Adelaide Central School of Art 2016 Graduate Exhibition
SENSORY NARRATIVES 2016 Graduate Exhibition Bachelor of Visual Art [Honours] and Bachelor of Visual Art 3 – 22 December 2016
Bachelor of Visual Art [Honours]
Bachelor of Visual Art
Lau Kai Yang
One eye sees the other feels. — Paul Klee Adelaide Central School of Art is delighted to present Sensory Narratives: 2016 Graduate Exhibition, which showcases the diverse range of work created by the Bachelor of Visual Art [Hons] and Bachelor of Visual Art graduates. The deep and sustained journey upon which these graduating students have embarked is reflected in this exhibition and accompanying catalogue. Our graduates, many of whom have undertaken study on a part-time basis over many years, have demonstrated great passion, dedication, commitment and plain hard work – the unsung hero of the creative process – to complete the intensive and rigorous studio-based program. They have shown a certain confidence, belief in themselves, to leave their comfort zones, trust their instincts to push their work to the limit. For these graduates the exhibition is a culmination of years of experimentation, inspiration, exploration and deep personal engagement, to tell their own story in their own way. As artists they need to be bold and fearless, always curious and interested in the process as much as the development of their work. The graduates are remarkable, both in their work, and in the optimistic and confident expression of their visual intelligence. Adelaide Central School of Art is recognised nationally for its excellence in educational practice and graduate success. Our School is composed of renowned practitioners, contemporary artists, writers and curators, who are charged with the responsibility for equipping our students with the skills, tools, knowledge and capacity for creative thinking so they can make their critical mark on the world. It is the experience and dedication of the talented academic staff, most ably supported by the highly skilled administration and facilities team, that makes the School such a creative and supportive environment for our students. The students have been enriched by the collective knowledge, experience and expertise the staff so generously share.
Teaching and Studio Building, Adelaide Central School of Art. Photograph by James Field
This year will see 30 BVA [Hons] and BVA students graduating: the largest cohort of students graduating since the School’s commencement in 1982. These students will join previous graduates, who remain an important part of the School’s extended family, and we will continue to support them as they progress through their chosen careers. In 2016 the School introduced a Graduate Support Program providing grants, opportunities to participate in international and national workshops, and studio residencies to provide a bridge between study and the commencement of an emerging artist’s professional practice. In addition to our exhibition sponsors and supporters I wish to acknowledge the graduating students who worked throughout the year, raising additional funds for the production of this year’s catalogue: a valuable professional asset as they begin their careers. Sasha Grbich, the School’s BVA and BVA [Hons] Coordinator, is to be congratulated for her exceptional work throughout the year in supporting the graduating students, and she was most ably assisted by James Edwards, Project Manager – Exhibitions. I have also enjoyed working with our talented designer, Maria Molbak, and our equally talented photographer, James Field, on the production of this high quality publication. On behalf of the School’s Board of Governors, Academic Board and all staff we wish the graduates every success as they take their place in the world of professional art practice. To create one’s world in any of the arts takes courage. – Georgia O’Keefe Ingrid Kellenbach CEO, Adelaide Central School of Art December 2016
Alexandra Beckinsale Found photographs present an ambiguous narrative to those that discover them, descriptive of a particular moment and experience that is now lost to time. Through my research practice I have considered how found, analogue, vernacular photography can act as a substitute for personal memory. My work is a visual response to the clues present within a collection of photographs from two found photo albums created by a young woman living in Mount Gambier in 1946. I have explored how re-presenting these images as digital paintings creates a relationship between the image and the inaccuracy of remembrance. The work focuses on the individual narratives that are present within these photographs, narratives that often get overlooked or forgotten.
(L, R) I could be, 2016, Giclèe print on cotton paper, print dimensions variable | Reclaim, 2016, Giclèe print on cotton paper, print dimensions variable | Jean, 2016, Giclèe print on cotton paper, print dimensions variable 4
Right behind you, 2016, Giclèe print on cotton paper, print dimensions variable
Susan Hamilton The questions who am I and where do I belong have assumed in modern times an unparalleled degree of urgency and complexity. – Nikos Papastergiadis, Spatial Aesthetics People innately need to belong. Fundamental to this are relationships: how we affect each other, intimately, in a group, or culturally. This year I have spent eighty hours making fifty-two drawings of half a metre of felt draped over an oil heater, to try and understand more about, Who am I? Who are you? and Where do we belong?
(L, R) Lilo, 2016, oil paint on 5.4 mm black industrial felt, 40.5 x 50.5 cm | Rookie, 2016, oil paint on 5.4 mm black industrial felt, 48 x 50 cm
Installation details: Who am I, Who are you?, 2016, parchment paper, black pen and pencil, dimensions variable
Christopher Houghton All bodies of nature, including our own, are assemblages of animal, vegetable and mineral forces. Embedded in the stone coastline where these photographs were found are emergent human and non-human forms, revealed in geophysiological narratives of living cycles that speak to the constancy of becoming. Each photograph in this collection has evolved through the synchronous exchange of natural forces. The practice of discovering them has become a process of slowing the act of photography, being immersed in the exchange and collaborating with the Australian landscape on its own terms.
