina Corridore for Contextualising Practice Needlework is a multidimensional discipline that has historically served as a socialised cultural tradition, an artistic practice, and a form of feminised domestic labour. Needlework has been co-opted as a device to propagate
Essay by Sylva Storm for Contextualising Practice Content Warning: this essay discusses abortion, reproductive rights and queer trauma and contains images of scarification RAW: Nobody who loved me saw it happen (2019 – 2024) (Figure1, 2) is a performance documented
Essay by Amber Macklin as part of Contextualising Practice course. ACKNOWLEDGEMENT I recognise my own positionality as a settler-Australian with Scottish, Spanish and German heritage. I grew up on Gubbi Gubbi country in Southeastern Queensland and now live, work, and
Essay by Andrew Poduska as part of Contextualising Practice course. The ways in which artists relate to materials and how they are used can offer a great insight into their personal history and the inner sanctum of their mind.
Essay By Alex Cairney for Contextualising Practice The final product will never be as satisfying, as filled with power and potential, as the process of its making. (Grant 2017) Dear Mum, Thank you for clothing, feeding, and nurturing me into
Essay by Grace Rokesky for Contextualising Practice ‘Appearance and Behavioral Observations: Throughout sessions, Grace presented tidy and well-groomed. She had short stature, appeared to have a healthy BMI, and mobilised independently. Grace was reliably polite, friendly and cooperative. Grace initially
Recipient of the ArtLink Writing Award Year 3. _________________________________ Essay by Lexi Appleby as part of Contextualising Practice course. In this essay, I will explore the growing disparity in cultural capital between rural and urban Australia. I endeavour to
Essay by Emily Song for Contextualising Practice Introduction The tendency to overly control and calculate the result of an artwork during the process of making is something that I have relied heavily on in the past, and is a habit
Essay by Timothy Walters for Contextualising Practice Acknowledgement I would like to acknowledge that I live, work and study on the unceded lands of the Bunurong, Woi Wurrung/Wurundjeri people of the Kulin Nation. I pay my respects to Elders past,
Essay by Maree Nikimaya for Contextualising Practice Content warning: This essay discusses domestic violence, suicide, violence, and trauma From 1995 to 2000, my mother, father, and brother journeyed from South Sudan, which was on the brink of civil war,
Essay by Anna Kouvelas for Contextualising Practice Acknowledgment I would like to begin by acknowledging the Traditional Custodians of the land on which I live and work, the Wurundjeri people of the Kulin Nation, and pay my respects to Elders
Essay by Angelique Ogierman for Contextualising Practice Acknowledgement I would like to begin by acknowledging the Wurundjeri people of the Kulin Nations, whose unceded land I live, study and craft on. I pay my respects to Elders past and present,
Essay by Lily Baxter as part of Contextualising Practice course. My installation Watching clothes dry (2021-2022) (Figure 1.1 & 1.2) explores the workings of the domestic realm. Through slow and thoughtful making and arranging, the works direct attention to
Essay By Holly Clark-Milligan for Contextualising Practice Acknowledgement I pay my respects to the Wurundjeri people of the Kulin Nations, Traditional Custodians of the land in Naarm (Melbourne) and wish to also acknowledge the palawa-pakana people, Traditional Custodians of lutruwita
Essay by Eugenie Gullifer-Laurie for Contextualising Practice Pain To experience ineffable pain, when it has no identifiable source and no external mark or visible causality, is almost like having hallucinated it. Pain, Elaine Scarry argues, is a form of suffering
Essay by Lucas Jennings for Contextualising Practice When artists depict other people in their work, there is an imbalanced power dynamic, and critical ethical considerations arise. As my practice demonstrates, the need for ethical consideration becomes imperative when the depicted
Essay by Sahla Safia Arundati for Contextualising Practice In a globalised world, art can powerfully critique societal pressures of conformity and the experience of diaspora. This essay examines how fragmented identities address these issues, using my art practice as an
Essay by Amy Gagnon as part of Contextualising Practice course. My figurative painting practice concerns itself with feminist imagery, and in recent years, this has manifested itself through depictions of women engaging with animals, specifically, horses. This essay focuses
Essay by Sophia Liddy for Contextualising Practice Acknowledgment I would like to begin by acknowledging the traditional owners of the land on which I make, the Wurundjeri people of the Kulin Nation. I pay my respects to Elders past,
Essay by Alex Pretyman for Contextualising Practice Introduction Within western archives, be that art-historical, social, queer, other archives, there is a distinct – or to many, not-so-distinct – absence of the asexual and aromantic. Asexuality can be defined as experiencing
Essay by Stephie Ng for Contextualising Practice ‘So, we can’t save the world by playing by the rules, because the rules have to be changed. Everything needs to change and it has to start today’ – Greta Thunberg, 2018 In
Essay by Eliza Baker for Contextualising Practice Foreword In 2024, the deaths of several people close to me marked a point of rupture in my life and my art practice. These losses destabilised the systems I had internalised, systems
Essay by Tallulah Ainsworth for Contextualising Practice Building a person is no easy task. There are many parts of a human being that all intersect with one another, and are incredibly delicate and prone to failure (Gray 1858). It is
Essay by Melanie Sky for Contextualising Practice Acknowledgment I acknowledge the Dja Dja Wurrung, Woi Wurrung, and Boon Wurrung peoples of the Kulin Nation as the Traditional Owners of the lands on which I live, work, and study. As I
Essay by Yvonne Rambeau for Contextualising Practice Introduction The process of art-making can vary greatly from artist to artist. Though many feel the need to exert control over uncertainty through an ordered and planned process, American art educator Erica
Essay by Drey Willows as part of Contextualising Practice course. Content Warning: This essay discusses loss, grief and trauma. On the 16th of April, I spoke to you in text. We spoke about how it would be great to catch
Essay by Maria Flores as part of Contextualising Practice course. Ancient and earthly material in the form of limestone shapes my everyday as a printmaker working primarily in lithography. The crux of my practise is working through my thoughts
Essay by Lara Gough as part of Contextualising Practice course. The objective of this essay is to analyse the importance of sincerity in my artistic practice. I will investigate how sincerity manifests in my creative methodology, cultivation of reference
Essay by Hattie Pervan as part of Contextualising Practice course. Ko Ngongotaha te maunga (Ngongotaha is my mountain) Ko Rotorua te roto (Rotorua is my lake) Ko Te Arawa te waka (Te Arawa is my canoe) Ko Ngāti Whakaue
Essay written by Alexander ‘Pug’ Williams for Contextualising Practice My mother is an artist and a natural dyer. My grandfather was a naturalist, and an engineer. Their passion and curiosity for the world flows through my blood and was
Essay by Teagan Lown for Contextualising Practice Acknowledgement To begin, I would like to acknowledge the Traditional Custodians of the land on which I live, study and practise art, the Wurundjeri Woi-Wurrung peoples and the Bunurong / Boon Wurrung
Essay by Millie Hopton for Contextualising Practice Positionality Statement I am a white, straight, cisgender woman born in 1999, who has spent their whole life in Australia. I come from a stable, middle-class background; my parents remain together, and
Essay by Ivy Rose for Contextualising Practice So, don’t give me your tenets and your laws. Don’t give me your lukewarm gods. I want the freedom to carve and chisel my own face, to staunch the bleeding with
Essay by Rose Whitlock-Whyte for Contextualising Practice I grew up in a part of semi-rural Victoria outside of a small town, where the bush was my playground. At the age of eight, my family experienced the Black Saturday (2009) bushfires,
Essay by Sandra Flores as part of Contextualising Practice course. INTRODUCTION Contemporary Western thought has been gradually giving the body a more central role (Voparil & Giordano 2015). This somatic turn responds both to recent scientific discoveries and to
Essay by Edie Duffy for Contextualising Practice. The painting Or however many it’s been through depicts the corner of a darkened room, nearly empty, only a solitary bent-steel chair sat against the wall. Projected onto the scene is the
Essay by Odin Strbac Low for Contextualising Practice Acknowledgment I pay my respects to the Traditional Custodians of the land in Naarm (Melbourne), including the Wurundjeri people of the Kulin Nation, as well as the Taungurung and Yorta Yorta
Essay by Jade Armstrong for Contextualising Practice Introduction As Fingerhut and Prinz have articulated, the value of art traditionally depended on aesthetic beauty, though over the last decade, notions of value have shifted towards sensory engagement (2018). According to
Essay by Sebastian Nuttney for Contextualising Practice This essay aims to detail my approach and methodology for photographic collages. This framework, presented as a manifesto, was developed alongside a body of photographic Collages completed in the early half of 2024.
