SENSORY NARRATIVES2017 GRADUATE EXHIBITIONAdelaide Central School of Art

Bachelor of Visual Art [Honours] and Bachelor of Visual Art9 – 22 December 2017

Bachelor of Visual Art [Honours]

Alycia Bennett

Caitlin Bowe

Maxwell Callaghan

Carolyn Corletto

Jasmine Crisp

Lucia Dohrmann

Kate Dowling

Sonara Krix

Lau Kai Yang

Kelly Reynolds

Ryan Waters

Bachelor of Visual Art

Helen Jane Bailey

Sarah Campbell

Julianne Caville

Nicole Clift

Celine Donegan

Chelsea Farquhar

Tim Fox

Craig Glasson

Erin Glazebrook

Barbara Harkness

Jennifer Hofmann

Margie Hookway

Elizabeth Lange

Phoebe Lewis

Peter MacMullin

Cristina Metelli

Kate O’Boyle

Molly Samson

Madhu Saraf

26

28

30

32

34

36

38

40

42

44

46

48

50

52

54

56

58

60

62

4

6

8

10

12

14

16

18

20

22

24

2017 GRADUATE EXHIBITION

Teaching and Studio Building, Adelaide Central School of Art

Introduction

Adelaide Central School of Art is delighted to present the 2017 Graduate Exhibition, which showcases the diverse range of work created by the Bachelor of Visual Art [Hons] and Bachelor of Visual Art graduates. The deep and sustained journey upon which these graduating students have embarked is reflected in this exhibition and accompanying catalogue.

Our graduates have demonstrated great passion, dedication, and commitment combined with plain hard work – the unsung hero of the creative process – to complete the intensive and rigorous studio-based program. They have shown confidence, a belief in themselves, to leave their comfort zones, trust their instincts, and push their work to the limit.

For these graduates the exhibition is a culmination of years of experimentation, inspiration, exploration and deep personal engagement. As artists they need to be bold and fearless, always curious and interested in the process as much as the development of their work.

The graduates are remarkable, both in their work, and in the optimistic and confident expression of their visual intelligence. They will join previous graduates, who remain an important part of the School’s extended family, and we will continue to support them as they progress through their chosen careers.

Adelaide Central School of Art was recognised in the 2016 QILT National Student Experience Survey as second overall in Australia out of over 60 tertiary providers offering undergraduate courses in the creative arts. This endorsement by our students gives us the confidence that they value the School’s policy to employ renowned practitioners, contemporary artists, writers and curators. Our lecturers are charged with the responsibility for equipping our students with the skills, tools, knowledge and capacity for creative thinking so they can make their critical mark on the world.

It is the experience and dedication of the talented academic staff, most ably supported by the skilled administration and facilities team, that makes the School such a creative and supportive environment for our students. The students have been enriched by the collective knowledge, rich experience and expertise the staff so generously share.

This year the School extended its facilities with the addition of a secure external courtyard providing enhanced studio and teaching facilities.

In November 2017 the School is participating in the Department of State Development (DSD) India Mission, with lecturer/artist Daniel Connell invited to develop the cultural program. Drawing on his extensive experience of working as an artist in India, Daniel has planned a series of workshops delivered by four SA artists in four cities over three weeks.

I wish to acknowledge the sponsors, donors and graduating students who worked throughout the year, raising funds to support the production of this year’s catalogue: a valuable professional asset as the graduates begin their careers. Sasha Grbich, the School’s BVA and BVA [Hons] Coordinator, is to be congratulated for her exceptional work throughout the year in supporting the graduating students, and she was most ably assisted by James Edwards, Project Manager – Exhibitions. It was again a delight to work with our professional team including James Edwards, Maria Molbak, and James Field, on the production of this high quality publication.

On behalf of the School’s Board of Governors, Academic Board and all staff we wish the graduates every success as they take their place in the world of professional art practice.

Ingrid KellenbachCEO, Adelaide Central School of Art

4 5

installation detail: Cloudspace, 2017, single channel video documentation, 24hr live-stream performance, Twitch, 24:00:00(L, R) video still: 21st Century Explorer, 2017, single channel video and sound loop, 00:05:12 video still: Navigator, 2017, single channel video and sound loop, 00:02:34

Alycia Bennett

I respond to the fracturing of private and public space within the digital realm. The spaces once called private are becoming public via online broadcasting and social platforms. Connectivity is easily accessible, yet it comes at a price to the individual, as it is hard to disconnect at will. Through the vehicle of my body I explore the struggle for anonymity and ability to become invisible online as a site for power. Video and performance are used to explore ideas where digital public space can be a place for passive resistance. In my work, the face has come to be a symbol for privacy and the surface of the skin, a barrier to protect the self from surveillance.

