Grad Show 2000.indd - School of Art

2000
2 0 0 0 ANU
A N U
CCanberra
A N B E R R A School
S C H O O LofO Art
F
A R T
2000
G R A D U A T I N G
S T U D E N T
Graduating Student Exhibition
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D E C E M B E R
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Director’s foreword
D I R E C T O R ’ S
F O R E W O R D
Exhibition 2000 is a great accomplishment. It is the culmination of studies by ANU ITA Canberra School
of Art candidates for the Bachelor of Arts (Visual) with Honours; Bachelor of Arts (Visual); combined
degrees and the two-year Diploma of Art. These courses attract students from the ACT and surrounding
region, all Australian states and overseas. They offer in-depth study in a wide range of visual arts and
crafts disciplines, in well-equipped purpose-built Workshops.
Many students have taken advantage of opportunities for overseas exchange, off campus study, Field
Studies and Applied Design. All have benefited from quality teaching by experienced staff who are
practising professionals, and artists who have been part of the School’s International Visiting Artist
program.
December is an exciting time of year and the moment when our candidates celebrate their
achievements. Preparation and fundraising is developed over the whole academic year in order to
successfully produce this full-colour catalogue and to develop the exhibition. Jill Peck, Undergraduate
and Honours Convenor, academic staff and technical officers from all Workshops have worked in
cooperation with the CSA Gallery to make 2000 a success. The School thanks all participating students
and acknowledges those who were active members on the catalogue fundraising and development
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2000
2 0 0 0
committee.
We thank everyone who has volunteered their time and who has provided support and encouragement.
Patrons of our Emerging Artists Support Scheme (EASS) continue to support our graduating students
and we thank them for their dedication and enthusiastic support as participants of this important
scheme.
2000 is a large-scale school-wide exhibition. In the CSA Gallery visitors can see a single work by each
student produced in their final year of study. Further installations of their work are on view to the
public in Workshop spaces throughout the School.
Congratulations to our graduates on their outstanding achievements. I commend their work to
audiences present and future. All at CSA wish them successful and productive careers. Graduates are
cordially invited to remain an active part of the ANU Canberra School of Art community as valued
alumni.
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Emerging Artists Support Scheme
E M E R G I N G
A R T I S T S
S U P P O R T
S C H E M E
The ANU Canberra School of Art’s successful Emerging Artists Support Scheme (EASS) has been
operating for twelve years. Many of our patrons such as Mallesons Stephen Jaques, the Australian
National University and Mitchell Giurgola and Thorp have supported the CSA Graduates throughout
this period. We are pleased to welcome new and continuing patrons to the 2000 EASS program.
Through this scheme patrons can acquire artwork for their own collection or borrow through the EASS
Loan Scheme. Since 1990 EASS has also sponsored awards, scholarships, prizes and commissions. Such
generous sponsorship from local business and arts organisations represents assistance for emerging
artists at a time when it is most valuable, at the commencement of their independent studio practice.
The scheme also plays a significant role in encouraging these young practitioners to remain in the
region. The School and its graduates greatly appreciate this support from the ACT community. Of
particular value are the residencies and exhibition opportunities offered by Megalo Access Arts Inc.,
PhotoAccess, Strathnairn Arts Association, ANCA Inc., Canberra Contemporary Art Space, Gorman
House Arts Centre, Craft ACT, Leichhardt Street Studios and Nelligen Gallery. New work by 2000 EASS
Residency Award holders was celebrated in 168 Hours, an exhibition at ANCA Gallery in November.
Over twelve years the CSA Emerging Artists Support Scheme has provided much needed support for
artists as they graduate, establish an independent practice, and contribute to the lively and growing
visual arts community from which we all benefit. The Canberra School of Art thanks all EASS Patrons
and this years EASS Coordinator, Fiona Sivyer.
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2000 Patrons
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P A T R O N S
Peter and Lena Karmel Anniversary Award
Westende Travelling Scholarships
Centre for Resources and Environmental Studies, ANU
Mitchell Giurgola and Thorp Architects
MAAS
Thomas Foundation
Research Centre for Pacific and Asian Studies, ANU
EASS Acquisitive and Loan Collection Patrons
Mallesons Stephen Jaques (Founding Patron)
ANU Art Collection
ANU Institute of the Arts Collection
ANU Public Artworks Committee
ACT Chief Ministers Department
Chamberlain Law Firm
KPMG, Canberra
Network Economics
The Australian Animal Health Council, ACT
The Australian Design Institute
Vocational Educational and Training Authority
Residency & Exhibition Award Patrons
Canberra Contemporary Art Space
Craft ACT: Craft and Design
Gorman House Arts Centre
Leichhardt Street Studios
Megalo Access Arts Inc.
Nelligen Gallery, NSW
PhotoAccess Inc.
Strathnairn Arts Association
Subscription & Materials Award Patrons
Art Monthly Australia
Ceramics Art & Perception
Ceramics Technical
Clayworks
Object Magazine
Walker Ceramics
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Index of Artists 2000
I N D E X
6
O F
A R T I S T S
2 0 0 0
Alcock, Imogen 92
Campbell, Katharine 64
Frankcombe, Phillip 37
Andrews, Justin 34
Camphin, Danielle 49
Gabellone, Raimo Alberto 69
Aveling, Ronald 58
Carew, Rachel 65
Galiazzo, Cecile 70
Bailey, Stuart 59
Chant, Daniel 19
Giddings, Toby 51
Baldwin, Andrew 18
Cinmayii 66
Goldie, Dimity 11
Benjamin-Black, Nicolette 35
Cullen, Stephen 67
Gray, Sandy 38
Bogusz, Jacqueline 82
D’Ambrosio, Anthony 26
Gyun Lee, Eun 50
Bonin, Thomas 60
Day, Sarah 94
Hall, Lizzie 71
Boscheinen, Michele 93
Desplace, Sonia 68
Harper, Nicholas 101
