RMIT - Master of Fine Arts Catalogue 2009

FRANCES BATTERSBYKATY BOWMANKATHERINE BRUNACCIHUA CUN CHENSAMUEL RUSH CONDONHAN, YEE-SAKDOUGAL HASLEMSUE ELLIOTT JOHNSONYENA JUNGJODI KEETCAROLINE KENNEDY-MCCRACKENCHARLENE KINGHELEN KOCIS EDWARDSSIMONE KROKJESS LAWRENCEYINGHONG LINORMA MCGOWANCHRISTOPHER EARL MILBOURNEMOON, HYUN-JUNGLIANNE MOORESASKIA MOOREARIELA NUCCICRISTINA PALACIOSCORY PUGHHANNAH XIAO JIA RENISHTIAQ SANDHUNADJA SLOVAKHAMISH TOCHERPATRICIA TODARELLOJAMES VOLLERJADE WALSHCHEE YEUNG WANLYNDA WILSONJESSICA WONG

RMIT UNIVERSITYMASTER OF FINE ARTGRADUATE SHOW

RMIT UNIVERSITYSCHOOL OF ARTMASTER OF FINE ART 2009

DAVID THOMAS ESSAY “TAKING YOUR TIME” : 4

PATRICIA TODARELLO ESSAY “MAKING AN ARTIST” : 6

COORDINATING STAFF 2009 : 8

ARTISTS WORKS : 10

ACKNOWLEDGEMENTS : 78

Taking Your Time.

Associate Professor David Thomas PhDProgram Director of the MFA Australia and NZ

4

The development of original art takes TIME. Originality differs from novelty.One of the privileges of being engaged with the people in the MFA program is to participate with them in their journey in time.At the end of each year I think of the time invested by these artists, by their families by their lecturers, administrators, technicians and by the surrounding associated arts industries and I am amazed. We will never know how much time, effort has been spent… we can never quantify it, but it is truly wonderful. Art practice takes discipline and TIME, both to view and to make. It cannot be rushed. Each artist needs to understand their own rhythms of development and how these change over the course of their LIFEtime. Art practice is no mere folly or naive personal outpouring. Art does not need to be easy, entertaining or quick although it can be, it does not need to be tedious or elitist although it can be…but what it does need to be is ethical and honest in its celebration, critique and negotiation of meaning in the world. And what a NECESSARY occupation it is for both artist and audience. For Art generates knowledge and experience through material realities in forms like no other discipline in the world. It can make us think, laugh or weep; it can create wonder or boredom. Its ideas can be blatantly asserted or sneak up on us. It can raise questions, it can be rational or irrational. The artist needs to understand their responsibilities in defining what art is necessary to make and why. This takes TIME.

The Consul General of Germany to Australia recently asked in speech celebrating the contribution of a well known contemporary gallery to the cultural lives of Cologne and Sydney, this question: what contributed more to the collapse of the Berlin wall and the reunification of Germany… the military build up of the Cold War or the freedoms and insights offered by contemporary art? There was an element of humorous provocation in his answer that suggested it was art not tanks, thinking and feeling not economics. We all know that life and history is not as simple as one thing or another, but art, culture, ideas are critical parts of the mix and should not be underestimated.

The 2009 graduating candidates realise this and hopefully they will use THE TIME OF THEIR LIVES towards this end, that is, of making necessary and meaningful art. They are part of a successful program that has continued to produce innovative artists that make a difference in the world. Each individual is different and as the current graduates become part of a new generation of artists they will define their own issues and pathways, and good luck to them.

On behalf of the School of Art at RMIT University, I would like to thank each and every candidate, the academic, technical and administrative staff for their enthusiasm, professionalism and for their CARE about their work and each other.

We ALL wish each other well.

As this Master of Fine Art program comes to an end, it’s worthwhile to reflect on the experiences shared. As a coursework program making artwork is a major part of ones time spent here, but there is also the likelihood of another kind of making occurring along the way.

The making of an artist.

The students in this program come from diverse backgrounds, people of different ages, both International and Australian students, from a variety of art disciplines and life experiences mixed together with one common purpose to make art. Through such diversities and the shared interest of art, connections are made. With an emphasis on making this program generates a process of art making through a studio based practice individual and group tutorage.

