Mia Xiao’s (9H) ‘Still Life’ drawing captures a moment in time—revealing the nature of our existence—the definition of ‘memento mori’.
Mona Lin’s (8H) playful sense of pattern and colour has created a varied and vibrant work as part of the ‘Still Life’ unit.
Lucy Dobinson’s (8H) clever and intentional choice of media creates a delicate sculpture as part of the concept, ‘Animalgams’.
Isabelle Kolff van Oosterwijk (8M) has created an imaginative and well-constructed creature as part of the concept, ‘Animalgams’.
Emma-Rose Neil’s (12M) work responds to the concept ‘Art as Alternate’ through an evolved exploration of the ways in which humans experience memory loss. In this installation, she emphasises the transiency of life, depicting the natural deterioration of mind and body during ageing.
Through the concept of ‘Art as alternate’, Ella Hore (12R), evolved her focus into an urban-based response reflecting on the contemporary context of urbanisation and globalisation during the 21st century.
Halle Batchelor’s (12G) ‘Art as knowledge’ piece responds to the Focus of Technology within society—humans have a slippery grip on their natural selves as we have become reliant on technology.
Simran Mackrani’s (12H) work, She Remains, evolves the focus We-are-able art through the concept Art as Alternate. In her installation, visual progression of a burning flame, followed by confronting self-portraits, then a burnt cotton ball, convey a story of struggle and oppression.
Farrah Gresham’s (9W) graphite piece is another beautiful example of ‘still life’ in the tradition of Momento Mori.
Emma Spork’s (11W) artwork, Blue prints, was inspired by the change in her confidence throughout her time at the School. Her work invites the audience to reflect on their experience at school, and how it shaped their values, beliefs, and confidence.
Kate Redmond (11L) responded to Art as Code by incorporating a contrast from human to AI. Her approach to technique derived from Anh Do, and the comparison of AI and human was developed from David Szauder.
Esther McDade (11H) has developed the artwork ‘Fleeting Receipts’, which incorporates both formal and cultural contexts apparent in her previous experimental works—a universal symbol of consumerism, the receipt. The artwork suggests that students’ time spent at school is nothing but a brief transaction, in which memories and existence are to be like receipts—to be glanced at and discarded. The empty, untouched receipt roll is a symbol of the future; memories yet to be made.
In Audrey Kirk’s (12M) response to the concept ‘Art as Alternate’, she investigates the reflection of ‘toxic masculinity’. Her work successfully engages the audience through the scent of a burnt-out fire and the confrontation on the man’s face.
Holly Eddington’s (12B) work develops the concept ‘Art as Alternate’ through an evolution of the focus ‘Material Masquerade’, from exploring solely personal identity, to investigating an alternate context of broader contemporary female identity.
Through the concept ‘Art as Alternate’, Mink Godfrey-Asseraf’s (12M) work adopts an alternate approach to the present-day issue of environmental destruction in IA2 by uncovering the actions that have led to humanity’s current state. Through the making of Seven, the focus Into the unknown evolved from the ‘unknown’ encompassing the future, to it representing the past through the unique selection of sand for its archaeological ties.
Emily Jiang (9B) uses the concept ‘Memento’ through the focus of juxtaposition. Emily’s combination of contemporary and timeless symbols invites the viewer to reflect on the passage of time.
Shanae Sirimana’s (9L) delicate Still Life drawing, using fine techniques, successfully projects a feeling of the passage of time through her carefully chosen objects and symbols.
Using the concept Memento through the focus of Juxtaposition, Lauren von Hoyer-Davies (9W), has created a beautifully detailed drawing of a still life arrangement. Through her creation of the original arrangement, we are reminded of the transience of life and celebrate the tactile qualities of symbolic objects.
Harper Crocombe’s (12G) artwork ‘Beauty Mark’ responds to the unit concept, Art as Knowledge, by reflecting on the contemporary context of harsh beauty standards for women in the past, present and future. Beauty Mark develops the focus of Harbinger by displaying a linear progression of images, which acts as a warning for the potential erasure of individuality that conforming to these standards may cause.
Amy Jiang’s (8M) sensitive choice of colour creates a contemporary take on the ‘Still Life’ genre.
The concept Art as Knowledge guided Holly Eddington’s (12B) understanding of identity. The focus of Material Masquerade was translated into her work, Mementos of Me, in which she explored how ‘material’ memories shape identity through a wearable art medium.