Broad, Jo 61
Douglas, Mel 20
Heckendorf, Jenni 52
Brown, Margaret 10
Dutta, Rita 27
Herhily, Kate 21
Brown, Renee 47
Dwyer, Debon 83
Hibbitt, Heather 12
Buchanan, Alistair 48
Farrell, Kirsten 36
Jamieson, Paul 85
Cain, Penny 62
Fiveash, Alix 84
Johnson, Michael 102
Cameron, Craig 63
Fleury, Steven 28
Johnston, Kim 103
Jordan, Kelly 86
Muspratt, Jael 97
Smith, Oliver 30
Keevers, Lesley 39
Newton, Geoff 41
Smith, Shannon 56
Kidd, Madeline 40
Pelling, Elspeth 75
Sourgnes, Claire 77
Lee, Cinnamon 29
Penttinen, Anu 23
Spellman, Tim 90
Legge, Bill 104
Phemister, James 13
Strachan, Heidi 16
Luke, Jason 87
Phillips, Megan 105
Timpson, Peter 99
Manwaring, Leah 95
Pinder, Louise 89
Truswell, Elizabeth 44
Marr, Zoe 72
Pritchard, Simeon 76
Tuite, Elizabeth 78
McHugh, Sarah 22
Prout, Deanne 98
Uribe, Veronica 45
McMahon, Ann 96
Robinson, Calen 55
Volich, Peter 79
Miller, Laetita 73
Saab, Nana 14
Walker, Juliet 31
Minopetros, Helen 53
Sanderson, Lyn 15
Wallenius, Marco 80
Mirams, Bronwyn 88
Schneider, Annette 42
Waring-Dallwitz, Jack 32
Montebello, Rose 74
Skrzypczak, Nöel 43
Webster, Carrie 24
Muller, Craig 54
Smith, Gordon 106
7
Ceramics
Margaret Brown
Dimity Goldie
Heather Hibbitt
Nana Saab
Lyn Sanderson
Heidi Strachan
James Phemister
Glass
Andrew Baldwin
Daniel Chant
Mel Douglas
Kate Herhily
Sarah McHugh
Anu Penttinen
Carrie Webster
Gold
& Silver
Anthony D’Ambrosio
Rita Dutta
Steven Fleury
Cinnamon Lee
Oliver Smith
Juliet Walker
Jack Waring-Dallwitz
8
Painting
Justin Andrews
Nicolette BenjaminBlack
Kirsten Farrell
Phillip Frankcombe
Sandy Gray
Lesley Keevers
Madeline Kidd
Geoff Newton
Annette Schneider
Nöel Skrzypczak
Elizabeth Truswell
Veronica Uribe
Photomedia
Renee Brown
Alistair Buchanan
Danielle Camphin
Eun Gyun Lee
Toby Giddings
Jenni Heckendorf
Helen Minopetros
Craig Muller
Calen Robinson
Shannon Smith
Printmedia Sculpture
Jacqueline Bogusz
& Drawing Debon Dwyer
Ronald Aveling
Stuart Bailey
Thomas Bonin
Jo Broad
Penny Cain
Craig Cameron
Katharine Campbell
Rachel Carew
Cinmayii
Stephen Cullen
Sonia Desplace
Raimo AlbertoGabellone
Cecile Galiazzo
Lizzie Hall
Zoe Z Marr
Laetita Miller
Rose Montebello
Elspeth Pelling
Simeon Pritchard
Claire Sourgnes
Liz Tuite
Peter Volich
Marco Wallenius
Alix Fiveash
Paul Jamieson
Kelly Jordan
Jason Luke
Bronwyn Mirams
Louise Pinder
Tim Spellman
Textiles
Imogen Alcock
Michele Boscheinen
Sarah Day
Leah Manwaring
Ann McMahon
Jael Muspratt
Deanne Prout
Peter Timpson
Wood
Nicholas Harper
Michael Johnson
Kim Johnston
Bill Legge
Megan Phillips
Gordon Smith
2000
Ceramics
M A R G A R Brown
E T
B R O W N
Margaret
D I M I T Goldie
Y
G O L D I E
Dimity
H E A T H EHibbitt
R
H I B B I T T
Heather
N A N ASaab
S A A B
Nana
L Y N Sanderson
S A N D E R S O N
Lyn
H E I D Strachan
I
S T R A C H A N
Heidi
J A M E SPhemister
P H E M I S T E R
James
9
Margaret Brown
M A R G A R E T
B R O W N
D I P L O M A
Bowl 2000
laminated porcelain
15.0 x 15.0 x 10.0 cm
10
O F
A R T
Allowing time for a second look you will be rewarded.
Dimity Goldie
D I M I T Y
Coastal Series 2000
wheel-thrown stoneware, tin glaze
15.0 x 70.0 x 70.0 cm
G O L D I E
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
I find clay an appropriate choice to express the coastal
qualities that have been etched into my consciousness over
time. Movement and flow; asymmetry; balance and natural
beauty; erosion and decay. I use glazes and other surface
textures that work well autonomously as well as reminding
me of the sights and feelings of walking along the beach.
11
Heather Hibbitt
H E A T H E R
Passion 2000
wood-fired stoneware
30.0 x 25.0 x 25.0 cm
12
H I B B I T T
H O N O U R S
The energy of fire, dancing with forms made of clay, gives birth to the
warmth that is wood-fired ceramics. This is the passion that inspires me.
James Phemister
J A M E S
Morning (detail) 2000
low fired stoneware
30.0 x 45.0 x 20.0 cm
P H E M I S T E R
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
“Tempus ad lucem ducit veritatum”
Time brings truth to light
13
Nana Saab
N A N A
Winter Flowers 2000
slip-cast porcelain
12.0 x 16.0 x 10.0 cm
14
S A A B
B A C H E L O R
O F
A R T S
( V I S U A L )
Nature is a magic garden where everything is beautiful and related.
From birth to death, life flows in a timeless cycle.
Life was, still, and always will be, a mystery.
Life, like flowers, decadent and sensual, strong and fragile;
they bloom and they fade.
Lyn Sanderson
L Y N
S A N D E R S O N
Vessel 2000
stoneware
17.0 x 17.0 x 10.0 cm
D I P L O M A
O F
A R T
The inspiration for my work is the simple vessel form its quiet flowing lines, the surface sensual to touch,
an understated containment.
15
Heidi Strachan
H E I D I
S T R A C H A N
My work is about capturing
moments in time by recording
my expressions, moods and
thoughts that occur during the
making process. This is realised in
the form of suggestive, gestural
mark-making and personal
motifs on porcelain objects and
lithographs.
Three Vessels 2000
slab-built/thrown porcelain
(l - r)
15.0 x 6.0 x 6.0 cm
45.0 x 10.0 x 10.0 cm
29.0 x 6.0 x 6.0 cm
16
D I P L O M A
O F
A R T
2000
Glass
A N D R E Baldwin
W
B A L D W I N
Andrew
D A N I E Chant
L
C H A N T
Daniel
M E L Douglas
D O U G L A S
Mel
K A T EHerhily
H E R H I L Y
Kate
S A R A McHugh
H
M C H U G H
Sarah
A N U Penttinen
P E N T T I N E N
Anu
C A R R I Webster
E
W E B S T E R
Carrie
17
Andrew Baldwin
A N D R E W
Spine 2000
blown glass, wheel cut
5.0 x 66.0 x 39.0 cm
18
B A L D W I N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Daniel Chant
D A N I E L
C H A N T
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Dreams and the subconscious
are the subject of my work. I
use marks and symbols creating
‘fields’, as an abstract expression
of the dream state. Another way
of describing these ‘fields’ is as
maps – the marks and symbols
mapping out layers of meaning,
levels of consciousness.
Untitled 2000
enamel on glass
100.0 x 41.5 cm
19
Mel Douglas
M E L
D O U G L A S
Building surfaces through the
use of repetitious line, each line
and vessel slightly differs from
the next. Making it a necessity
to look closely at surfaces,
outlines and textures, searching for changes in colour, shape
and pattern. Refining, simplifying, segmenting and translating
these differences into blown vessels with engraved graphics.
