Grad Show 2005 - School of Art

Transcription

GRADUATE EXHIBITION 2005
ANU SCHOOL OF ART
GRADUATE EXHIBITION 2005
ANU SCHOOL
OF
ART
DIRECTOR’S FOREWORD
Graduate Exhibition 2005 is a proud achievement; it marks the
culmination of studies by candidates for the Bachelor of Arts (Visual)
with Honours, Bachelor of Arts (Visual), combined degrees and the
Diploma of Art at the Australian National University School of Art.
Graduate Exhibition 2005 features the accomplishments of students
who have come to the Australian National University from Canberra,
elsewhere in Australia and from overseas.
The ANU School of Art offers first-class facilities for visual
arts, crafts, design, computer, video and environmental teaching
and research. The School is practice based and promotes quality
professional activity, performance and exhibitions, visiting artists,
field studies and international exchange. The School has attracted to
its staff some of the country’s most distinguished artists with national
and international reputations in Ceramics, Printmedia and Drawing,
Glass, Gold and Silversmithing, Painting, Photomedia, Sculpture,
Textiles and Wood/Furniture. The Environment Studio, Computer Art Studio, Editions and Artists’
Book Studio (EABS), video art and papermaking studios support these disciplines.
Graduate Exhibition 2005 is a large scale exhibition presented in the ANU School of Art Gallery,
Foyer Gallery, Photospace and in Workshop spaces throughout the School. The ANU School of Art
Gallery shows a single work by each student produced in their final year of study. Further works can be
seen in Workshop exhibitions around the School.
Each December we join our graduating students to celebrate their accomplishments. It is an exciting
time of year when months of preparation culminate in the successful production of this catalogue and
grand scale exhibition.
The ANU School of Art thanks Patsy Hely, Honours Co-ordinator; Anita McIntyre, Visiting Fellow
and Student Academic Advisor; and the academic staff and Workshop Technical Officers, all of whom
have worked with the School of Art Gallery staff, Bronwen Sandland, James Holland, Julie CuerdenClifford and Jason Kochel to make Graduate Exhibition 2005 a great success.
2
FOREWORD
Patrons of our Emerging Artists Support Scheme (EASS) continue to support our graduating students
as they start their professional careers. We gratefully acknowledge and thank our many EASS patrons
for their dedication and enthusiasm for this program, this year co-ordinated by Gaida Macs.
Finally, congratulations to the Graduates of 2005 on their impressive achievements. I commend
their work to audiences now and in the future. The ANU School of Art staff and students wish all
the graduates successful and productive careers and invite them to remain an active part of the ANU
through our national and international Alumni networks.
Welcome to Graduate Exhibition 2005!
Professor David Williams
Director
School of Art
Australian National University
December 2005
FOREWORD
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EMERGING ARTISTS SUPPORT SCHEME
The Australian National University School of Art’s successful Emerging Artists Support Scheme
(EASS) has been operating for the past sixteen years. Many of our Patrons such as Mallesons Stephen
Jaques, KPMG, Henry Ergas (formerly NECG) and The Australian National University have supported
School of Art graduates throughout this period. Through this scheme, Patrons can award prizes,
scholarships and commissions, acquire artwork for their own collection or borrow through the EASS
Loan Scheme.
The ANU School of Art and its graduates greatly appreciate this support from the ACT community.
Such generous sponsorship from individuals, families, local business, the corporate sector and arts
organisations, represents assistance for graduating artists at a time when it is most valuable: the
commencement of their studio practice. The scheme also plays a significant role in encouraging
emerging practitioners to remain in the region. In this regard the residencies and exhibition
opportunities offered by Megalo Access Arts Inc., PhotoAccess, Strathnairn Arts Association, Canberra
Contemporary Art Space, ANCA, Alliance Francaise, Helen Maxwell Gallery, Craft ACT, M16, The
Hive, Tuggeranong Arts Centre, Belconnen Arts Centre, BowerHouse Gallery, Mawson Gallery,
Canberra Grammar, Hawker College and the Canberra Potters’ Society are particularly valuable.
2006 marks the 30th Anniversary of the School of Art at its present home in the old Canberra High
School building. In celebration of this milestone, the School of Art is seeking additional contributions
from EASS Patrons to its Anniversary Scholarship Fund. This will add to the existing scholarship
support from Henry Ergas, Peter and Lena Karmel, Kamberra Wines, Lou and Mandy Westende,
Rosanna Hindmarsh, the Embassy of Spain and the ANU Emeritus Faculty.
For the ANU School of Art Emerging Artists Support Scheme continues to provide much needed
support for artists as they graduate, establish an independent practice and contribute to the lively and
growing visual arts and craft community from which we all benefit. The ANU School of Art expresses
appreciation and thanks to all EASS Patrons.
Professor David Williams
Director ANU School of Art
4
EASS
WITH THANKS
MAJOR PATRONS
Peter and Lena Karmel
Henry Ergas
SCHOLARSHIPS, AWARDS & PRIZES
Peter and Lena Karmel Anniversary Award
Embassy of Spain Travelling Scholarship
Nigel Thompson Travelling Scholarship
Pamille Berg & Robin Blau Logos Award
Canberra Museum and Gallery Award
Westende Travelling Scholarships
ANU School of Art Drawing Prize
ANU Emeritus Faculty Scholarship
Henry Ergas Honours Scholarships
Konica Minolta Scholarship
The Kamberra Glass Prize
Neil Roberts Award
Parker Financial Award
Hiroe and Cornel Swen Award
The Burgmann College Art Scholarship
The PIE Award in memory of David Watt
ANU Research School of Pacific and Asian
Studies Award
King O’Malley School of Art Graduate