Essay by Shing Hei Nathan Man As a queer Hong Kong immigrant residing and working in so-called Australia, I navigate the affective residues of displacement, repression, and racialised hyper-visibility. “Clinical psychology tells us that trauma is the ultimate killer. Memories
Essay by Indigo Ripper-Stranieri for Contextualising Practice Introduction / Acknowledgment I offer my respect to the Traditional Custodians of the lands and waterways on which I conduct my research, study, and art practice, the Boonwurrung and Wurundjeri Woi Worung
Essay by Toni Vallance for Contextualising Practice The requirement to write about my work fills me with a small amount of dread, as I suspect it does for many artists. It is not that I do not like writing
Essay by Sara Jajou for Contextualising Practice ‘The gaze…appears as an adversary, a knife, the evil eye…’ (Neugebauer (eds) et al 2021: 2) The gaze is a knife pointed at my body. It seeks to dissect and dismember bodies
Essay by Ekaterina (Katya) Ryzhikh for Contextualising Practice The rise in the availability of technology and media as entertainment has had a profound impact on the experiences of growing up. While technology, in particular mobile phones and tablets, were
Essay by Kathryn Ruddick as part of Contextualising Practice course. The ancient spirits are all around us. They awaken from their slumber when someone is willing to listen. They have many messages. To hear them, the student must be quiet
Essay by Jyoti Murray as part of Contextualising Practice course. This essay discusses my current practice that investigates the subtle body as a spiritual-physical system via the framework of Tantra Yoga and Hindu mythology. The inspiration that fuels my jewellery
Essay by Zosia Slifirski Duckett for Contextualising Practice Prologue Two years ago, on a cold wet afternoon in early September, in a moment of strange clarity after a shower, I took a photograph of my reflection in the foggy bathroom
Essay by Anna McCauley for Contextualising Practice ‘Living money and dying humans, metal as tender as skin and skin as hard as metal, taking hands, and dancing round, and round, and round, with no way ever of stopping; the
Essay by Emmica Lore for Contextualising Practice Introduction Welcome to my essay, where humour takes a tumble into the realm of the surreal. It’s hard to shake the feeling that analysing why something is funny is just, uncool. I find
Essay by Luke Jones for Contextualising Practice Material > Inertia > Entropy > Becoming In contemporary installation and sculptural practices, the artist’s role is increasingly seen as that of a facilitator of dynamic relationships between material, process, and
Essay by Ka Yan So (Kelly) for Contextualising Practice The artist transforms the personal into the universal, creating an object that can be experienced and felt by others, that has the power to move and inspire. (Townsend 2019) Creating installation
Essay by Alicia Crowhurst for Contextualising Practice Introduction Transmutation is the action of changing or the state of being changed into another form. This essay argues that theatre grants you the faculties to forge transmutative capacity and, thus, engage in a practice of continual
Essay by Luna Yang for Contextualising Practice According to Stets and Bourke, structured society imparts values that individuals identify themselves with, which form the basis of one’s identity (2000). As a young adult, when it come to the topic of
Essay by Michelle McLachlan for Contextualising Practice In an era where visual information is incessantly mediated, edited, and curated, the question of what constitutes ‘truth’ in perception has become increasingly complex. Artists working with responsive and interactive materials —those that
Essay by Jessica Guo (郭悦娜) for Contextualising Practice When I was in grade two, I was praised by my white teachers for my English proficiency. But at Saturday Chinese School, I was terrible. I hated learning my language. I found
Essay by Christina Rankin for Contextualising Practice This essay explores the connections between textile, memory, and trauma, focusing on how my artwork (pictured in Figure 1) Uniform incorporates these themes both individually and in conjunction. When utilised in art-making, textile
The focus of this project continues themes I am continually drawn back to in my practice. Broadly, my practice comes from a curiosity for the human experience, and our attempts to explain it. My focus on the body as a
DREAM CATCHERS. Dreams are an essential part of the human condition, acting in the subconscious mind of every individual. Through sculpture, I aim to bring these subconscious thoughts to the forefront of one’s mind, forcing a confrontation between oneself and
FAST/SLOW WE HOLOMETABOLISE Holometabolism, also called complete metamorphosis, is a form of insect development which includes four life stages: egg, larva, pupa and imago (adult) –Wikipedia Fast/Slow We Holometabolise is a multimedia diary of transformation in the face of illness,
SOMATAESTHESIA: EXPLORING THE INEXPRESSIBLE SENSATIONS OF CHRONIC ILLNESS THROUGH EXPANDED SPATIAL PRACTICE Despite thousands of years of research into the human body, so much of it remains—or is kept—a mystery. As someone living with chronic illness, these mysteries define every
FABRIC PANELS: YOU PAY FOR MY MEMORIES These fabric panels and installations are part of an ongoing series of work from 2021 addressing domestic crafts and labour in both concept and process. The arduous practices of hand stitching, darning, and
‘GIRLY’ AND BODILY is a research project that aims to immerse the viewer in a bodily experience of painting installation that explores excessively bright colours and cute ‘girly’ bubbly forms to reclaim them as a symbol of powerful femininity. I
1994, YEAR OF THE MUTT Evelyn Challinor (b.1994) is a mixed-race Chinese-Australian artist, originally from Gadigal and Yuin Land. She currently resides in Naarm, practising between the fields of fine art and horticulture. Through the process of thinking-through-making, my practice
STARSONG starsong is both a meditation and a map – an attempt to locate the self within a vast, interconnected cosmos. Creating this work is an ongoing process of connecting the dots, and witnessing the darkness between them. In this process
Awarded the 2025 Megalo Print Studio Graduate Residency Prize, and the 2025 RMIT Technician Award
A REBIRTH. My paintings move between abstraction and figuration, drawing imaginative succour from peasantry and European brides. My work explores the power of melancholia, weaving themes of longing and passing time through transparent colour fields and abstract compositions. I contrast
AWARD WINNER – BDS Sculpture Prize for outstanding folio, 2025 GRID GAME (2025) is a playable board game for viewers to engage and interact with. The objective of this game is to design the best city within the provided
”THE PROLIFERATION OF GROWING PAINS” Tracking the emotional expansion of girlhood through fragile ceramic forms . . . In “The Proliferation of Growing Pains,” I examine the tender yet uneasy process of emotional growth. Through the ceramic sculptures of broken
44 Frame Factory Graduate Award GAME GIRLS. Game Girls is a project in response to the sexism seen in the video game industry. The portrayal of the feminine characters in video games is often hypersexual or helpless, diminishing their agency
AHH! MY EYES! Exploration of frames, surfaces, absence, mise en abyme, self reference, eye-brain connection, paradox, distortion of perception. My practice revolves around the interface between the senses and ‘objective’ reality.
ADFAS (Australian Decorative & Fine Arts Society), Yarra Branch – Young and Emerging Artists Fund Award Winner Fiona Morgan is a multi-disciplinary artists based in Wudawurrung country, in regional Victoria. Morgan’s practice is focused on painting and installation, primarily concentrating
TRANQUILO (A VISUAL ODE TO SERENITY) Since the beginning of 2023, my artistic journey has shifted its focus. I originally explored how external influences, such as The Seven Deadly Sins, shape our beliefs and behaviour. This exploration deepened my understanding
THE CHANGING ROOM PROJECT is a research-based investigation on the quest for ideal structural and related processes for a socially engaged arts organisation in 2023. The call for structural change within arts organisations and their funders is made loud
BEYOND THE SURFACE is a series of objects that aim to translate my ongoing inquiry into how we perceive. It explores our tendency to form judgments based on surface-level information, and the qualities that compel us to look closer, moving
AFTER HOME. Through exploring connections to home, familiarity and nostalgia in conjunction with the ideas of the afterlife, the uncanny and the unsettling, this project merges the two to create a series that not only includes objects from home set
Care | Support | Understanding | Curate | Ethics. I, Freda Drakopoulos, live and work on the unceded sovereign land of the Boon Wurrung and Wurundjeri people of the Kulin Nation, I acknowledge and pay my respects to Elders, past
Naarm /Melbourne-based arts worker, Gab Lewis applies her background in fine arts and experience in the creative industry to her emerging curatorial practice. With a focus on improving accessibility and approachability in arts and culture informing her rationale. Drawing on
![Digital work depicting stylised birds spane from bottom to top of the image on the left half. the figure is enshrouded by a black gradient and is outlined with white ]. the figure is sitting on a motorbike and holding a helmet.](https://sites.rmit.edu.au/artschoolgraduates/files/2024/10/grad-profile-710x300.png "Gabrielle Turco")
My practice is greatly impacted by my experiences with undiagnosed neurodivergence, growing up queer, and grappling with mental illness. While these features of my life inflict themselves upon my work, I find myself experiencing the most joy when I focus
FIRST PEOPLES ART CURATION METHODOLOGY AND KEY ANALYSIS OF AUDIENCE INTERPRETATION IN VICTORIA, FOCUSING ON THE KOORIE HERITAGE TRUST, INC. AND MELBOURNE MUSEUM. Wotjobaluk/Djubagalk/Jadawadjali Arts practitioner, Curator and Teacher In 2022, the push for insights into First Peoples lives and
Winner – 2024 RMIT Gold & Silversmithing Studio Prize ALL HAIL THE GIANTS – a wooden love story for old growth forests My work is concerned with the deforestation of old growth forests in Tasmania, I am motivated by
FROM MY MOTHER examines the passing on of knowledge through the maternal line, together with celebrating the female body and their unpaid, unseen, and undervalued labour in the context of Indian culture. Through the framework of contemporary feminism, it seeks to
Troppo Print Studio Graduate Award for high academic achievement in third year. RMIT MILITARY INDUSTRIAL COMPLEX. RMIT partners with weapons companies.Elbit systems, BAE systems, Thales and Boeing Defence (the list goes on) fund research and scholarships, provide internships and work
WINNER – DRAWING STUDIO 621 Artist Space Ehibition Award, 2025 @621artistspace RETURN ELSEWHERE explores the rural Australian landscape through investigation into simultaneously known and unknown environments. The works depict eerie distorted landscapes with recurring subjects of roads and trees, places
A HOME FOR LOST THINGS In my creative practice, I have explored the body through drawing and the sculptural medium, unpacking notions of how we host our lived experiences within us, along with what it means to find a ‘home’
Talk to Me – A Dialogue with Self-Portraiture My series explores self-portraiture as a fluid and mutable study of self. Turning up to sit repeatedly, I observe changes in mood, appearance and aesthetics. The portraits are designed to be viewed
BLURRED is an abstract installation work encompassing themes of cultural identity, accidental photography, and liminal spaces. The intersection of these themes is an experience-based work on how blurred identity and layers of the self can become. Accidental photography and the
Here With Me is an immersive installation designed as a sanctuary for conversation and connection. Amid the overwhelming negativity and isolation we often feel, this piece invites visitors to step into a space of shared warmth and tranquility. Draped in
I AM FEARLESS embarks on the rewriting of self-talk, reconfiguring the internal narrative as a method of post-traumatic recovery. It’s a journey of reclaiming the self through the process of making, reshaping the internal to manifest a better external. The
ALIAS & ARTIST delves into the murky waters of art in the age of the internet. Through layered installations, niche subcommunities are brought out from the ether into the corporeal realm. By merging the online with the offline, the complexities
NO THROUGH ROAD: THE DEAD ENDS OF MEMORY LANE explores themes of memory, place, and the complex evolving relationship between physical environments and emotional attachment. Using cropped imagery of Australian scenes, specifically from Adelaide and Melbourne neighbourhoods, the miniature landscapes
NOT NOTHING/IT’S SOMETHING explores an embodied approach to materiality to investigate the loss of self and gender politics in relation to creative freedom through a series of metaphorical artworks. Materiality and humour are used to interrogate gender oppression while seeking
WINNER – DRAWING STUDIO Isquared Gallery Exhibition Award, 2025 A Woman’s Work is Never Done A Woman’s Work is Never Done (2025) employs needlework as a tool to examine the historical and social reality of women’s labour. It also speaks
AMULETS FOR THE EARTH: This speculative research project imagines a post-Anthropocene world where food and plant production and growth rely on human care including conservation, modification and sustainability. The research utilises printing and bookbinding on handmade paper, metalsmithing and embroidery
Recipient of the Lowenstein Arts Management Prize and the NAVA Ignition Prize. _________________________________ THE SECOND LANGUAGE Navigating Marginalised Ecologies Using a Multi-Disciplinary Practice. This multi-disciplinary project combines ceramic objects, paper, video, and the recorded voice to examine issues of ecological degradation
PURSUIT OF TRANSLATION An exploration of the many transformative processes of casting metal in relation to my automatic drawings. Drawing has always been the cornerstone of my practice. Drawn lines have a magical nature to them, a nature I have
Wolf Wennrich Award for Craftsmanship I Know You of Old: The Transmutation of Metal, Matter and Meaning. My practice-led research uses historical and contemporary metalsmithing techniques to find new and experimental methods to transmute copper and silver alloys into contemporary
STEALING FOG is an exploration of concealment. I work in an expanded painting practice, with most of my works being concerned with the space between intelligibility and unintelligibility, working with themes of subtraction and obscurity. I often find myself following
R.L.Foote Design Studio – Residency Award RMIT Ceramic Student Association Club Year 3 Award UNTITLED is a large-scale nest-like structure that aims to provide a sensory haven of comfort and respite. By touching, holding and even crawling inside of the
SENSE OF SELF Lover, You Should’ve Come Over [diptych], 2022, ink and acrylic on stretched canvas, 90cm x 90cm. SENSE OF SELF is an exploration of identity through spirituality, symbolism, colour and connection with mother nature. It involves heavily
This project translates the narrative of a person’s intimate life, the moments they find precious by translating casual collections of ephemera and sentimental pictures into permanent formal paintings. Inspired by the seemingly universal way people present their individual collections like
I SHOT MYSELF WITH A SILLY LITTLE GUN, IT WAS VERY EASY TO TALK ABOUT. My art aims to be ‘ultra accessible’ discussing otherwise serious themes with a silly and childish look to it. The use of common material allows
0 to ∞ ‘My painting is not limited at all. I have many possibilities, in terms of approach. And the reason I have that is because I’m not limited by a certain narrative that I want to get across.