6 7

her hands upward to my shoulder, and did steal a little look up, 2017, velvet, lace, dyed muslin, wax,pine, steel, 240 x 70 x 70 cm

Caitlin Bowe

It’s slow and terrifying … Trauma eroding the surface. It’s a manifestation of fear, hidden and silent, making itself present.

Internal decay is now external.

Wax hands grasp at the air or emerge from a cloaked form as fingers deteriorate. Fragments of windshield glass push their way to the surface of the skin. Flowers encased in wax are suspended in time.

Symbols reveal a story, intimate and mythical.

A fragmented body adorned with an aesthetic of grief and loss, trapped between human and inhuman.

she did have held my hands so brave and gentle, 2017, wax, windshield glass, violets, oak, 12 x 80 x 16 cm

8 9

pink elephant, 2017, oil on canvas, 100 x 130 cm

Maxwell Callaghan

I use painting, sculpture and writing to recall, reflect and interpret memories into material form. These works examine my personal experiences within a broader social context. I use my memories as subject matter, as a way of questioning their meaning and significance.

The resulting paintings, sculpture and writing function like interconnected experiences being remembered and ruminated upon. They reflect an inner dialogue that questions whether personal and social understanding can be found through remembering and honest self-reflection.

(L, R) tangled flowers, 2017, oil on canvas, 50.5 x 40 cm | wine then spirits, 2017, oil on canvas, 50.5 x 40 cm brown fruit, 2017, oil on canvas, 50.5 x 40 cm mitsubishi, 2017, oil on canvas, 50.5 x 40 cm

10 11

installation detail: Chair, 2017, chair, elastic, tacks, 84 x 45 x 45 cm, and Flyscreen, 2017, flyscreen, thread, elastic, 200 x 114 cm(L, R) Balloons, 2017, balloons, gold thread, staples, cork, bread clip, medical tape, dimensions variable Tissue Paper 1 – 4, 2017, tissue paper, thread, staples, 49 x 74 cm ea

Carolyn Corletto

It’s alive! – Victor Frankenstein, Frankenstein (1931)

Our everyday objects resonate with a vitality that cannot be diminished by time, wear and decay. The discarding of these objects is far from the end of their story: it is the possibility of the object freed from the burden of usefulness.

With love and care, responding to their unique history, materiality and relationship with their owners, I have rescued, rehabilitated and transformed discarded objects utilising a language of repair.

The objects become active participants in a transformative process that draws upon the energy and expressivity of our things.

12 13

installation detail: Somewhere Else, 2017, wood, nails, LED light, wire, clothing, acrylic, oil, glue, polymer clay, lacquer, canvas, dimensions variable

installation details: Somewhere Else, 2017, wood, nails, LED light, wire, clothing, acrylic, oil, glue, polymer clay, lacquer, canvas, dimensions variable

Jasmine Crisp

Souvenirs are transcendent geographical objects that shift from the ‘extraordinary’ instance of tourism to the ‘ordinary’ setting of home.

Like painting, the souvenir acts as a spectacle object that provides material permanence to ephemeral experiences, memories and past events. My painted installation houses a series of souvenir-driven triggers, which embrace the false remembrances, lost fantasies and harsh realities of the nostalgic traveller. These impossible episodes collectively form a fractured mindscape, exposing the inward projections of an escapist’s reality.

14 15

Parallel Lines - Picture This, 2017, acrylic on linen, cut, hand stitched, 75 x 75 cmImproper Fractions, 2017, acrylic on canvas, unravelled, 30 x 30 cm ea

Lucia Dohrmann

This body of work consists of abstract paintings that emphasise materiality and process rather than pictorial imagery. They reveal something hiding in plain sight – the nature and structure of artists canvas.

The employment of repetitious handmade textile processes gives these works a softness and warmth to an otherwise potentially impersonal modernist form, creating tactile surfaces that mark the passing of laboured time. These traditional skills, such as hand sewing and crochet, were taught to me as a child by my mother and have become part of my visual language.

These works speak of the connections between pattern and repletion, textile techniques and mathematics, within the field of painting. Simple repeated geometric forms of grids and stripes are closely connected to these systems of order.

16 17

(L,R; T,B) Untitled 4, 2017, oil paint on paper, 30 x 30 cm | Untitled 6, 2017, oil paint on paper, 30 x 30 cm Untitled 7, 2017, oil paint on paper, 30 x 30 cm | Untitled 15, 2017, oil paint on paper, 30 x 30 cm

(L, R) Untitled 14, 2017, oil paint on paper, 30 x 30 cm | Untitled 2, 2017, oil paint on canvas, 30 x 30 cm

Kate Dowling

Don’t blink, don’t look away, or the mysterious and elusive film-still will disappear into the substance of the film before you’ve noticed it. Painting adds substance. It adds permanence. It pauses the film-still in place – fixing it in time. Between the movement of film and the stillness of painting the space of ‘between’ can be observed. Here where time and movement slow to stillness. Here there is a space to observe, a time to ponder, and a time for contemplation.