Materials Award
ANU Centre for Resource and Environmental
Studies Award
Australian Decorative and Fine Arts Society, Canberra
Inc. Award
The Goodrick family
Mologlo Group Acton Prize
Silver Society of Australia
TO OUR
PATRONS
EASS ACQUISITIVE AND LOAN COLLECTION
AWARDS
Mallesons Stephen Jaques Solicitors
(Founding Patron)
ANU Art Collection
Animal Health Australia, ACT
ACT Legislative Assembly
ANU School of Art Alumni
ANU Public Art Program
T2 Consulting
Bradley Allen
ACT Chief Ministers Department
Chamberlain Law Firm
ComSuper
John & Elizabeth Baker Sculpture Award
KPMG, Canberra
Independent Competition and Regulatory
Commission
SUBSCRIPTION & MATERIALS AWARDS
Art Monthly Australia • Ceramics Art and Perception
• Clay Works • Object Magazine • Walker Ceramics •
Pottery in Australia
RESIDENCY & EXHIBITION AWARDS
Canberra Contemporary Art Space • Craft ACT:
Craft and Design Centre • National Gallery
of Australia Shop• Megalo Access Arts Inc •
PhotoAccess • Strathnairn Arts Association • Finlay
Press, Braidwood • Tuggeranong Community Arts
Centre • Canberra Potters’ Society • The Hive •
Belconnen Arts Centre • BowerHouse Gallery •
Helen Maxwell Gallery • Canberra Spinners and
Weavers • Hawker College • Canberra Grammar •
Alliance Française • ANCA (Australian National
Capital Artists) • M16 • Mawson Gallery
PATRONS
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INDEX
OF
ANU SCHOOL OF ART 2005
CERAMICS
FAY ATTARD
CRISTINA BARATINSKAS GOODMAN
HEATHER BELL
JANA DE SAXE
HELEN-TATIANA DE WEERD
JUSTINE DUNMORE
CORINNE FLOYD
REIKO HASHIMOTO
LOUISE HAYNES
MARYKE HENDERSON
ALICIA KANE
JACQUELINE LEWIS
HELEN MANTZOURIDIS
JANETTE MILLER
LISA MONICO
NATALIE MUIR
LORNA NAMIKO
KAYE RICE
RONALD SLATER
INGE TANNER
PATRICK TAYLOR
PAULINE WELFARE
JANETTA WYETH
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
DEIRDRE FEENEY
DAYNA FISHER
TEVITA HAVEA
JESSICA HOLTZ
OWEN JOHNSON
JULIE PARKER
PATRICIA ROAN
TAE SCHMEISSER
JANICE VITKOVSKY
33
34
35
36
37
38
39
40
41
GLASS
6
ARTISTS
ARTISTS
GOLD &
SILVERSMITHING
XIMENA N. BRICEÑ O
MIA-LEE CHING
DINA CLARKE
AARON DE SMET
KATHARINE EDGHILL
NATALIE HARDING
LOUISE IERVASI
SAMUEL MERTENS
EMILY O’BRIEN
EILEEN PROCTER
TANJA TAGLIETTI
43
44
45
46
47
48
49
50
51
52
53
ANDREW BATTYE
LEAH BULLEN
TIFFANY COLE
CELIA CRONIN
MICHAEL EDWARDS
ELISSA GAFFNEY
JESSICA GOODACRE
GREG HODGE
KARENA KEYS
ERIK KREBS-SCHADE
YOLANDE NORRIS
TIFFANIE RADZIMINSKI
LAUREN REID
CAROLINE RIETHMULLER
MEG ROBERTS
IAN ROBERTSON
AG STOKES (ANN SMITH)
CLARE THACKWAY
ROSEMARY VON BEHRENS
GEORGINA WYATT
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
PAINTING
INDEX
PHOTOMEDIA
PRINTMEDIA & DRAWING
ANTONIA AITKEN
ANA BIFFIN
ALISON DUMBLETON
JACKIE DUNSTONE
NICCI HAYNES
JULIE HOLMES
JUDY HORACEK
ELLY KENT
JAMES LANGER
YUEN YIN LEE
JULIA MURRAY
MARINA NEILSON
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
97
98
99
100
101
102
103
104
105
106
107
108
ARTISTS
AMY NGUYEN
NATALIE SANDERS
KATE SMITH
TARA TROTT
YOKO YAMAGUCHI
109
110
111
112
113
JO-ANNE COCKS
ROBERT COWAN
ERIN DUFFIELD
SARAH FIRTH
JANE LEES
DAVID MCROBERTS
AYAKO SAITO
SIMON SCHEUERLE
DANIEL STEWART MOORE
RACHEL WILLMOTT
EMMA WISE
115
116
117
118
119
120
121
122
123
124
125
CATHERINE BROWNSCOMBE
AMELIA DAVIES
RACHEL FIELDS
LAUREN GORHAN
MIM KELLY
CARLY PROWSE
127
128
129
130
131
132
ALISON MARTIN
ANGELA MITCHELL
DAVID MOSES
ROBBIE PICKETT
ALLAN RIMINGTON
MARK SCHULZ
LINDSAY WILLIAMS
134
135
136
137
138
139
140
SCULPTURE
TEXTILES
WOOD/FURNITURE
ISHA BAE
MAJELLA BROWN
TRINA CALOCOURAS
JAMES CAMPBELL
JOANNE CARVOLTH
JUSTIN CLUNE
ANGELA DODGSON
TOM HALL
ERICA F. HURRELL
JEN KEATING
MAGDALENA LABUDA
MICHELLE LUCRE
TIMO NEST
PHILIP PRESTON
VISSUKAMMA RATSAPHONG
SASKIA ROCHE
CHARLES SOFO
TESS STEWART MOORE
SAMUEL TOWNSEND
MATHEW WARREN
OF
ARTISTS
7
CERAMICS
FAY ATTARD
My journey has taken me from tall cylindrical forms in my early work to the roundness, warmth and
friendliness of the full-bodied teapot and bowls.
DIPLOMA OF ART
Along the way adding texture and life to the surface of the pot.
Facetted Pots and Bowls, 2005
stoneware porcelain fired to 1280° in oxidation, red high gloss Shiga glaze
teapot 13 cm (dia), bowl 5.5 x 6.5 cm
Photography: Stuart Hay, ANU photography
CERAMICS
9
CRISTINA BARATINSKAS GOODMAN
BACHELOR OF ARTS (VISUAL)
I use bone china as a metaphor for
the fragility of life, and colour as a
celebration of the wonders of nature.
The spring blossoms on bare branches,
sunbeams appearing through the
clouds and the wonderful colours of
a sunset – these are the influences I
carry through into my work.
Untitled, 2005
bone china, oxides and body stains
13 x 11.5 (dia) cm
Photography: Stuart Hay, ANU Photography
10
CERAMICS
HEATHER BELL
DIPLOMA OF ART
My inspiration for this work springs
from the forms, textures and colours I
see in nature.
Untitled, 2005
porcelain, terracotta
4.5 x 15 x 26 cm
CERAMICS
11
JANA DE SAXE
I know from my own experiences that the ground on which we stand is not always as solid as it may
seem. I seek to articulate this insecurity in my work.
Impression, 2005
ceramics
base 4 x 10.5 x 13 cm, form 7 x 6.5 x 8.5 cm
12
CERAMICS
HELEN-TATIANA DE WEERD
Inspiration for my current work came from looking down at the vast areas of land from a considerable
height. Stoneware and porcelain clays are used.
Aerial Perspective, 2005
stoneware, porcelain
dimensions variable
Photography: Kate Vavasour
CERAMICS
13
JUSTINE DUNMORE
My immediate environment has always
influenced my work. This body of work
is a representation of the memories,
feelings and emotions I experienced
whilst in Glasgow.
Junction, 2005
wheelthrown ceramics
14 x 10.5 (dia) cm
14
CERAMICS
CORINNE FLOYD
Postcards: made after, reference to
journeys, on going remembering
and forgetting, a keepsake, a
snapshot a hello, goodbye, a place
we’d rather be, a memory.
Post 1, 2005
porcelain, paper clay, oxides multifired
11 x 15.5 cm
CERAMICS
15
REIKO HASHIMOTO
Human faces are more than just a
physical phenomenon. They reveal
thoughts, emotions and moods
coloured by cultural complexity.