THE BOLD AND THE BEAUTIFUL AWARD WINNER At last, You Become Me. At last, I Become You (2024) Through this project, I aim to visually reflect the process of exploring personal uniqueness while encompassing both tradition and modernity. Minhwa, as
Awarded the 2025 Richard Harding RMIT Graduate Residency Award YOU ARE A WOMAN WITH A MAN INSIDE HER HEAD WATCHING THAT WOMAN, WATCHING A WOMAN AWARE OF THE MAN INSIDE WATCHING HER. Halle (They/She) is a multidisciplinary artist who creates
FOS”CELL“ISED For this sculptural project, I will sculpt and cast a collection of stylised cells out of plaster, using a silicone-based mould as well as brush-and-pour techniques to create a unique assemblage that represents my themes of materiality, identity and
RESPONSE-ABILITY This research project aims to explore how an interdisciplinary practice—creating with and in response to Earthworms—can contribute to a growing awareness of human and nature relationships. Donna Haraway’s sympoiesis (creating-with) and the concept of mimesis are central to the
WOMAN, LIFE, FREEDOM The ‘Woman, Life, Freedom’ movement started as a result of the death of a young Iranian girl named Mahsa Amini who was sentenced to death by the morality police because of not following the dress codes. The
Honours Fine Art Travelling Award. INTIMUS BOUND is a playful exploration of the search for emotional intimacy through imagined, metamorphic and metaphorical narratives. This body of work encompasses a year-long project contained in a single artist’s book. In what often
SLACK, refers to the looseness between taut stitches, alternating between moments of tension and relief. This is a project where fields of expanded painting and craft practices collide, to create works that occupy a hybrid space between painting and textile.
QUIET OBJECTS My Practice is a continuous cycle of making and material exploration, approaching each new work with curiosity and play. This body of work consists of various painting-and-textile wall works that sit alongside small-scale ceramic sculptures. Through the juxtaposition
Hannah Luk-Finucane is a Cantonese/ ‘Australian’ artist based in Naarm (Melbourne). Working reflexively, their practice explores layered diasporic experiences, studies of the body and memory. Through their practice, they are working to create spaces of ritual intimacy, intended to foster
This Master’s project investigates themes of labour, care and environment through public pedagogy and institutional critique. This work consists of questions and reflections that have accumulated over two years, contributing to ongoing dialogues of countless activists, artists and academics before
REALITY IN THE FANTASY How to convey and present a world in ten seconds? There may be different physical laws, different creatures, different geography in this world – the point is, it’s not the world you’re familiar with.
A PLACE TO LEARN AND LIE 2025 @dirtybyharry Amidst a tumultuous world full of inspiration and tragedy, I wanted to create a space that offers refuge — a haven where you are not required to know, fix, or lead. You may
WE WILL BE YOUR HERO BABY An exploration of the painterly as a visual language for creating playfully critical narratives across a variety of historically loaded material surfaces. My studio based practice intuitively draws from a personalised painterly vocabulary
Recipient of the Robyn Beeche Award. _________________________________ OF STRANGE WEATHER Born of the 1924 Manifesto of Surrealism, ‘Breton demanded that a work of surrealist art should be a window through which the viewer could look upon some inner landscape of
UN… DERR.. STANDING… COMMUNICATIVE DRAWING INSTALLATIONS This project looks at the busy mind as author—in the dialogue between the author and the viewer, between the internal and external. The work functions as a gateway between the two, as a means
DECONSTRUCTION TODAY: OF COURSE I EAT THE APPLE AFTERWARDS To get at the good stuff. Writing fast, and for at least half an hour, but more like 1 hour. Yet the clock should not be paid attention to. Think of
AI in Museums. I have written a research essay on the current impacts and future potentials of Artificial Intelligence (AI) on the museum space. As AI has been quite widespread in museums in the last couple of years. It has
WHAKAPAPA BLEEDS RED a material exploration of blood quantum discourse in a decolonial context Ko Ngongotaha te maunga (Ngongotaha is my mountain) Ko Rotorua te roto (Rotorua is my lake) Ko Te Arawa te waka (Te Arawa is my
The Bold and the Beautiful Award. DRIFTING STARS: The sense of alienation seeing through self, objects, place, and community. My work captures and expresses the isolation and the anxiety of self-identity experienced between life in Korea and Australia while
I want to express a highly free modern aesthetic work beyond the pictorial framework of orthodox painting. The project explores the formal and conceptual aesthetics of Minhwa paintings in a nuanced way through material explorations. For me, these paintings
sixteen years away. My digital painting series sixteen years away, draws from my experiences being an expat until adulthood and the sense of distance in growing up. Each of my paintings, focuses on the coming-of-age journey, highlighting moments of self-discovery,
Stockroom Kyneton – Exhibition Award R.L.Foote Design Studio – Residency Award Walkers Ceramic Award – Accademic Excellence RMIT Ceramic Student Association Club – Year 3 Award Heidi Kwong is an emerging ceramic artist currently completing her Bachelor of Arts in
THE PLACES WE CANNOT RETURN TO Paintings of Memories Reignited, Exploring the Absence of Him. This project explores the relationship between memory, emotion, and personal loss. Anchored in my own lived experience, it reflects on the fragmented nature of memories
EUDAEMONIA: A rebellious approach to expanded painting Osborne-Snell’s practice encompasses functional art displayed on the body as well as textile wall pieces. His emphasis on unconventional, wearable art creates multidisciplinary parallels between art, fashion and design. Snell works with a
Garland Membership Award. UNSETTLED LIVING. My grandparents said to never buy a house near a willow tree. They said its roots weep as the branches do. Tendrils seek the pipes, entangle themselves in the foundations. Fighting blindly for life,
Why I Knit My practice explores neurodivergent experience through wearable textiles, participatory performance, and large-scale crochet installation. Rooted in hand-knitting, embroidery, and tactile making, my work transforms personal strategies of survival and regulation into shared encounters, positioning textile labour as
Traversing Girly ✩ Through the act of painting, I traverse the thematics of ‘girly’, a murky term unto itself, and cultivate a dream-like world that subtly reclaims and elevates traditionally trivialised, overtly feminine symbols. My practice is a playful
RESEARCH PAPER: The Value of Inheriting Chinese Traditional Landscape Painting in Shaping an Individual’s Identity. Abstract This paper’s discussion is built upon the significance of identity conveyed by traditional Chinese landscape painting. By applying Stuart Hall’s thesis on cultural recognition,
PATTERN OVERLOAD Frequently inspired by optical, fractal, modular, and psychedelic art, I create colourful pattern-based works that merge organic and geometric formations. I primarily work with mirror panels and coloured vinyl to create an array of modular and rhythmic formations
Huihua Gu (b.2003) is an emerging multi-disciplinary artist who focuses on painting and sculpturing. He also explores tremendous areas and ideas, always maintains curiosity, and contemplates with everything and processes. Fascinated by history and events, he shares and discusses them
My art practice employs performance-based video art to investigate the psychological tensions within Chinese-Australian immigrant subjectivity. Through an auto-ethnographic lens, it excavates the ideological fractures of being caught between Chinese nationalism and Australia’s multicultural assimilation, alongside the inner struggles of
In Brine I was an egg, an egg developed in my mom while she was growing in her mom’s womb. The understanding that I’ve been brewing for that long is mind-scrambling. I am a pickled egg steeped in generational brine.