(L, R) A Brief History of Deep Creek, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 83 cm | A Form-ative Memory, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 85 cm | The Reductive Conversationalist, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 82 cm 8
Happy Gaia, 2016, silver gelatin negative, pigment ink on cotton paper, 102 x 83 cm
Bernadette Klavins Through this body of work I playfully engage with the potential for sculptural processes to become analogous to geological activity. In a series of sincere and humorous exchanges, I act alongside raw materials such as rocks, timber and rainwater as I attempt to draw out their transformative potential. Over time, my acts of gathering, casting and walking become integrated with geological processes, such as weathering, warping and erosion. These works remain in an ongoing process of formation, as they operate in dialogue with sites beyond the gallery. In this way, each work attempts to offer a sense of unseen activity, both my own and that of the inherent agency of the selected materials.
Details: Driftwood, 2016, digital print, 42 x 896 cm
Rain return (performance to occur on the hottest day of summer), 2016, rainwater collected between the months of January and October, glass jars, thermometer, sack-truck, particleboard, bungee cords, fixings, dimensions variable, ongoing 11
Grace Marlow My decisions as a maker are led by my body and its playful interactions with materials. This relationship generates new objects (sculptures) and alternative uses for objects, bodies and spaces. Equally intrigued by material play, I am invested in a practice of political action. I wonder, how can political intention be embedded in my playful studio practice? From the moment we are born, gender is called upon to explain our behaviour: how we interact with people, objects and spaces. This limits how we can experience the world, often in oppressive ways. I borrow from languages, behaviours, and symbols that construct rigid perceptions of gender, recontextualising these systems to render them unfamiliar. By de-familiarising objects, this work emphasises the failures of categories to suffice for experience and the complexities of being.
Installation in progress detail: un, 2016, Femfresh talc-free powder, concrete, dimensions variable
un, 2016, cans (asparagus), peaches (exposed), cans (Spam), orange, melons, modesty covers, peaches (jarred), mould (contained), gum, bricks, water balloon, rock, plasticine, chicken fillet, soap, jelly fruit, Femfresh talc-free powder, Vaseline, installation variable 13
Christina Peek My practice derives from my feelings of hope and futility in the search for romance. I often feel torn between desiring romantic love and feeling pathetic for admitting it. Using materials that evoke romance, such as lipstick and perfume, I create sculptures and installations that revel in the grand gestures depicted by popular culture yet maintain sincerity in their hope for romance. These works are both talismans, summoning romance to me, and sites to explore my hopes and fears surrounding romantic love. They ask you to question your opinions of romance, if you too feel pathetic for wanting a partner or excluded from common romantic narratives. But the most important question they pose is … Are you the one?
(L, R) Detail: Killing Time, 2016, Crimson Joy lipstick and Kiss, Kiss, Bang, Bang lipstick kisses on paper, 150 x 200 cm Someone Like You, 2016, bespoke perfume created to imitate a past lover’s scent, perfume volume variable 14
Maybe, 2016, queen-sized bed, Crimson Joy lipstick, wax, bed linen, 76 x 150 x 203 cm
Anne Stevens Making use of non-traditional materials, including bitumen rubber, house paint and muslin, my process-based cumulative practice generates fragile and vulnerable works that attempt to convey the intrigue I find in the affective qualities of the process of transformation. All material things leave a memory or trace as a consequence of the cycle of growth, change and decay. These material traces of memory also continuously transform, documenting the passing of time and acting as reminders of the fragility of temporal existence. It is the wonder and beauty I find in this phenomenon which informs my work.
(L, R) Details: Distant Past, 2016, mistinted house paints, bitumen rubber, tissue paper, detritus, cardboard on muslin, steel supports, c. 174 x 150 x 23 cm Parting, 2016, mistinted house paints, bitumen rubber, tissue paper, rope, detritus, cardboard on muslin, steel supports, c. 168 x 224 x 23 cm 16
Lifetime, 2016, mistinted house paints, bitumen rubber, tissue paper, detritus, cardboard on muslin, steel supports, c. 165 x 202 x 23 cm
Maxie Ashton Through my art practice I strive to visually notate moments spent in the presence of birds. I aim to represent birds as I experience them in the moment: the flash of colour, the movement and the sound overhead. Although these moments pass in a millisecond, leaving nothing but a trace in my memory, I find them precious and life-enriching. In the field, I love to give my attention to birds and to allow my immediate response to land on the page or surface in front of me, forming a record of the encounter. I aim to recall the sensual essence of nature and find ways to communicate ‘the moment’.
