Allen de Carteret
Mary van den Broek
Mia Mala Mcdonald
Stephanie Freda Leigh
Allen de Carteret
Allen works within a field that maintains a fluid interaction between the languages of figuration and abstraction, Allen de Carteret explores ways in which visual information accumulates as visual metaphor for reality, establishing visual relationships through strategies of intuitive play and the application of rationally constructed spatial ordering.
Andrew Long displaces form and function to explore concepts of framing and questions of use-value. His works reflect on the broader meanings behind utilitarian materials and methods of reproduction, situating them as literal and theoretical frames.
Annette Chang’s artwork is centered on reconfiguring found and existing materials by shredding, cutting, collaging, weaving and painting to create two and three-dimensional artworks. The materials used are primarily recycled newspaper, fishing wire, plastic and other pre-used materials. She is interested in being innovative with common materials in order to change how they are perceived and experienced by the viewer.
Utilising Sculpture and a Documentary style of photography. Malzone’s practice explores entropic processes through attentiveness to sites, materials and objects that have undergone various forms of transformations. He aims to engage with ideas around disorder, displacement, degeneration, death and life cycles.
The laws of nature invite change and impermanency. Chonticha’s artwork aims to present ephemerality of life inspired by the teaching of Buddha in relation to nature and being. It applies these principles as an approach for multidisciplinary art practice, using video, printmaking, photography and drawing to record time and change.
Using painted and drawn layering techniques, Claire Lefebvre’s work investigates notions around interiority. By pictorialising an infinite, immersive field, Claire encourages wonderment, contemplation and meditation. Informed by ideas about mysticism, spirituality and psychology, she explores the acts of creating and experiencing immersive space.
These artworks are about responding to a space both indoor and outdoor, merging with its architectural feature to accentuate it as a part of the artworks. Materials such as, acrylic paints, coloured paper, acetate, cardboard and found objects are used to construct the work, which are located within unexpected places both indoor and outdoor. They’re aims to take advantage of overlooked space to create colourful artworks that allows the viewer to experience colour as well as having a new experience within the site.
Through the genre of landscape painting, Edward Niznik explores the mystery that surrounds the coming together of matter and consciousness. His projects investigate the natural landscape. Through integration of painting, geometry, abstraction and use of vibrant colour his compositions aim to create a sense of space and reflection one can experience in nature.
Through his work he extends an invitation to the viewer to ponder his or her own sensory experience. His often minimal, chromatic paintings offer a space for analysis of experience which draws us further inside our selves while leading us into the endless expanse of the horizon. It is this blending of internal experience with the external view that helps us explore the void between structure and consciousness.
Eugenia Raftopoulos’ paintings extend on the genre of portrait painting using motifs of cavities, blockage, and emptiness to explore notions of femininity as masquerade. The disruptions to the image are intended to operate as a metaphor to manifest a psychologically charged response the representation of idealized feminine beauty in visual culture.
She uses the body, costume and theatricality to create an imaginative space whereby perceived subjectivity is put into question and a metaphor for the potential to transform physiological states is created.
Her work aims to synthesize the conjunction between fine art and contemporary performance (particularly physical theatre and improvised dance) and transform ephemeral live performance to installation to extend the life of the work.
She uses her own body, fabric, cardboard, found objects and photography to create immersive installation and performance experiences that invites audiences to engage in her surreal, otherworldly, often bizarre world that alludes to dream and transcendental states of being.
Rhythm and Noise; Reflections on listening as a conscious reframing of perspective. This project presents a series of visual ruminations on a predominantly auditory phenomenon using abstract photography, handmade animations and sound.
The concept of death and passing holds great contradictions. On the one hand we are faced with the absolute finality, yet on the other we recognise it as a transition from one state to another. It is through these reminders that our pasts meet our future.Jessica explores the elusive and often indescribable emotions that surround the experience of loss. Through the employment of sculpture, taxidermy, casting processes and photography, her work speaks to notions of absence, the abject and the uncanny.
[AD]DRESSING DEATH investigates the physical vestiges of death and explores ideas around mortality and transformation of the body that occurs at death.
The project aims to make a connection between the scientific materiality of death with reminders of human life, the transitory nature of existence and the regenerative cycles of life and death.
Using photography, narrative, sculpture and installation and drawing on forensic and scientific methodology the artworks aim to create a space for reflective and transformative contemplation of death beyond the experience of finality and loss.
Mark’s work investigates the spoken and unspoken.
Mary van den Broek
Mary is interested play and connections between people, she uses play as a subject within her work, transforming scale, form and use. She hopes that by playing together in our world we can move beyond isolation and fear of the other.
Mia offers deeply personal and collective narratives through modes of constructed storytelling, portraiture and collaborative exchange.Mia is deeply interested in people and this is the real essence of her work. In telling other people stories alongside her own Mia is privileged to disclose intimate personal narratives that allow a deeper understanding of human behavior.
Using a piece of traditional fabric from Mozambique, the Capulana, Nito explores the traditions, rituals and cultures of both his homeland and his adopted country Australia. By layering his canvases with various textures and fabrics and using bright colours representing his Mozambican life, Nito delves into the unconscious parts of his existence as a migrant to Australia. He invites the viewer to explore this juxtaposition with him as he brings to life on the canvas the interaction of his worlds.
Penny’s work explores the development of an absurd monstrous that engages both the uneasy and the pathetic. What makes us uncomfortable, and why are we both drawn to and repelled by the abject? This bind is referenced through the uncanny by deforming and animating human-like shapes in ways that locates these sculptures as monstrous mutants. Inflatable has a proximity response, in the passive state the sculpture looks pathetic, flaccid, and harmless, and once triggered an industrial fan is activated and the creature jumps to life.
Straddling the boundaries between abstraction and representational forms, Polly’s work explores, colour, pattern and layering through the medium of painting. It borrows freely from the media imagery in our consumer culture and explores notions of consumption and desire by highlighting the volume and cacophony of imagery to which we are incessantly exposed. Through cropping, juxtaposition, and layering, images are transformed, and the distinction between what is real and what is representational dissolves away.
Sarah explores concepts of volume/ internal and external space of abstract geometric forms through the making of both objects and jewellery. The work considers concepts of contrast and composition between positive and negative space through colour, the use of industrial materials and non-representational, constructed hollow forms.
Stephanie Freda Leigh
Stephanie Freda Leigh’s practice defines and employs a feminist approach to dismantling the traditional strategies of the male gaze in order to critically engage with the issue of the objectification of the female body. Leigh’s work will challenge the use of the female form in pornography by carefully de eroticising the content and investigating the domestic feminine through recontextualising the designed world of furniture and pattern.
Tong aims to rebuild the relationship among specific time, place and characters to portray an emotional tone represented via the staged photography and the documentary photography. Specifically, he consciously integrates these three key elements to convey atmosphere, mood and emotions; thence stimulates viewers’ emotional response. Ultimately, it will discover how the individuals experience the world and how human beings interact with the surroundings via his artwork that expounded in the forms of printed photos, projection and installations.
My practice explores the way intuition and spiritual experience can be mirrored through the creative process. It embraces the idea of an emergent and temporal world. By using video with random technique, colour and scale I have sought to create works that suggest experiences of synchronicity, becoming and transformation. Experiences not quite tangible or based in the real world, yet reminiscent of something familiar.