A Portrait, 2005
ceramics
26 x 21 x 5.5 cm
16
CERAMICS
LOUISE HAYNES
DIPLOMA OF ART
My work reflects my seaside environment. I chose the spherical form because of its autonomy and the
challenge of improving what is already a powerful iconic shape. The work process is a balancing of
control of the ceramic medium without losing spontaneity and individuality.
Drifts, 2005
reduction fired stoneware, matt glaze with cobalt, rutile and titanium
18 x 18 (dia) cm
Photography: Tina Petrohelos
CERAMICS
17
MARYKE HENDERSON
BACHELOR OF ARTS (VISUAL) HONOURS
Soda glaze captivates me with its unpredictability. It reveals the material of the making, the soft plastic
clay, which responds to the glaze surface.
The formality of patterns and joints create tension with the organic surfaces formed by the soda glaze.
Solitude, 2005
soda-fired stoneware
31 x 32 x 12.5 cm
18
CERAMICS
ALICIA KANE
My work is an exploration of materials,
processes and expression inspired
by maps and natural forms, colours,
textures and in burnt landscapes.
Burnt Beginnings, 2005
wheelthrown ceramics
35 x 25 (dia) cm
CERAMICS
19
JACQUELINE LEWIS
DIPLOMA OF ART
This series of vessels explores
our perception and expectation
of movement and positive and
negative space. The surface
areas have allowed me to
experiment with painterly
textures and layering.
Vessels, 2005
stoneware
dimensions variable
20
CERAMICS
HELEN MANTZOURIDIS
The function and character of my work is important to me, to be able to use handmade ware is very
special. These pieces have an element of looseness not found in traditional ceramics.
DIPLOMA OF ART
Stretched Platter, 2005
ceramics
24.5 x 38 x 2 cm
CERAMICS
21
DIPLOMA OF ART
JANETTE MILLER
Revealed, 2005
Southern Ice porcelain, wheelthrown, carved, resist etched, celadon glazes
7.5 x 6 (dia) cm
22
CERAMICS
LISA MONICO
I invite the viewer to study my
abstract forms – what are the
sculptures expressing? Are they
dancing? wrestling? fighting?
Are they being shy, aggressive or
engaged in conversation?
DIPLOMA OF ART
In a world that is increasingly reliant
on electronic communication, the
use of body language for clarity in
communication is becoming a luxury.
See Me – Hear Me series, 2005
handbuilt ceramics
43 x 40 x 23 cm
CERAMICS
23
NATALIE MUIR
Blooming Organics, 2005
ceramics, stoneware clay and stoneware glazes
dimensions variable
Photography: Kate Vavasour
24
CERAMICS
LORNA NAMIKO
My work is an appreciation of the
repetition in our daily lives.
Cup of Life, 2005
ceramics
7 x 7 (dia) cm
CERAMICS
25
KAYE RICE
DIPLOMA OF ART
Work inspired by thoughts of beginnings, interconnectedness, and place.
By the myths and actions that spring from these beginnings and how they linger in our consciousness,
often unnoticed, then seep into our work, lives, our beings.
Dish – Reflecting Place, 2005
ceramics
6.5 x 25 (dia) cm
26
CERAMICS
RONALD SLATER
Always changing, moving, shifting from one state to the next.
Journey reflected upon, 2005
ceramics
15 x 30 x 20cm
Photography: Rachel Kingston
CERAMICS
27
DIPLOMA OF ART
INGE TANNER
“The yachts, the white yachts with their white sails in the sunlight catching the wind and heeling over.”
Lawrence Ferlinghetti “Yachts in the Sun”, in How to Paint Sunlight:
Lyrics Poems and others 1997-2001, City Lights, San Francisco 2001
Untitled, 2005
slipcast porcelain
24 x 14.5 x 10.5 cm
28
CERAMICS
PATRICK TAYLOR
Nature is the true artist. We can only hope to capture just a small piece through our interpretations and
chosen medium.
DIPLOMA OF ART
Nature Skies, 2005
Southern Ice porcelain
bowls 8 x 15 (dia) cm, cylinders 10 x 9.5 (dia) cm
Photography: Boris Hlavica, Broken Hill
CERAMICS
29
DIPLOMA OF ART
PAULINE WELFARE
The concept behind this work is ‘looking inside’, and the forms I have chosen to express this are seeds
and seedpods. Seeds are the beginning of life, and I see them as a metaphor for new ideas, inspiration;
seedpods nurture that beginning. We look inside seedpods and see new life. These pieces are for
contemplation and to look within.
Seeds, 2005
slipcast, stoneware inside porcelain
each object 5.5cm x 5.5cm x 7.8cm
30
CERAMICS
JANETTA WYETH
DIPLOMA OF ART
Dinnerware, 2005
stoneware
dimensions variable
CERAMICS
31
GLASS
DEIRDRE FEENEY
I walk down the corridor
remembering this space, the girl in
the red dress.
I remember going back. No one lived
here any more.
I wake up. I wake up from a dream.
Time + Space. Dream Space.
I wake up. I wake up from a dream.
Untitled (detail, still from video footage), 2005
digital video projection onto cast glass
22 x 20 x 35 cm
Photography: Richard Pedvin
GLASS
33
BACHELOR OF ARTS (VISUAL)/BACHELOR OF ASIAN STUDIES (SPECIALIST)
DAYNA FISHER
34
GLASS
Sentimental Sediment, 2005
cast glass
dimensions variable
TEVITA HAVEA
push pull, 2005
glass, wood, twine
25 x13 x10 cm
GLASS
35
JESSICA HOLTZ
Rollerdoor (detail), 2005
fused, sandblasted and engraved glass
each panel 64 x 7 cm
36
GLASS
OWEN JOHNSON
Untitled (no. 1), 2005
glass, plastic, steel, wood
100 x 50 x 50 cm
GLASS
37
JULIE PARKER
Confronting the stereotypical
representational tropes of
woman enables me to also
explore the ‘redressing’ of
woman as sexual object to
woman as embodied craft
object: a vessel with an
ornamented surface that
reflects the requirements
of idealised feminine body
shape, gestural language and
decoration.
Dressed, 2005
blown photosensitive and opaque glass, encalmo technique
46 x 21 x 4 (dia) cm
Photography: Rob Little
38
GLASS
PATRICIA ROAN
There’s an ocean inside this shell…
Untitled, 2005
installation, glass
dimensions variable
GLASS
39
TAE SCHMEISSER
I am interested in the beauty of the body. From its physical structural layers to the constant energy that
is sometimes violently hectic and sometimes quietly buzzing beneath the surface, but is constantly
radiating from everyone’s core.