(L, R) In memory of landings, 2016, wood, metal, gold thread and steel mapping pins, 150 x 100 cm | Flightscape, Waltaunga #2, 2016, drypoint print on paper, 22 x 36 cm 18
Details: Soundscapes in grassy woodland, Mount Lofty Ranges, — a record of sounds over 24-hours, 2016, graphite on paper, 24 drawings, 38 x 57.5 cm each 19
Alycia Bennett Surveillance is a ubiquitous part of living in the 21st century. Whether through CCTV cameras tracking us in public spaces, the GPS data from our smartphones or the products we browse online, our movements and choices are being collected and scrutinised by various government bodies and commercial organisations. For some, this means greater safety and convenience; for others, it is an infringement on their privacy. Through installation, sculpture, sound and immersive participatory situations, my work allows the audience to become performers under the watchful eye of the camera. Audiences are able to participate in do-it-yourself gestures that aim to playfully disrupt systems of control and lead them to consider issues around the control of public space and the behavioral changes of individuals via self-surveillance methods.
(L, R) Low-Vis (hat), 2016, reflective material, cotton, infrared LED lights, battery, electronics, 30 x 45 cm Installation detail: Spyral, 2016, construction fencing, CCTV camera, monitor, steel, concrete, 190 x 600 x 600 cm 20
Installation view: Low-Vis, 2016, anti-surveillance hat, fluorescent light, CCTV dome camera and monitor, steel, hazard tape, dimensions variable
Amanda Berman The representation of the nude in art remained for many centuries a victory of fiction over fact – Borzello, The Naked Nude My investigation began with the question: ‘Could I paint a nude self-portrait?’ Our visual culture promotes youth and flawless beauty. Yet many women struggle with their own body image and there is an absence of imagery which honestly reflects the experiences of older women. Using the very centre of many women’s malaise, the figure, I have challenged this issue. The artworks highlight the shift from a self-conscious, shrouded, invisibility to a celebratory reveal of mature semi-naked women – my four sisters and me – who together applaud their femininity, are accepting of their bodies and, acknowledging its limitations, are cognisant of the wisdom and authority that comes with age.
Self Portrait: Nude, 2016, oil on linen, 200 x 150 cm
More Than Skin Deep, 2016, oil on linen, 150 x 150 cm
Caitlin Bowe Once upon a time, in a kingdom not so far away, a young girl was on her way to her morning lessons, when, out of nowhere, a large screeching creature made from steel and glass struck her down and plunged her world into darkness. From the blackness she could make out the crying of a nearby woman … no … this was the cry of a banshee, signalling that soon death would come for her. The girl cried in pain and pleaded for it all to be a dream while the town’s people rushed to her aid. Her clothes where torn, her bones broken, but death did not claim her that day. She lived to tell her story.
(L, R) Installation detail: Hopeful Healing, 2016, wax, plaster bandage, 24 x 170 x 4 cm | Detail: My Banshee, 2016, wax, muslin, lace, windshield glass, pine, ink, 166 x 75 x 95 cm 24
My Banshee, 2016, wax, muslin, lace, windshield glass, pine, ink, 166 x 75 x 95 cm
Maxwell Callaghan For the most part, mental illness is only privately experienced, expressed and communicated. The paintings and sculptures within this body of work are concerned with remembering, externalising and reflecting upon a personal experience of mental illness and period of hospitalisation that happened two years ago. The paintings show the sequence of events and details of the period of illness and how they are perceived through memory. The two sculptures represent embodied feelings and memorialise unspoken experiences, echoing the paintings. Through honestly examining a personal struggle I hope to offer viewers a chance to examine their own experiences of mental illness, opening a possibility for greater understanding for some and reassuring others that they are not alone.
(L, R) Arriving at the Margaret Tobin Centre confused about reality. Left alone on a bed ..., 2016, oil and lithium on canvas, 89.5 x 120 cm Running out away from the building naked and delusional ..., 2016, oil and lithium on canvas, 90 x 119 cm 26
Thrown into a fluorescent void ..., 2016, oil and lithium on canvas, 91 x 118 cm
Patrick Cassar Words I cannot express, Feelings I cannot speak. They show through motions I can’t contain. A language that can’t be written, A moment that can’t be remembered. Squeezing, scratching, caressing of flesh, A gesture of empathy. It gives me a calming voice only I can hear, It gives me reason when there is nothing to understand. We assume that words are the most important aspect of communicating how we feel in a conversation. Can hand gestures express an emotion or state of mind we have trouble expressing in words? I have focused my practice on looking at hand gestures, particularly how they can be used to reveal emotional discomfort.