CONTENT NOTE: reference to gender-based violence. This work was created on the unceded lands of the Wurundjeri Woi wurrung and Boon wurrung peoples of the Kulin Nation. I’m not the first, nor am I the last. In my lineage— I’m
WHAT CAME FIRST; THE GIRL OR THE BODY is an exploration into what makes us who we are. It is an insight into my own personal being, an answer to the question; ‘am I my own person, or am I
WHAT A PRETTY YOUNG GIRL My artwork in the 2023 Graduate Exhibition is about feelings of anger and conflict about being a woman and wanting to embrace femininity but knowing how tightly that is linked to a capitalist and misogynistic
LANDSCAPES AND TREPIDATION. Utilising a combination of oil paint on wood and paper, my works explore the complexities of human fear through a feminist lens. My practice, through alternative mediums and eerie subject matter, explores the anxieties associated with fear
JACK WILLET STUDIO VISIT AWARD WINNER A SLEEPWALK FROM ME TO YOU. When sleep becomes me, I dream of walking from me to you; how the sun kisses my eyes before I can kiss your cheek; I find my waking
I AM, I WAS. I was, I am is a textual and painterly exploration of neurodivergence and queerness. The ideas of facets of one’s being are always present, inseparable from childhood to adulthood. I was, I am utilises striking text,
Walk through the meadows of time, discover what’s left. Observe how the earth is endless, eternal and unforgiving. Watch as the world evolves and mutates, new life forms from death, on a repeating cycle, forever. BEYOND DYSTOPIA What will
Recipient of the Liquid Architecture Prize. _________________________________ MISCEGENASIAN My practice is interdisciplinary and includes audio-visual media, performance, installation, and publication. Conceptually, my creative work is focused on critical discourses around white supremacy in gay culture, which forms via exaggeration and
Born into a post-internet world, I have been online for as long as I can remember. I used to believe that logging on meant logging out of the “real” world. However, I now see that this binary framing, offline-online, real-virtual,
Born in 2002, I am a multidisciplinary artist growing into a woman during the age of social media. I am inspired by the ‘trash’ aesthetic of blogging culture and how unrestricted internet access as a child has affected my growth
Spiralling outward from the central practice of drawing, my work covers a number of mediums and practices from drawing to photography, performance and installation. Drawing is often overlooked within the artistic cannon as an approach that is preparatory, or incomplete,
Hi! My name is Isabell Maria Bilous, I am a Romanian Mix Media Artist, I have been practicing art for nearly 7 years, and I specialise in Printmaking (specifically Aquatint and Mezzotint). My inspiration comes from my experience as a
hush heresy heave (2025) Words are often clumsy in articulating the understanding of the body. This practice-led research project aims to explore how hysterical choreographies—across movement, language, and lens-based media—might critically engage with the bodily impacts of capitalist-driven terrains and
IN MY IMAGE In My Image explores painting as a space where memory stirs rather than settles; where the past flickers in fragments, half-remembered and half-imagined. Working with found and family photographs, I use paint to blur the edges between
THEATRE OF ONE explores interiors and exteriors. When masks are worn, a tension is created through the inclusion, alteration and omission of information. The video works present ambiguous masked characters in equally ambiguous domestic locations. Paired with videos of text
SEX ME UP Ivry Elisabeth is currently creating paintings and tufted tapestry works that explore gender—particularly limiting perceptions of the female identity. Within these works, she has a tendency towards the incorporation of figurative or symbolic elements and kitsch aesthetics
A ROOM OF HER OWN presents a collection of oil paintings that investigate themes of femininity, identity, and self-presentation within contemporary youth culture and queer spaces. Drawing from her own staged photographic imagery, Ivy depicts intimate scenes such as portraits,
KITTEN HEEL FANTASY Ivy Rose is a multidisciplinary artist working between drawing, print, photography, sculpture and costuming, revolving around themes of queer expression and gender performance. Obsessing over camp, kitsch and the excessively extravagant through their diverse practice, and always
Search for the elusive homely This project is a reflection on distance and unfamiliarity, more specifically nostalgia (distance from the past) and exile (distance from home), how in this distance, things can become unfamiliar and lost. In my work, I
Su Shar Latt is a video-based performance artist who explores the relationship between her body and her past. Drawing on concepts relating to seeking refuge and its lasting effects, she investigates how the past is never forgotten by the body
Print Council of Australia Graduate Award My practice explores the intersections of identity, culture, and landscape through the print medium. Inspired by the aesthetics of zines, pop culture, and historical art, my works aims to reflect the cultural narrative around
DISTANT RAYS Thermoformed acrylic, citrus dichroic film, a dedo light, a turning mechanism, fishing line, brass eyelets, a speaker and a looped 10-minute soundscape (a recording of the artist playing a rain stick she made and Tibetan bowls). Jade’s work
WINNER of the Sculpture Workshop Prize 2024 “Obscenity begins when there is no more stage […] A good illusion is a bad illusion, and a bad illusion is a good illusion” —Jean Baudrillard, Art and Artefact. My practice often
Recipient of the Perry Summers Sculpture Book Prize. _________________________________ RELOADED LANDS I am a sculptural installation artist located in Wathaurong Country, Ocean Grove, Victoria. Throughout my practice, I explore environmental themes and eco-activist art. I am influenced by my intrinsic
A Perfect Failure An installation of multiple works, exploring the themes of Empathy, Empowerment, Family, Social Justice and Housing (especially the failures of the private sector and government.) Through creating a large painting / drawing using hessian and plaster, I
Jade Power is a Naarm/Melbourne based emerging artist practicing primarily in the expanded field of ceramics. Power’s practice is grounded in a deep engagement with material and the quiet, yet rigorous labour of making. Working primarily with porcelain,
Fiona & Sidney Myer Ceramic Art Award Stockroom Kyneton – Exhibition Award Ceramics and Glass Circle of Australia Award I make art to better understand myself and my place in the world. Belonging in the expanded field of ceramics,
PUNK FAKE-LORE A multi-media project examining the relationship between Central Asian invented traditions and folklore. This project takes messages and themes from Central Asian folklore and recontextualises them to fit into a modern Central Asian narrative as a means of
Recipient of the Artbox Commission Graduate Award. _________________________________ PAPER DETECTIVE is an exploration of non-destructive collage, digital reproduction, and the symbiotic nature of culture and media. Clippings from 90s comic books and fine art books are recontextualised to create modern stories
This practice-led research project unites my digital and non-digital artworks to build digital worlds that invite exploration and create a sense of disorientation and wonder. My digital artworks, such as my computer games, often explore ideas of narrative and sense
IMAGINATIVE EXPLORATION OF CREATIVITY is an interactive video installation that explores the potential of our imagination and the human ability to think. Through the use of video projection, sculptural objects and audience participation, I invite my viewer to join the
I’LL NEVER LOVE ANYONE AS MUCH AS I LOVE YOU… OR YOU… OR YOU… OR YOU… This body of work is as an exploration of self and is a love letter to the many characters I have loved across my
Dean’s Award for Excellence in Bachelor of Arts (Fine Art) (Honours). The Emily Hope Prize- Professor AD Hope Endowment Award. SOMETIMES I CAN’T EVEN SLEEP BECAUSE I LOVE SOMEONE SO MUCH: AN EXPLORATION OF DEVOTION, LOVE, AND CRAFT THROUGH FANDOM
Troppo Print Studio Graduate Award FOR YOUR PLEASURE. Throughout my creative practice, I aim to challenge the traditional conventions of art and identity, often working with unconventional materials and imagery I intend to redefine the measures of fine art.
ON EXIT WOUNDS: A WALKING TOUR OF THINGS LEFT BEHIND (For Dawn Kelly) My practice persistently engages with concepts of the archive, and archival objects, along with explorations of intimacy. This year my research was focused on creating art and
Kings ARI Award. BLINDNESS: A MODE OF ABSTRACTION My practice harnesses my lived experience as a legally blind artist to explore and develop a pictorial language around perception itself. Conceptually, this project is concerned with destabilising the notion of blindness
Northcote Pottery Supplies Award: “LISTEN TO THE WILD BEASTS OF THE ISLAND, NIGHT BIRDS AND WITCHES.” These are all terms that have been applied to women who did not conform to a male dominated society. There is a present and historical
WHAT’S THEIR STORY? The whole thing started with a dusty dilapidated cardboard box at the back of the cupboard under the stairs. It almost went straight into the skip, but B had had dementia and we’d already found a roll
Highly Commended: Fagan and Corser Award for Figurative Painting (previously the Tolarno Award) GO WITH THE FLOW MAN is an oil and acrylic painting on canvas that explores the notion of the awareness of thought. The painting is about how our thoughts are
RMIT Culture Residency Award Winner Sticky stuff: exploring human-object relationships through found materials. This install-based project uses accumulating, arranging and documenting an excess of found everyday materials to consider human-object relationships. Through humorous and absurd gestures, I reconsider objects and
THE HEART THAT BLEEDS IS THE HEART THAT GROWS. A series of illustrative works exploring the essence of healing in solitude. The story-like depictions present a lonely and treacherous process of healing and understanding one’s inner conflict. The objective nature
CNIDAGARIDEX [Mushroom Jellyfish]. This project brings into being an encyclopedic database of imagined ecology that introduces new, unusual lifeforms known as mushroom jellyfish. Inspired in part by the Pokémon game series’ creature directory, the Pokédex, and the blending together of
RMIT Ceramic Student Association Award: My practice revolves around material interaction, with a focus on ceramic-based processes. Driven by experimentation, my work is a continuous exploration into the interplay between material, process and space through mutual exchange. Jasmine Tiger
Nearly-Mary Oliphant Award Winner Jason is an established multi-disciplinary, award-winning artist with a 40-year arts practice. He is a stage designer who also creates immersive installation art. He is experienced in: Visual arts: Installation construction design and construction. Theatre &
واﻧﮕﮭﻨﺎ (Light Sleep)
MY DRAGONS Mixed media, 2025 This work explores the artist’s personal experience of growing up with mental health struggles, mental illness and mental disability. This work aims to communicate to people that they are not alone in their experiences and
BLUSHING LACE- Content warning: the work discusses gender-based violence Blushing Lace explores the rising issue of violence against women in Australia, drawing from my personal experiences of abuse by my father and other adult men during my childhood. Through this
SKIRMISH springs forward, embellishing the gallery space with contemporary allegory. Jazz Duncan’s figures breach the confines of dreams in lively gesticulation. Each evoking curiosity, revelation, and gestalt shift in the onlooker. JAVELIN, the first work in this series, envisions a
Beyond the Uncertainty is a mixed-medium animation project that explores the concept of uncertainty and the experience of having those feelings, while also searching how one gets out of it. This artwork is an autobiography that centres around my personal
Jemima is a graduate of Master of Arts (Arts Management) and has hopes of running an art space called Worth Projects for emerging artists and community. Their personal practice is inspired by women and non binary folk’s experiences with how
Recipient of the BDS Sculpture Prize. _________________________________ COMFORT IN THE FEAR is a work exploring the relationship we, as humans, have with our childhood, and how as we grow into adults we change to see what was once a familiar
LIMINAL In the summer—weather permitting—I tend to sleep with my bedroom window open. Recently, I have been alerted to the presence of ringtail possums by the tell-tale scratching sound of their tiny claws as they run up and down the