Clavicle Neckpiece, 2005
glass, anodised aluminium
16.6 x 172 x 4.5 cm
40
GLASS
V-necklace, 2005
glass, nylon coated wire
6.9 x 3.3 x 4 cm
Assortment of Magnetic Brooches, 2005
glass, rare earth magnets
8 x 3.2 x 3 cm
JANICE VITKOVSKY
Ebb, 2005
murrine technique, fused and lathed glass
20 x 20 x 2.5 cm
GLASS
41
GOLD &
SILVERSMITHING
XIMENA N. BRICEÑO
Banksia Integrifolia from A Banksia is a Banksia is a Banksia series, 2005
sterling silver, monel, titanium, anodised aluminium, stainless steel screw & washers (brooch), gilding metal, anodised aluminium, stainless
steel screws, etching, fold formed (container)
brooch 14 x 1 cm, container 13 x 5.5 x 13.8 cm
Photography: J. Kuhnen
GOLD & SILVERSMITHING
43
BACHELOR OF ARTS (VISUAL)/BACHELOR OF ARTS
MIA-LEE CHING
44
In My Father’s Garden, 2005
container with compass, pins and brooches, gold 750, silver 925, gold plated gilding metal, enamel
22 x 10 (dia) cm
DINA CLARKE
River Stone Neckpiece, 2005
river stones, silver 925, monel
dimensions variable
45
AARON DE SMET
Liquid, 2005
water vessel, copper
11 (dia) cm
46
KATHARINE EDGHILL
Oil and Vinegar Jugs, 2005
silver-plated gilding metal and bronze
16 x 6 (dia) cm
47
NATALIE HARDING
Visceral Vessel, 2005
silver 925, silicon, silicon tubing
dimensions variable
48
LOUISE IERVASI
Untitled, 2005
gilding metal, copper, brass,
dimensions variable
49
SAMUEL MERTENS
Mood Lighting, 2005
silver-plated gilding metal, delrin
35 x 27 x 5 cm
50
EMILY OʼBRIEN
Kitschen, 2005
charm necklace, various materials
dimensions variable
51
EILEEN PROCTER
Aqua Regia, 2005
silver-plated gilding metal
30.3 x 13.3 x 12 cm
52
TANJA TAGLIETTI
T Shaker, 2005
925 silver (tea strainer), silver-plated copper, delrin lid (tea caddy)
tea strainer 16.5 x 7 (dia) cm, tea caddy 22 x 12 (dia) cm
53
PAINTING
ANDREW BATTYE
Everybody wants to live forever, every boy wants to be bigger than dad (detail), 2005
oil on composition board
90 x 122 cm
PAINTING
55
LEAH BULLEN
Bystander, 2005
oil and acrylic on canvas
80 x 60 cm
56
PAINTING
TIFFANY COLE
Untitled, 2005
oil on paper
12.5 x 12.5 (dia) cm
PAINTING
57
CELIA CRONIN
Opus Dei, 2005
oil on canvas
75 x 20 cm
58
PAINTING
MICHAEL EDWARDS
Political Teapot, 2005
oil on canvas
70 x 80 cm
PAINTING
59
ELISSA GAFFNEY
Denial, 2005
carbon and wax on paper on board
25 x 20cm
60
PAINTING
JESSICA GOODACRE
Exposed 2, 2005
oil on canvas
80 x 120 cm
PAINTING
61
GREG HODGE
Atlantic, 2005
oil on canvas
122 x 122 cm
62
PAINTING
KARENA KEYS
Hot Lips, 2005
acrylic on wooden strainer
180 x 90 cm
PAINTING
63
ERIK KREBS-SCHADE
Self Portrait 050901, 2005
synthetic polymer paint on canvas
40 x 50 cm
64
PAINTING
YOLANDE NORRIS
I am intrigued by the inability
of the mind to let go of certain
moments – the memories and
images that will come to form
the story of our lives.
Untitled, 2005
mixed media on canvas
45 x 30 cm
PAINTING
65
TIFFANIE RADZIMINSKI
“I simply believe that its a good thing
to walk away from a picture with more
questions than you had when you started
looking”
Bill Henson
Untitled, 2005
acrylic, ink, spray paint on canvas
300 X 150 cm
66
PAINTING
LAUREN REID
Untitled, 2005
oil on canvas
35 x 30cm
PAINTING
67
CAROLINE RIETHMULLER
68
“It is amazing how complete is the
delusion that beauty is goodness.”
Leo Tolstoy, “The Kreutzer
Sonata”, 1890 from Great
Short Works of Leo Tolstoy,
HarperCollins,
New York, 2004, p. 369
Satin Bomb, 2005
acrylic and oil on canvas
120 x 80 cm
PAINTING
MEG ROBERTS
Maurice Merleau-Ponty,
Phenomenology of Perception,
Routledge and Kegan Paul, London,
1962. p.98
BACHELOR OF ARTS (VISUAL) HONOURS/BACHELOR OF ARTS
“…my whole body for me is not an
assemblage of organs juxtaposed in
space. I am in undivided possession of
it and I know where each of my limbs
is…”
Untitled, 2005
oil, graphite on canvas
100 x 65 cm
PAINTING
69
IAN ROBERTSON
I investigated landscape painting as a vehicle for conceptualising profit, history, identity, spiritual
connection, isolation, the timeless, ownership and custodianship. The viewer is invited to add
their own narrative to the stylised sky, horizon, vast empty tracts and minimal evidence of human
intervention.
Still Life over Terra Nullius, 2005
oil on canvas
90 x 47 x 2.5 cm
70
PAINTING
AG STOKES (ANN SMITH)
Rough weather, 2005
oil on canvas
98 x 84 cm
PAINTING
71
CLARE THACKWAY
Throughout history Venus has stood
passively, being admired. This work
addresses the notions of beauty and
the objectification of the female form.
The subject of the gaze asks viewers to
consider their own body as an object of
desire. Concepts of exposure, sensuality
and shame are explored by relating the
ideal to an awareness of self.
Venus, 2005
oil on canvas
80 x 123 cm
72
PAINTING
ROSEMARY VON BEHRENS
“Eucalyptus mannifera [Brittle Gum, Red spotted Gum]
BARK: Smooth, powdery white, cream or grey; patches of red in summer before being shed in flakes;
thus revealing another ‘skin’ and providing room for expansion. A metaphor for tentative bridging
steps into a new space, the boundaries of which have yet to be defined.”
Leon Costermans, Native trees and shrubs of south-eastern Australia, Rigby, 1981
Eucalyptus mannifera, 2005
oil on canvas
60 x 80 cm
PAINTING
73
GEORGINA WYATT
“…light moves in us
like blood…”
Maureen Marcus
Crisick, “Suppose”,
from Poetry, 1994
Untitled (Self Portrait), 2005
collage, acrylic, oil pastel and oil on canvas
90 x 80 cm
74
PAINTING
PHOTOMEDIA
ISHA BAE
Negative Capability, 2005
digital video installation, television screens
dimensions variable
76
PHOTOMEDIA
MAJELLA BROWN
I am not interested in obtaining truth that is reflected by documenting reality through photography.
Instead I use photography to bring alternate truths to the images I create. I try to play on my audience’s
own experiences, values, memory, senses and imagination. Inner Sanctum is a statement about
materialism commercial society, and the inevitability of adulthood realisations.
Inner Sanctum; the reflections, fantasies and bitter disappointments of a private person, 2005
installation using
and pillows
dimensions variable
PHOTOMEDIA
77
TRINA CALOCOURAS
...restriction of the body, not the soul; the true form of myself.