Nexus 2000
blown and engraved glass
(l -r)
19.0 x 37.0 x 37.0 cm,
17.0 x 39.0 x 39.0 cm,
15.0 x 37.0 x 37.0 cm
20
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Kate Herhily
K A T E
Untitled 2000
glass mosaic technique
2@ 4.0 x 45.0 x 18.0 cm
H E R H I L Y
B A C H E L O R
O F
A R T S
( V I S U A L )
In my work, as in life I try to create a kind of order, balance to the
patterns of everyday. Using black, white and clear glass, I create
contrasting relationships between space and form, pattern and colour.
My work is about opposites. Similarities within differences. Differences
within similarities.
21
Sarah McHugh
S A R A H
Touched (I) 2000
lost wax cast glass
10.0 x 53.0 x 20.0 cm
22
M C H U G H
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
I look around me and everywhere I see human marks upon the land.
A land beautiful but touched.
Anu Penttinen
A N U
P E N T T I N E N
Tune in tune out (front) 2000
handblown, wheel cut, engraved glass
31.0 x 26.0 x 13.5 cm
Tune in tune out (back) 2000
handblown, wheel cut, engraved glass
31.0 x 26.0 x 13.5 cm
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
With my glasswork I respond to the act of listening to music, visualising the
sounds that I can not only hear but feel – deep, electronic sounds rushing
through the speakers.
Rhythm, the essence of music, comes together in the simplicity of line and
the ivory shapes on the black background. In the forms I distil the essential
Scandinavian value of aesthetics, and couple this with the influence from the
design in the 1950’s and 1960’s.
23
Carrie Webster
C A R R I E
Plump 2000
9.0 x 9.0 x 9.0 cm
blown, engraved, sandblasted,
acid etched glass
Photo: Col Ellis
24
W E B S T E R
B A C H E L O R
O F
A R T S
( V I S U A L )
2000
Gold & Silver
A N T H O ND’Ambrosio
Y
D ’ A M B R O S I
Anthony
R I T ADutta
D U T T A
Rita
S T E V EFleury
N
F L E U R Y
Steven
C I N N A M OLee
N
L E E
Cinnamon
O L I V ESmith
R
S M I T H
Oliver
J U L I EWalker
T
W A L K E R
Juliet
J A C KWaring-Dallwitz
W A R I N G - D A L L W
Jack
O
I T Z
25
Anthony D’Ambrosio
A N T H O N Y
Spice Jars 1999
anodised aluminium
4@ 8.0 x 8.0 x 14.0 cm
Photo: Carmel D’Ambrosio
26
D ’ A M B R O S I O
D I P L O M A
O F
A R T
Rita Dutta
R I T A
D U T T A
Collar (detail) 2000
copper, gilding metal, brass
20.0 x 20.0 x 1.0 cm
Photo: Johannes Kuhnen
D I P L O M A
O F
A R T
Collar based on inhibitor bands as worn by superheroes designed to restrain special powers, they result in allowing their
wearers to experience the strength and the vulnerability of being
human.
27
Steven Fleury
S T E V E N
Lamps 2000
anodised aluminium, perspex,
slumped window glass
15.0 x 9.0 x 9.0 cm
38.0 x 9.0 x 13.0 cm
11.0 x 7.0 x 27.0 cm
Photo: Johannes Kuhnen
28
F L E U R Y
B A C H E L O R
O F
A R T S
( V I S U A L )
Cinnamon Lee
C I N N A M O N
L E E
B A C H E L O R
O F
A R T S
( V I S U A L )
Palmlight 2000
delrin, perspex, aluminium
5.0 x 9.0 x 9.0 cm
Photo: Johannes Kuhnen
29
Oliver Smith
O L I V E R
Pneumatic Vessel 2000
anodised aluminium, rubber,
stainless steel
20.0 x 8.0 x 5.0 cm
Photo: Johannes Kuhnen
30
S M I T H
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Juliet Walker
J U L I E T
W A L K E R
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Trumpet in D 2000
brass, anodised aluminium, delrin
15.0 x 15.0 x 90.0 cm
Photo: Johannes Kuhnen
31
Jack Waring-Dallwitz
J A C K
Cutlery 2000
stainless steel
20.0 x 3.0 x 1.3 cm
Photo: Johannes Kuhnen
32
W A R I N G - D A L L W I T Z
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
2000
Painting
J U S T IAndrews
N
A N D R E W S
Justin
N I C O L E Benjamin-Black
T T E
B E N J A M I N
Nicolette
K I R S T EFarrell
N
F A R R E L L
Kirsten
P H I L L Frankcombe
I P
F R A N K C O M B E
Phillip
S A N D Gray
Y
G R A Y
Sandy
L E S L E Keevers
Y
K E E V E R S
Lesley
M A D E L I N
E
K I D D
Madeline
Kidd
G E O F Newton
F
N E W T O N
Geoff
A N N E T Schneider
T E
S C H N E I D E R
Annette
N Ö E LSkrzypczak
S K R Z Y P C Z A K
Nöel
E L I Z A B ETruswell
T H
T R U S W E L L
Elizabeth
V E R O N I Uribe
C A
U R I B E
Veronica
- B L A C K
Justin Andrews
J U S T I N
My work uses architectural
diagrams to question the
properties of 3D space.
Complex 2000
graphite on paper
157.0 x 508.0 cm (overall)
34
A N D R E W S
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Nicolette Benjamin-Black
N I C O L E T T E
B E N J A M I N - B L A C K
B A C H E L O R
Seeker of Smooth Things 2000
oil on canvas
70.0 x 70.0 cm
O F
an aqueous cluster
surface-paint-spaces
macro perhaps micro
the beginning of life
perhaps the end
no solid glyph
seeking smooth things
A R T S
( V I S U A L )
35
Kirsten Farrell
K I R S T E N
B A C H E L O R
B A C H E L O R
Untitled 2000
fluorescent lights, acrylic,
plastic ice cube trays, plywood
78.0 x 82.0 x 11.0 cm
F A R R E L L
O F
O F
A R T S ( V I S U A L ) W I T H H O N O U R S
A S I A N S T U D I E S ( J A P A N E S E ) W I T H
“The first merit of painting is that it be a feast for the eyes.” Eugene Delacroix
Robert Kudielka (ed), The Eye’s Mind: Bridget Riley: Collected Writings 1965 – 1999, Thames and Hudson
London 1999
“The main thing wrong with painting is that it is a rectangular plane placed flat
against a wall.” Donald Judd
Reto Boller, Baden, Lars Muller 1998 Produced by Arts Council of Switzerland Pro Helvetia p7
36
Phillip Frankcombe
P H I L L I P
F R A N K C O M B E
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
My paintings are an intermingling of cultural motifs and symbols.
A universal interlacing of the
Divine Mother with Her creation,
colour, beauty and form. The aim
is for a quiet and serene view
that displays Her power, Her
power of love.