Part of that process is the studio environment that allows students to have a home base, a space where to create and be creative, and a place to communicate with other students and share experiences, whether they are about art or about life in general. The prospect of the studio is its potential to become a place for the student to belong for the duration of this program and to share in the studio environment, a place to meet people to belong with. Having discussed the place to make art it is also important to acknowledge the role that staff plays in this program. Through individual and group tutorials their guidance, knowledge and

Making an Artist. Patricia Todarello2009 Graduating MFA student.

6

experience as professional artists is invaluable. It is rare that one would have the same degree of opportunity to individual guidance outside the university system.

As positive as this prospect of professional guidance through a studio environment sounds this is not to say that everybody’s journey or course runs smoothly. Candidates face what can feel like a barrage of constant challenges throughout the program, whether they are constraints of time and money or issues of self confidence. These are common problems that students confront. One does not have to be an international student to feel disconnected. What has been my experience and I hope applies to the majority of students also, is that through a supportive environment of students and more importantly the guidance of staff, one is able to consider and build on their prospects as an artist by developing a professional attitude to art practice. This is where this MFA program can take the individual if they choose or allow themselves to take that journey.

What I have realised throughout the duration of this program is that opportunity is always present even though one might not be in right frame of mind to see it. Opportunity is not just about being offered a great show it is about creating with a positive frame of mind, and being confidant about the decisions you make. It is not about wasting ones efforts on absolutes of right and wrong or objectives to create art for some kind of reward. The reward I have found is to celebrate the ability and creative inclination to make art

in the first place, and as an artist I feel extremely privileged to have embraced that ability. It has been a great experience shared with both students and staff and I would like to wish all my fellow students and staff the very best of opportunities in the future.

Coordinating Staff 2009

8

PROGRAM DIRECTOR OF THE MFA AUSTRALIA AND NZASSOCIATE PROFESSOR DAVID THOMAS PHD

MFA ACADEMIC ADVISORSPROFESSOR ROBERT BAINES PHDGODWIN BRADBEERSALLY CLEARYGREG CREEKDON GOREMICHAEL GRAEVESHANE HULBERTDR RUTH JOHNSTONELARESA KOSLOFFDR KEELY MACAROWSALLY MANNALLASSOCIATE PROFESSOR DAVID THOMAS PHDDR LES WALKING

POSTGRADUATE ADMINISTRATIVE OFFICERKATHRYN WARDILL

TECHNICIANSALAN ROBERTSJASON WADEROBERT DOTT

MFA ADVANCED SEMINAR “FOCUS ON INDEPENDENT PRACTICE” Seminar CoordinatorsDR PETER HILLASSOCIATE PROFESSOR DAVID THOMAS PHD

CONTRIBUTORSASSOCIATE PROFESSOR DAVID THOMAS PHDDR PETER HILLGODWIN BRADBEERDAVID SEQUIERASHIAU- PENG CHENRHETT D’COSTARENEE UGAZIOLISA SULLIVAN ROBERT OWENKATHY TEMINASSOCIATE PROFESSOR CLAUDIA TERSTAPPENASSOCIATE PROFESSOR TERRY BATTPATRICK POUNDKARRA REESMAGGIE FINCHROSS WOLFEDR KEVIN MURRAYGARY CARSLEYDR ALEX BAKER

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10

My work activates and transforms space through the use of light, form and colour in site responsive interventions and installations. Temporality, transition and perception are explored in order to physically engage the viewer in an experience and awareness of time and space.Ideas of thresholds, membranes and veiling are considered in work that references soft sculpture, minimalism and the monochrome.

IMAGEBLUE PASSAGE, 2009

Sculpture/Spatial Intervention

L: 360cm H: 250cm W: 120cm

Email: [email protected]

Katy Bowman

12

Katherine BrunacciDesigns sourced from Jewellers dating from 1850’s to mid 1900’s are reviewed and revisited. The aim in referencing these designs is to reinterpret the gem set jewel and position it into a modern context, creating a new genre with a strong historical reference.