18 19

Fall Out - A Frame Tale of the Forgotten #1, 2017, vintage dressing table, found objects, 140 x 100 x 50 cmvideo stills: Fall Out - A Frame Tale of the Forgotten #3, 2017, video, 00:03:51

Sonara Krix

Fall Out – A Frame Tale of The Forgotten is a series of interconnected installation works threaded to personal memories of intergenerational trauma. From a performative engagement with the cold ‘archive’ to the warm and uncanny embrace of everyday objects. I explore the question of how affect can be immanent to matter, suggesting that the echoes of the deceased are felt through the presence of the vernacular, to reveal a haunting truth.

20 21

Mute Eating Goldthread Silver, 2017, oil on canvas, 100 x 100 cm(L, R) Mute Eating Goldthread Blue, 2017, oil on canvas, 100 x 100 cm | Mute Eating Goldthread Green, 2017, oil on canvas, 150 x 100 cm Mute Eating Goldthread Violet, 2017, oil on canvas, 150 x 100 cm

Lau Kai Yang

‘Greet each patient with a smile, and they will feel better’, as my consultant used to say, doubtless repeating advice other doctors once passed to him. So I too wear a smile.

An attitude of stoicism is a pervasive feature of medical culture. Despite the stressors faced by doctors, these unspoken pressures are concealed behind a smile of equanimity.

Renowned though its medicinal properties may be, the taste of the herb Goldthread is bitter. My ancestors of the Southern Song Dynasty coined the idiom: ‘mute eating Goldthread’ to describe the idea of suffering in silence. A mute, with Goldthread overflowing their palette – bitterness that only the self can know; an ineffable sorrow that through no words can they share.

So I smile.

22 23

Verge, 2017, performance video, 00:12:21video stills: Free TVs, 2017, video, dimensions variable

Kelly Reynolds

My field of practice encompasses video, performance and installation. I’m interested in objects and spaces on the edges of ownership. This comes from my personal experience of not knowing where to ‘fit’ in the world, relating to being gay, in a significant-age-gap relationship and to experiences of homelessness and abandonment. Movement helps structure my knowledge of the world, space, time and relationship to others. Collecting allows me to gather my thoughts through things. Putting my body in the work allows me to search for my own language, alphabet or code. In these liminal spaces I can be in and make sense of the world.

24 25

detail: Cernunnos – Celtic – Riaghan Waters, 2017, oil paint on canvas, 165.5 x 133 cm

Ryan Waters

Through a phenomenological investigation of cultural and personal identity, I have painted a series of Ancestral Mythological Portraits. These works are a collaborative effort between myself and several colleagues from the Adelaide Central School of Art community, in pursuit of reflecting a positive view of Australia’s multicultural society. Interpreting myth as the psychology of a community manifested through storytelling, in the tradition of Carl Jung and Joseph Campbell, I have depicted each model as a character derived from their chosen ancestor’s cultural narrative. In addition to combining personal identity with cultural narrative these paintings celebrate our differences while simultaneously pointing to our similarities.

Muldjewangk – Ngarrindjeri – Tom Readett, 2017, oil paint on canvas, 165.5 x 133 cm

26 27

Series 1, 2017, white earthenware, white raku, terracotta, white paper clay, 45 x 35 cm (tallest x widest)

Helen Jane Bailey

Utilising sculpture and ceramics, I have developed a visual language through mark-making to reinforce old memories of those lost to me. I tell my story by mapping what I feel on a day-to-day basis: my emotional journey as I navigate loss.

In response to losing people close to me, my work has evolved into three series: one, fleshy work that displays white lumpy rough areas suggesting it’s sterile, as if life is leaving; two, vessels that suggest weight and could hold my grief and loss, crafted through a repetitive process that allowed me time to immerse myself in private reverie; three, vessels consumed by a dark insidious growth.

Series 2, 2017, white earthenware, terracotta, white paper clay, dimensions variable

28 29

A squabble on the tailings, 2017, pencil on paper, 22 x 22 cm(L, R) detail: And the smile wasn’t for the glitter, 2017, pencil on paper, 25 x 25 cm | The still machine I, 2017, pencil on paper, 31 x 31 cm

Sarah Campbell

My work is an investigation into whether writing and drawing can be used as a tool to remove the strong associations that form around personal objects. I’m modelling my creative process after a ritual occult practice: the desk as my designated altar-space, writing as incantation, the drawings themselves as conjuration, and the strong associations as curses.

These are laborious, process-driven and performative works, in which time and intention are material properties. The drawings are talismanic and active, taking up the burden released by the original object.