The Unseen, 2005
digital photography
100 x 100 cm (4 images)
78
PHOTOMEDIA
JAMES CAMPBELL
Picking up, from Nightclub series, 2005,
digital image
63.7 x 86.3 cm
PHOTOMEDIA
79
JOANNE CARVOLTH
Finding a way to bring a contemporary light to a subject that has been used many times as inspiration
in artworks and poetry for centuries, this work is a reaction to personal inspirations and feelings but
at the same time has a dark theatrical twist of lost love and heart break which is similar to the original
context of the story. The work brings forth a new relationship and story to an old legend, a story of lost
love that the myth of Pegasus still lives on today.
Tomorrow comes today, from The flight of Pegasus series, 2005
digital print
96 x 144 cm
80
PHOTOMEDIA
JUSTIN CLUNE
What is time? We easily perceive the passing of time in a lineal space initiated by two end points.
‘Intermissions’ aims to confront the viewer with a new perception of time, by allowing the viewer to
be suspended in a newly formed time space created by multiple moving images, delivering a place of
reflection.
Intermissions, 2005
video projection still, 9 channel DVD installation, looped, colour, stereo sound
400 x 300 cm
PHOTOMEDIA
81
ANGELA DODGSON
Trash is gossip.
Trash is other people’s lives.
Trash is entertaining, amazing and
downright pointless.
At Trash magazine, we love
everyone’s personal lives,
especially if that person is famous.
Trash is here for your reading
pleasure.
Enjoy Trash.
Trash Cover #1, 2005
digital photograph
100 x 71 cm
82
PHOTOMEDIA
TOM HALL
“In here some of my dreams become reality and some of my realities become dreams.”
Willy Wonka and The Chocolate Factory, 1971
Parmount Pictures
Dicko Drain (still), 2005
video
dimensions variable
PHOTOMEDIA
83
ERICA F. HURRELL
Untitled, 2005
digital images
dimensions variable
84
PHOTOMEDIA
JEN KEATING
The day we stuffed our shirts with grass and pretended we were pregnant ( still), 2005
DVD
dimensions variable
PHOTOMEDIA
85
MAGDALENA LABUDA
DIPLOMA OF ART
This project came up while I was
working in the darkroom on an
assignment. Sometimes when I’m
working on an assignment I don’t like
being intruded upon, that’s just the way
I am. So I thought, I could do this for
an assignment. So I decided that I am
going to do various people with this
topic.
Unwanted Intrusion series, 2005
black and white photograph
50 x 40 cm
86
PHOTOMEDIA
MICHELLE LUCRE
Just Sleep, 2005
multiple video projections
dimensions variable
PHOTOMEDIA
87
TIMO NEST
Meditate on Blue, 2005
C-type photograph
100 x 120 cm
88
PHOTOMEDIA
PHILIP PRESTON
Hey Mum I’m on TV, 2005
injet paper print and acetate
90 x 121 x 1 cm
Philip has completed the Bachelor of Arts (Visual) in a Bachelor of of Arts (Visual)/Bachelor of Arts combined degree.
PHOTOMEDIA
89
VISSUKAMMA RATSAPHONG
Mr Cashman, 2005
screenprint on paper
180 x 90 cm
90
PHOTOMEDIA
SASKIA ROCHE
Saints are Sinners, 2005
digital laser print
60 x 40 cm
PHOTOMEDIA
91
CHARLES SOFO
Charlie and Emily, 2005
digital image
dimensions variable
92
PHOTOMEDIA
TESS STEWART MOORE
Untitled, from Facades series, 2005
C-type print
80 x 90 cm
PHOTOMEDIA
93
SAMUEL TOWNSEND
“The interior represents the universe for the Private individual. He collects there whatever is distant
whatever is of the past. His living room is a box in the Theatre of the world.
Karen Knorr, Marks of Distinction, Thames and Hudson, London 1991 p. 50
Sue and Michiko, 2005
digital print
60 x 90 cm
94
PHOTOMEDIA
MATHEW WARREN
Hollywood ending, 2005
installation
dimensions variable
PHOTOMEDIA
95
ANTONIA AITKEN
Stepping onto the ancient dry lakebed, I am overwhelmed by space and silence. Conscious of my foot
on this sacred place I tiptoe across. Dotted with saltbush, the Lake Mungo bowl encircles and the dome
of the sky engulfs as it changes through the day.
Lake Mungo, April 2005
Mungo traces, 2005
multiple-plate etching
39 x 49 cm
Photography: Marcia Lochhead
97
ANA BIFFIN
Liminal zone: the space between knowing and feeling.
Untitled (detail), 2004
graphite on drafting film
100 x 3200 cm
Photography: Marcia Lochhead.
98
ALISON DUMBLETON
The relationship between the etching plate, the surface of the drawing and the fluctuating space that
my marks inhabit, reflect a continual negotiation between the intimate act of seeking out the body and
losing other possible selves. Through the gesture of searching/drawing, the self is tentatively located,
lost, moving in order to be found and ultimately leaving the traumatic traces of a grappling self.
Untitled, 2005
paper, charcoal, pigment, wax, shellac, gesso, varnish
150 x 140 cm
99
JACKIE DUNSTONE
This has been an exploration of the frozen landscape that has led to the discovery of the aesthetics of
snow and ice.
Cold Light, 2005
white ink on mylar, nylon, acrylic, PVC, LED illumination.
8 panels,150 x 600 cm each
Photography: Russell Kerrison
100 PRINTMEDIA & DRAWING
Freeze 3 (detail), 2005
ice, upright freezer
dimensions variable
NICCI HAYNES
Martin Luther King,
Jr., The Measure of a
Man. Philadelphia.
The Christian
Education Press, 1959.
“Everything that we
see is a shadow cast by
that which we do not
see”
Following the line (detail), 2005
wire
40 x 60 cm
PRINTMEDIA & DRAWING 101
JULIE HOLMES
monkeys (detail), 2005
charcoal, floor polish, shellac on paper
170 x 150 cm
JUDY HORACEK
Ennui, 2005
screenprint on cardboard
37 x 40 x 29 cm
ELLY KENT
“…traditions are continually invented and assimilated in an ongoing process of hybridity …the importance
of hybridity is not a third moment that emerged from two original sources, but as a “third space” which
enables other positions to emerge from it. The process of cultural hybridity constantly gives rise to
something new and unrecognisable, something that does not necessarily occur in the ordered musée
imaginaire of national cultures.”
Homi K Bhabha, The location of culture. London, New York,
Routledge, 1994 p.172
Embossing on Arches Rives (detail), 2005
ring pull embossing
600 x 70 cm
JAMES LANGER
small stories series,2005
etching
16 x 18 cm
YUEN YIN LEE
Spirit I, 2005
charcoal on paper
112 x 76 cm
JULIA MURRAY
Cleanse, 2005
carved soap
4.5 x 8.5 x 3cm
MARINA NEILSON
Untitled, 2005
photocopy
25 x 18 cm
AMY NGUYEN
“And after we are in the new house, when memories of other places we have lived in come back to us,
we travel to the land of Motionless Childhood, motionless the way all Immemorial things are.”