AN EXISTENTIAL ABSURDITY OF VASTNESS The city exists in an uncanny liminal state, where belonging feels impossible, pressed beneath national identity, political handovers and
Tender is the Flesh (2025) engages with ideas of skin as both surface and material agency: a site where identity, memory, and trauma are inscribed, but also where discomfort, estrangement, and instability emerge. While I continue to explore the intimate relationship
MARRIAGE Everyone has a different interpretation of marriage at different stages of their lives. Different cultures and family backgrounds also shape people’s view of marriage. Based on her culture and background, Jennifer presents her unique views and interpretations of marriages
Awarded the 2025 Print Council of Australia RMIT Graduate Award EGG AND SHELLS is a large-scale copperplate etching that captures an impression of the southern hemisphere night sky as seen from my suburb, densely populated with stars. I believe copperplate etching
WILD COMBINATION focuses on the act of ‘authoring’ and ready-made simulacra. Wild Combination reflects on the immateriality of memory, the arduous effort of capturing them and the difficulty and romance of remembering. Part installation, part sculpture, part confessional, part ‘screenplay’
Recipient of the Northcote Pottery Award and the RMIT Ceramic Student Association Club Year 3 Award. _________________________________ CLAY, CONTROL AND I. Jess Dybing’s work explores the changing states between flow and matter on the pottery wheel. Whilst the process of
OPEN EYES AND CLOSED DOORS explores the intimate connections between place, memory and acceptance. The diptych provides a glimpse into my internal and private experiences of chronic illness and trauma, through the most vulnerable physical spaces I occupy, and the
TRUSTWORTHY WEBSITE is an online interactive installation. It responds to the user’s actions by presenting satirical content through retro graphics, images, and rhetorical texts. These features contain misinformation to arouse suspicion and existential questions on the nature of internet navigation
NOT SO JELLY This project explores the the existence of jellyfish, specifically Peach Blossoms and their current endangerment, through the form of intaglio prints from copper in order to investigate their form and also processes of preservation. It delves into the
ACAE Gallery Emerging Artist Award. TOTAL RECALL: IN UNDERSTANDING THE SELF FROM ONEIRIC FRAGMENTS I used to have this recurring dream when I was younger. I would be lying on a conveyor belt in a warehouse by myself, in
身体健康//Shen Ti Jian Kang//Wishing you Good Health: an autoethnographic exploration of identity, culture, and family My relationship with my Chinese heritage has always been complex. In my younger years, I found myself pushing that part of my identity away,
YOUR BODY IS NOTHING is an exploration of the abject female body. It is a personal project that began as a way to process my own bodily trauma. I wanted my work to focus on the experience of living
Liquid Architecture Award. ECHO is an immersive installation of reflection and revealing. Named for the Oread, one’s reflection is infinitely duplicated and fractured upon entering the work, as they are simultaneously aware of invisible onlookers who can see clearly through
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My approach to being creative, particularly painting, has always been a self-soothing act. Without it I would simply be incomplete. Work in Progress is a reflection of the tumultuous relationship I have had with my mental health and internal dialogue
NAVA Ignition Prize. 75% MORE FLAVOURFUL: Exploring Thing-power and Trauma through multidisciplinary practice. This Master’s project uses installation, text-based works and image prints to negotiate trauma, self-hatred and shame through accessing the aesthetic possibility of material agency. Through the techniques of collage and
We already live in a world surrounded by information technology, which provides a powerful driving force for the digital economy. There is no industry that is not affected by digital technology, and this certainly includes the art industry. Information and
SEAL COMMUNITY: BETWEEN DIGITAL PLAYFULNESS AND CERAMIC SOULS In Seal Community, I explore the intersection of digital imagination and material intimacy. Originating from my illustrated seal characters created in Procreate, the project transforms these playful digital beings into ceramic sculptures
Recipient of the Sculpture Workshop Prize. _________________________________ ✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿✿ ╭(′▽`)╯╭(′▽`)╯╭(′▽`)╯╭(′▽`)╯╭(′▽`)╯╭(′▽`)╯ My name is Jiefei Chen. I was born in Sichuan Province, China, and moved to Adelaide, Australia, with my family when I was fifteen, and live in
Dean’s Award for Excellence, Master of Arts (Arts Management). ARTS EDUCATION PLATFORM: BEYOND THE BOUNDARIES In commemoration of the 60th anniversary of diplomatic relations between Australia and Korea, a Comprehensive Strategic Partnership (CSP) agreement has been forged.
BETWEEN PERSONAL AND THE GENDER POLITICS: THE SYMPHONY OF MATERIAL SUBSTANCES, ACTIONS, AND BODY MOVEMENTS Through creative practices informed by ceramic processes, this practice-led research project explores gender identity within the context of contemporary Chinese society, delving into narrations, experiences,
COMING HOME My art practice explores my deep relationships to people and places. I create artworks that raise questions and expand my perspective in understanding the complexity of an environment, as well as the fragility of life and memory. ‘Coming
PLANTS & PLAY DATES Through this series of temporary installations, I utilise intuitive, experiential art making to explore themes of agency and communion. By engaging with living plants and multimedia, I inhabit new and unfamiliar spaces in an open and
THE FOUNDATIONAL MYTHS OF NATIONHOOD The Foundational Myths of Nationhood is an exploration of the myths and practices involved in nation-building. It investigates the commonplace narratives of national identity and it is constructed and directed through the specific design of
My practice uses performance, installation, sound, video, and digital technologies to examine the creation and perpetuation of national myths and how they lead to the formation of national identity. It explores the critical potential of failure as a tool to
ENERGISING THE SPIRIT: MOMENTUM AND MINDFULNESS IN THE ART OF EXERCISE AND MOVEMENT EXPLORED THROUGH PAINTING Jocelyn is an emerging artist specialising in mixed media painting, focusing on themes of energy, movement, and emotional expression. With a solid background in
Looking for Mollie uses photography to examine the legacy of taxidermied zoo animals, focusing on Mollie, a Bornean orangutan from Melbourne Zoo (1901–1923). As part of my MFA capstone, Looking for Mollie critiques the relationship between taxidermy, objectification, and cultural
DUBBININ is an abstract video work that explores the cyclical, interdependent relationship that video has to sound. The piece employs abstraction and psychedelic imagery to capture the spirit of the similarly spacey soundtrack. This inseparable combination culminates in unfamiliar, interplanetary
EAT YOUR HEART OUT This body of work focuses on the often contradictory and complex nature of the human psyche that manifests in surreal depictions of the human form and anatomy. I view my practice as a means of exploring
CATHARSIS Humans have entered the epoch of self-surveillance and datafication through the use of everyday objects. This practice-led research project seeks to critique surveillance and data capitalism, and its apparatuses of control, including its impact on selfhood. The research
QUEER IDENTITY: GROWING UP IN REGIONAL AUSTRALIA AND ITS INFLUENCE ON ONE’S EVERYDAY LIFESTYLE My creative research investigates the impact on queer people of an upbringing in rural Australia, examining their understanding of identity, community and connections between themselves and
MY BODY, MY POETRY The focus of My Body, My Poetry is the exploration of my Chinese culture with a focus on themes relating to loneliness and gender empowerment. The work employs photographing and capturing video footage of body movement
ACAE Gallery Emerging Artist Award. FLOATING I am obsessed with excavating my inner self. My art practice and my life experiences cannot be separated. I am experiencing the ongoing reposition of my cultural identity and collective unconsciousness between my home
In You is my Honours creative project. I journey through unseen sentiment, memory, and perception, tracing vulnerability and self-preservation woven into familial and cultural memory. This perceptual exploration unfolds within a series of artworks, engaging with quiet yet unconscious emotional
Velling Award. My multidisciplinary practice deals with the surreality of the everyday and endeavours to celebrate the beauty of the mundane through my personal lens as a Hungarian-Australian artist living in Naarm/Melbourne. My paintings and objects eschew the making of
Melbourne Artist Supplies – Professional Practice Award The Koodak Award for Academic Excellence in Gold and Silversmithing Glimpsing mourning: an encounter of loss, mourning & ecological grief. This project has grown out of the urgency I feel to address personal
SUGAR RESTRICTION This object is made of 9 x 9cm plastic board, interspersed with red and white thread as decoration, capsules containing red and white cotton thread are collaged on the bottom plate. This work is intended to express the
SAFE ZONE SAFE ZONE—an exploration of psychological healing through a performative multimedia installation—explores my everyday emotional struggles, dreams, and memories during the years spent in Covid lockdown. By using a methodology of documenting and sharing, I aim to create an
The Bold and The Beautiful Award. INTO THE CAPITALOCENE “Shower him with all earthly blessings, plunge him so deep into happiness that nothing is visible but the bubbles rising to the surface of his happiness, as if it were water;
NARRATIVES OF THE SUBTLE BODY Based in Melbourne (Naarm), my current practice investigates the subtle body as a spiritual-physical system via the framework of Tantra and Hatha Yoga. Through the process of lost wax casting using non-precious and precious materials,
UNPLAYED MEMORIES focuses on empty playgrounds and tiled passageways in ordinary daylight. In these paintings, I use both vivid and pastel colours to shift familiar environments into something slightly dream-like. Slides and corridors appear paused in time, holding traces of
THE SOFTEST PART THAT I CANNOT SHARE WITH YOU Transformative Journey of Home, Memory and Identity My project examines
Mejia Group Exhibition Award for excellence in drawing-based practices: ON MY WAY HOME Is our home irreplaceable? Could our ‘home’ be a specific color, language, people, scent, or a sense of nostalgia rooted in childhood memories? This project undertakes an
WAVE DYNAMICS: an interweaving of wave phenomena, becoming, and geometric abstraction. Waves appear in many forms: in the warmth of sunlight, in colour, in the swell of the ocean, in music, and in our heads and hearts. They are fundamental
HYPHENATED SPACE. As a print-maker and mixed-media artist, my work navigates the evolving relationship between heritage and modernity, shaped by my experience of living across cultural boundaries. With a focus on themes of identity, diaspora, and the sense of being
TRANSCENDING TRADITIONS is an exploration of personal identity, cultural heritage, and reconnections with the bygone. I am inspired by events that happened but were not documented, embarking on a journey through my untold family history. I uncovered many stories, beliefs,
Nearly Mary Oliphant Prize. M(O)THERED MEAT Inez’s work interrogates the monstrous feminine within Malaysian folklore to challenge the oppressive patriarchal systems held together by tradition and culture. This rebellion against the systemic misogyny that plagues the Malayan society manifests as
Lost in Translation is an autoethnographic journey through the visual iconography of mid-century design and domestic space. Combining nostalgia with visual elements of uncanny disorientation, I aim to create images that appear decorative yet are charged with an underlying narrative
Creating Stuff out of Existing Stuff (2024). During my ever-growing multi-media art practice, my project embraces material exploration, intuition, instinct and ideas of overconsumption via the manipulation of sustainably foraged items and art assemblage. Working within a multi-media and sculptural
DYSTOPIA IN THE WORLD OF FLORA I’m Kasandra Hendy, and I’ve lived here in Naarm/Melbourne, Australia my whole life. I’m 22 years old (b. 3/8/2000), and I’m almost at the end of my study of Fine Arts at RMIT University
UNTITLED looks at the how our experiences pre-colour our perceptions. Wielding the ceramic medium in a way to deceive the viewer’s perception of material reality, the work explores how one might try to intervene in how they are perceived.
