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MASTER OF FINE ART
RMIT UNIVERSITY School of art MASTER OF FINE ART 2010
Conditions of practice: Conversations, Attentiveness and Sensitivity. Coordinating S taff 2010 Postgraduate candidates Artists works Acknowledgements
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CONDITIONS OF PRACTICE: CONVERSATIONS, ATTENTIVENESS AND SENSITIVITY.
CONDITIONS OF PRACTICE: CONVERSATIONS, ATTENTIVENESS AND SENSITIVITY.
The process of making art requires attentiveness and sensitivity. Attentiveness is an attitude of mind that entails paying close attention to a breadth of knowledge, influences and ideas. It is a state of being receptive and perceptive: an active state of engagement that draws knowledge in. In simple terms being receptive might be considered as having ones radar up, scanning and tuning into relevant frequencies of information. Sensitivity involves a state of thoughtfulness and consideration. Within the process of making art works this is a refinement and focus of ideas, that engages intuition, insight and discernment. It is a filtering of ideas, knowledge and influences to create connections and understandings through a prism of personal reflection and responsiveness. Making art involves a constant bi directional flow between attentiveness and sensitivity. It is both an awareness of a field of knowledge in which
an individual’s practice is being situated and an understanding of difference: the demarcation of ones own practice from this broader field where an individuals sensitivities and sensibilities locate avenues for making. This requires an astute awareness of one’s individual approach to practice and methods of making that give knowledge relevant form as art works. The outcome of this enquiry through the public display of art works is additive. It brings personal insights to a tableau of knowledge and partakes in a dialogue through practice as a cultural contributor. The studio is the principle site for this enquiry and the place in which new knowledge in the form of art works is generated. Learning happens in making and through conversation. These conversations are a generous exchange of ideas and knowledge that happens on a peer-to-peer level and between staff and students.
The conversations that happen in the studios on a daily basis can range from how to use wall plugs to existential discussions about the state of the world and our place within it. Politics, popular culture, beauty, the sublime, personal histories, paradox, intuition and the inexpressible fill the air of the studios as students test their inner content and means of expression. What makes this activity so challenging is the personal nature of this undertaking, and the incredibly broad and varied discourse that informs contemporary art. Meaning processes continually shift in relation to visual cues, unexpected outcomes and stimulating contexts. This can be overwhelming or indeed underwhelming, however, every now and then a new insight arrives, prompting an inspired idea or process. The outcome if this is artwork that can surprise and delight. Works of subtle nuance that give a voice to individual insights and make a valuable contribution to their field of knowledge. It is a privilege as staff members to be engaged in
and contribute to this process. In assisting in and guiding students through their learning we learn with them. This exchange of knowledge enriches the program, the staff and the student body. While this graduating group of students is preparing to leave the educational framework they will continue to engage their sensitivities and attentiveness in the making of artworks. Conversations will enhance this creative process and assist in the development of these works. This will be with their peer group that they move forward in to professional practice with and an expanding network of a community of likeminded art practitioners. While the MFA program is an ending the journey is just beginning.
SAllY MANNAll WITh A CONTRIbuTION bY lARESA KOSlOFF ON CONVERSATIONS IN ThE STuDIO.
