City Abstract is a three dimensional experimental work by Tamrah Nicholas (11G) who used metal foil and acetate. Her work responds to her observation of the way in which reflections warp the rigid steel and glass grids of the cityscape.
The queues and multiple directions of the three-dimensional cars in this work titled, Cacophonous Cars, by Simran Mackrani (9H), evoke the constant sound and movement of business and traffic, which fills the air in the densely populated neighbourhood of Spring Hill.
This work by Francesca Lenti (12E) represents the idea of life as a constantly forming and reforming flow of molecular structure. The hourglass shape is used to represent time and repetition. The upside-down turning of the device with its contained flow and reconfiguration of fine particles, and the red and blue projected light and open branching structures evoke images and diagrams of circulatory systems.
Laid out in sand across the dancefloor in the Creative Learning Centre, the symbol form of this experimental work by Chelsea Warat (11R) shows the snake tongue of gossip whispering into a listening ear. The choice of sand as media is designed to evoke the insecurity of shifting relationships.
This arresting image is the central focus of video work, Unwoven World, by Sarah Mangos (12G). It provides witness to a changing world environment reflected in the earth textures and weather currents moving across the watching visage.
In this work, Guiding Messages, Carissa Kua (9L) uses stencilled and collaged imagery and slivers of packaging to comment on the proliferation of signs and directions she found populating the local Spring Hill streetscape. The concentration of imagery and the title Guiding Messages invites the viewer to consider the balance of freedom and direction required to maintain our quality life within the urban environment.
Working creatively within a triangular geometry, Madison Stewart (7B), uses the direction of her stylised leaf and petal shapes to take the eye of the viewer on a continual visual over and around her carefully interlaced mandala form, titled Nature.
This self-portrait by Trinity Huf (10B), builds on the artists understanding of the anarchic ideas and motivation of the Dadaist art movement in her use of mixed media and readymade political imagery to represent a personal sense of the madness of contemporary life.
Mia Clarke’s (12M) work Hunter and Gatherers comments on the shift of human livelihood from subsistence to the abstract world of knowledge collection and paperwork, and our constant sifting and searching for meaning and more.
The repetition of the skull image in this photographic work by Nellie Osmani (11M) is designed to focus the viewer’s attention on the aesthetic qualities of the form, and the place of the individual within the larger unfolding pattern of time, life and history.
In this work, Autopsy of a ‘Perfect’ Woman, by Isabella Nye (12O), the two halves of the mannequin are pulled apart to reveal the commercial images and products poured into the manufacture of a perfect exterior while inner confidence erodes.
In this drawing, Midnights Gift, Mink Godfrey-Asseraf’s (9M) acute attention to detail and feeling for her subject has produced a beautifully crafted and sensitive response to the theme of ‘Curiosity’.
Framing her object with lush folds of satin, Avalon Blundell’s (8E) beautifully executed graduations in Precious show the sheen of her subject with the warm pink glow of light reflected between subject and material.
The focus of this week’s Artwork of the Week was on the sweeping curves of the surface contour of the shell, drawn here with great feeling by Madison Miettinen (7B).
This portrait series, More than a Pretty Face, by Francesca Archibal (10O), plays on the artist’s understanding of the ideas and visual conventions of three 20th century art movements—cubism, dada and pop—giving each a personal and contemporary twist.
In this installation Cocophony by Sophie Nolan (12B), the viewer is invited to step inside a space of dark, rustling and densely overlaid verticals scrawled, etched and collaged with words. Forcing their way through the hanging strands and closely surrounded at the centre, the viewer is faced with a physical and aural cacophony of voices, reflecting the overwhelming claustrophobia of a media saturated world.
Elevated spirits, by Sneha Jaiswal (12W), depicts the human capacity for hope and faith even among those who have very little. The small houses and ladders cobbled together from found objects represent the fragility of the village while also showing community connection. The kites suspended above these structures show the elevating presence of the human spirit while the ladders lead down to prayer offerings, conveying the repeated practice of prayer as a daily ritual in life.
In this three-dimensional work, Jillian Campbell (9O) uses the image of a hand gesture with an embedded mouth to reference the multiple ways in which humans communicate. The loose and ‘ramshackle’ construction of this form extends this idea, reflecting on the layered and individual construction of our language and expression.
The pop imagery of this work, Barani, Yagu, Bari, by Eliza Douglas (12H) was developed from a combination of photographs taken while on expedition to Kangaroo Point. The bright dance of the background buildings, the sleek rounded forms of the car and the collage of shopping bags have been used to refer to the bright promotion and social obsession with acquiring new and shiny material goods.
In this bold composition, Elizabeth Choo (10M) uses a compilation of letterboxes to point to the layers and varying character of the homes, both old and new, comprising the dense urban scape of the local Spring Hill area.
This week’s Artwork of the Week is a mandala created by Keira Crouch (7G). In this task, students stylised images from nature using variable brush lines and applied watercolour techniques to develop their images. Each image was then folded and glued to create three-dimensional forms which were further extended using a geometric grid to create a sculptural mandala.
This term, the new Visual Art curriculum invited students to consider a range of methods to thinking and approaching representation of the material world. In this work, Anabelle Horton (11L), considers the question of ‘beauty and aesthetics’ in her use of an everyday object as a point of reflection on the accumulative environmental impact of human domestic activity.
The observational focus of this shell drawing by Emma Wong (7W) is surface contour. Emma uses curved contour lines to build the illusion of three-dimensional form.
In this work titled, Life Study, Esme Carr (11M) uses repeat images of a vertebra to create a new form representing the struggle of life against a background of time and flux.
This week’s Artwork of the Week, Seedpod Drawing, is by Stella Carrett (7M). In Year 7, students are introduced to the idea and practice of ‘slow looking’, measurement and persistence in checking back and forth between observed object and drawing. Once the initial outline is achieved, the focus of the work is on developing the pattern and texture of the object using pen, ink and mark making.
In this charcoal drawing, Curiosity, Juliette Lodge (10L) uses the fence as a symbol for the point of separation between the known and unknown. Her drawing shows excellent control and experimentation with media.
In this photo series, titled Neither the Beginning or End, Renee Newcomb (12R), references the sight, sound and smell of tea-making to reflect on the warmth and calm evoked by the use familiar objects and repeated ritual actions.
This week’s Artwork of the Week is Blue, a three-channel video installation by Isabella Nye (12O) that explores the feeling of the body isolated and suspended within an emotional experience.
This mask by Sherry Jiang (8M) has been developed from a fusion of forms observed from nature. Her initial drawing was extended with three dimensional paper construction and brought to life with patterns and textures derived from the original forms.
This animated building constructed by Nellie Tilbury (10G), combines both natural and human-made forms to muse the possibility of a lifestyle more dynamically integrated with nature.
The ever-expanding circles of Chandelier of False Promise by Francesca Lenti (12E) are made of mass produced plastic cutlery. The form of the chandelier and its throwaway components point to the lack of illumination and the cheap promises of consumerism. This work was displayed in close proximity to the school Café to bring the ideas into the realm of the student audience.