THE LOUNGEROOM AFTERSCHOOL IN 2010 A large installation of personally nostalgic pieces brought together to form an emotional bond for the viewer. The installation consists of several old objects from Kasey’s childhood that connects viewers with their own personal entanglements
THEATRE OF OPERATIONS Kat Rae’s work explores how place, memory and experience layer and mesh, and who and what is forgotten after a war. Kat served in the Australian Army for twenty years before deciding to become a full-time artist
Recipient of the Kayell Digital Print Award. __________________________________ MONUMENTS OF PAPER AND SHADOW I am an emerging print-informed artist who draws on my experience as a contemporary female Australian Army veteran and war widow to investigate a tense and problematic
INVITATION TO A MICROCOSMOS is an experiment into the documentation of singular experiences, moments and people in my everyday life. Images are built from photographs of friends, family and environments. This form, a kind of self-portraiture, captures elements of celebration and
Reclamation of the Body is a project that seeks to give voice to the language and experience of the body through painting, asemic writing and drawing. Experimenting with sculpting, mark-making and working on large-scale surfaces whose form is continuously changing
AWARD WINNER – Artists for Kid’s Culture (AKC) Gallery Exhibition Prize, 2025 THE MOTHER OF ALL MESSES My work explores transformation, materiality, and memory. The process is intuitive, led by touch, chance, and the conversations between materials. I’m drawn
ENCHANTED BY THE FEELING Enchanted by the Feeling reimagines intimacy through soft sculpture, self-portrait photography, and immersive installation. Employing play, performance, and fluidity as queer methodologies, Kate seeks creative new perspectives on the experience. Through embodied practice, these strategies facilitate
hope fall / Exploring the destabilisation of the present moment through material poetics and installation practice. In this object-based installation, I aim to present a site of precarity and instability, drawing on conceptual ideas from New Materialism, Phenomenology and Minimalism.
NO ONE TOLD ME I WAS LIVING IN A BRUTALIST NIGHTMARE MARK II. “Cumbernauld, a land of concrete mounds interspersed with grassy knowles and nooks and crannies made for kick the can; a double nougat ice cream on a Friday
Recipient of the Alpha60 Prize. _________________________________ NO ONE TOLD ME I WAS LIVING IN A BRUTALIST NIGHTMARE My installation No One Told Me I was Living in a Brutalist Nightmare seeks to question the impact of growing up in a
BODY AS MACHINE THOUGHT: Human as mechanistic component in a network, human as network, networks within networks, within networks, within networks, within networks, within networks, within networks, within networks, within networks, within networks, within networks, within networks, within networks, within
Composite Award. CYBERROT: CORPOREAL DECAY INSIDE LIMINAL TECHNOLOGIES CYBERROT CYBERROT CYBERROT CYBERROT CYBERROT ROT ROT ROT ROT ROT IT’S ROTTING DECAYING SPREADING DISTORTING GLITCHING ENDLESS
This series of works explores the intersection of intimate quotidian moments and unworldly places through the language of paint. Focusing on figuration, my work investigates how an imagined scene speaks to the human condition and evokes a sense of memory.
I am an emerging visual artist specialising in drawing and currently working in multiple mixed media forms. I explore the concept of the ‘inner child’ and inner worlds’, and reflect on reminiscing memories throughout my childhood. Using old school
Winner: Wayne Conduit Award. When I watch a coming of age film, I feel seen. When I watch an action film, I feel like I can do anything. When I watch a tragedy, I feel the sadness lingering. Film
Through painting, I find it is extremely important to be drawn to the piece, as the maker, to learn something new and be a part of the work. Ethnicity is very personal and I’ve drawn aspects of my tradition in
Be/Longing: Documenting the ‘invisible’ through lens-based practices. Be/Longing uses lens-based practices to document the transition into adulthood and how ‘longing’ can accompany this change. The work reflects my own transition of moving from a rural/regional upbringing to Melbourne and the
Minerals is an installation characterised by mirror-polished bronze forms, placed in harmony with large natural stones. The work aims to reconnect viewers with their inherent relationship to nature by tensioning the delicate treatment and preciousness of bronze, against the solidity,
FAULTS IN THE BREAKROOM I am Keisha Yan/ Fed, a narrative artist based in Melbourne and Singapore. Currently, my interest is in exploring the overlap between the natural world and the industrial one through absurdist and surrealist scenes. These explorations
Kepsibel’s creative practice is characterised by a repetitive and ritualistic engagement with the material world. Unbound by a commitment to conventional materials, she develops idiosyncratic processes that evolve through time and surface. Her paintings, sculptures, and installations are confessional in
‘This shelter is always open, this shelter is always ready to receive, this shelter offers you the most precious gift.’ Kepsibel’s creative practice is characterised by a repetitive and ritualistic engagement with the material world. Unbound by a commitment to
Recipient of the Walkers Ceramics Award. _________________________________ Kerrin Samuel is a multimedia ceramic artist who creates artworks that explore the human experience. She draws inspiration from observations of contemporary culture, politics, geopolitics and religion which she sees as powerful vehicles
ABOUT THE ARTIST In the most recent last two years, I have been exploring several themes and ideas in my investigations. My projects from the last two years have been strongly focused on transitioning personal memories and inner feelings
Utilising the expressive qualities of paint, my creative practice intertwines realistic portraiture with abstracted Farsi and Arabic calligraphy to raise insights into the spiritual reality of the human condition. Drawing on the writings of the Baháʼí Faith, a religious minority
WINNER – DRAWING STUDIO Peter Westwood Legendary T’shirt Award, 2025 No Love Labours An exploration of familial tension and the burden of care through the use of drawing and writing. This project reflects the period of coming-of-age that results in
FOREVER n EVER This series uses formal values within still-life photography to examine environmental degradation and waste. The project is site-specific; beach plastic waste was gleaned from Port Melbourne Beach over six months in 2023. Staged contemporary Ikebana arrangements of
Recipient of the Dean’s Award for Excellence, Master of Arts (Arts Management). _________________________________ THROUGH PRACTICE (A RESEARCH PROJECT) This research project examines practice-based research as a topic within a contemporary arts context. In it, practice-based research is recognised as a
PORTABLE STILLNESS: Handmade Miniatures as Traces of Home and Memory My master’s project explores how the making of miniature objects and floating altar-like displays can express memory, collection, and the domestic in transition. Motivated by the instability of diasporic living
Recipient of the RMIT Ceramic Student Association Club Year 3 Award. _________________________________ Hello! I am an emerging Melbourne-based sculptural ceramicist. I have an expanded ceramic practice utilising hand building, modelling techniques and using emotive surface colouring and treatments. My work
GOBLIN STUFF “A mild amount of tomfoolery” Inspired by the aesthetics of children’s picture books, and the playfulness of childhood itself, Goblin Stuff seeks to inject an element of life, joy and humour into the contemporary art space. Working partially in
RUN THE GAMUT / RIDE THE LINE is a dedication to the between state, the not quite here or there, the process, the liminal. I have spent a lot of time on the train in the past few years; the
LIE DOWN This project uses the concept of confessional art and play to aid my broad exploration of the feminine, medical inequality, the infantile, the hereditary, and ultimately the urge to grasp and dictate self through three-dimensional and two-dimensional mediums.
Winner – 2024 RMIT Gold & Silversmithing Technology Prize (presented by Australian Jewellers Supplies) Lachlan Vasic is a Naarm/Melbourne-based artist, forming sculptures and objects through his practice of gold and silversmithing. He is inspired by day-to-day urban landscapes and
TO THE SKY WITH HOPES AND DREAMS: IMAGES OF RETRACING THE PAST PRINTED ON CERAMICS In this project, I use different art techniques like printmaking, collage, pottery, and ceramics to explore my personal experiences and connect them with broader
Recipient of the Kayell Digital Print Award. __________________________________ HOLY MARYA (MARY) I was born in Iran, where, for the past four decades, a compulsory hijab has been a means used by religious authorities to suppress women. Since arriving in Australia
Recipient for DEBUT XXI at Blindside ARI (April 2025) https://blindside.org.au/ Fragments of Identity: Exploring Identity, Migration, and Memory through Ceramics and Printmaking. My Master’s project explores the intricate relationship between personal identity, migration, and memory through the mediums of printmaking,
ACAE Gallery Emerging Artist Award. TO LOITERING TO ARRIVE explores the role of vitality in the realm of art and human life. I intend to use animal figures as vehicles, and incorporate my feelings and thoughts about vitality into them. By
Highly commended: ACAE Gallery Award This project begins with refusal and spite – the refusal to confess, to perform, to be legible. In Filipino Disneyland, a confessional booth becomes an inverted theatre of devotion. The viewer is drawn into dialogue with
FLUID AND UNFOLDING invites you to romanticise the mundane. Love between queer and trans, disabled and neurodiverse people, exists in a realm of its own. Small, sacred moments of care-giving are interwoven into the queer experience. To chosen family, friends,
THE NATURAL PROGRESSION This is a body of work initiated with the intention of depicting the fish in the tanks at a Chinese Restaurant as a homage to my childhood memories of gazing up at the tanks filled with living
Winner – 2024 RMIT Gold & Silversmithing Studio Prize Laura de Carteret is a French-Australian artist based in Melbourne, Australia. They started glass blowing in 2021 through the Ruth Allen Glass traineeship program and since then have incorporated glass
Laura Sharkrainbow is a small, otherworldly phenomenon believed to be caused by the interaction of electromagnetically charged particles in the upper atmosphere. Historically this has taken the form of works in ink and oil, though recently a new
RMIT Ceramic Student Association Award: Working predominately in ceramics, Lauren uses ideas and experiences around trauma, beauty, and men in her ceramic forms to explore and challenge ideas about these topics within society. Using wheel thrown, sculpting, and glaze techniques,
PUNKTURED explores ways in which a contemporary jewellery practice can translate the energy of punk music culture into the 3-dimensional, focusing on ways in which music can both inform and reflect one’s identity. Jewellery has an innate connection to identity
Technician’s / Studio Karma Graduate Award My practice is informed by research and concept and is constantly evolving as I lean into different modes of making, depending on my project. Currently, I am working with sculpture, installation, and print media
Imaginary Suburbia merges mundane suburban landscapes with unconscious, spontaneous imagery, reimaging distinctive suburban landscapes into magical realms. Favouring the use of misplaced animals and fruit in combination with mass-produced suburban scenes and infrastructure, I invite playful, nostalgic readings as well
My name is Layla, I am a printmaking artist who specialises in digital printing with complex installations. My work focuses mainly on the development of the self and processing my emotions through my pieces. My practice often involves complex layering
NOW I LAY ME DOWN TO SLEEP Drawn from ceramics-based processes, my creative practice forms via constituent and material relationships as an exploration of metamorphosis. Metamorphosis is the free space of transition outside of notions of containment, restraint, and inhibition.