Coordinating Staff 2010
PROgRAM COORDINATOR OF THE MFA AUSTRALIA AND NZ
ASSOCIATE PROFESSOR DAVID ThOMAS PhD SAllY MANNAll (ACTING JulY TO DEC 2010)
MFA ACADEMIC ADVISORS
GREG CREEK MARK EDGOOSE MIChAEl GRAEVE DR RuTh JOhNSTONE lARESA KOSlOFF SAllY MANNAll ASSOCIATE PROFESSOR DAVID ThOMAS PhD
ASSOCIATE PROFESSOR DAVID ThOMAS PhD GAbRIEllA & SIlVANA MANGANO RAAFAT IShAK bAlA STARR DANIEl VON STuRMER ADRIEN AllEN JOY hIRST hEAThER hESTERMAN AIMEE FAIRMAN ANGElA ClARKE MEREDITh TuRNbull KATIE lEE PETER EllIS SAM lEACh NATAlIA TOlEDO Dr. PETER hIll PETER CRIPPS SuE CRAMER STuART RINGhOlT lOu hubbARD Suh YONGSuN
POSTgRADUATE ADMINISTRATIVE OFFICER
AlAN RObERTS JASON WADE RObERT DOTT
MFA ADVANCED SEMINAR
SEMINAR COORDINATORS: GREG CREEK ASSOCIATE PROFESSOR DAVID ThOMAS PhD
RuShDI ANWAR NICK bERRY STEPh bOlT JAKE CARTER hElEN DIlKES SARAh EDWARDS FERNANDO GARCIA VASQuEZ K ATE GECK lOuIS GuYlIM NICK hAll JESSICA hONEY NADA JA ZA CARMENZA JIMENEZ ChRISTINA KERK VlIET GODDARD DAVID AShlEY KEER TODD ANDERSON KuNERT AlICJA KuZMYCZ JuDY lEONG MATT MINCOFF SIMON MOORE TRuDY MOORE ANNEKE MuIJlWIJK TIA PARKER CAThERINE PlANT NANI PuSPASARI SuSAN RAlEIGh MATThEW DOMENIC SAlVO WIllIAM SIT POllY STANTON MElANIE JAYNE TAYlOR K ATRINA TYlER GEORGE TZIK AS K AVIN VIASuWAN STEPh WIlSON ElMEDIN ZuNIC
I am interested in creating a surface with real materials. I used nails, rust powder, ash, earth, charcoal, paper, wood and books as materials to evoke historical and political metaphors. I choose not to use any illusory effects: the surface exists as a real object in its own right. From this point I attempt to encourage the viewer to experience my work whose ambiguity creates questions rather than answers.
ShADOW OF hISTORY, 2010 books, nails, rust powder, wood shelf,and mixed media 540 x 100 x 50 cm
E: email@example.com T: 0411 091 365 www.rushdi.com.au
I make a series of small installations and paintings, which consider the idea of a “finished” work .I seek to explore paintings’ interpretive nature and viewing processes and discuss through painting and installation how language can operate and/or affect the viewers reading of it. My practice provides a lighthearted take on painting through the modes of painting, drawing and installation based work.
bluE hORIZON, 2010 acrylic on canvas 100 x 100 cm
Email: firstname.lastname@example.org Tel: 0420246485
Photography, travel and colour are my obsessions and are essential elements of my art practice. I photo-document daily life and use this source material to produce work that incorporates both print and sculptural media. I am interested in the common person in their natural environment. My photographs are not posed and the subject matter is deliberately non heroic. The commonality of everyday life fascinates me. My work is about people and their everyday journeys. IMAGE
hERE ThERE ElSEWhERE, 2010 ink, stencil and paint on wood dimensions variable
I am interested in illuminating the contingent in order to reveal significant dimensions, true to the circumstances unfolding. Exploring processes of spatial sound installation and kinetic painting, my work organically articulates dormant presences and active energies that are often overlooked in everyday materials and circumstances.
Duration… recollection investigates the nature of experience; exploring how qualities that draw attention – are salient, can provoke reminders of the moment to moment of being. Philosopher henri bergson conceived of the cone as a kind of metaphor for the state of co-existence of past and present; multiple slices through the cone – ellipses, are all past recollections experienced in the present. Form, shape, surface – via cone geometry and construction method, intertwine in this work. Duration is captured and expressed in the making and the experiencing of the work.
DuRATION… RECOllECTION: CONIC SlICES, 2010 installation: silver & pigment 120 x 55 x 55 mm
Email: email@example.com Tel: 0407 948 154 22
Sarah Edwards’ art practice is inspired by nature and her experience collecting specimens for scientific research. She uses multimedia and installation techniques to trigger remembered and imagined encounters with natural phenomenon.
RAIN ShOWER, 2010 polypropylene strips, muslin support, mirrors, video 300 cm x 300 cm x 250 cm
FERNANDO GARCIA VASQuEZ
I recycle, appropriate and manipulate found objects and iconic works from art history in order to generate in the spectator the curious act of re-exploring an image. These mental games also attempt to represent the sensation of loss and absence, inspiring the spectator to consider these ideas in relation to our Natural environment.