(L, R) Impermanent #3, 2016, digital print on photo rag paper, 29 x 42 cm | Impermanent #2, 2016, digital print on photo rag paper, 29 x 42 cm
Chironomia, 2016, oil on canvas, 100 x 96 cm
Jasmine Crisp “Is this your favourite coat?” “Do you have allocated sections in the fridge?” “Where did you get that lime?” “What age is the wallpaper?” “Did your mum buy you those jeans?” These are some questions I have asked my sitters while documenting their interaction with their objects and environment. I am driven by a fascination with social behaviour, and the cherished belongings people collect to display a sense of self. I have combined personal experience, my relationships with others and theoretical research to construct a series of interrelated paintings. My painted plots unfold in domestic locations inclusive of the scattered belongings and eccentric behaviours of my characters.
(L, R) He could go to any place if he wanted, 2016, oil on canvas, 110 x 110 cm | His possessions acted only as fuel, 2016, oil on canvas, 120 x 152 cm
She had the power at her fingertips, 2016, oil on canvas, (diptych) 192 x 86 cm
Janine Dello Women are surrounded by images of ‘the latest thing’ and encouraged through fashion magazine advertising to covet and constantly consume. Fashion has the ability to empower women but also makes them vulnerable to its demands. These ambivalences and contradictions are why I both love and hate fashion. My work focuses on the tension between female desire, consumer culture and fashion’s role in transforming female identity. This series of paintings explore the contradictory emotions relating to female consumption habits – desire, anxiety, addiction, self-obsession, longing, seduction, pleasure – emphasising the imperfect, messy realities of contemporary women’s lives.
(L, R) Breakfast, 2016, oil on linen, 76 x 84 cm | Wish list, 2016, oil on linen, 76 x 84 cm
Bittersweet, 2016, oil on linen, 50 x 70 cm
Antonia Ditroia The Madonna and Child, Venus, and David are the three archetypes I have selected from the repertoire of Italian artists who have preceded me. Using the narratives of these figures, the feminine, the masculine, and family ties, I am able to contextualise the cultural identity and traditions of young Italian Australian people. Making aesthetic parallels to famous historical artworks, my work communicates the influence of ideals and traditions imported from the migrant generation. An important question is, therefore, how do these conventions impact the identity of the current generation living in modern day Australia? My investigation is into how this creates aesthetic and behavioural diversity in Italian Australian people, and how potent our heritage may continue to be. The ultimate question hangs — Will we continue to grasp on to our homemade salsicce!?
(L, R) The Bride as Venus, 2016, oil on canvas, 110 x 170 cm | Peter as David, 2016, oil on canvas, 170 x 110 cm
Abby and Leonardo as the Madonna and Child, 2016, oil on canvas, 170 x 110 cm
Lucia Dohrmann I describe these works as paintings in the expanded field, where the only materials used are artists’ linen canvas and white acrylic paint. The unravelling of the threads of the linen produces a yarn that allows for repetitive crafting processes, such as crochet and embroidery. These crafts are based around repetitive sequences of stitches that create endless combinations of patterns. Some Minimalist painters also use patterns and geometric forms as a way to avoid representation and highlight the materiality of their works. The amalgamation of these two fields in my work brings together the hand skills that my mother taught me from an early age, and my preference for the simplicity and geometric nature of twentieth century Minimalist paintings.
(L, R) Detail: Untitled II, 2016, graphite and acrylic paint on fine art linen, drawn thread embroidery, 75 x 75 cm Installation detail: Untitled I, 2016, unravelled fine art linen canvas and acrylic paint, crochet, 126 x 126 cm 36
Untitled I, 2016, unravelled fine art linen canvas and acrylic paint, crochet, 126 x 126 cm
Kate Dowling I’ll be a story in your head. But that’s OK: we’re all stories, in the end. Just make it a good one, eh? — Doctor Who The threshold between the known and the unknown is explored through paintings that suggest it is within the quiet dark of the bedroom that the mind enters a private world of reverie. Here, within the internal landscape, the hero’s journey begins. The imaginary world sends the hero into a vast wilderness of uncertain landscapes to face whatever risks and challenges arise. There is an element of mystery at the beginning of any story, a threshold between the everyday world and the mysterious world of the imagination. It is here that the story is realised.
(L, R) Hiding under the covers reading stories by the torchlight at night, 2016, oil on canvas, 76 x 76 cm Reveries In The Darkness I, 2016, oil on canvas, 38 x 38 cm 38
The Hero’s Journey, 2016, oil on canvas, 107 x 152 cm
Sharyn Ingham My work is concerned with developing a visual language to express the collision between the built and natural environments on the margins of suburbia. I use the medium of oil painting to create an intimate, immersive space to bring humans into a different relationship with nature, one that is more caring, compassionate and less destructive. I am depicting the trees and animals that are of great significance to me from my local area in the Adelaide Hills. Through this heartfelt and authentic relationship I want to highlight the intense difficulties for our native animals associated with this edge zone where the forest and human settlement meet.