Mata Rhythm 2000
acrylic on board
168.0 x 100.0 cm
Photo: Nicolette Black
37
Sandy Gray
S A N D Y
G R A Y
Early this year I discovered a lost
city within the bounds of one of
the most carefully planned cities
on earth. Intrigued by this urban
fringe of permanent caravan park
residency I have endeavoured to
reveal its fragile and fragmentary
nature from within.
Kitchen 2000
acrylic on canvas
120.0 x 90.0 cm
Photo: Nicolette Black
38
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Lesley Keevers
L E S L E Y
K E E V E R S
B A C H E L O R
O F
A R T S
( V I S U A L )
Page sponsored by:
sponsors:
Leon and Sheila Sleep
Beasec Enterprises Pty Ltd
Buvelot Enterprises
Bertram Ellis Real Estate
Torso 3 2000
bees wax, oil on canvas
151.0 x 186.0 cm
Photo: Simon Ramsey
I weave with the palette knife, a layer of colour and beeswax –
emulating nature to express my creative natural thirst for discovery. The colours,
textures and patterns found in the trunks of the eucalypts stress the elemental
force of nature.
39
Madeline Kidd
M A D E L I N E
Untitled 2000
oil on board
122.0 x 150.0 cm
40
K I D D
B A C H E L O R
O F
A R T S
( V I S U A L )
“Travellers have told me things, and I've read what I
could and often, in the harsh, bleak spring we have
here I dream of the sea and the flowers over there.
And what I picture makes me blind to everything
around me.”
Albert Camus, Malentendu Act II
from Caligula and Three Other Plays, Vintage Books, New York
1958
Geoff Newton
G E O F F
N E W T O N
B A C H E L O R
O F
A R T S
( V I S U A L )
The eclecticism of the Secret
Chiefs Trio's music provided my
work with a basis to explore a
large dynamic range of material
and methodological responses.
In my pictures I have attempted
to interpret connections
between painting and music,
and to represent an experience which resembles my own
response to sound.
Zulkifar 2000
acrylic on linen
3 panels
wall panels 200.0 x 200.0 cm (overall)
floor panel 170.0 x 80.0 cm
Photo: Peter Volich
41
Annette Schneider
A N N E T T E
I have attempted to convey
my anthropomorphic attitude
through this work. Using a direct
political message and intermingling
elements of high and low culture, I hope to take the viewer by
a path of sensual gratification,
to a sense of the loneliness
which comes with the loss of
The Holiday is Over 2000
glazed ceramic tiles
167.3 x 229.5 cm
Photo: Nicolette Black
42
S C H N E I D E R
B A C H E L O R
O F
A R T S
( V I S U A L )
Nöel Skrzypczak
N Ö E L
Flight (detail) 2000
oil and acrylic on canvas
240.0 x 110.0 cm
S K R Z Y P C Z A K
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
The future is a vast, dark unknown that can be glimpsed only
sometimes through dreams. In my dreams I have the power to
fly - in exuberance or to escape terror. When I wake up I am earthbound again but the memory of flight remains and I feel optimistic about the future.
43
Elizabeth Truswell
E L I Z A B E T H
T R U S W E L L
B A C H E L O R
Winterwood 2000
oil on board
120.0 x 40.0 cm
44
O F
A R T S
( V I S U A L )
W I T H
My art is the outcome of a life in earth science ... a deeply felt sense that
change is a fundamental part of the natural world.
Veronica Uribe
V E R O N I C A
A calendar, a paragraph
(detail) 2000
acrylic on board
[email protected] x 40.0 cm
U R I B E
B A C H E L O R
O F
A R T S
( V I S U A L )
The process of changing comes with realising that we must make
something better out of the new. These are footsteps of my history, of
Colombia’s history, of my permanent rethinking of the narratives I left
behind and how I can make them part of my today.
45
2000
Photomedia
Renee
R E N E EBrown
B R O W N
Alistair
A L I S T ABuchanan
I R
B U C H N A N A
Danielle
D A N I E L Camphin
L E
C A M P H I N
Eun
E U N Gyun
G Y U Lee
N
L E E
Toby
T O B YGiddings
G I D D I N G S
Jenni
J E N N Heckendorf
I
H E C K E N D O R F
Helen
Minopetros
H E L E N
M I N O P E T R O S
Craig
Muller
C R A I G
M U L L E R
Calen
Robinson
C A L E N
R O B I N S O N
Shannon
S H A N N OSmith
N
S M I T H
N
Renee Brown
R E N E E
B R O W N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
“We continue to shape our
personality all our life. If we
knew ourselves perfectly, we
should die.”
Albert Camus, Notebook 1935-1942
from the entry for May 1937
“You look beautiful”, he said.
December 13th 1998, Berlin 2000
colour negative print
50.8 x 60.9 cms
47
Alistair Buchanan
A L I S T A I R
That I remain unable to fathom
the depths of memory is no
longer a source of confusion.
I simply recognise its presence in
the range of my expressions, its
rythmic influence, and have faith
that it tempers me.
Still shared memory 2000
interactive installation
dimensions variable
48
B U C H N A N A N
B A C H E L O R
O F
A R T S
( V I S U A L )
Danielle Camphin
D A N I E L L E
C A M P H I N
B A C H E L O R
O F
A R T S
( V I S U A L )
Within our society, identity
seems to be based upon
aesthetic representations of
the self, constructing the way
in which we view our bodies
along with the bodies of others.
Through manipulating the
aesthetic identities of my
subjects, focusing on fashion as
culture, and the distortion and
fragmentation of my images,
I am exploring the relationship
between the image and the
reality of identity.
My work aims to emphasise
the fragility of identity, and is a
response to the eclectic
generation to which I belong. I
want the images to emphasise
the location and dislocation
experienced by individuals within such a society.
Masquerade 2000
Type-C print
50.8 x 40.6 cm
49
Eun Gyun Lee
E U N
G Y U N
Bridal Suite 2000
digital print on clear film
76.2 x 114.3 cm
50
L E E
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
The work entitled Bridal Suite explores my own cultural
subjectivity as a Korean woman living in Australia and married to
an Australian man in Korea.
The work is a direct response to my experience of Korean peoples’
attitudes towards me being in public with my husband in Korea
and also my feelings of being in Australia.
Toby Giddings
T O B Y
G I D D I N G S
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Twilight, dusk and dawn
historically are powerfully
connected with mythology,
mysticism and narrative and this
concept was a key idea in the
genesis of these large format
photographs. While elevating
the unique character of each
memorial, I wanted to evoke
at once the collective memory
surrounding war memorials
and the strange duality in war
narratives æ the religious/heroic
mystique and horrific reality.
Vietnam Forces War Memorial, Anzac
Parade, ACT 1999
Ilfochrome photographic print
50.8 x 40.6 cm
51
Jenni Heckendorf
J E N N I
H E C K E N D O R F
The Naked Truth 2000
silver gelatin print
18.0 x 25.0 cm
In collaboration with Leanne Proberts
D I P L O M A
O F
A R T
One in about four hundred have some form of cerebral palsy.