30 31

Home, 2017, oil on wood, dimensions variable(L, R) The Orchid, 2017, oil on oil sketch paper, 6 x 4 cm | Waters edge, 2017, oil on oil sketch paper, 6 x 4 cm Forest pathway, 2017, oil on oil sketch paper, 6 x 4 cm | Garden in bloom, 2017, oil on oil sketch paper, 6 x 4 cm

Julianne Caville

This body of work explores the idea of the memory palace, an imaginary location in the mind used to store mnemonic images, through which one journeys. In this case, it is my childhood home and the memories associated with this place. The clarity of each individual memory determines the outcome of the final painted image.

I have chosen to work on a miniature scale as it relates not only to a child’s size, but can also suggest a distant memory. The intimacy of the miniature becomes an experience in itself, allowing viewers to become temporarily transported into the painted landscape, as if looking through a keyhole into my memories.

32 33

White Net Against White Walls – Study, 2017, oil on marine ply, 136 x 126.5 cm(L, R) Red Net, 2017, oil on marine ply, 20 x 25 cm | Yellow Net, 2017, oil on marine ply, 29 x 40 cm

Nicole Clift

The inundation of moving and still images in contemporary culture has created a perceptible shift in other mediums of representation, such as painting. I am interested in why making a painting from prolonged observation feels so inherently reactionary against our image-saturated culture. This idea is manifested through pinning various plastic nets to my studio walls and using them as intricate structures to sustain a prolonged encounter. These paintings have become the recorded culmination of the fluctuating light, temperature, time of day and my changing proximity to the nets. Layers of persistent looking and paint.

34 35

Ground Day, 2017, graphite on Montval paper, 150 x 100 cmPostcard series 2017, 2017, graphite, gesso, 18 x 13 cm ea

Celine Donegan

Drawing is like making an expressive gesture with the advantage of permanence. – Henri Matisse

My current practice explores the concept of place and how one engages with memories of places. The emphasis is on process and materiality in image-making. Utilising my own photographs as a starting point, I am transforming them into a different visual experience through drawing, varying both the materials and treatment of the surface. At the heart of the creative process is an intuitive drive. Key elements also include the notion of inside – looking out, outside – looking in, micro and macro views of place. My goal is to create dynamic works that speak to the viewer of the organic process of creating artwork as well as of a personal connection to place.

36 37

Untitled, 2017, papier mâché, rope, concrete, wood, sack truck, milk crate, bucket, acrylic paint, duct tape, plaster, glitter, grout, fixings, dimensions variableperformance details: Untitled, 2017, papier mâché, rope, concrete, wood, sack truck, milk crate, bucket, acrylic paint, duct tape, plaster, dimensions variable

Chelsea Farquhar

I slide my hand into the object and carry the weight of the form in my fingers. Pulling, I drag the mass along the ground. Back and forth, back and forth.

I interrogate spaces that exist between my body and objects in the world. I reject the subject/object dichotomy and explore sites where humans and objects collaborate and amalgamate.

My work is a synthesis of handles, holes and textures that act as visual cues and retain memory of my touch. Handles reach out to hands; five small holes echo the shapes of my fingers. These interventions could allow others to recognise where a body has been or where a body belongs.

38 39

video still: I’m Sorry, 2017, mixed-media installation, performance video, dimensions variablevideo stills: I’m Sorry, 2017, mixed-media installation, performance video, dimensions variable

Tim Fox

I, Sir King Tim Fox, look to explore the various forces and influences in which we find ourselves immersed, which allow for the production and manifestation of our personalities and identities. Through the use of video work and drawing/painting installation, I hope to address my own internalised demons/enemy images and to see the connection they have with reality. I also seek to interrogate the values we in the West have adopted, not only to understand our placement amongst the cosmos, but also our position amongst all other inhabitants upon this earth.

40 41

(T, B) Audience #02, 2017, oil on glass, 90 x 126 cm | Audience #03, 2017, oil on glass, 90 x 126 cm(L, R) Audience #04, 2017, oil on glass, 30 x 42 cm | Applause #02, 2017, oil on glass, 30 x 42 cm

Craig Glasson

Looking can be a powerful act. The gaze is associated with the assertion of power by the watcher over the human subject. Through studio-led research that positions itself at the nexus of painting, photography and the moving image, I seek to explore the acts of looking, watching and spectating. My work enters the nuance of these acts while also providing discussion about celebrity culture and its allure. The results are a series of paintings on glass wherein I develop an ‘oppositional gaze’, setting up feelings of unease and expectation between viewers and what is in their view.

42 43

installation composite: This Ain’t The Ritz, 2017, felt, thread, polyester filling, newspaper, approx. 200 x 200 cminstallation details: This Ain’t The Ritz, 2017, felt, thread, polyester filling, newspaper, approx. 200 x 200 cm

Erin Glazebrook Through my practice I return to adolescence, to a time of stability and routine without adult responsibilities. I attempt to emulate this feeling through the visual language of the popular American cartoon, The Simpsons. The work creates a space in which I can feel a sense of nostalgia and comfort, a site to escape the realities of ‘now’. My imperfect translations from TV show to sculpture and photography might inevitably fail to excuse me from adulthood, but it’s a nice break for the moment.