Gaston Bachelard
The Poetics of Space
Beacon Press, Boston, 1994 edition, p. 3
ime Piece, Flight of Fancy from Shadow Box series, 2005
box frames, paper, found objects, lights
2 panels, 15 x 15 x 4 cm each
NATALIE SANDERS
Untitled, 2005
etching
29.5 x 58 cm
KATE SMITH
Beret, 2005
digital image
dimensions variable
Photography: Charlie Sofo
TARA TROTT
Moments gone, 2005
woodblock relief print on receipts
60 x 40 cm
YOKO YAMAGUCHI
Australian Wattle, 2005
linocut seal on Japanese Unryu-paper,embroidery thread
162 x 132 cm
Photography: Amy Nguyen
SCULPTURE
JO-ANNE COCKS
Boxed Pumbas, 2005
stockings, fishnet stockings, polystyrene balls
140 x 110 x 30 cm
Coloured stockings and fishnet stockings supplied by The Sock Drawer
SCULPTURE 115
ROBERT COWAN
This year’s work represents
a fusion of my explorations
into the properties of lead as
a sculptural material and a
long-standing interest in relief
sculpture.
Solar Voids, 2005
lead, steel
106 x 90 x 30 cm
116 SCULPTURE
ERIN DUFFIELD
Through the Brolley Forest, 2005
copper pipe, wire, model aeroplane paper, dope
dimensions variable
SCULPTURE 117
SARAH FIRTH
My work this year has focused on the creation of narratives derived from my experience of the world.
Personal concerns about the current tension between the natural and constructed human world have
condensed into the figure of the anthropomorphised tree; a shaman scribing indecipherable messages
from the ether.
Tree, 2005
12V battery powered polarity switch, steel armature, foam, masking tape, PVA, spray paint, black pens, paper
dimensions variable
118 SCULPTURE
JANE LEES
Bustle, 2005
galvanised wire, tissue paper, chiffon
11 x 30 x 18 cm
SCULPTURE 119
DAVID MCROBERTS
Untitled, 2005
mixed media
dimensions variable
120 SCULPTURE
AYAKO SAITO
Untitled, 2005
plaster
58 x 60 x 64 cm
Photography: Tom Hall
SCULPTURE 121
SIMON SCHEUERLE
Candy, 2005
mixed media
dimensions variable
122 SCULPTURE
DANIEL STEWART MOORE
Imagine there is a network of human influence. It affects everything that we are in contact with – a
type of energy field that we simultaneously manipulate and comply with. If we could see it how would
we behave?
Collaboration, 2005
steel
100 x 300 x 50 cm
SCULPTURE 123
RACHEL WILLMOTT
Gantry, 2005
mild steel
180 x 356 x 60 cm
124 SCULPTURE
EMMA WISE
Unsafe Passage, 2005
polystyrene, lead
dimensions variable
SCULPTURE 125
TEXTILES
CATHERINE BROWNSCOMBE
Isaiah 49:16
As Christianity has spread, artists and the church have found it necessary to present Jesus in a light
that reflects the people and culture converted; this assimilation of Christ’s appearance is not unique
to particular cultures. This work focuses on the notion that Christianity is not exclusive to western
countries and is actually available to everyone.
In this series of work I have subverted the conception of Christianity as a western religion and
explored the all-encompassing love of God. These faces represent the people of God, belonging to
all nations; they are part of a larger body of work that expresses a personal understanding of the
multicultural nature of Christianity.
‘See, I have engraved you on the palms of my hands. Your walls are ever before me.’
Hands / Yadoth, 2005
silk, cotton, poly/cotton, polyester thread
dimensions variable
TEXTILES 127
AMELIA DAVIES
In the body of work Knit-inlove I explore the parallels between the process of machine knitting and the
journey and process of relationships.
Knit-inlove, 2005
digital collage, mixed media
dimensions variable
128 TEXTILES
RACHEL FIELDS
Liberty, 2005
cotton, viscous rayon, polyester, pigment
170 x 80 x 30 cm
Rachel Fields has completed the Bachelor of Arts (Visual) component in a Bachelor of of Arts (Visual)/Bachelor of Arts combined degree.
TEXTILES 129
LAUREN GORHAN
My work celebrates the inanimate object as having a unique past and a distinct character that evokes
memory and emotion. Through my works I aim to draw attention to the human experience and
condition. My work invites the viewer to reflect on their own experience and memory, challenging the
viewer to discover what is hidden and revealed within the ornamentation of our lives and what that
uncovers about the individual.
from the diabolical to the domestic, 2005
digital design print on canvas
40 x 60 cm
130 TEXTILES
MIM KELLY
This body of work highlights the individual markings on every denim garment seam to encourage
consideration of the invisible and often exploited hands that construct our clothing.
Kitty Hauser, “A Garment in the dock; or how the FBI illuminated the
prehistory of a pair of denim jeans”, Journal of Material Culture,
Vol.9(3) SAGE Publications, London, 2004, p.307
“For here the maker and wearer meet, in a sense, on the plane of the garment that one has made
and the other worn.”
dusting for finger prints, 2005
recycled denim
dimensions variable
TEXTILES 131
CARLY PROWSE
‘“Is all that we see or seem
But a dream within a dream?”
Edgar Allan Poe, “A Dream within a Dream”
From Edgar Allan Poe Poems and Essays on Poetry, Carcanet Press Limited, Manchester 1995
Digital images from dream series, 2005
felt, silk organza, found fabrics, collaged with elements of pigment printing, machine embroidery and degumming
dimensions variable
132 TEXTILES
WOOD/FURNITURE
DIPLOMA OF ART
ALISON MARTIN
Chocolate Table or Table for Chocolates
The structure
The detail
Separation from the wall
The intimacy of space
The element of surprise
Opportunity to learn
The struggles to write
Chocolate Table or Table for Chocolates (detail), 2005
kwila, koto
100 x 25 x 50 cm
Photography: Robyn Kinsela
134 WOOD/FURNITURE
Incognito
In the quiet space of inner delights
The light and shade
The drawer to a better life
Emancipation
The exploration of text.
To accrescere knowledge
The table for chocolates or chocolate table
ANGELA MITCHELL
Vincent van Gogh
DIPLOMA OF ART
“Great things are not done by impulse, but by a
series of small things brought together.”
Scandinavian Work Stands (detail), 2005
coachwood, silver ash
79 x 60 x 40 cm
WOOD/FURNITURE 135
DAVID MOSES
DIPLOMA OF ART
A design is an evolution. It will
originate in some way; it will
be given substance as a sketch,
a maquette, or a full-scale 3D
‘drawing’. At all stages the
object and outcome are reviewed
and challenged. Influences may
arise from the object’s perceived
need, the object’s space, material,
engineering limitations and the final
requisite needs to build the object.
The negative spaces in the object
are part of its form and must flow
through the design.What might
be called a ‘good design’ keeps
giving opportunities for review and
evolvement.