Through my studies I have developed a more positive body image
despite my awkward movement and slurred speech. In these photographs I explode into a colourful, mature woman.
(However, it is not my intention to offend other disabled people with my pictures.)
52
Helen Minopetros
H E L E N
M I N O P E T R O S
Portraits (clockwise from top left) 2000
Jim Nomarhas
George Diamond
George Serras
Neofitos
gelatin silver photographs
4 @ 40.0 x 50.0 cm
B A C H E L O R
O F
A R T S
( V I S U A L )
I am exploring the concept of XENITTA, or difference. I wanted to
discover how other Greek/Australians felt about their cross-cultural background. This helps me to define my own place in Australian
society. Photography is my way of making connections between
my two backgrounds. An added dimension, digital manipulation,
has allowed creative control over some images.
53
Craig Muller
C R A I G
M U L L E R
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
one hundred men
Images of metal workers
Blue-collar men are being marginalised. The protestant values system
that underpins this culture is at odds with contemporary society. Issues of
sexuality, gender, race and structural unemployment have left many of these
men struggling for a sense of social relevance. The challenge for this body of
work is to visually navigate these issues to allow a connection between the
viewer and the face of Australian blue-collar men.
one hundred men 1999-2000
Type-C prints
100 @ 40.6 x 50.8 cm
54
BHP Rod And Bar
BERCO Engineering
Baxter Engineering
UTS Faculty of Fitting and Machining
Sykes Pumps Australia
Calen Robinson
C A L E N
R O B I N S O N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Glory: n. praise; blessing of heaven; renown; magnificence.
v. rejoice; exult.
Hole: n. hollow place; cavity; opening; burrow; fault; gap.
Private pleasures in public places
(detail of installation) 2000
Type-C prints
60.0 x 60.0 cm
The structured nature of our society can sometimes lead to
the need for specific structures in architecture – spaces that
have been designed specifically for anonymous physical
encounters. Absence of the body intimates the remnants of
previous, and essence of future: encounters.
55
Shannon Smith
S H A N N O N
frame by frame:
A response to stoning as a form of execution
and the torture against women 2000
inkjet prints
27.5 x 42.5 cm
27.5 x 116.0 cm
27.5 x 80.5 cm
56
S M I T H
B A C H E L O R O F A R T S ( V I S U A L )
CROSS-INSTITUTIONAL STUDENT SYDNEY COLLEGE OF THE
ARTS
This work is based on a documentary called “Executions”.
It looks at the methods of execution used by different cultures.
It was the nature of stoning that insulted my mind the most.
I watched this scene frame by frame.
I wanted those who believe in a modern world to watch it too.
This work was proudly sponsored by Kodak
2000
Printmedia & Drawing
R O N A L D Aveling
A V E L I N G
C
E C I L E Galiazzo
G A L I A Z Z O
Cecile
Ronald
S T U A R TBailey
B A I L E Y
LLizzie
I Z Z I E Hall
H A L L
Stuart
T H O M A S Bonin
B O N I N
ZZoe
O E Z
Z Marr
M A R R
Thomas
J O Broad
B R O A D
LLaetita
A E T I T AMiller
M I L L E R
Jo
P E N N Y Cain
C A I N
RRose
O S E Montebello
M O N T E B E L L O
Penny
C R A I G Cameron
C A M E R O N
EElspeth
L S P E T H Pelling
P E L L I N G
Craig
K A T H A R I N ECampbell
C A M P B E L L SSimeon
I M E O N Pritchard
Katharine
R A C H E L Carew
C A R E W
PClaire
R I T C H Sourgnes
A R D
Rachel
C I N M A Y I I
C
L A Tuite
I R E S O U R G N E S
Liz
Cinmayii
S T E P H E N Cullen
C U L L E N
LPeter
I Z T UVolich
I T E
Stephen
S O N I A Desplace
D E S P L A C E
PMarco
E T E R VWallenius
O L I C H
Sonia
R A I M O Alberto
A L B E R T OGabellone
G A B E L L O N E
Raimo
Ronald Aveling
R O N A L D
Untitled 2000
digital image
55.0 x 27.0 cm
A V E L I N G
B A C H E L O R
O F
A R T S
“Then great expanses cast their
anchor and range themselves in
the depth of my closed eye”
Andre Breton, L’air de l’eau, 1934
58
( V I S U A L )
W I T H
Stuart Bailey
S T U A R T
Untitled 2000
screenprint and collage on plywood
92.0 x 160.0 cm
B A I L E Y
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Our society is structured so that the consumption of goods in our leisure time
is the reward for working a nine-to-five job.
I am interested in exploring the confusion, frustration, apathy and disillusionment that is a result of the failure of this system to provide a meaningful way
of life.
59
Thomas Bonin
T H O M A S
Self portrait #1 2000
wood cut
78.5 x 57.0 cm
Photo: Georgina Smith
60
B O N I N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Jo Broad
J O
B R O A D
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
The walls of a house carry out the
same function that we experience in
the skins of our own bodies.1
Being between different homes
involves the interweaving of real and
imagined spaces. Home becomes an
ambivalent site of being and longing,
of memory and the everyday,
that cuts across different cultural and
historical sites.2
1 Donatella Mazzoleni
‘The city and the imaginary’
New Formations, vol.12, 1990 p.96
Mary Zournazi
2 ‘Historical Fictions,Uncanny Homes’
After the revolution, On Kristeva
John Lechte and Mary Zournazi (eds.)
Artspace 1998
Evidence 2000
rubber latex
200.0 x 80.0 cm
Photo: Georgina Smith
61
Penny Cain
P E N N Y
Alternative Evolutions 2000
digital video still
dimensions variable
62
C A I N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Human nature and contemporary existence are two interlocking
pieces of the one puzzle.
I want to explore the spaces where the pieces do not quite meet.
Craig Cameron
C R A I G
Picture #1 2000
mixed media
75.0 x 130.0 cm
Photo: Georgina Smith
C A M E R O N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Religious Art
63
Katharine Campbell
K A T H A R I N E
C A M P B E L L
B A C H E L O R
In this series the works speak
of tension and compression.
Of locating yourself in both a
physical and psychological space.
Untitled 2000
mixed media
120.0 x 90.0 cm
64
O F
A R T S
( V I S U A L )
Rachel Carew
R A C H E L
C A R E W
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
I am interested in the paradox
of the family home. Family
structures - between relations
and the structure that they live
within both architectural and
social.
The domestic, interior space is
a metaphor for a psychological
space. I also look at the nature of
family relationships within that
space.
The work talks about family
structures; the home as a
structure in itself blocking,
obstructing, being the barrier
against the child. Hindering or
harbouring?
The child is home less and this is
the paradox of the family home I
am dealing with.