IMAGESTHE PRINCE OF HAMLET, 2009

Gold and Silversmithing

250 x 450 x 20 cm

CORDELIA, 2009

Gold and Silversmithing

Ring, 50 x 40 x 40 cm


Mobile: 0439393053

14

Hua Cun Chen

IMAGEDRIFT WITH THE UNCERTAINTY, 2009

Gouache, print on paper

336cm x 267.3cm


Website: huacunchen.com

Drift with the uncertainty

In my work, I present real and unreal aspects of familiar imagery suggesting

relationships between the revealed and concealed subject.

I endeavor to construct a regular rhythm that might convey multi–sensory thinking

between worldly and spiritual states.

The presentation as a floor installation is an invitation to the viewer to read this

interplay between conscious and unconscious experience.

16

Samuel Rush Condon I create landscapes from imaginary and dream like spaces. The nostalgia of houses I have seen and fragments of memories of these structures. Working with slippages between the possible and impossible in these somewhat iconic buildings. A quietly shifting utopic world that aligns to its own purpose and rules.

IMAGECHIMNEY, 2009

Watercolour on Paper

13cm x 15cm


18

Han, Yee-SakThis project explores feelings of alienation, doubt, suspicion, and displacement. The sculptural works investigate how scale, materiality, and placement can affect the reading of the work in an installation context. My research investigates How the placement and installation of these works can be used to create surprising encounters that reflect my psychological subject matter.

IMAGESelf-portrait in a SpaCe, 2009

Cast plaster

approx 45 x 55 mm (wall installation)


Tel: 0405 903 656

20

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Sue

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30

Charlene KingWhat do the books you like, or are reading at the moment sayabout you? This question is at the centre of my project, which uses drawings of books spines arranged in various groups to express the associations of identity and knowledge that are embedded within the readership and ownership of books.

IMAGEStitle/book (What’S inforMing Sarah’S praCtiCe?) Detail, 2009

Pen on Paper

60 x 40 cm

BOOKSHELF/ POSTPAK, 2009

Acrylic on cardboard postpak

30 x 25 cm


Tel: 0416622128

www.charleneking.com

32

Helen Kocis EdwardsHelen Kocis Edwards explores the body, through drawing to explore emotional states, relationships and the individual’s sense of self.

The careful rendering of subjects representing the commonplace, attempts to edify the ordinary and create a blurring of the distinction between human and animal, masculine and feminine, naivety and sophistication.

IMAGEDOGLETS, 2009

Ink and pencil on canvas

168 x 217 cm


Tel: 0402 271 597

www.helenkocisedwards.com.au

34

Sim

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Kaba

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as a

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36

Jess

Law

renc

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seek

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38

Yinghong LiMy art practice translates elements of my everyday experiences into my painting. Square serves as a symbol to describe the different gestures that represent life’s rhythms and changeability. Colours refer to my emotions, and the contrast between translucence and opaque colour creates depth and space. Emptiness is important in my work as it represents life’s energies and mysteries.

IMAGE0809 , 2009

Acrylic on paper

78 x100 cm


Tel: 0433419466

www.yinghongli.com

40

Norma McGowan This project utilizes a personal language in representational painting and sculpture to explore paramnesia. An examination of the dichotomy of actual memory and constructed memory where time and distance obfuscates the clarity of memory making it unreliable and elusive.

IMAGESTRANSLOCATION, 2009

90 x 70 cm

Oil on canvas

REVERIE

Resin on light box

67 x 50 x 40 cm


Tel: 0400985703

42

Christopher Earl MilbourneFusion is the phenomenon upon which my arts practice is built. The process can be defined by the heating of objects constructed of sterling silver until they join together. The individual pieces symbolise a microcosm or microenvironment. They are not place- or time-specific, but more-so future ruins of an empire that never existed.

IMAGESTRINITY GAS STATION, 2009

Sterling Silver

60mm x 130mm x 60mm

FUZED VESSEL WITHSTAND, 2009

Sterling Silver

80mm x 50mm x 60mm


44

Moon, Hyun-JungSimple techniques of cutting and folding to a vitality a plain image.Pop- up cards focuses on visual dimension as my reference.Use of pop-up card function mixing with contemporary jewellery statement beyond limitation of material and wearable.It creates a surprise !