(L, R) Deer off road, 2016, oil on marine ply, 50 x 40 cm | Deer on road, 2016, oil on marine ply, 50 x 40 cm | Kangaroo on road I, 2016, oil on marine ply, 50 x 40 cm | Kangaroo on road II, 2016, oil on marine ply, 50 x 40 cm 40
Eucalypt, 2016, oil on marine ply, 90 x 60 cm
Cariad Kitchener Objects that we encounter every day can become so familiar that we stop really seeing them. I am playing with these objects, reconstructing the things that exist in everyday surroundings, and examining and changing existing presumptions to provide a new angle of experience. My drawings and animations explore the capacity of a simple action to transform objects into something unfamiliar and ambiguous. I want to convey a non-functional transformation or event happening to these objects as if observed by myself in the world. Drawing the new structures purely from memory was a way for me to document their spontaneous creation or formation leaving the question open as to whether or not they’ve acted autonomously in their materialisation.
The conforming forms assemble, 2016, animation, 00:05:00
(L, R; T, B) A vertical standing arrangement with a right-angled accoutrement, 2016, pencil on Canson paper, 150 x 150 cm | A convoluted form with linear attachments, 2016, pencil on Canson paper, 150 x 150 cm | An upright vertical elevation with diagonal appendage, 2016, pencil on Canson paper, 150 x 150 cm | An intricate arrangement with horizontal protrusions, 2016, pencil on Canson paper, 150 x 150 cm 43
Lau Kai Yang My dearest Chris, I’ve been painting all year … There’s a room full of paintings now! Sometimes they’re cold and blue, sometimes they’re warm and brown but I couldn’t finish any of them — it’s really hard to paint moments that exist only in my head, especially when the person I’m painting is not here. I think this is what the Portuguese mean by saudade: a present absence born of longing. I’ve got stretcher bars, but I’ll leave them be for now. I know your sentence is for life, but maybe we can still finish the paintings someday? I’ll write to you again next week. Until then, please take care my friend. Yours in saudade, Kai
(L, R) Saudade series (Talking about), 2016, oil on canvas, 47 x 72 cm | Saudade series (Trying to paint while), 2016, oil on canvas, 47 x 72 cm
Saudade series (Neither of us), 2016, oil on canvas, 47 x 72 cm
Evy Moschakis As a child I would often seek out secret worlds, such as the cubby-house created by draping sheets over furniture or lying under the lit Christmas tree in the dark. There my imagination would transport me to other realms, like in the fairy-tales of bedtime stories. Fast-forward in time to a recent trip to Greece where I learned of the tragic effects of war on my ancestors. I have chosen to interpret this story from a position of strength, as a descendant of survivors. My body of work has layered these two aspects of my history into an immersive installation. The use of textiles and black light enfold and illuminate to tell this story and capture the wonder of childhood.
(L, R) Installation details: Sanctum, 2016, muslin, builders’ line, wooden dowel, nylon line, black light, dimensions variable
Sanctum, 2016, muslin, builders’ line, wooden dowel, nylon line, black light, dimensions variable
Kelly Reynolds I make decisions to use chance strategically – the meaningless and randomness of events or sounds becomes meaningful, becomes something else – a play of chance or – work of art. – John Cage The focus of my practice is utilising play, chance and humour as a tool, a model, and a creative method to subvert the conventional modes of making art. Like Cage I collaborate with chance, incorporating strategic play and a make-do improvisational approach: sucking it up, playing with balls and blowing my own horn … This provides an opportunity for the work to open up and be pushed into new directions and unexpected outcomes.
Video stills: Playing With Balls, 2016, video performance, 00:02:50
Video still: Golfing Around, 2016, video performance, 00:03:51
Malcolm Richards The work is not about falling over or falling down. Rather, it addresses those other falls – falling into despair, from grace, from favour or falling ill – and while it is not about redemption, neither does it exclude it. The drawings search interpersonal connections and our quest for a life lived with integrity and authenticity. The work is pared back to charcoal on paper, just black and white: figures in a void, yet all searching for their own dignity.
(L, R) Details: connected by a fall, 2016, charcoal on paper, 200 x 152 cm | connected by place, 2016, charcoal on paper, 200 x 152 cm 50
after the fall, beneath the waves, 2016, charcoal on paper, 200 x 152 cm
Ebony Rodda I moved to Adelaide some years ago to study at art school but grew up in the country, in the mid-north of South Australia. I didn’t realise how much I would miss my home. Each of my many journeys back and forth stretched my homesickness a little more, and consequently, informed my practice about place. Home for me is about growing up in an old town hall converted into a house, with parents that own an antique shop, being surrounded by an agricultural environment and a community rooted in country life. My work reflects the special connection I have to this place and my newfound appreciation of all its beauty and boringness.
(L, R) Leaving, 2016, oil on panel, 24 cm dia. | Returning, 2016, oil on panel, 24 cm dia.