Duty of Care 2000
etching
120.0 x 80.0 cm
Photo: Georgina Smith
65
Cinmayii
C I N M A Y I I
Vespers 2000
(from a series of 200 drawings)
ink drawing
31.0 cm x 22.5 cm
Photo: Georgina Smith
66
B A C H E L O R
O F
A R T S
( V I S U A L )
‘art is a place where anything is possible’
~ this work exposes the mark as conversant form,
a space to exchange language and negotiate meaning ~
Stephen Cullen
S T E P H E N
C U L L E N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
I try to put my image
into expressions that I don’t
understand very well.
Plasticine Portraits 2000
digital images
dimensions variable
67
Sonia Desplace
S O N I A
Night States (detail) 2000
acrylic on oilsketch paper
65.0 x 94.0 cm
68
D E S P L A C E
B A C H E L O R
O F
A R T S
( V I S U A L )
Raimo Alberto Gabellone
R A I M O
Light Study 2000
glass, light, paper, wood
dimensions variable
A L B E R T O
B A C H E L O R
O F
G A B E L L O N E
A R T S
( V I S U A L )
W I T H
The work I have created while at the Canberra School of Art is an
investigation of light, lightness and forces that are part of our everyday
lives. This investigation has taken form in many different media from
paper to light.
69
Cecile Galiazzo
C E C I L E
G A L I A Z Z O
Relation-Ships (detail) 2000
handmade paper and cotton thread
dimensions variable
Photo: Kim Hopper
70
B A C H E L O R
O F
A R T S
( V I S U A L )
There’s a hole in the river where my memory lies …
Lizzie Hall
L I Z Z I E
H A L L
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
“… the thanksgiving grace of the
trait suggests that at the origin
of the graphein there is a debt or
gift rather than representational
fidelity. More precisely, the fidelity
of faith matters more than the
representation, whose movement
this fidelity commands and thus
precedes.”
Jacques Derrida, ‘Memoirs of the Blind’,
University of Chicago Press, USA, 1993, p30
monster watching television 2000
woodcut, acetate
99.0 x 63.0 cm
Photo: Georgina Smith
71
Zoe Z Marr
Z O E
Z
Lining: cell 19 2000
laser print on transparency
14.0 x 20.0 x 4.0 cm
Photo: Georgina Smith
M A R R
B A C H E L O R
O F
A R T S
( V I S U A L )
“While he thought to quench his thirst, another grew in him, and as he drank,
he was enchanted by the beautiful reflection that he saw ... He did not know
what he was looking at, but was fired by the sight, and excited by the very
illusion that deceived his eyes.”
The Metamorphoses of Ovid, Book III: Narcissus by the Pool
72
Laetita Miller
L A E T I T A
M I L L E R
B A C H E L O R
O F
A R T S
( V I S U A L )
Ephemeral waste transformed
through presentation and
reconstruction of objects.
Transit landscape, Mugga Way 2000
ink drawn with plastic bottle lid
on handmade paper
55.0 x 55.0 cm
Photo: Georgina Smith
73
Rose Montebello
R O S E
M O N T E B E L L O
Orange flowers over hidden cove 2000
detail from TV/Dream image series 1
25 digital prints
166.0 x 242.0 cm (overall)
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Nostalgia has its roots in the Greek word nostos meaning ‘return home’ and
algos meaning ‘pain’ emphasising the painful absence from home rather than
a definite return to it. Nostalgia, then, signifies a memory of the past while
acknowledging a potentially unbridgeable distance from that memory.
Marente Bloemheuvel (ed.) Kidnapping, Douglas Gordan, Stedelijk Van Abbemuseum,
Eindhoven, Netherlands 1998, p36
74
Elspeth Pelling
E L S P E T H
Covenant 2000
lithograph
29.0 x 48.0 cm
Photo: Georgina Smith
P E L L I N G
B A C H E L O R
O F
A R T S
( V I S U A L )
Images of thread and woven fabric are metaphors for life narratives. For
each life, a thread: straightforward or tangled, broken or continuous, each
thread is inevitably woven into the fabric.
75
Simeon Pritchard
S I M E O N
For Those Who Came in Late 2000
silkscreen on paper
200.0 x 200.0 cm
Photo: Georgina Smith
76
P R I T C H A R D
B A C H E L O R
O F
A R T S
( V I S U A L )
DON’T POINT AT THE CREATURE
Claire Sourgnes
C L A I R E
S O U R G N E S
B A C H E L O R
O F
A R T S
( V I S U A L )
“Paper, like the brush and the ink,
is both the obstacle to getting
there as well as the
way there …”
Shiryu Morita in “Washi, The World of
Japanese Paper” by Sukey Hughes,
Tokyo, 1978
Untitled 2000
handmade paper
Japanese Kozo and cotton rag
15.0 x 29.0 cm
77
Liz Tuite
L I Z
T U I T E
Untitled (detail 1 of 9) 2000
Epsom bubble jet print
32.0 x 93.0 cm
78
B A C H E L O R
O F
A R T S
( V I S U A L )
Peter Volich
P E T E R
Rick 2000
video still
Rick (detail) 2000
installation
dimensions variable
V O L I C H
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
When I was little boy I used to imagine my life as something that was a
never-ending film script. Every scenario seemed to mirror that of something
similar to television or cinema. I would be constantly constructing narratives and
characters that melded into one big projection that I would imagine being played
at a drive-in theatre. This concept seemed common place to me at the time and I
was sure that in all drive-in theatres over the world there was a constant account,
story, plot, of someone else’s life being shown.
79
Marco Wallenius
M A R C O
Network (detail) 2000
etching, aquatint
297.0 x 120.0 cm
Photo: Georgina Smith
80
W A L L E N I U S
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
This work represents my interest in how we interpret the world
and how this in turn shapes our interaction with the spaces
around us. In particular, how memories of spaces collected over
time are grouped into signs and how these signs inform our
reactions to new spaces we encounter.
2000
Sculpture
Jacqueline
J A C Q U E L IBogusz
N E
B O G U
Debon
D E B O NDwyer
D W Y E R
Alix
Fiveash
A L I X
F I V E A S H
Paul
P A U LJamieson
J A M I E S O N
Kelly
K E L L Jordan
Y
J O R D A N
Jason
J A S O Luke
N
L U K E
Bronwyn
B R O N W Y Mirams
N
M I R A M S
Louise
L O U I S Pinder
E
P I N D E R
Tim
T I M Spellman
S P E L L M A N
S Z
81
Jacqueline Bogusz
J A C Q U E L I N E
B O G U S Z
B A C H E L O R
Untitled 2000
Type-C print
29.7 x 21.0 cm
82
O F
A R T S
( V I S U A L )
Debon Dwyer
D E B O N
D W Y E R
Biomeal 21st Century (detail) 2000
LED print
50.0 x 74.96 cm
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
… Suddenly, I wondered if something had gone horribly wrong with the
novel food being modified to feed the world.