Homer: So Marge, ready for another episode of Don’t Go There? Marge: I’m tired of that show, but I’ve heard good things about Talk To The Hand.Homer: Okay, whatever takes my mind off my life.

44 45

The Innocent, 2017, oil on canvas, 92 x 65 cm(L, R) The Rebel, 2017, oil on canvas, 92 x 65 cm | The Ruler, 2017, oil on canvas, 92 x 65 cm

Barbara Harkness

Rather than seeking to depict a physical likeness, my self-portraits explore my life experiences and spiritual beliefs. Through a combination of mythological, psychological and symbolic imagery, these paintings reflect facets of my persona. The sequence of five paintings is structured around the idea of personality archetypes as defined by Carl Jung.

Titled The Immortal Soul, this body of work attempts to visualise the spiritual, drawing on the language of surrealism.

46 47

(T, B) Bruised building 1, 2017, pigment print on bamboo paper, beeswax, lavender oil, 40 x 60 cm Bruised building 3, 2017, pigment print on bamboo paper, beeswax, lavender oil, 40 x 60

Video still 1 – 3, 2017, single channel HD video, 00:05:00

Jennifer Hofmann

The affective sensibility of news photographs of human suffering is summoned through a sensory experience of light and shadow from the seventeenth-century deceptive arts. Aftermath images of ruined buildings sourced from news coverage in zones of conflict are dissolved by phantasmagorical breath and mist, embodied by a surface of bruised flesh and seek to redirect the eye’s inward vision. This slippage between reality and imagination mirrors the disembodiment and virtual hovering presence of contemporary media in a grim spectacle but also has the capacity to generate new meanings and a space to deliberate on mercurial feelings from shame to indifference.

48 49

Your story starts here, leave ordinary behind, 2017, oil and acrylic on board, 152 x 185 cmdetails: Your story starts here, leave ordinary behind, 2017, oil and acrylic on board, 152 x 185 cm

Margie Hookway

The natural landscape is not static or predictable, yet the landscape desired by tourists often is. My paintings explore how the tourist gaze transforms our perceptions and experience of landscape. Constructing imagery from tourism advertising, my compositions represent notions of tourism and exploration, which separate the landscape from reality to allow for the romantic gaze. This fracturing of place estranges landscape from society and culture and rearranges the view to give the tourist an ideal vantage point. The view in a tourism brochure not only creates expectations but also composes memories. The collective memory of tourists preserves the desire to experience an uninhabited exotic environment, and the visual culture of tourism advertising sacrifices authenticity to sustain the illusion.

50 51

Untitled 1, 2017, digital painting, Giclèe print on acrylic, 34 x 51 cm(L, R) Untitled 2, 2017, digital painting, Giclèe print on acrylic, 34 x 51 cm | Untitled 3, 2017, digital painting, Giclèe print on acrylic, 34 x 51 cm

Elizabeth Lange

Recovering from a mental illness is not an easy journey to take.

My series of digital paintings explores the relationship between illness and recovery through the use of light and dark. A sudden burst of bright light can be dazzling and painful for someone who has spent a long time in shadow – entering into recovery can feel like a sudden punch of pain and fear. Set in my own home, the composition of my digital paintings makes references to cinematic tropes. Sound is used to create an atmosphere of unease.

52 53

Untitled (Bedroom), 2017, oil on board, 75 x 60 cm

Phoebe Lewis

This body of work uses spaces in my own home as its subject matter. Painting from life allows me to position myself within these spaces and paint sometimes awkward cramped views, which give a sense of enclosure and capture the banality of domestic space.

This allows me to examine domestic lived space with specific interest in parallels that can be drawn between interior spaces and internal feeling. I’m interested in the value of the interior and domestic space in building/forming identity and relationships, and also in ideas around domestic security/insecurity and belonging/unbelonging.

(L, R) Study for dining room, 2017, oil on board, 60.5 x 45 cm | Study for living room, 2017, oil on paper, 43 x 30.5 cm Untitled (bathroom), 2017, oil on board, 75 x 60 cm

54 55

Identity Lost #2, 2017, oil on acrylic, 110 x 80 cm(L, R) Identity Lost #3, 2017, oil on acrylic, 110 x 80 cm | Identity Lost #1, 2017, oil on acrylic, 110 x 80 cm

Peter MacMullin

My studio practice and research examines the impact digital technology has had on the workplace, and the consequences the loss of career has on sense of self.

Technological change over the past two decades has been rapid, and this is expected to accelerate over the coming 10 to 15 years. It is projected that 40% of Australia’s workforce are highly likely to lose their jobs to computerisation over the same period.

Our work plays a significant role in defining who we are. The many middle-aged workers who will find their jobs and skills have become redundant as casualties of the digital revolution also face a loss of identity.