Home in the country, 2016, oil on panel, cedar mantelpiece, steel fire grill, installation variable
Cynthia Schwertsik I focus the camera lens on the seductive beauty that humble everyday utilities have to offer. The magnificent colours, transparency and light are intriguing. Only on closer inspection, the simple origin of the image is revealed. Plastic is a fascinating invention. All these convenient weightless companions that keep our delicatessen fresh, hygienic and separated have elevated expedience to a cultural form. On the rush through a busy day the trail I leave behind me is impressive. Imagine: the world produces enough cling-wrap in a year to mantle the earth.
(L, R) Details: Poly – Ubiquitous 1, 2016, digital images, projections, 00:00:49
(T, B) Poly – Ubiquitous 10, 2016, digital images, prints on paper, dimensions variable | Poly – Ubiquitous 11, 2016, digital images, prints on paper, dimensions variable 55
Cameron Smith Consumed by horror, death, decay and The Walking Dead, my work is the embodiment of a zombie apocalypse. Dark and atmospheric oil paintings depict a brutal wasteland falling into ruin as our presence is slowly stripped away. Humanity is decaying from within, internal structures are breaking down and revealing themselves, as we are reduced to mindless biological abominations perpetually trapped in a state of living death. Familiar features are eroding as ancient primordial entities emerge from the ooze of extinction. A new nature is ready to reclaim the decomposing remnants, organic transmutations giving way to a new evolution.
(L, R) Putrescent Seepage, 2016, oil on canvas, 40 x 40 cm | Drifting on the Wastes, 2016, oil on canvas board, 35 x 45 cm
Erosion, 2016, oil on canvas board, 20 x 20 cm
Claudia Smith Our relationship to ‘home’ is defined by positive standards: safety, ease and light. The suburbs after dark test this preconception. When I cycle through this environment, I am traversing an unknown world: a place very much like our own, but darker and uncharted, in which all inhabitants are hidden in their homes and the streets are empty and quiet. My works draw on Freud’s concept of the Uncanny – the sensation of the familiar returning as something strange and unsettling – and my own interest in horror films. I depict a world that sits on a separate plane from our own. The multiple layers of glass or acrylic obscure and distort the original photographic image underneath, creating a filter that augments our mundane environment.
(L, R) untitled 3, 2016, oil on glass with photographic image, timber, 27 x 22 cm | untitled 1, 2016, oil on glass with photographic image, timber, 27 x 22 cm 58
Neighbourhood watch, 2016, oil on acrylic, timber, 50 x 50 cm
Lynette Trowbridge There is no denying or deferring affects. They are what make up life, and art ... [Y]ou cannot read affects, you can only experience them. – Simon O’Sullivan Light is both the subject and material of my studio practice. I work in partnership with natural light to explore and to convey its infinite variability. Influenced by the aesthetics of Zen Buddhism, chance and the everyday, through restraint and repetition, I seek ways to transform the ephemeral experience of light into material forms. My works aspire to convey the qualities of the ephemeral nature of light and to evoke an affective experience. They reflect a sense of time, which resonates with my experience of making and the pace at which the works reveal themselves.
(L, R) Transient moment #1, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 56 cm | Transient moment #2, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 76 cm | Transient moment #3, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 56 cm 60
Thread work, 2016, elastic thread, steel pins, PVA, c. 239 x 220 x 1.5 cm
Ryan Waters As part of our identity we tell ourselves a story, one we repeat to reinforce our memories and imagine who we might become. When I was young my story was very small; it tried, but didn’t know how to grasp the world around me. My story grew to encompass all of my curiosities, and eventually, I realised the story didn’t begin with me. This series of ancestral self-portraits is another way my story expands, by looking into the past and trying to glean information on pivotal ancestors whose varied paths have led to me. I have replicated the close-up and limited perspective that history permits to invite viewers to move their imaginations towards what is happening outside the frame.
(L, R) Riaghan - Paint-slinger, 2016, Australia, 2016, oil paint on wooden panel, 61 x 182 cm (diptych)
(T, B) Riaghan, 2016, Australia, 2016, oil paint on wooden panel, 61 x 91 cm | Detail: 33rd Great Grandfather, Rollo Lothbrok, 895, Norway, 2016, oil paint on wooden panel, 61 x 182 cm (diptych) 63
Support our creative journey Established in 1982, Adelaide Central School of Art is an independent not-for-profit Higher Education Provider. We are not dependent on state or federal funding, nor exposed to the changing priorities of universities. Our income is generated by student fees, public programs, projects, fundraising, grants, donations and sponsorship. Now, in our fourth year at our award-winning heritage campus, we are delighted to share with you some highlights of our achievements from 2016. Early this year we launched our Graduate Support Program (see page 67), which provides dedicated ongoing support and opportunities for career progression at national and international levels for our graduates. The development of our Southern Courtyard has commenced, providing a significant extension to our Teaching and Studio Building. The new space will include a covered and secure external work area, providing additional teaching facilities, storage, and a secure, sheltered outdoor environment for students and staff. The School has engaged Skein Architects and ARUP Engineers for the design and delivery of the project, which is scheduled for completion by mid-2017. Jane Skeer was named recipient of the 2016 Arkaba Hotel Commission, which is now in its third year. Proceeds from sales of previously commissioned artworks, and also the fundraising dinner hosted by the Arkaba Hotel, supported our Bachelor of Visual Art [Hons] Scholarship which was awarded for the first time in 2016 to Grace Marlow. An additional $2,500 Study Support Grant was awarded to Bernadette Klavins.