El AGuJERO EN lA hOSTIA (NuDES), 2010 oil on marine plywood 16 x 16 cm
The MFA body of work has focused on the creation of soft energy chambers, which are hyperactive audiovisual spaces designed for one person. A playful, lo -fi aesthetic is used to generate a sensory, immersive installation experience inside silk screened chambers saturated with frenetic animation and ambient sounds. The works explore memories of 80s and 90s TV and video games, and attempt to repackage these memories into an experiential space. IMAGE
SOFT ENERGY ChAMbER #1 , 2010 Silk screened panels, video, sound. Dimensions variable
My works are inspired by psychedelic music, in particular 1960’s psychedelia and 1970’s progressive rock to explore ideas of euphoria as a personal response to freedom
FlOWER TRAVEllIN’ bAND “ANYWhERE” , 2010 Gouache, acrylic and home paint on 2 wood panels 45 x 90 cm each panels Email: firstname.lastname@example.org www.oznak.blogspot.com
The paintings in this project explore apathy, disengagement and inaction as manifestations of the guilt and anxiety experienced in response to knowledge of environmental issues. IMAGE
MIlES AWAY, 2010 Mixed Media On Canvas 180 x 200 cm GlObAl DREAD, 2010 Mixed Media on Canvas 150 x 150 cm Email: email@example.com Tei: 0422516781 www.nickhall.com.au
This project investigates representations of children and childhood in children’s fashion media. Through a series of painted portraits the slippage between child and adult content is brought uncomfortably close to the surface, exposed through the child’s self-awareness, direct gaze, posture and performance.
lADIA, 2010 Acrylic and Oil on board 29 x 42 cm lOuIS, 2010 Acrylic and Oil on board 29 x 42 cm Email: firstname.lastname@example.org
My research explores my personal experience of migration from Lebanon to Australia and adjustment within two cultures. The project addresses personal and cultural barriers, ideas of concealing and revealing, and traditional and contemporary influences. In this work I have transformed a Middle Eastern rug into a contemporary art piece. The functional use of the rug is now ‘fading’ away, and its usage is being replaced as a commodity.
VANIShING, 2010 Original Rug, Plasterbandages, Paint 200 x 135 cm Email: email@example.com Tel: 0402 640 544
My work focuses on the physical, political and ideological barriers that divide nations in the world. I’m impressed with the monumentality of some of those walls, the message that they send to us and how intimidating they are. The iron bars that separates families on both sides of the border between united States and Mexico were my inspiration for this project, called bilateral borders.
bIlATERAl bORDERS, 2009 paint on wall 2.60 x 9.50 mts Email: firstname.lastname@example.org Tel: 0433559938
ChRISTINA KERKVlIET GODDARD
Valiant sky blue Over her shoulder a familiar tune catches her ear She dismounts the see-saw and follows her legs over to the school playground fence here she accepts 17 cents from a sky blue valiant who tells her his name is ‘Dad’ It floats down the road and away In the inkling of the ‘time to go inside’ bell she writes his name in the sand and quickly rubs it out. IMAGE
VAlIANT SKY bluE, 2010 Chenille pipe-cleaners 350 x 200cm Email: Christina.email@example.com Tei: 0400168554 www.ckgoddard.com.au
DAVID AShlEY KEER
David-Ashley’s photographic practice is a visual inquiry into the semiotic relationship between culture and environment. he explores the staged lone figure in contemporary landscape photography, attempting a representation of archetypes in mainstream culture that bridge a relationship between cultural identity and physical environment. IMAGE
I hEAR ThE SEA, 2010 lightjet photographic print 90 x 150 cm www.david-ashleykerr.com 42
TODD ANDERSON KuNERT
‘This project explores emotional, physical and psychological dynamics in intimate relationships through the combined use of photography, sound and installation.’
ThIS IS EVERYThING, 2010 Chromagenic print and sound installation 80 x 80 cm Email: toddakphoto@ yahoo.com www.toddanderson-kunert.com
Through my work I’m hoping to create a vehicle for discussion on feminine identity it’s creation, performance and judgment.