Plywood Stool, 2005
plywood, rubber
67 x 36 x 96 cm
136 WOOD/FURNITURE
ROBBIE PICKETT
One man’s desire to impact the lives of others through traditional methods and skills. Recycled timber,
brass, and steel were used to handcraft a mortise chisel. The chisel was used to build the traditional tail
vise of a cabinetmaker’s workbench which facilitates the making of contemporary furniture.
DIPLOMA OF ART
Traditional Workbench, Tail Vise and Mortise Chisel, 2005
european beech, brigalow, brass, steel
9 x 50 x 150 cm
WOOD/FURNITURE 137
DIPLOMA OF ART
ALLAN RIMINGTON
Wood Artisan’s Workbench, 2005
tawn, rock maple, jarrah, endgrain balsa
95 x 175 x 75 cm
138 WOOD/FURNITURE
MARK SCHULZ
My investigation with wood explores methods and technologies of combining wood with industrial
materials to create a form that is functional as well as aesthetically pleasing to the viewer and user.
DIPLOMA OF ART
Wood Artisan’s Drawing Table, 2005
beech, blackbean, Laminex
95 x 110 x 68 cm
WOOD/FURNITURE 139
LINDSAY WILLIAMS
Ladder Back Chair (detail), 2005
white ash, beech, paper cord
120 x 60 x 50 cm
140 WOOD/FURNITURE
141
WORKSHOP STAFF 2005
CERAMICS
JANET DEBOOS (HEAD)
GREG DALY
PATSY HELY
JOANNE SEARLE
TIM SPELLMAN (T/O)
ANITA MCINTYRE
GAIL NICHOLS
VISITING ARTISTS
TRUDY GOLLEY (CAN)
IAN JONES (AUS)
MORAG MCKENNA (AUS)
LISA NAPLES (USA)
HISAYO ODAKA (JP)
KAY PEMBERTON (AUS)
RUTHANNE TUDBALL (UK)
ALAN WATT (AUS)
GLASS
RICHARD WHITELEY (HEAD)
NADÈGE DESGENÉTEZ
PHILIP SPELMAN (T/O)
SOPHIA EMMETT
TIMOTHY RINGSMUTH
ITZELL TAZZYMAN
VISITING ARTISTS
SCOTT CHASELING (AUS)
NADÈGE DESGENÉTEZ (FR)
KATHY ELLIOTT (AUS)
JIRI HARCUBA (CZ)
WARREN LANGLEY (AUS)
KLAUS MOJE (AUS)
RYUHEI NADATANI (JP)
KIRSTIE REA (AUS)
JAROMIR RYBACK (CZ)
142 STAFF
GOLD &
SILVERSMITHING
JOHANNES KUHNEN (HEAD)
CINNAMON LEE
ROGER HUTCHINSON (T/O)
HELEN AITKEN-KUHNEN
SALLY MUSSETT
VISITING ARTISTS
NORMAN CHERRY (UK)
CARLIER MAKIGAWA (AUS)
OLIVER SMITH (AUS)
PAUL DERREZ (NL)
PAINTING
ROBERT BOYNES (HEAD)
RUTH WALLER
PETER MALONEY
DEBORAH SINGLETON (ON LEAVE)(
SIMON RAMSEY (T/O))
PABLO SHOPEN (T/O)
GARY SMITH (T/O & MENTOR)
NADA CELESTE
NOEL FORD
WARATAH LAHY
ELISA CROSSING
PETER JORDAN
VISITING ARTISTS
ANDREW ANTONIOU (AUS)
CELESTE CHANDLER (AUS)
GRAHAM EADY (AUS)
KATHERINE HATTAM (AUS)
DEREK O’CONNOR (AUS)
PHOTOMEDIA
MARTYN JOLLY (HEAD)
DENISE FERRIS
PETER FITZPATRICK
JASON O’BRIEN (T/O)
ROZALIND DRUMMOND
CATHY LAUDENBACH
MARCIA LOCHHEAD
MARZENA WASIKOWSKA
DAVID WILLS
VISITING ARTISTS
MELITA DAHL (GER)
LULU RATNA (INDON)
DAN SHIPSIDES (USA)
PRINTMEDIA &
DRAWING
PATSY PAYNE (HEAD)
DIANNE FOGWELL (EABS)
JOHN PRATT
SASHA KUKOC (T/O)
ALISON ALDER
HEATHER BURNESS
CECILE GALIAZZO
MARIE HAGERTY
TESS HORWITZ
PETER JORDAN
ANDREW KAMINSKI
KIM MAHOOD
PETER MALONEY
DEBORAH PEROW
PAUL PIESLEY
VISITING ARTISTS
RAYMOND ARNOLD (AUS)
JACQUIE DRIVER (AUS)
JAN HOGAN (AUS)
SERAPHINA MARTIN (AUS)
MIKE PARR (AUS)
WORKSHOP STAFF 2005
SCULPTURE
GLEN DUNN
NOELENE LUCAS
AMANDA STUART
KENSUKE TODO
VISITING ARTISTS
UDOM CHIMPUKDEE (THAI)
DADANG CHRISTANTO (AUS)
JINHO CHOI (KOR)
ANTE DABRO (VISITING FELLOW)
TEXTILES
VALERIE KIRK (HEAD–ON LEAVE)
ANNIE TREVILLIAN (A. HEAD–SEM 1)
JENNIFER ROBERTSON (A. HEAD–SEM 2)
MONIQUE VAN NIEUWLAND (T/O)
JILL PETTIFER
SHARON BOGGON
NOEL FORD
BELINDA JESSUP
VISITING ARTISTS
ANTON VEENSTRA (AUS)
JENNIFER ANGUS (USA)
HENNING EICHINGER (GFR)
KATE CAMPBELL-POPE (AUS)
WOOD/FURNITURE
RODNEY HAYWARD (HEAD)
IAN GUTHRIDGE
GREG ST JOHN (T/O)
VISITING ARTISTS
HOWARD ARCHBOLD (AUS)
ROBYN KINSELA (AUS)
IAN PERCIVAL (AUS)
CORE STUDIES
VIVIENNE BINNS (HEAD)
DAVID JENSZ
TIM SPELLMAN (T/O)
GEOFF FAQUHAR (T/O)
ALISON ALDER
NADA CELESTE
ELISA CROSSING
GLENN DUNN
MARIE HAGERTY
STEVEN HOLLAND
MARCIA LOCHHEAD
JAN MACKAY
GAIDA MACS
ROY MARCHANT
KATE MURPHY
TONY STEEL
TESS HORWITZ
ART THEORY
GORDON BULL (HEAD)
ANNE BRENNAN
HELEN ENNIS
CHAITANYA SAMBRANI
CHRIS CHAPMAN (T/O ART FORUM)
SARAH RICE
STEPHEN ZAGALA
MERRYN GATES
COMPUTER ART
STUDIO
GILBERT RIELDELBAUCH
EDITION & ARTIST
BOOK STUDIO
DIANNE FOGWELL
CAREN FLORENCE (T/O)
ENVIRONMENT STUDIO
JOHN REID
MICHAEL LE GRAND (HEAD)
PAUL HAY
DAVID JENSZ
WENDY TEAKEL
NICHOLAS STRANKS (T/O & FOUNDRY
MANAGER)
VISITING ARTISTS
LEANNE BEAR
IAN BETTINSON
CHARLES COOPER
MARGIT BRÜNNER
INKJET RESEARCH
FACILITY (
PHOTOMEDIA WORKSHOP)
PETER FITZPATRICK (RESEARCH)
JASON O’BRIEN (RESEARCH)
DAVID WILLS (PRODUCTION)
LUISA ABELLO (PRODUCTION)
STAFF 143
DESIGN ARTS:
NEW DEGREES IN
The Australian National University (ANU) in
Canberra advances Australia’s intellectual and
creative capacities through high quality researchled education in the creative arts and humanities,
sciences and social sciences. ANU is linked with
leading research intensive universities in Asia,
Europe and the USA in partnerships bringing new
opportunities for research, teaching, collaboration
and exchange.