Unfolding Impermanence: Collage, Myth, and the Metaphysical Dimensions of Contemporary Painting This project, featuring the 6m kinetic painting Public Dreams/Private Myths, begins with drawing and monochromatic analogue collage, where photographs and sketches are fragmented and reassembled into new forms as
BACK TO PLAYA SAN BLAS Navigating grief, love, and liminality, this practice-led research project is informed by my mixed-race identity as a Salvadoran woman born in Australia. Privileging the knowledge generated from intuition, I use autoethnographic research such as
PRIVILEGE We are overwhelmed by endless streams of information, often forgetting to pause and reflect. Late-stage capitalism, nationalist ideologies and global conflicts place our anxieties above our gratitude. Amidst this chaos, we must remember to reconnect with the sublime. Looking
Leon Zhan is an artist currently working across painting and sculpture. Born in Melbourne to Chinese immigrant parents, Zhan’s highly finished pictorial practice is heavily influenced by his own diasporic experience. Negotiating the orient and the occident, his work articulates
Redrafting Reality: Exploring Architectures through Memory and Fantasy In this project I explore the interplay of reality and imagination, combining strict architectural norms with fanciful elements. Inspired by my family’s experience of migration and their memories, I create works that
The Moat Bar Awards for excellence in Video and Drawing. THE BEAUTY & THE TERROR My practice marries cinematic and illustrative elements in the pursuit of elevating both, as I explore communication, storytelling and an interrogation of modern romanticism. I
THE HUNT This body of work explores personal identity and societal structures through visual narratives and metaphors. Raised in rural Australia, I utilise the ceramic form to create artworks that subvert contemporary notions of value, creating silhouettes that reference working-class
Winner – 2024 RMIT Gold & Silversmithing Studio Prize Since 2020, Letitia has shown abroad, with her work exhibited in group shows at OCAD University in Canada, Dunedin School of Art in New Zealand, and another group show curated
I’LL JUST SAY THANK YA This project explores the experience of parting ways with someone who is important to me. Created during a time of major personal transition, it reflects the emotional weight of saying goodbye to someone who taught
Wondering the third space: navigating the politics of personal and collective identity through deconstructive installations and sculptures. The installation project uses multimedia sculptures to explore Qin’s complicated relationship with her life under China’s collectivism. By deconstructing and reconstructing everyday materials
So you know, I’m all yours… represents a devotion of love without shame, a dedication of my entire self to the interplay of queer love and sports. So you know, I’m all yours… is a love letter left unsent, a
A CONSTANT SHIFT is a collection of artworks that simulate movement. Each line is placed one after another in methodical motion – a method that comes to me in the moment, a method that compels me to fill the blank. These
THE TRACE OF THE TEAR is a sculptural neckpiece born from Lilian Fung’s own healing journey. Rooted in research on the crystallisation of dried human tears under a microscope, it gives form to what is often unseen — grief, memory,
I CAN’T STAND IT: A MULTI-MEDIA EXPLORATION OF MEMORY AND EMOTION My drawing practice focuses on themes around memory, sentimentality, and individual disposition, framed via a conceptual representation of personal experience. This is shown through soft gestural graphite and coloured
Revolting. My name is Lillian Catriona Flügge. I am a silversmith in training studying BA Gold & Silversmithing here at RMIT. In my final work, the Revolting series pays tribute to the music and fashion subcultures that have shaped me.
Dean’s Award for creative accomplishment Bachelor of Arts (Fine Art). EMBRACING YOUR VANISHED SHADE is an exploration of memory, nostalgia, and the intricate interplay of emotions through an interdisciplinary lens. My project blends photographic prints on fabric, poetry, sound, and
WINNER – DRAWING STUDIO Bold and the Beautiful prize, 2025 We Gather, We Rise, We Fall. This large-scale robotic fabric installation reflects on the cycles of nature, their duration, rhythm, and caring reliability. Its scale intentionally includes the human body
Everything casts a shadow, but you can’t always see it. Maybe the shadow is what is left behind. Cat hair on a jumper, bike grease on your shins, food stuck in your teeth. Or maybe the shadow of an object
Recipient of the RMIT Ceramic Student Association Club Year 3 Award. _________________________________ Lily Lindsay is a ceramic artist who makes both functional and sculptural artworks. Her figurative work uses myth, symbolism, and motifs to express personal memories and lived experience.
Awarded the 2025 44 Frame Factory Award My work explores climate change, the environment, and the spiritual elements of Earth, Fire, Water, and Air. I am majoring in printmaking and explore a wide range of styles through screen printing. My
PIMP MY RIDE: DELUSIONS OF FOUR-WHEELED GRANDEUR Inspired by an upbringing surrounded by enthusiastic car modifiers, aberrant working-class hoons, and an absurdly exuberant TV program dedicated to ‘pimping’ out derelict dregs of cars, Pimp My Ride: Delusions of Four-Wheeled Grandeur
THE TWENTY-FOUR FORMS OF TAI-CHI Tai Chi Chuan is a physical practice which is rich in traditional movements and sequences. Tai Chi Chuan refers to movement that is derived from the philosophy of Tai Chi and utilises the concept of
Addressing the challenge of audience homogeneity in Australian arts organisations The homogeneity of arts audience in anglophone countries has been an issue for arts organisations for many decades. This current research brings an organisational behavior approach and examines the organisational
Lize Myburgh aims to capture that moment when the dust settles and the silence sets in—a moment of quiet devastation where the damage of flooding is still fresh and the weight of recovery feels overwhelming. For her Bachelor of Fine
MADAME BUTTERFLY—a highly distorted interpretation of Puccini’s opera by the same name—is a short film revolving around Madame Butterfly, who is living in self-imposed exile inside a magical cocoon on the top of a faraway mountain. The heroic knight who
REMEMBER ME I am a multimedia sculptural and installation-based artist living in Naarm. I will soon be graduating with a Bachelor of Fine Art in Sculpture from RMIT. I have been a part of many group exhibitions in Melbourne and regional Victoria
Recipient of the School of Art Honours Travelling Grant. _________________________________ NISAM SPAVALA ALI SAM LEŽALA (I WASN’T SLEEPING BUT I WAS LAYING) Looking, touching, being; my research-based practice is an investigation of these three elements in relation to my position
I WANT TO GROW OLD WITH ALL OF YOU Lou Wheeler is a Narrm/Melbourne based emerging metalwork artist with a special interest in ancient and traditional craft practices. Lou’s practice prioritises fundamental yet demanding techniques such as hand engraving and
Firestation Print Studio Access Prize. AUTOCRYOSTHESIA From the Greek: auto (referring to the self), kryos (frost, cold, ice), esthesia (sensation, the capacity for feeling). My project, Autocryosthesia, began as an exploration of FOMO (the fear of missing out, as exacerbated
AWAKENINGS ON HIGHLANDS I was born in China and immigrated to New Zealand with my parents at the age of 14. I then spent my university years in Australia. The multiple locations confused the formation of my sense of personal
USE/LESS I am an emerging sculptural artist located on Wurundjeri Land, Melbourne. In my practice, I typically explore childhood and comfort, often using glitter and iridescent materials to recreate the childlike excitement that fades in adulthood. Sewing is also an
Recipient of the School of Art Honours Travelling Grant. _________________________________ SOMETIMES I WRITE SO CONFIDENTLY I START TO BELIEVE MYSELF My practice-led research uses queer ecology as a framework to explore phenomenological spaces of encounter/occupancy. My practice constructs both metaphorical
FAMILIAR FACES. This linocut wallpaper will turn any room into a vibrant, artistic setting with its vibrant colours and captivating faces. The dynamic faces and the palette’s cheerful vitality infuse a space with personality, making it feel both artistic and
Lucy Ramsay (she/her) is a contemporary mixed-media artist originally from Ngunnawal country (Canberra) and living and practicing in Narrm/Melbourne. Graduating at RMIT from her Bachelor of Fine Art, she majored in printmaking with a specific interest in etching and textiles.
SELF PORTRAIT WITH OMA (‘Grandma’ in German) is based on an old photograph taken during a visit when I was a young child. For the occasion we got to visit a local waterhole that I would frequent as I got older.