IMAGE FACEME 1, 2010 Electrophotographic Print on bond paper 1189 mm x 841 mm ICAM, 2006 - 2010 video/animated photos 150 mm x 80 mm
Email: firstname.lastname@example.org www.alicjakuzmycz.net
As a migrant I have had to deal with being different, physically and culturally. My emigrational journey explores the complexity of overlapping of societal hierarchies and cultural behaviors that I had to negotiate in order to be accepted. As reminders and triggers of identity, colors and symbolisms favored by the Asians, folded paper boats and travel artifacts are used to encourage the exploration of personal stories. IMAGE
ThE bOATS OF MY lOSSES, 2010 mixed media size variable Email: email@example.com Tel: 0400 886 672
Through the construction of plastic models of hyper-dimensional form, this body of work explores sacred geometry and model making as a metaphorical representation of invisible forms and the mind’s capacity to transcend. I have used contrasting materials such as plaster and plastic to explore contrasting properties and effects including opacity and transparency, positive and negative space, repetition and uniquely varied forms. IMAGE
SOuRCE, 2010 plastic, inkjet transfer film 17 x 17 x 17 cm
Email: firstname.lastname@example.org http://mattmincoff.tumblr.com/
Memory is to time as movement is to space.
MEMORY IS MADE OF ThIS (I), 2010 etching on somerset textured soft white 300gsm dimensions variable Email: email@example.com
I use paper and charcoal to make three-dimensional rubbings of furniture and architecture. These works evoke a sense of absence and presence, while also dealing with ideas of artifice and illusion. The techniques I employ to manipulate the paper indicate an expenditure of physical energy, illustrating both force and support and creating a tension between resistance and collapse.
ChAIR, 2010 charcoal on paper 80cm x 120cm x 110cm
My art work draws on knowledge I have gained in the fields of Geography, Town Planning and Psychology and references environmental, socio-cultural and psychological concerns. I am interested in the relationships between people and place and aim to create drawings and watercolours representing everyday activities and reflecting the different realities and dynamics of a community of people that is facing change. IMAGE
WE ARE ThE CuSTODIANS OF ThE lAND, 2010 watercolour on paper 500 x 700mm
Email: Email: firstname.lastname@example.org Tel: +64 027 4434484
My work usually is derived from personal and universal narratives through which I try to describe and contemplate a mythical realm while utilizing kiwiana and pacific iconography. I enjoy employing a range of media and techniques from such disciplines as digital photography, sculpture, painting and printmaking. I also have an interest in Pacific arts, outsider and folk art from all around the globe and this is often expressed through my practice. IMAGE
POhuTuKAWA CARCASS , 2010 mixed media
This project uses as a catalyst the personal experience of migration. The work utilises a personal visual language of memory and displacement, and a psychological space of the home through representational paintings and collage to generate readings of internal reflection and belonging.
ThE TIlES, 2010 acrylic, fabric, and charcoal on canvas 112 x 91 cm
Email: email@example.com Tel: 0417 770 270
My work explores narratives to create an imaginary world based on everyday lives, childhood memories, and popular culture to communicate feelings of innocence, naiveness, loss and sorrow. The subject matter represents female iconography and female-associated materials with feminine decorative devices as the concept of femininity. IMAGE
ThE SISTER, 2010 color marker on paper 25 x 31 cm Email: firstname.lastname@example.org www.designani.net
In this body of work artificial, fluorescent and iridescent colour is used to portray a dynamic energy that is usually associated with the sublime; it expresses fluid elements that convey energy and movement. Through the process of pouring; dynamic, erupting explosions are depicted on Perspex in order to reference visual phenomena and stimulate the visionary, bodily and intuitive senses.
INTOXICATION, 2010 INK ON PERSPEX 120 x 240 cm Email: email@example.com
MATThEW DOMENIC SAlVO
Capturing urban sounds, the sound of the ‘everyday’ as a reference for time, space and interactivity evokes a glimpse of transitory observations of the human connection in our habitual environment. I aim to point out the dynamics of patterns that occur in a moment of singularity.
uRbAN ENVIRONMENT, 2010 photo still size variable WAll SKIN, 2010 film still dimensions variable
Email: firstname.lastname@example.org Tel: 0431447490 66
The project aims to engage the viewer in a process of active contemplation through collagic methods of layering and juxtaposition in painting. Concerned with the experiencing of multiple happenings in thought and perception, and a subsequent state of continual comprehension, the project draws on a conjunction of historical, natural and personal imagery to activate an understanding of spirituality and one’s being in relation to the world.