ANU SCHOOL
OF ART
Within the Faculty of Arts, the ANU School
of Art offers first-class facilities for visual
arts, crafts, design, computer, video, and
environmental teaching and research. The
School is practice based and promotes quality
professional activity, performance, exhibitions,
visiting artists, field studies and international
exchange. All students enjoy dedicated studio
space and graduate students have the same access
privileges to any of the courses and specialist
facilities in the School’s Workshops and Studios
as members of academic staff.
144 DESIGN ARTS
BACHELOR
3
YEARS
FT
OF
2006
DESIGN ARTS(BDA)
The BDA aims to prepare students for careers
as professional designer-makers. The program
is offered in all disciplines but has particular
relevance to students in Ceramics, Glass, Textiles,
Wood/Furniture and Gold & Silversmithing.
It utilises current digital technology in design
development providing an ideal platform for
future design professionals. Students undertake
Core Studies in semester 1 with Semesters 2–6
focussing on the relevant Workshop discipline
as the major study. This is supported by art and
design theory courses and complementary studies
including 3D computer modelling and drawing,
inkjet printing and rapid prototyping.
MASTER
1
YEAR
OF
FT, 2
DESIGN ARTS (MDA)
YEARS
PT
The MDA is a 48-week coursework program with
a particular emphasis on technical, design and
production outcomes. A study program relevant
to the design discipline is constructed on an
individual basis in one of the Glass, Gold and
Silversmithing, Ceramics, Textiles and Wood/
Furniture Workshops. This course is designed
for graduates and qualified professional artists
who wish to pursue practical studies in depth and
to develop their practice to a higher artistic and
academic level in the relevant discipline.
ABOUT
THE
SCHOOL
OF
ART
The ANU School of Art provides a unique study environment for the visual arts.
The University campus offers excellent resources for research and the study of
art and design in a wide range of specialist disciplines. The ANU School of Art
features an extensive art library, exhibition calendar, visiting artists program, and
regular access to the national cultural institutions located in Canberra.
The ANU School of Art has attracted to its staff some of Australia’s most distinguished artists
with national and international reputations in ceramics, drawing, glass, gold and silversmithing,
painting, printmedia, sculpture, textiles, wood/furniture and art theory. Major studies are supported
by opportunities in digital art, multimedia, the Edition and Artist Book Studio, papermaking, the
Environment Studio, field studies and overseas exchange for students.
The ANU School of Art’s undergraduate and postgraduate programs provide for introductory to
advanced study in the practice of art through coursework, project work and research in the range of
visual arts and design practices offered in the School’s workshops and studios.
Undergraduate students may take the three-year Bachelor of Visual Arts (BVA), Bachelor of Design
Arts (BDA), the fourth year Honours program, or the two-year Diploma of Art. In addition, the
combined degrees of Bachelor of Arts/Bachelor of Visual Arts (BA/BVA) and Bachelor of Arts/
Bachelor of Asian Studies (Specialist) (B.Asian/BVA), Bachelor of Science (Forestry)/Bachelor of
Visual Arts (BSc/BVA) are available. The Centre for New Media Arts (CNMA) offers studies in
computer animation; computer music and digital video through its BA (Digital Arts) and BA (New
Media Arts) programs.
Through the Australian National University Graduate Program, ANU School of Art visual arts
offers research degrees leading to the PhD and the Master of Philosophy in both studio practice and
conventional thesis modes. The coursework graduate degrees include the two year Master of Arts
(Visual Arts), the one year Master of Visual Arts and the two semester Graduate Diploma of Art (by
studio practice or by coursework).
For further information;
W: www.anu.edu.au/art
W: http://arts.anu.edu.au
T: (02) 6125 2898 or (02) 6125 5810
E: [email protected]
ABOUT THE SCHOOL 145
ACKNOWLEDGEMENTS
GRADUATE EXHIBITION 2005 CATALOGUE
Australian National University School of Art Gallery
GALLERY PROGRAM CO-ORDINATOR:
GALLERY ADMINISTRATIVE ASSISTANTS:
EASS CO-ORDINATOR:
INTERNS:
INSTALLATION TEAM:
Bronwen Sandland & James Holland (Acting)
Julie Cuerden-Clifford and Jay Kochel
Gaida Macs
Alicia Kane, Dennis Mortimer
Raquel Gabiola, Stephanie Jones, Simon Scheuerle, Dave
McRoberts, Dan Stewart Moore, Geoff Farquar-Still
GALLERY MINDERS:
CATALOGUE DESIGN AND LAYOUt:
COVER ARTWORK:
DIRECTOR’S PORTRAIT IMAGE:
EDITORIAL ASSISTANCE:
COVER ARTWORK SCANNING:
PRINTING:
Kate Smith, Rozalind Drummond
James Holland, Jay Kochel
Jay Kochel
Rene Lawler, Melanie Hill
Emma Wise
Inkjet Research Facility, ANU
Goanna Print with special thanks to Phil Abbott
EDITION:
ISBN:
1300
07315 30438
PUBLISHER:
Photographs are by the artist unless otherwise credited.
Measurements are in centimetres, height before width, then depth, diameter (dia) inserted where appropriate
© The artists and the ANU School of Art Gallery. All rights reserved.
W: http://www.anu.edu.au/art E: [email protected]
T: (02)6125 5841 F: (02)6125 0491
STREET ADDRESS:
POSTAL ADDRESS:
Corner of Ellery Crescent and Liversidge Street, Acton ACT
ANU School of Art Gallery, Building 105,
Australian National University ACT 0200 Australia
ACKNOWLEDGEMENTS 147

Grad Show 2005 - School of Art

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Page 14 - Fruitport Area News

Frontiers In Life Science Bachelor

Aerial Photography - Lakes Region Planning Commission

Anders Petersen - RadicalMatter.com

When Colette Foisy-Doll arrived in Qatar last year

Kacie Jo Lawrence - Hello! I`m Kacie Jo