83
Alix Fiveash
A L I X
F I V E A S H
Creeping Boundaries 2000
mixed media
80.0 x 31.0 x 31.0 cm
B A C H E L O R
O F
A R T S
( V I S U A L )
“ … This ability of bodies to always extend the frameworks which attempt
to contain them, to seep beyond their domains of control … “
Elizabeth Grosz, Volatile Bodies, Allen and Unwin, Sydney, 1994 p xi of introduction
84
Paul Jamieson
P A U L
J A M I E S O N
B A C H E L O R
O F
A R T S
( V I S U A L )
The intersection, collision or
juxtaposition of the ‘man-made’
and the ‘natural’ environments
are the visual impetus for my
work. I use combinations of
natural and man-made elements
to create tension, harmony,
balance or precariousness.
In/Ex_trusion (detail) 2000
red gum, pewter
92.0 x 65.0 x 120.0 cm
85
Kelly Jordan
K E L L Y
J O R D A N
Breathless 2000
86.0 x 183.5 x 28.0 cm
wood, sugar, perspex, icing sugar,
needles and hair
86
B A C H E L O R
O F
A R T S
( V I S U A L )
Time passes, moments become memory.
Sense of self and place, compass and map.
Time continues to pass.
W I T H
Jason Luke
J A S O N
L U K E
B A C H E L O R
O F
A R T S
( V I S U A L )
Empty spaces hold secrets …
Presence Perspective (detail) 2000
multimedia installation, computer
animation, MDF, ink
dimensions variable
87
Bronwyn Mirams
B R O N W Y N
Water Well 1999
steel, plaster, stone and water
16.0 x 83.0 x 83.0 cm
M I R A M S
B A C H E L O R
O F
A R T S
( V I S U A L )
“The same stream of life that runs through my veins night and day runs
through the world and dances in rhythmic measures.”
Rabindranath Tagore
My work is a response to the natural world and aims to provoke a way of
thinking that speaks of the essential harmony between all living cycles.
88
Louise Pinder
L O U I S E
Menacing shapes 2000
LED print
75.0 x 98.0 cm
P I N D E R
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
The irony of this image is for you to decide upon, who is more menacing?
89
Tim Spellman
T I M
S P E L L M A N
Fubscape 2000, OK! 2000
brick pieces, sand
dimensions variable
Photo: Paul Jamieson
90
B A C H E L O R
O F
A R T S
( V I S U A L )
The common brick is the dominating influence on my
current work. I am searching for new uses and fresh
meanings for an old material.
The adventure through the process and the personal
challenges involved in the making of my art are the
driving forces motivating my practice.
W I T H
2000
Textiles
Imogen
I M O G E Alcock
N
A L C O C K
Michele
M I C H E LBoscheinen
E
B O S C H E I
Sarah
S A R A Day
H
D A Y
Leah
L E A HManwaring
M A N W A R I N G
Ann
A N N McMahon
M C M A H O N
Jael
J A E LMuspratt
M U S P R A T T
Deanne
D E A N N Prout
E
P R O U T
Peter
P E T E Timpson
R
T I M P S O N
N E N
Imogen Alcock
I M O G E N
Untitled 2000
gouache on board
9.5 cm diameter
92
A L C O C K
D I P L O M A
O F
A R T
Michele Boscheinen
M I C H E L E
B O S C H E I N E N
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
My works looks at rising and falling memories. Through this I am
exploring how the experience of
being in Thailand has moved me
from the past to the present and
determined the direction of my
future.
Guava - from the bottled farang
(foreigner) series 2000
tapestry with stitching
14.0 x 11.0 cm
Photo: Neal McCracken
93
Sarah Day
S A R A H
D A Y
An interest in old buildings
and the stories and objects
associated with them began
in childhood. Since moving to
Australia I have been stimulated
by the natural environment and
the mountain huts of Kosciusko.
My work reflects the weathered
surfaces of these buildings using
watercolours, tapestry weaving,
computer prints and embroidery.
Cheesehouse at Coolamine (detail) 2000
embroidery on linen
37.0 x 40.0 cm
Photo: Neal McCracken
94
D I P L O M A
O F
A R T
Leah Manwaring
L E A H
M A N W A R I N G
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
The play of complementary binaries.
Order versus Chaos
Digital versus Nature
... This age is one of great change
- insecurity, fear, fragility, machines,
atoms, a probing into the structure
of nature.
Robert Klippel 1947
Gleeson, J & Klippel, R. Madame Sophie
Sesostoris: a pre-raphaelite satire,
1947 – 1948, The Art Gallery of NSW, 1998
Digital v’s Nature 2000
dye, discharge, pigment, pigment
illumination on cotton
75.0 x 25.0 cm
95
Ann McMahon
A N N
M C M A H O N
Memory #1- Veil (detail) 2000
tissue paper, photocopy transfer, cotton
370.0 x 225.0 cm
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
“… the weaver's shuttle and loom constantly produce new and different patterns, designs and forms, and if the operation of memory is, like
weaving, not archaeological but processual, then it will bringing forth
ever different memorial configurations and an ever newly shaped self.”
James Olney, Memory and Narrative, University of Chicago Press, Chicago, 1998, p20
96
Jael Muspratt
J A E L
M U S P R A T T
Colour Study (detail) 2000
dye and discharge on silk organza
dimensions variable
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
For Thelma Abell
97
Deanne Prout
D E A N N E
Virtual Screen (detail) 2000
silk-screen print, pigment, polyester
organzas
15.0 x 40.0 cm
Cyber Warrior 2000
LED print
40.0 x 30.0 cm
98
P R O U T
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
“Human evolution is fundamentally intertwined with technological
developments; the two cannot be considered apart from each other.
Humanity has co-evolved its artefacts. Genes not compatible with this reality
will not survive the next millennium.”
Geert Lovink
The Memesis Network Diskussion, 1996, http://www.telefonica.es/fat/memesis.html
Peter Timpson
P E T E R
T I M P S O N
B A C H E L O R
O F
A R T S
( V I S U A L )
We carry a lot of baggage
throughout our lives and some
we haven't got rid of, perhaps we
take out a few pieces to throw
away, but the rest we look at,
wash, clean, refold and put back
in the baggage.
Sometimes it is a bit like
rearranging the seating on the
Titanic.
They are disparate subjects but
for me they are linked and this is
what I am trying to express in my
current work.
Image as Man 2000
computer manipulated image
15.0 x 8.05 cm
99
2000
Wood
N I C H O L Harper
A S
H A R P E R
Nicholas
M I C H A EJohnson
L
J O H N S O N
Michael
K I M Johnston
J O H N S T O N
Kim
B I L Legge
L
L E G G E
Bill
M E G A NPhillips
P H I L L I P S
Megan
G O R D O Smith
N
S M I T H
Gordon
Nicholas Harper
N I C H O L A S
H A R P E R
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
My aim is to create objects that
can be experienced on a level
beyond functionality.
Dining Chairs 2000
rock maple, black bean, monofilament
78.0 x 53.0 x 53.0 cm
Photo: Megan Phillips
101
Michael Johnson
M I C H A E L
Architectural Element 2000
radiata pine
34.0 x 19.0 x 185.0 cm
102
J O H N S O N
D I P L O M A
O F
A R T
The act of creating and the result, is in itself all the philosophy required.