The School also announced the recipients of our inaugural $5,000 School Leaver Scholarships: Miriam Barker-Lanzi, Shaye Duong and Jess Santy. An additional School Leaver Study Support Grant of $1,500 was awarded to Yolande Heaney. The scholarships provide funds for study-related expenses, and we are delighted to offer them again in 2017. We partnered with Adelaide Festival Centre’s OzAsia Festival this year to present our first international exhibition, roundabout, in Adelaide Central Gallery. Thanks to generous donor support, we were also able to bring one of the artists to the School from the Philippines for the install, opening and an artist talk. Following successful commissions in 2015 and 2016 (see page 66), we will continue our partnership with Hentley Farm in 2017 and 2018, and again offer an artist associated with the School the opportunity to design the label for their Creation Wine Series. We have much to celebrate as we embark on our 35th year in 2017; however, the road ahead is not without challenges. Our partners, sponsors and donors are integral to the School’s growth and ability to offer unrivalled opportunities for our current and future students, staff, associates and graduates. We urge you to join our community as a supporter. All donations over $2 are tax deductible. Please contact our Marketing and Development Executive, Beth Shimmin, on 08 8299 7300, to find out how you can support our creative journey. We are grateful to those who do support our programs and initiatives, and it is our pleasure to acknowledge the generous assistance we have received from the following supporters and partners:
INAUGURAL MAJOR DONOR The Spencer Family Foundation PRINCIPAL DONORS Alan and Sue Young Thyne Reid Foundation STUDIO DONORS Sue and Geoff Boettcher Kathy and John Crosby Anna and Tony Davison Joan Lyons | Didy McLaurin Skye McGregor Margaret and Bob Piper Christine Webber 2016 GALLERY DONORS Sue and Geoff Boettcher The Spencer Family Foundation 2016 DONORS Elinor Alexander | Roy Ananda Joy Beech | Margaret Birtley Elizabeth Bowen | Raelene Chapple Erica Green | Kendra Hauschild Ingrid Kellenbach | Nicholas Linke Yoko Lowe | Renate Millonig Rebecca Murray | Christopher Penny Cathy Simons | Tina and Raymond Spencer Maria Tomasic | Jane Vieceli Adelaide Central School of Art Painting Group 2016 LIBRARY DONORS Dr Elizabeth Cant | Des Chabrel 2016 SPONSORS & PARTNERS Aesop | The Arkaba Hotel Baker Young Stockbrokers DGB Group | Fontanelle Gallery and Studios Hentley Farm | K.W. Doggett New York Studio School Norwood Foodland | Port Art Supplies Richard Pryor & Associates
Southern courtyard development artist impressions as planned at 20 October 2016
Graduate Support Program In 2016 we launched the Adelaide Central School of Art Graduate Support Program to assist our high achieving alumni continue their development as professional artists. This new initiative provides a range of opportunities for our graduates, including local, national and international residences, and funds for the development and display of new work. The Program also supports professional development activities and provides financial assistance to graduating students who are selected to exhibit in the Perth Institute of Contemporary Art’s annual national graduate exhibition, Hatched. This year the Program helped recent graduates Nick Hanisch and Alex Mullen to attend the New York Studio School (NYSS) September Drawing Marathon. This intensive workshop brings together students from all over the world for a fortnight of art-making led by acclaimed artist and NYSS Dean, Graham Nickson. Attendance by our graduates extends an ongoing relationship the School established with NYSS, an institution that shares our commitment to excellence in studio-based visual art education. The Program also provided a 12-month studio residency at Fontanelle Gallery and Studios to 2015 BVA [Hons] Graduate, Jane Skeer. The School is proud to partner with Fontanelle Gallery and Studios, a South Australian artist-run initiative. Through the Graduate Support Program, the School has funded exhibitions in Adelaide, Melbourne and further afield in Taguig City, Philippines. Financial support was also provided to graduates for the development of major new works and for a residency program at Artist in Residence Yamanashi, Japan.
We believe we are the only Higher Education Provider in the visual arts that offers a program of this kind. The Graduate Support Program strengthens Adelaide Central School of Art’s national profile as a visual arts education provider of excellence and the institution of choice for aspiring professional artists.
Adelaide Central School of Art AWARDS SPONSORS
To contribute to the Graduate Support Program, please contact Marketing and Development Executive, Beth Shimmin, on 08 8299 7300. All donations made to the School over $2 are tax deductible.