IMAGE uNTITlED (WOlF), 2010 Oil on Canvas 100 x 75 cm Email: email@example.com Tel: 0401449809
This studio-based project engages the act of duration and the site of the ruin as a means to consider the passing of time and the ephemeral qualities of experience and memory. by using the temporal mediums of video and sound I aim to create an encompassing environment that affects the viewer’s experience of time and space, encouraging a contemplation of life and its finite nature.
hAllWAY, 2009 hD video
Email: firstname.lastname@example.org www.pollystanton.com
MElANIE JAYNE TAYlOR
by using imagery from my personal photographic archive in combination with installation strategies and titling, my project aims to develop a range of pictorial and spatial structures that are capable of generating contemplation on the transitory nature of image, meaning, memory, loss, and absence.
AN INTERRuPTION , 2010 Inkjet Printe 65 x 40 cm
having developed a language of hand-made metal components, utilising organic patterns, structures and methods of construction, I have created self-supporting sculptural objects and jewellery that explore the forms of man-made vessels and decorative objects. by exploiting museological display techniques, and the object’s inherent ability to offer a pause for reflection and contemplation, the works aim to convey notions of time, duration and the ever-present simultaneous, eternal cycles of growth and proliferation, and decay and disintegration.
COlONY bROOCh, 2009 Mild steel, stirling silver, enamel 2.5 x 6cm CluSTER FRAGMENT, 2010 Oxidised copper 5.5 x 8cm Email: email@example.com 74
My work draws inspiration from my meditation practice of twenty years and from the buddhist heart Sutra commentary: “Form is empty....emptiness is form”. I make large scale paintings that sit on the threshold between abstraction and representation. They allude to ambiguous internal/external “architectural” forms and spaces I explore the notion of form and emptiness from the perspective of the buddhist heart Sutra and attempt to engage the viewer in somatic, perceptual and ocular experiences.
uNTITlED , 2010 Oil and acrylic on canvas 180 x 160 cm
Email: firstname.lastname@example.org Tel: 0417 527 900
Social problems, personal problems and local politics are to present by the symbolic imagery of drawings
A MAN WITh ThE RED hEAD , 2010 Drawing, red marker 41 x 59 cm
Through painting modern interior spaces I aim to explore ideas relating to social psychology within public space, as well as pictorial conventions and artifice within painting. I am interested in the nature of these spaces that are encountered by many people on a daily basis, and the ways in which they can dictate human interaction. I am also interested in the staged nature of the interiors and how they can imply human presence. IMAGE
SEMI TRANSPAENT WORlD , 2010 Oil on Canvas 107 x 137 cm
According to Sartre, man first of all exists, encounters himself, surges up in the world and defines himself afterwards. We carry an image of ourselves and it is upon reflection of this image that we understand who we are. The main concerns that my work deals with are the question of existence and our constant quest to understand our own identity. IMAGE
PARAllElS. 2010 Detail from the installation Plaster, Iron b Metal Coating, bronze b Metal Coating, light Green Patina, Fe Nitrate Patina and digital photographic print Year:2010 Dimensions variable
MFA 2010 RMIT UNIVERSITY MASTER OF FINE ART gRADUATE EXHIbITION 2010 CATALOgUE
© RMIT university 2010, Copyright in the individual essays and artwork remains vested with the individual authors and artists. Except as permitted under the Copyright Act 1968, no part of this publication may be reproduced by any process, electronic or otherwise without the permission in writing from the publishers and authors. Neither may information be stored electronically in any form whatsoever without such permission. All opinions expressed in the material contained in this publication are those of the authors and not necessary of the publisher. SChOOl OF ART RMIT uNIVERSITY PO bOX 2476V MElbOuRNE VICTORIA 3001 AuSTRAlIA T. +61 3 9925 1947 F. +61 3 9925 9776 WWW.RMIT.EDu.Au
gRAPHIC DESIgN: RUSHDI ANwAR PRINTED IN AUSTRALIA: bIg PRINT ACkNOwLEDgEMENTS
Thanks to all who have contributed to the success of the Postgraduate MFA Program in the School of Art: Program Coordinators, supervisors, examiners, visiting lecturers, administrators, technicians, students and sponsors.