Amara Ranchigoda (12L) responded to the concept, Art as Knowledge, through the contemporary context of the pandemic and the notion of oppression and uncertainty associated with change in the world. A Million Masks develops the focus of ‘human experience’ through exploring society’s experience.
Jennifer Chinnappa-Siddham’s (8G) expert colour mixing has produced a varied and vibrant work as part of the Year 8 Still Life Paintings unit.
Responding to the concept ‘Art as Knowledge’, Hadley Perrie’s (12R) work portrays a personal context of pain through genetic relations, specifically through her grandmother’s experience immigrating to Australia from Sri Lanka.
Mink Godfrey-Asseraf’s (12M) life-sized mannequin display, Exit strategy, generates a new understanding of the contemporary context of climate destruction and doomsday speculations.
Madeleine Atkinson (7M) created a wonderful experimental monoprint during an Art Workshop with guest artist, Ms Nancy Brown, in Term 1. The delicate shapes and colours evoke a fantasy landscape.
Eliza Canfield (10E) created this experimental monoprint during an Art Workshop conducted by guest artist, Nancy Brown, in Term 1. The colours and choice of image create an eye-catching work of art.
Rachel Zhou’s (9M) colourful collage appropriates a simple scene to depict the concept of ‘Simple Pleasures’.
This subtle work by Year 10 student, Iris Brickwood (10G), is another view of the Spring Hill ‘Urban Scape’ and employs soft brushwork and complementary colours.
Eloise Mitchell (2021) explored the techniques of assemblage to evoke curiosity and fascinate audiences through composition and choice of symbols in her work, Eye Spy With My Little Eye.
Elizabeth Wong (10H) crafted this artwork after students undertook a photographic excursion in Spring Hill to find inspiration for the concept ‘Motifs of Urban Life’.
Year 12 student, Mink Godfrey-Asseraf (12M), captured the fragility of beetles in this ink drawing. This work was completed during the ‘Art as Lens’ Unit in Year 11, 2021.
This expressive drawing of a skull, created by Ebony Lee (12E), was part of a suite of experiments undertaken through the first task of Year 11 Art, 2021. A sense of movement was successfully created contrasting with the static nature of the subject.
This mixed media construction, Still Life, by Shanae Sirimana (8L) captures a sense of playfulness through its clever use of pattern and colour.
Scarlett Shaw’s (11L) artwork ‘Concealed Identity’ was inspired by each student having a number to represent themselves within the School.
Scout Sommerfeld’s (9L) skilful organic charcoal drawing successfully responds to the Concept ‘curiosities’ through the focus of ‘clues’.
In this experiment from the Art as Code unit, Elise Truong (11B), uses repetition and pattern to successfully demonstrate the characteristics of the Formal Context.
Danielle Foster-McGinn’s (11B) installation, Impressionable, responds to ‘Art as Code’ through the flowers in a field that is decoded as the School community. The cultural context of school and industrialised life is demonstrated through the formal context of the flower field being consumed by the projection.
Through the exploration of twentieth-century Art Movements, Avalon Blundell (10E), has revealed different facets of her personality using a variety of mixed media for her piece, titled ‘More than a Pretty Face’.
Alexandra Keeley (12E) presented a warped perspective and scale called ‘Closing in’ in response to the unit concept ‘Art as Alternate’. The audience is drawn to the off-scale buildings, and crowded, miniature forms of nature in comparison, prompting thought and discussion of her evolved focus of industrial expansion into the natural environment.
Amelia Smith (11O) employed a sensitive combination of collage and drawing to create an eye-catching piece of work for her Year 11 ‘Art as Lens’ portfolio.
Claudia Heath (10E) has investigated the concept of ‘more than just a pretty face’ for her artwork. She skilfully captured three different aspects of her personality by using mixed media and construction to create a self-portrait series with three different art movements.
Year 12 student Trinity Huf (12B) investigated the concept ‘Art as Alternate’ through an imaginative installation containing photographs printed on transparent plastic material. The photos stand alone as beautiful images.
‘The Waiting Room evolves my focus—Evolutionary Conformity—by portraying the continuity of life as a symbol of how conforming to societal norms entraps one in a metaphorical waiting room.’ Trinity Huf, 12B
As part of the Year 11 Unit, Art as Lens, students were asked to observe and interpret the world with fresh and imaginative eyes. Keira Ryan (11E) has created a delicate water colour and mixed media work that reveals her creative eye for colours, shape and form.