HIT ME AS HARD AS YOU CAN: The Carnivalesque Against Australian Nationalism. Australia has a long history of phobic nationalism which utilises any instance of global economic insecurity to scapegoat whichever individual strays too far from what has long
Robin Kingston Award for Contemporary Abstraction When folding chairs In production, installation or storage, materials behave as provisional alignments with their given materiality. Instability becomes a generative force; a condition through which form emerges in negotiation rather than imposition. What if sculpture
ISQUARED GALLERY EXHIBITION AWARD WINNER ALLEGORICAL AND INNATE GESTURES OF THE HAND is engaged with intuitive modes of making and the symbolic possibility of images. I explore ideas with a multi-disciplinary approach. This encompasses drawing, painting, collage and fabric
MY QUEER BODY: SELF-ACCEPTANCE AND HEALING THROUGH AN INTERSECTIONAL LENS. This activist practice-led research project explores my Chinese-Australian, queer and non-binary positionality and the psychosocial impact of physical scrutinisation and the expectation to conform to beauty standards, heteronormativity, and the
RECLAIMING INSECURITY Stemming from my own insecurities caused by unrealistic beauty standards present in modern media, these works directly challenge conventional beauty standards. Women’s bodies are scrutinised, our organs for eating food and birthing life are subject to beauty standards
TALE OF TIME: EXPLORING THE POETIC EROSION OF 35mm CINEMA FILMS My work explores the remnants of cinematic histories, while also considering its connection to today’s digital landscape. I seek to prompt reflection on the enduring significance of analog methods
Crown your child self with gratitude . Maaike Schipper is a printmaker and interdisciplinary artist from rural New South Wales, currently based in Melbourne. Guided by feminist frameworks of care, her practice embraces the slow, imperfect, and attentive nature of
A MOMENT IN NATURE reflects upon the Arts and Crafts movement of late nineteenth century in its response to the industrial revolution. Combining textile art with natural dye and eco print, this piece emphasises the qualities of nature and handcraft
PILLARS OF THE MIND explores how intuition and intentionality informs ones decision making throughout the painting process. My practice is inspired by my passion for experimentation, movement and curiosity of materiality and colour. My work is created through an instinctive
UNSTILL LIFE My painting practice forms as a way of gently unpicking assumptions about the way we see and think about the world. In exploring the tenuous state of human disturbances during the Anthropocene, each work sits in a place
Madelyn McKenzie is a ceramic artist based in Naarm/Melbourne. Her work is inspired by the decorative arts, traditions in particular Victorian-era wrought iron. She uses paperclay to create her structures and challenges traditional ceramic hand-forming techniques. Madelyn’s feminist perspective informs
Madelyn McKenzie is an emerging artist based in Naarm/Melbourne, working primarily across ceramics, sculpture and installation. She has just completed her Bachelor of Fine Arts (Honours) at RMIT University whilst also participating in Craft Victoria’s Fresh! Fellowship Program. Madelyn’s Honours research
Madelyn McKenzie is an emerging artist based in Naarm/Melbourne, working primarily across ceramics, sculpture and installation. She has just completed her Bachelor of Fine Arts (Honours) at RMIT University whilst also participating in Craft Victoria’s Fresh! Fellowship Program. Madelyn’s Honours research
Fault Lines is a reflection on the ways in which objects and memories intertwine, becoming a vessel for communication and stimulating recollection. Guided by ideas of post-memory and solastalgia, this series explores the fragility of one’s memory as it ages—an
Sundowning—the term for increased confusion in the late afternoon and evening for people with Alzheimer’s. Sundowning reflects on the tensions between permanence and impermanence and intends to resist modernist ideals of monolithic permanence. As its title suggests, Sundowning is
Everchanging and Ephemeral: Exploration of phenomenological experiences in nature. In my practice, I’m interested in the study of phenomenology. I’m especially drawn to expressing my experiences in natural environments. I grew up in a small town on the South Coast
Recipient of the Mary Oliphant Best MFA Tutorial Presentation Prize. _________________________________ THE RESONANCE OF A TANGLE engages with bodily agency and constraint through an interdisciplinary practice of painting. By employing material experimentation and improvisation, this project seeks to record an
MAMA SAID (SERIES OF FORMS) Using a combination of textile processes and mixing materials, Maisie creates textural and fluid forms to discuss the body’s many-faceted existence. The artist combines materials such as fabrics, latex, plastics, inks, mirror, wire and the
GROWING UP This series shares my study journey as an international student in Australia and the first time that I was separated from my family and friends in Hong Kong. It documents my psychological status around expanding my comfort zone
Highly commended: All the Very Best Award Chapman and Bailey Award for Excellence in Contemporary Painting The Garland Award STEEL KARKADE- Analysing the strength and brutality of diasporic Black women’s experiences through afrosurrealism The primary purpose of Steel Karkade is
Recipient of the Sunshine Print Artspace & Open Bite Student Association Graduate Award. _________________________________ STRATA reflects on the relationship between place and identity as a means of reconciling my immigrant experience. Utilising stone lithography and installation, I explore the concept
ECHOES BETWEEN WORLDS: Reflections, Ephemerality, and the Presence of Kami Marina Yamazaki is an artist who lives, works, and studies in Naarm/Melbourne. She explores the connection between the spiritual and physical. She interacts with the world of kami and spirits
IN MY ROOM.mp4 pays homage to the early 2000s aesthetics of the new age internet, encapsulating the mess, life, and joy held within my bedroom. The mixed installation, consisting of projections, short-form videos, and photographic prints, brings together the essence
Maryam Attar is an Iranian-born visual artist based in Melbourne, Australia, specialising in immersive installation art. Her practice focuses on painting and installation, with a primary emphasis on creating immersive spaces that explore themes of feminism and activism. Maryam earned
Matilda Kate Mourant is a multi media artist with a focus in printmaking. Her work examines printmaking, using various types of copperplate etching. Past explorations have involved screen printing, monotype, cyanotype, and frottage, also experimenting with drawing, written word, collage, and painting. Matilda’s work examines grief, love, and belonging through the examination of landscapes that are significant personal sites, carrying and shaping memories and exploring grounded existence. She explores the interconnectedness of the subconscious and the conscious state through interaction with landscapes en plein air as well as the interpretation of memory.
HER HOME ON CHICKEN LEGS: an interweaving of feminism, folklore, and sorcery My creative practice examines folklore and fairy tales via a contemporary, feminist lens. The working method that I employ involves researching fables to locate stories that may have
PEOPLE, PLACES AND PICTURES explores friends, family and environments, all of which have brought me joy and inspired my artistic practice. These positive connections have been investigated through vivid colour, familiar symbols and organic shapes. The vibrant symbols, created by
All the Very Best Award BUFFER: WRESTLING DIGITAL HYPERABUNDANCE AND THE PROJECTED CORPOREAL, OR: HELP!! THERE’S PLASTIC IN MY F*CKING BRAIN 😱😱😱 My entire living memory has been in the proximity of screens; conception beyond is unimaginable. Corporeality has been
IT NEVER RAINS ON GOOGLE MAPS is a project exploring the act of digitally “dropping a pin” on Google Maps. Google Maps being an application built for navigation that I repurpose as a tool for artistic exploration. Street View also
HAVEN Colour, pattern, aesthetics, and the home – my oil paintings on canvas capture interior narratives devoid of time but full of nostalgia. My pieces reflect on the human experience and highlight the trivial things in life that mostly go
Mayah Eden Lasky, also known as ‘Melasko’, is a multidisciplinary artist based in Naarm. Primarily exhibiting photography, film, and video installation, her work deconstructs stereotypes and misconceptions by employing a socially-engaged documentary practice. Recently, she has delved into topics such
Print Residency award for high academic achievement in Third Year. WOMAN, WAR AND BEYOND is based on the Japanese military’s forced sexual enslavement of adolescent females during World War II, known as ‘Comfort Women’. This term refers to the Imperial
Garland Membership Award. Fugitive memories: I’ve watched you my whole life, now I see you. ‘The fragments re-emphasise subjectivity, due to their apparent incompleteness. Fragmented, the self is able to appear and disappear. Fragmentation mirrors the way we experience the
I.V9000 (IN VITRO 9000) reimagines human reproduction through an absurdist, monochrome lens by merging found footage, stock imagery, AI-generated visuals, and animation into a surreal baby-making factory. The work explores what happens when reproduction becomes fully technologised. What are the
Dean’s Award for Excellence in Bachelor of Arts (Fine Art) (Honours). Travel Scholarship Award. Ballarat International Foto Biennale GradFoto 2024 finalist. ____________________________________________________ Substantial and Significant is a multimedia installation, involving a combination of performance, projection and sculpture made from found
I MADE IT COZY SO YOU’D FEEL THE TENSION This installation transforms a domestic scene into the site of protest and reclamation. Born from a conversation in the first year of my degree that exhibited patriarchal bias, the installation asks
The flow of desires and obligations. My Master’s project explores the multitude of layers concerning diaspora identity and socio-cultural hybridity through multimedia projection painting. Drawing influence from the shojo genre, I experiment with the blending of Chinese painting aesthetics with
HOLD AND RELEASE An exploration of causality and trauma therapy through performance, kinetic energy and handmade sculptural elements. This work embodies the instance of trauma tethered to an individual until met with the tools to
SCUM ANGEL is an ode to the symbology of the bat. In a collaboration with artist and peer Anna Pearl, we created an installation which imitated a bats lair. Cages, poetry, paintings and objects in combination with screens
I use polymer clay and metal combined with each other. Soft polymer clay is wrapped on the stable form of metal, or polymer clay is squeezed into the space of metal, and finally the polymer clay is hardened by heating
SURRENDER TO A DREAM Large scale installation, sound, sculpture, & video. I have reflected on my experience of a reoccurring fever dream experienced in my childhood. The dream entailed me as a child, in miniature scale, in my parents’ basin,
My work relates to aspects of Pop Art and incorporates elements of painting, drawing, photography and collage through the subject matter of portraiture. My practice approaches aspects of traditional portraiture, such as the materiality of oil painting and coloured pencil,
Recipient of the Australian Print Workshop Award. _________________________________ MIGRATIONAL DISPLACEMENT Ongoing complexities that surround the possibility of a posthuman period bares witness to generational migrational displacement and the breakdown of psychological and cultural identity. The aim of this project throughout
Print Council of Australia Graduate Award Michelle is a Melbourne based artist, specialising in printmaking, photography and alternative practices.Her work is deeply influenced by her experiences of traumatic memory. Michelle’s work is a profound exploration of her life experiences,
GOD’S FAVOURITE is an ongoing drawing-video project that explores concepts of the human body and its interface with technology. I developed my themes of futurist body modification, sickness and spirituality using my body as the ‘host subject’. My approach to this
THE BOLD AND THE BEAUTIFUL AWARD WINNER Reframing perception. As a proud Italian Aboriginal from the Wiradjuri and Yorta Yorta people, I enforce change in the art world by reframing the perception of Aboriginal art. My acrylic paintings are my
GIVING AND RECEIVING AND GIVING AND RECEIVING is a visual exploration of the relationships between people and their societal, interpersonal and internal environments, asking the questions: What do we give to society and what do we receive from it? Can we
Red Gallery Exhibition Award The Angel in The House: an exploration of complexities and contradictions within contemporary femininity. Woman is not born: she is made. In the making, her humanity is destroyed. She becomes symbol of this, symbol of that: mother
WINNER – Breaking the Mould Sculpture Prize for experimentation in the Sculpture Studio ‘where water and earth resonate; ජල තරංගා’ is inspired by Sri Lankan clay jugs that store water. This interaction between materials infuses the water with an earthy