Adelaide Central School of Art Awards for Excellence Each year, the School provides awards to outstanding students for excellence in their studies. In 2016 we welcome Rachel Kent, Chief Curator at the Museum of Contemporary Art, to assist in judging and presenting our awards at the Graduate Exhibition opening event: • Major Travel Award for a high achieving graduate • James Martin Award for a high achieving Bachelor of Visual Art graduate • Tracey Whiting Award for a high achieving Bachelor of Visual Art [Honours] graduate • Adelaide Central School of Art and Artlink Magazine Art History Award • NAVA Ignition Award for a high achieving student in Professional Practice • Board of Governors Award for Excellence • Port Art Supplies Encouragement Awards for continuing students
Adelaide Central School of Art sincerely thanks the family of the late James Martin (former lecturer), Tracey Whiting and our partners for their generous support of our Awards for Excellence.
(L, T, B) Installation detail of roundabout, 27 September – 27 October 2016 in Adelaide Central Gallery, featuring Mark Valenzuela, New Folk Heroes, 2016, ceramic, concrete, found objects, dimensions variable | Hentley Farm The Creation Shiraz with wrap-around label designed by Annalise Rees, 2013 vintage released September 2015 | Hentley Farm The Creation Shiraz pendant labels designed by James Edwards, 2014 vintage released July 2016 66
This catalogue accompanies SENSORY NARRATIVES: 2016 Graduate Exhibition Bachelor of Visual Art [Honours] and Bachelor of Visual Art Adelaide Central School of Art 3 – 22 December 2016 Published by Adelaide Central School of Art Incorporated PO Box 225 Fullarton South Australia 5063 7 Mulberry Road Glenside South Australia 5065 Telephone 08 8299 7300 [email protected]
www.acsa.sa.edu.au Copyright © the artists, authors and Adelaide Central School of Art Inc. All rights reserved. This publication is copyright. Except as permitted under the Copyright Act, no part of this publication may be reproduced by any process, electronic or otherwise without permission in writing from the publisher. Neither may information be stored electronically in any form whatsoever without such permission. ISBN: 978-0-9925466-4-9 Catalogue Design: Maria Molbak Printing: Finsbury Green Paper Stock: K.W. Doggett Photography: James Field Works in the catalogue were photographed on 11 – 13 October 2016, or provided by the artists. Some works have been developed further. Cover image Detail: Maxwell Callaghan, Thrown into a fluorescent void ..., 2016, oil and lithium on canvas, 91 x 118 cm
Administration Ingrid Kellenbach Chief Executive Officer Anna O’Loughlin Academic Administration Manager Michael Bishop Finance and Facilities Manager Beth Shimmin Marketing and Development Executive Luke Thurgate Project Manager – Public Programs James Edwards Project Manager – Exhibitions Andrew Herpich Student Liaison Officer Emma Bishop Administration Officer Sharyn Ingham Administration and Reception Cathy Milne Administration and Reception Catherine Kerrigan Librarian David Chester Assistant Librarian Matt Taylor Workshop Technician Jon George, Glenn Kestell, Thomas Readett and Luke Wilcox Facilities Assistants Julian Tremayne Exhibition Installer Dorothy Crosby and Annamaria Fratini Student Counsellors David Demasi Accountant Judith Hombsch Volunteer
Board of Governors Alan Young AM Chair Cathy Simons Chair, Finance Committee Nicholas Linke Deputy Chair Emeritus Prof Kay Lawrence Chair, Academic Board Roy Ananda Prof Barbara Bolt Anna Davison Stephanie Ockenden Ingrid Kellenbach Angela Dawes Secretary Academic Board Emeritus Prof Kay Lawrence Chair Roy Ananda Academic Staff Representative Alycia Bennett Student Representative Sasha Grbich Dr Joy McEntee Tim O’Shea Jenna Pippett Graduate Representative Leigh Robb Fiona Salmon Ingrid Kellenbach Anna O’Loughlin Secretary
DEPARTMENT HEADS Roy Ananda Drawing Dr Andrew Dearman Art History & Theory Nicholas Folland Contemporary Studies, Sculpture Mary-Jean Richardson Painting Sasha Grbich BVA & BVA [Hons] Coordinator LECTURERS 2016 Roy Ananda Daryl Austin Melanie Brown Nona Burden Deidre But-Husaim Jack Cross Johnnie Dady Dr Kirsty Darlaston Dr Andrew Dearman James Dodd Nerina Dunt Trena Everuss Dr Susan Fereday Nicholas Folland Zoe Freney Geoff Gibbons Sasha Grbich Rob Gutteridge Dr Sue Kneebone Jessica Mara Monte Masi John Neylon Brigid Noone Christopher Orchard Andrew Purvis Mary-Jean Richardson Julia Robinson Yve Thompson Luke Thurgate Lucy Turnbull Sera Waters