Year 8 student, Rachel Zhou (8M), combined several different species to create her plaster creature in Term 2 on the concept of hybridity. Her artwork features a turtle shell with crab claws and spider legs, and the creature has both a giraffe and flamingo head.
Built from plaster bandage over a wire armature and extended with selective mixed media elements, Ava Tran’s (8G) Creature combines several reference images to create a quiet and delicate character.
Developed with close observation of both form and texture, this seedpod drawing by Alisa Wang (7R) confidently fills the space of the page and works inventively with media and technique to reproduce the detail and nuance of surface pattern.
Year 8 student, Olivia King (8R), uses repeated circular motifs, crisp watercolour graduations and lively compositional organisation to create a sense of light-hearted movement and visual play in this Still Life relief titled Circle Party.
Skillfully capturing the luminosity of all surfaces, this large-scale charcoal drawing by Asha Stewart (9G) uses subject and composition to reference the curiosities of time and the history of family objects.
Year 8 student, Jenna Hilditch (8G), uses framing and the diminishing scale of objects to create a focal point and enhance the sense of spatial depth in the shallow relief of this Still Life composition titled Grandma’s Present.
This mixed-media installation, Reaching Beyond, by Jessica Phillips (12G), explores the relationship between environmental damage and artificially generated human aspirations. It does this by using the form of the hand rising beyond the natural reach of the branching tree, grasping for the bright colours and forms of elusive desires, heedless of consequence.
Commenting on climate change, this large-scale installation and projection work titled Alternate Time, by Francesca Arcibal (12O), warns that the current implications of climate change are just the ‘tip of the iceberg’.
Investigating the concept and process of deconstruction and reconstruction, Danielle Foster-McGinn (11B) deconstructs the leather of a shoe, returning it to animal form.
This delicate seedpod collage by Savannah Hignett (7M) is an extension of a drawing study and relief print work that draws on the imagery of selected materials to evoke the connection of the pod with cycles of natural life and growth.
Developed as part of an experimental folio, this work by Lucy Noble (12M) takes a playful mixed-media approach to investigate design in the formal context.
Simple but well observed, this seedpod drawing by Sophie Hutchinson (7M) uses mark-making and the qualities of her ink media to develop a sensitive response to the form and detail of her subject.
This cardboard sculpture, Record Dance, made by Carmen O’Connell (10E) at the end of 2020, combines a quirky sense of humour together with skilled problem-solving to create a lively character with a sense of movement.
Developed as part of a non-assessed art challenge, Secret Garden was one of a series of Year 9 installation works that exploited the material qualities of a single-found material. The series created an experience for viewers within the space of the CLC building.
Appropriating the shapes of objects from a Margaret Olley Still Life, Jenna Park (8B), has used carefully considered combinations of collage materials in her work, Moonlight Melody, to create a new composition with a contemplative mood.
Developed last year in response to the COVID-19 experience, Isabella Pak’s (11O) photo appropriation of Grace Cossington Smith’s painting, The Sock Knitter (1915), acknowledges the COVID lockdown in the face of a different world war.
This still-life study drawn by Farrah Gresham (8W), captures the character of the leafy subject with bold confident lines.
This well observed and creatively constructed cardboard sculpture, Frank 173-2, made last year by Amishi Ahlawat (10L), successfully exploits knowledge of the form and a feeling for the visual and physical qualities of chosen materials.
Ebony Lee’s (11E) work Digital Freedom plays on the well-known painting of Joan of Arc by Albert Lynch to represent the new fantasy of freedom through virtual technologies.
This work is part of a new exhibition of Photo Appropriation works produced by Year 10 2020 students and are displayed in the School’s Barbara Fielding Room.
Responding to the work of Australian artist, Del Kathryn Barton, Daisy Sheahan (10W), embeds her subject within imagery drawn from the natural world, referencing the effort of growth and the flowering of human spirit.
In this altered book page, Evie Kolff van Oosterwijk (8M) up-cycled a page from a recycled book with this neatly designed image in response to selected words from the text.
The fractured construction and three-dimensional layers of the print imagery comprising each of the faces in this installation work by Trinity Huf (11B), reflect on the irony of the use of numbers as markers of individual identity.
This collage by Lucy Vaughan (9O) effectively contrasts the refuge of home and the calm of this small verandah corner with the storm of world issues raging outside.