Through the materiality of paint on acrylic sheet I have sought to explore this contemporary issue.

56 57

Swept By Summer Breeze, 2017, oil on canvas, 140 x 120 cm(L, R) From Far Away, 2017, acrylic and oil on canvas, 120 x 120 cm | With The Gumtrees, 2017, acrylic and oil on canvas, 120 x 120 cm

Cristina Metelli

Belonging is at the base of our social needs, and is related to our attachment to place and people. As a teenager the feeling of not belonging led me to migrate to Australia, leaving family and friends behind. Although struggling with the new language and different culture made me feel very isolated, during this time the natural landscape became my point of connection to my adopted country, providing relief and emotional healing.

My paintings explore my connection to the Australian landscape through my personal sensorial filter. Gestural marks and colour relationships are an expression of my personal struggle and new found love of place. Through this process I’m discovering a new language with which to express internal personal dynamics that cannot be expressed through words.

58 59

(L, R) video still: tangle, 2017, performance video, 00:01:20 | detail: rapture, 2017, candle wax, marble, 160 x 120 x 140 cm

Kate O’Boyle

When I was a little girl I worried endlessly about experiencing a divine ecstasy. Raised Catholic, I was aware of the young unmarried women and girls who were chosen by God, their bodies seizing and contorted. These women were visited by God, and reinforcing the paradoxical relationship the Church has with the body, their bodies proved that. Looking for ways to protect myself, I came to realise that God had visited these women for unnervingly unquantifiable reasons. This lack of control led me to form a problematic relationship with my body, which understood it would often become a tool for others.

ecstasis, 2017, fibreglass, red wine stains, church linen, 45 x 180 x 120 cm

60 61

Envelop, 2017, oil on canvas, 35 x 28 cm(L, R) Growth, 2017, oil on canvas, 20 x 20 cm | Grasp, 2017, oil on canvas, 20 x 20 cm | Blue, 2017, oil on canvas, 20 x 20 cm

Molly Samson

My paintings address mental disorder through the depiction of disruptive surreal elements located on the areas of the body physically affected in these distorted mental states. Rather than focusing on the burdens that attach to and marginalise us, I strive for viewers to see mental disorders as additions to our uniquenesses.

62 63

Madhu Saraf

My curiosity about colour as a felt experience instigated this investigation through contemporary painting in expanded field and the application of pure colour.

I am asking the materials to help me understand the possibility of energy interaction between colour, light, painted objects in two and three dimensions and reflective elements within a space. I am also entertaining the possibility of these energies providing a sensorial and immersive experience to the spectator in the space.

This investigation is driven by my Hindu cultural heritage, a belief that consciousness pervades the material world, and an abiding curiosity about the influence of negative and positive consciousness upon objects. The hope is that spectators enjoy and carry the subjective experience.

installation detail: or Tat Tvam Asi (your spirit is not only in you but in all other beings and everything that is), 2017, mixed media, installation variable

installation detail: or Tat Tvam Asi (your spirit is not only in you but in all other beings and everything that is), 2017, mixed media, installation variable

64 65

(Top, L, R) Southern Courtyard Development completed August 2017. Photograph by Adam Forte | One of the new smart TVs in use in a Level 1 drawing class Three of the purpose-designed workbenches in the new teaching space. Photograph by Adam Forte

This year, Adelaide Central School of Art was identified in the national 2016 QILT Student Experience Survey as the leading art school in South Australia, and placed second in Australia by less than 1%. Our community has been an important factor in helping us achieve this excellent result and we thank our donors, sponsors and partners for their continued support. The School is not in receipt of any ongoing state or federal government funding and is reliant on income generated by student fees, public programs, fundraising, grants, donations and sponsorships, to achieve what we do. We continually strive to provide the best possible resources, opportunities and support for our staff and students. We are pleased to share with you some of our achievements in these areas.

Our Southern Courtyard Development was completed in August, providing a significant extension to our Teaching and Studio Building. This major building project has greatly enhanced the School’s facilities, providing two flexible covered work-spaces within a secure outdoor area. This courtyard enables our students to work outside with a greater range of materials, and create more ambitious work, all year round.

With generous support from our donors and Hotel Care Community Projects we were able to build seven new heavy-duty purpose-designed workbenches for the Southern Courtyard.

Additional donor support enabled us to purchase seven high-end, HD/LCD, Smart TVs for the School, which have been a welcome addition to our teaching resources. The TVs were put to excellent use in TRACK, our 2017 Adelaide Fringe Festival exhibition, which was curated by academic staff members, Sasha Grbich and Andrew Purvis. TRACK received an Adelaide Fringe Festival Weekly Award for Best Visual Art and Design.