Kim Johnston
K I M
J O H N S T O N
Bench 2000
radiata pine, monofilament
59.0 x 112.0 x 47.0
Photo: Megan Phillips
D I P L O M A
O F
A R T
“Every design is a rigorous attempt at capturing a concrete moment of a
transitory image in all its nuances. The extent to which this transitory quality
is captured comes through in the designs which will be more or less clear: the
more precise they are, the more vulnerable.”
Alvaro Siza
www.pritzerprize.com
103
Bill Legge
B I L L
L E G G E
Wine Rack 2000
radiata pine, aluminium, stainless steel
200.0 x 90.0 x 40.0 cm
Photo: Megan Phillips
104
D I P L O M A
O F
A R T
My goal is to design and make furniture with care and consideration
whilst gaining a further understanding of this beautiful and unpredictable
medium.
Megan Phillips
M E G A N
P H I L L I P S
B A C H E L O R
O F
A R T S
( V I S U A L )
W I T H
Simplicity, clarity and beauty
bring joy to my life. I aim for my
work to be a manifestation of
that joy.
Chaise Lounge 2000
radiata pine, monofilament, steel
85.0 x 75.0 x 240.0 cm
105
Gordon Smith
G O R D O N
Child’s wardrobe 2000
radiata pine
154.0 x 78.0 x 52.0 cm
Photo: Megan Phillips
106
S M I T H
D I P L O M A
O F
A R T
2000
2 0 0 0
107
Sponsors 2000
S P O N S O R S
2 0 0 0
B E A S E CEnterprises
E N T E R P R Pty
I S E Ltd
S
P T Y
L T D
Beasec
B U V E L OEnterprises
T
E N T E R P R I S E S
Buvelot
B E R T R A M
E L Real
L I S
R E A L
E S T A T E
Bertram
Ellis
Estate
T H E
C A N Airport
B E R R A
A I R P O R T
Canberra
T H E Artists
A R T I SSociety
T S
S O of
C I Canberra
E T Y
O F
C A N
The
L E O N and
A N Sheila
D
S H E Sleep
I L A
S L E E P
Leon
M E T A LMart
M A R T
Metal
108
B E R R A
ITA
Student Association
Congratulates all
Graduating Students
for 2000.
109
110
D&D printing logo insert
(printers to attend to this)
111
Autographs
A U T O G R A P H S
112
Autographs
A U T O G R A P H S
113
About the School
A B O U T
T H E
S C H O O L
The Australian National University Institute of the Arts (Canberra School of Art, Canberra School of Music and the
Australian Centre for the Arts and Technology) provides a unique study environment for the visual arts. The campus
offers excellent resources for research and the study of art in a wide range of specialist disciplines. The School of Art
features and extensive visiting artists program, international exchange programs, field studies, and special access
to the national institutions located in Canberra.
The School has attracted to its staff some of the country's most distinguished artists with national and international
reputations in ceramics, drawing, glass, gold and silversmithing, painting, photomedia, printmedia, sculpture,
textiles, and wood. The Applied Design stream, together with the Digital Art, Multimedia, Editions and Artists' Book
and Papermaking Studios, support these disciplines.
The Canberra School of Art’s undergraduate and postgraduate awards provide for introductory to advanced study
in the practice of art through course work, project work and research in the range of visual arts practices offered in
the School's Workshops and Studios.
Undergraduate students may take the three-year Bachelor of Arts (Visual), the fourth year Honours program, or
the two-year Diploma of Art. In addition, the combined degrees of Bachelor of Arts (Visual)/Bachelor of Arts, and
Bachelor of Asian Studies (Specialist)/Bachelor of Arts (Visual) are offered in conjunction with the Faculties of Arts
and Asian Studies. A new course of study, the Bachelor of Arts (Digital Arts), will be offered through ACAT from
2001.
Through the ANU Graduate School, the Visual Arts Graduate Program offers research degrees leading to the PhD
and the Master of Philosophy in both Studio Practice and conventional thesis modes. The coursework graduate
degrees are the two year Master of Arts (Visual Arts), the one year Master of Visual Arts, and the two semester
Graduate Diploma of Art (by studio practice or by course work).
Further information and the Prospectus is available from Student Administration on
+61 (0)2 6249 5711 (fax +61 (0) 2 6249 5705) or by writing to:
The Admissions Officer, Institute of the Arts, The Australian National University, GPO Box 804 Canberra, ACT 2601.
More detailed information regarding the Canberra School of Art may be found on web at: http://www.anu.edu.
114
Publication details
P U B L I C A T I O N
D E T A I L S
2000
ANU CANBERRA SCHOOL OF ART GRADUATING
STUDENT EXHIBITION
8 - 17 DECEMBER, 2000
Publisher:
Canberra School of Art Gallery
Institute of the Arts
Australian National University
Corner of Ellery Crescent and Liversidge Street
Acton ACT Australia
Curator:
Merryn Gates
Manager:
Aroona Murphy
Assistants:
Kate M Murphy, Graeme Tie
Installation:
Graeme Tie, Hamilton Darroch,
James Holland, Rohan Ward,
Alex Reddaway
Professional Practice intern:
Diana Shores
Telephone:
+61 (0) 2 6249 5841
Facsimile:
+61 (0) 2 6249 0491
Postal:
GPO Box 804, Canberra ACT
2601, Australia
Email:
[email protected]
http://www.anu.edu.au/ITA/CSA/gallery/
Photographs are by the artist unless otherwise
credited.
Measurements are in centimetres, height before
width, then depth.
©The artists and the ANU Canberra School of Art
Gallery. All rights reserved.
Production Manager
& Catalogue Design:
Aroona Murphy
Layout:
Aroona Murphy, Erica
Seccombe
Editorial:
Aroona Murphy, Kate M Murphy
Scanning:
Trendsetting, Canberra
Printing:
D&D Printing, Melbourne
Edition: 1000
ISBN:
0 7315 3017 9
The CSA Gallery would like to thank:
Jill Peck, Honours Coordinator/Undergraduate
Convenor; All graduating students; Catalogue
fundraising and development working party and
their respective Workshops; Workshop Teaching
Staff and all Technical Officers; all Patrons of the
School.
This catalogue has been made possible through
the generous sponsorship and assistance of:
Trendsetting, Canberra; ITA Student Association;
CSA Workshop fundraising throughout the year;
CSA Staff and Students; Leon and Sheila Sleep;
Beasec Enterprises Pty Ltd; Buvelot Enterprises;
Bertram Ellis Real Estate; The Canberra Airport;
Canberra Artists Society; Metal Mart Pty Ltd.
115
2000
2 0 0 0 ANU
A N U
CCanberra
A N B E R R A School
S C H O O LofO Art
F
A R T
2000
G R A D U A T I N G
S T U D E N T
Graduating Student Exhibition