Projected across an entire wall in a darkened room, accompanied with a ‘Manifestation Meditation’ complete with diurnal rhythms, this work by Ruby Norris (12O) takes a tongue in cheek perspective on the artificial means used to construct transcendence from our busy lives.
Selecting a personally meaningful object as a subject for her painting, Maddie Miettinen (8B) applied her knowledge of paint techniques and colour harmonies to create this joyful and celebratory image, Precious, developed from her own photographic composition.
After investigating the work of Australian artist Del Kathryn Barton, Millie Smith (10O), was inspired to develop this double portrait which represents the emotional connection between the two figures.
These two altered book pages by Isabella Ho (8E) and Asha Stewart (8G), were developed in response to the work of artist, Tom Phillips. In making these works, each student took a page from a book and constructed a poem of words found from within the original text. The poem was then extended and complimented with an image demonstrating each student’s choice of media and representational style.
Living Static by Alexandra Keeley (11E) was developed in response to her investigation of the abstracted works of Kandinsky, and the use of elements and principles of visual language in expression. Alexandra’s work represents the daily experience of moving into and out of the structures of school life.
Shown as a point of light in darkness, the crumpled sheet music with its composition in progress is used as a representation of hope and curiosity in the search for understanding and expression. Devan Zhao (9L) uses the rich darks and lights of her charcoal media, Progress, to extend her theme of light and hope within darkness.
While participating in home learning last term, Year 9 Visual Art students developed a series of compositional collages to reflect the theme ‘A Room at the Heart of my Home’. In this work, Caitlin Davies (9W) represents the function of her living space as a repository of personal and family histories.
Working from her drawing studies of a seed pod, Year 7 student Mia Neubecker (7O) simplified and stylised her image, developing it as a relief printing plate constructed of found materials. After printing, her works were further extended with the use of mixed media components, creating a series presented as a concertina book.
Developed in response to a study of 20th century art movements, this self-portrait by Sienna Crosisca (10M), uses the visual forms of Cubism to express her contemporary experience of life and identity.
First composed as a photograph, delicately framing the subject with wave-like folds of fabric, and then developed with careful colour harmony and soft graduation techniques, this painting by Lara Koekoek (8L) shows wonderful observation and sensitivity for the ‘preciousness’ of her subject.
Developed from a photograph carefully framed and constructed by the student, this large scale charcoal drawing by Sherry Jiang (9M), develops her theme Relentless Melodies with creative attention to the observational detail of light, form, tone and texture.
Last term while learning from home, Year 10 students engaged in a series of self-portrait tasks reflecting on the work of contemporary Australian artists.
Responding to Tim Storriers’ work the Histrionic Wayfarer, Visual Art student Kiera Ryan (10E) first constructed and photographed a self-portrait figure using clothing and objects associated with her period of home learning. The posture and design of this figure was given further animation in a drawing exploiting the liquid qualities of her selected media.
Part of a series of experimental works created in the process of developing a finished artwork, this image, by Lola Thew (12R), of a human on the threshold of new experience retains a sense of a poignant moment.
Showing a wry sense of humour, Son of Elton, by Lucjia Noble (11M), is a photographic appropriation of René Magritte’s surrealist painting, Son of Man, made in 1964.
In this week’s Artwork of the Week, Jessica Do (11B), confidently appropriates the ideas and visual forms of three different representational styles to show facets of her own personal and contemporary context.
Constructed from printed acetate over a mirrored surface, this work by Lucinda Bell (12G), builds on her observation of the warped images of city buildings captured in the mirror glass of Eagle Street buildings.
In this multi stage work, Eliza Canfield (8E), used watercolour to develop two images of forms from nature. Her images were then printed in multiple, cut outs and developed into individual three dimensional forms complementing the natural form of the original. Using a grid of concentric circles with a five point radius, Eliza experimented with ways to combine her individual forms to build the three dimensional pattern and movement of her mandala.
Confidently executed with bold strong lines by Grace Gillies (8H), this drawing is one in a suite of quick ‘warm-up’ drawings undertaken by Year 8 students in the lead-up to their ‘Still Life’ painting task later this term.
Combining impressions of the local Spring Hill area, Maxine Gamer’s (10G) mixed media work, ‘Brought to Life’, shows the layers of life and experience informing the neighbourhood. From the new tower blocks overshadowing original homes to bright domestic decoration, the artist shows us the energy and richness of our inner-city suburb.