This year we partnered with the National Art School in Sydney to present The Drawing Exchange. This successful collaboration united artists from around Australia to produce new works that were drawn directly onto the walls of exhibition spaces at both venues. The drawings were made live and allowed audiences rare opportunities to engage with artists as they worked.

The Drawing Exchange was a highlight of the 2017 SALA Festival and involved some of Australia’s leading exponents of the drawn image, including 2017 SALA Festival Feature Artist, Christopher Orchard (a much-loved lecturer at the School).

We also partnered with the Art Gallery of South Australia’s TARNANTHI: Festival of Contemporary Aboriginal and Torres Strait Islander Art to present Abstracted Muster, featuring celebrated and prolific Australian artists, Robert Hannaford and Mervyn Street.

We continued our partnership with Hentley Farm Wines. Dr. Sue Kneebone was the artist selected from our community to design the label for the latest release of their Creation Wine Series. We look forward to working with this flagship South Australian wine company in 2018.

We have much to celebrate as we embark on our 36th year in 2018; however, the road ahead is not without challenges. Our partners, sponsors and donors are integral to the School’s growth and ability to offer unrivalled opportunities for our current students, staff, associates and graduates. We urge you to join our community as a supporter.

Corporate sponsorships are available, and all donations over $2 are tax deductible. Please contact our Marketing and Development Executive, Beth Shimmin, on 08 8299 7300, to find out how you can support our creative journey.

INAUGURAL MAJOR DONORThe Spencer Family Foundation

PRINCIPAL DONORSAlan and Sue Young Thyne Reid Foundation

2017 LIBRARY DONORSJohn NeylonBarbara Prowse

2017 DONORS The Spencer Family FoundationElinor Alexander | Joy BeechMargaret Birtley | Charlotte BrightRaelene Chapple | David DemasiSasha Grbich | Diana Jacquillard Kay Jamieson | Ingrid Kellenbach The Lee Family | Nicholas LinkeTony List | Yoko LoweThe Martin Family | Didy McLaurinRenate Millonig | Catherine & Andrew NairnJo Nicolle | Michelle NormanRae O’Connell | Christopher PennyAndrew Purvis | Sandra RenneisenMadhu Saraf | Matthew and Sarah SmithJennifer Thurgate | Jose WhiteJulie Wilson | Leona Woolcock | Alan YoungAdelaide Central School of Art Painting Group

2017 SPONSORS & PARTNERSThe Adelaide Review | The Arkaba HotelBaker Young Stockbrokers | DGB GroupDigital Print Australia | Fontanelle Hentley Farm | Hotel Care Community Projects | K.W. Doggett | National Art School New York Studio School | Norwood Foodland Port Art Supplies | Richard Pryor & Associates

We thank our donors, sponsors and partners

66 67

A selection of The Drawing Exchange artists at work: Daniel Connell (left top), Sasha Grbich (right top), Roy Ananda (right middle), and Joe Frost with Christopher Orchard (bottom). The Drawing Exchange, 7 August – 22 September 2017, Adelaide Central School of Art and the National Art School. Photography by Steven Cavanagh and Sam Roberts

We have had many student and graduate achievements to celebrate in 2017 and are pleased to share the following stories of their success.

We were delighted to announce the inaugural recipients of our $2,000 relocation grants, Tori Mansfield (from Orange, NSW) and Elanora Davies (from Mermaid Beach, QLD), who both moved to Adelaide to study at the School. Lillian Clark was the School Leaver Scholarship recipient this year and received $5,000 for study-related expenses.

The Arkaba Hotel again supported our $7,500 Bachelor of Visual Art [Hons] Scholarship, which was awarded to Maxwell Callaghan. A study support grant of $5,000 from the School was awarded to Alycia Bennett.

Scholarships and grants help to relieve the financial burden of study and enable talented students from diverse backgrounds to better focus on their studies and emerging practices. We are pleased to again offer these opportunities in 2018.

The Graduate Support Program, which was introduced last year, has continued to assist high-achieving alumni in their development as professional artists in 2017. We have supported graduates with grants to develop and display new work, quick response grants for professional development opportunities, and also financially supported the graduates selected to exhibit in the Perth Institute of Contemporary Art’s annual national graduate exhibition, Hatched.

Through the Program we again provided a studio residency at Fontanelle Gallery and Studios, Bowden, to 2016 BVA [Hons]Graduate, Grace Marlow.

This year the Graduate Support Program has funded multiple exhibitions and the production of new works in Adelaide and

further afield in Yamanashi, Japan. Financial support was also provided for a graduate to undertake a residency at the Ayatana Artistic Research Program in Canada.

The Graduate Support Program strengthens Adelaide Central School of Art’s national profile as a visual arts education provider of excellence and the institution of choice for aspiring professional artists. We continue to be impressed by the quality of submissions and encourage our graduates to remain ambitious and keep applying.

To contribute to the Graduate Support Program, please contact Marketing and Development Executive, Beth Shimmin on (08) 8299 7300. All donations made to the School over $2 are tax deductible.