IMAGETROLLEY PUSHER MAN , 2009

Sterling silver, postcard

170 X 60 X 360 mm


Tel: 0413 682 675

46

Lian

ne M

oore

In th

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roje

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have

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and

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wor

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Ari

ela

Nuc

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My

curr

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in p

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50

Cris

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he w

ho d

ream

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the

dark

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rs o

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nig

ht w

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r aw

ay

wor

lds

com

es u

pon,

in th

e ab

stra

ct la

ngua

ge o

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min

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e pa

th

to u

nkno

wn

mys

terio

us u

nive

rses

, find

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hers

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into

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mes

mer

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min

osity

of t

he c

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omb”

....

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NU

CLEO

, 200

9

Inst

alla

tion

dim

ensi

ons

varia

ble

Emai

l: cr

isar

g23@

hotm

ail.c

om

Tel:

0431

4 25

927

52

Cory

Pug

hD

ream

scap

es is

a v

ideo

wor

k an

d in

stal

latio

n th

at e

xplo

res

aspe

cts

of m

y su

bcon

scio

us, t

hrou

gh th

e re

-cre

atio

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man

ce o

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mem

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eam

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mar

es a

nd fa

ntas

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hing

is s

acre

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abo

ut li

ving

as

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ans

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ith th

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itatio

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ly c

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ende

r nor

ms.

IMA

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, 200

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54

Han

nah

Xiao

Jia

Ren

My

wor

k is

a p

lay

with

col

our,

mat

eria

l and

illu

sion

, I li

ke th

e m

yste

ry

som

e m

ater

ials

are

abl

e to

pro

vide

whe

n m

ade

into

a w

eara

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obje

ct.

Thus

add

ing

as li

ttle

mys

tic in

to th

e w

orld

of c

raft

.

IMA

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, 200

9

Ster

ling

silv

er, g

ildin

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etal

, gla

ss, s

teel

110m

m x

115m

m x

19m

m

Emai

l: ha

nnah

ren@

hotm

ail.c

om

Tel:

0422

8195

01

56

Ishtiaq SandhuIn these works I am investigating into the phenomenon of suicide bombing in contemporary political and social conflicts. It is a form of meditation on contemporary martyrdom. The handling of the paint is as important to me as the subject matter. These works contribute to the tradition of painting figuration in an abstract format, i.e. A vertical figure painted in a square within a horizontal plane.

IMAGESTHE RELUCTANT MARTYRS 1, 2008

Oil on Canvas

137 x 122 cm

THE RELUCTANT MARTYRS 2, 2009

Oil on Canvas

137 x 122 cm


Tel: 0432606748

58

Nadja Slovak“There is only nervousness and death.” 1

I live in “the three moments of expectation, attention, memory” 2, of which stillness is the embodiment.I seek stillness.

Surprised by the unexpected appearance of light moving in time, I want to hold the moment still - listening for the story that is not-a-story; told by the light and the space – I want to look at it, unhurriedly.

And wonder.

1 Fran Lebowitz 1978 2 Umberto Eco 1997

IMAGEBLINDLIGHT, 2009

single-channel black & white video projection [interior wall] + audio

approx 300 X 225cm


Tel: 04 3305 555060

Robert ScholtenRobert Scholten’s art encompasses a world of realism tinged with the fantastic; a desire to integrate the extremes of human experience: the sublime and the profane, the reality and the immaterial, the inner and the outer. Inspired by sources such as ukiyo-e, typography, printed ephemera and everyday life, Robert plays with the fragments of existence, sewn together by the experience of the individual.

IMAGESHUNGER, 2009

Acrylic and oil on canvas

Diptych, 50 x 50 cm each

SHE SAT IN HER ROOM AND WATCHED THE SUN FADE, 2009

Acrylic on paper

100 x 70 cm


Tel: 0433 992 988

www.robobop.com

www.robowhat.blogspot.com62

Hamish TocherMy work uses photography and projection to examine artwork from Classical antiquity, in order to create spaces where viewers can reflect upon history. By reworking Classical sources with contemporary methods, I generate new knowledge about the past. The authenticity of this knowledge is undermined by the ad hoc nature of the projection devices I employ.

IMAGEoverheaD projeCt (CataCoMbS) rooM of MirrorS , 2009

Perspex mirror, lights

www.hamishtocher.co.nz

64

Patricia Todarello Focusing on the qualities of form, surface, colour and light, my art practice converses both mediums of photography and painting to extend the reading of actual and pictorial space through time. Sequentially in repetition I review the multiple , not as a beginning or an end but as a moment in time, an unfolding structure.