ADELAIDE CENTRAL SCHOOL OF ART AWARDS FOR EXCELLENCEEach year, the School provides awards to outstanding students for excellence in their studies. In 2017 we welcome Barbara Bolt, Professor in Contemporary Arts and Culture and Associate Dean Research from the University of Melbourne, to assist in judging and presenting the following awards at the Graduate Exhibition opening events:

• Major Travel Award for a high-achieving graduate • James Martin Award for a high-achieving Bachelor of Visual Art graduate• Lee Family Award for a high-achieving Bachelor of Visual Art [Hons] graduate• Adelaide Central School of Art and Artlink Magazine Art History Award• NAVA Ignition Award for a high-achieving student in Professional Practice• Board of Governors and Guildhouse Award for Excellence • Port Art Supplies Encouragement Awards for continuing students

ADELAIDE CENTRAL SCHOOL OF ART AWARDS SPONSORS

Student and Graduate Success

Adelaide Central School of Art sincerely thanks the family of the late James Martin (former lecturer), the Lee family, and our partners for their generous support of our Awards for Excellence.

This catalogue accompanies2017 GRADUATE EXHIBITIONBachelor of Visual Art [Honours] and Bachelor of Visual Art Adelaide Central School of Art9 – 22 December 2017

Published by Adelaide Central School of Art IncorporatedPO Box 225 Fullarton South Australia 50637 Mulberry Road Glenside South Australia 5065Telephone +61 8 8299 7300 info@acsa.sa.edu.au www.acsa.sa.edu.au

Copyright © the artists, authors andAdelaide Central School of Art Inc.

All rights reserved. This publication is copyright.Except as permitted under the Copyright Act, no part of this publication may be reproduced by any process, electronic or otherwise without permission in writing from the publisher. Neither may information be stored electronically in any form whatsoever without such permission.

ISBN: 978-0-9925466-6-3

Catalogue Design: Maria MolbakPrinting: Finsbury GreenPaper Stock: K.W. DoggettPhotography: James Field and Ingrid Kellenbach (unless otherwise attributed)

Works in the catalogue were photographed on 10 – 11 October 2017, or provided by the graduates. Some works have been developed further. Publication correct as at 31 October 2017.

COVER IMAGEDetails: Lucia Dohrmann, Improper Fractions, 2017, acrylic on canvas, unravelled, 30 x 30 cm ea

EXHIBITION SPONSORS

ADMINISTRATIONIngrid KellenbachChief Executive OfficerAnna O’LoughlinAcademic Administration ManagerMichael BishopFinance and Facilities Manager Beth ShimminMarketing and Development ExecutiveLuke ThurgatePublic Programs ManagerJames Edwards Project Manager – ExhibitionsAndrew Herpich Student Liaison Officer Emma BishopAdministration OfficerSharyn InghamAdministration and ReceptionCathy MilneAdministration and ReceptionCatherine KerriganLibrarianDavid ChesterAssistant Librarian Matt TaylorWorkshop TechnicianBernadette KlavinsWorkshop Assistant Jon George, Thomas Readett and Luke WilcoxFacilities AssistantsJulian TremayneExhibition InstallerDorothy CrosbyStudent CounsellorDavid DemasiAccountant

BOARD OF GOVERNORSAlan Young AMChairNicholas LinkeDeputy ChairCathy SimonsChair, Finance CommitteeChris ReidChair, Academic BoardRoy Ananda Prof Barbara Bolt Stephanie OckendenSally ParnisLeigh RobbIngrid KellenbachAngela Dawes Secretary

ACADEMIC BOARDChris ReidChairRoy AnandaNicole CliftSasha Grbich Dr Joy McEnteeTim O’SheaJenna Pippett Fiona SalmonProf Catherine SpeckIngrid KellenbachAnna O’LoughlinSecretary

ACADEMIC COMMITTEEIngrid KellenbachChairRoy AnandaHead of DrawingDr Andrew Dearman Head of Art History & TheoryNicholas FollandHead of Contemporary Studies and Sculpture

Mary-Jean RichardsonHead of PaintingSasha GrbichBVA & BVA [Hons]CoordinatorMonte MasiLevel 1 Coordinator Anna O’LoughlinSecretary

LECTURERS 2017Roy AnandaDaryl AustinMelanie BrownDeidre But-HusaimDaniel ConnellJack CrossJohnnie DadyDr Kirsty DarlastonDr Andrew DearmanJames DoddNerina DuntTrena EverussNicholas FollandZoe FreneySasha GrbichRob GutteridgeDr Sue KneeboneJessica MaraMonte MasiJohn NeylonBrigid NooneChristopher OrchardSally ParnisAndrew PurvisMary-Jean RichardsonJulia RobinsonYve ThompsonLuke ThurgateSera Waters

acsa.sa.edu.au