IMAGEOPEN SPACE CONSTRUCTIONS: WHITE SERIES

(inStallation anD DetaileD vieWS) , 2009

Acrylic on acetate, photographic paper, paper, adhesive tape.

Dimensions variable


66

Jam

es V

olle

rM

y pr

actic

e is

con

cern

ed w

ith p

hoto

grap

hic

supe

rimpo

sitio

n an

d pu

blic

inte

rven

tions

. The

wor

ks s

hift

s th

e pe

rcep

tion

of u

rban

and

ga

llery

spa

ces

thro

ugh

the

inse

rtio

n of

pho

togr

aphi

c re

pres

enta

tions

of

New

Zea

land

resi

dent

ial d

wel

lings

. W

hich

gen

erat

es a

reas

whe

re

illus

ion

and

actu

ality

exi

st s

imul

tane

ousl

y, o

ne s

ees

the

impr

essi

on o

f a

hous

e w

here

one

doe

s no

t act

ually

exi

st. T

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pub

lic in

terv

entio

ns

crea

te il

lusi

ons

of h

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ng w

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ech

o N

ew Z

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s’ d

esire

of

havi

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eir o

wn

hous

e in

a c

limat

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here

ther

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ore

soci

al a

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omic

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nera

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to d

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Prin

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Emai

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llerp

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grap

hy@

gmai

l.com

ww

w.ja

mes

volle

r.co

.nz

68

Jade WalshI am interested in intimate dialogue in the private and public domain to emphasize personal content and concerns. All works relate to the theme of ‘The Difficult Search For Love’.

IMAGESFROM MY SINGLE PEOPLE PROJECT, COUPLES ANON; BIN, DARWIN

Colour Photograph

25cm x 18cm

My joke fabriC (the one), 2009

Screen-print and Thread on Fabric

60cm x 135cm


Tel: 0409 804 672

www.jadewalsh.com.au

70

Chee Yeung WanMy work is informed by Zen Buddhist philosophy, as well as my Hong Kong/Chinese heritage. I use everyday objects and natural materials such as wood and paper to explore Zen teachings, in particular concepts of ‘emptiness’ and ‘unity’.

IMAGESERHU, 2009

Wood, rock dust, moss

1.3m x 1.3m x 1.5m

kaSāka, 2008

Brick, acrylic

7.5 x 10 x 23.5 cm


72

Lynd

a W

ilso

nTh

is p

roje

ct c

ente

rs o

n m

inia

ture

env

ironm

ents

con

stru

cted

from

an

asse

mbl

age

of d

omes

tic a

nd la

ndsc

ape

mot

ifs to

cre

ate

the

sens

e of

an

enc

hant

ed y

et a

bsur

d w

orld

that

exp

lore

s th

e te

nsio

n be

twee

n co

mfo

rt a

nd u

neas

e in

the

hom

e.

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Inst

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tt’S

pla

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digi

tal p

rint

W: 6

0 x

H: 4

0 cm

Emai

l: ly

nda@

enca

ustic

.co.

nz

74

Jessica WongI wish to explore human strengths and create awareness about our cultural creations using sardonic humour. I deconstruct and analyse social inequalities through cartography and doodling while embedding it with a personal journey from a feminist viewpoint. I hope to promote change by highlighting the fragility of our social constructions.

IMAGENEW WORLD, SAME HISTORY , 2009

multi-plate woodcut and pen on hosho paper

approx. 46cm (h) x 200cm (w) x 40cm (d)

Email:

[email protected]

[email protected]

Tel: 0409 264 356

www.jessiwong.com

76

Acknowledgements

78

MFA 2009

RMIT UNIVERSITY

MASTER OF FINE ART

GRADUATE EXHIBITION

2009 CATALOGUE

© Rmit University 2009, 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

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AUSTRALIA

T. +61 3 9925 1947

F. +61 3 9925 9776

WWW.RMIT.EDU.AU

GRAPHIC DESIGN: RUSHDI ANWAR

PRINTED IN AUSTRALIA: BIG PRINT

ACKNOWLEDGEMENTSThanks 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.

Documents

RMIT - Master of Fine Arts Catalogue 2009