SENSORY NARRATIVES Adelaide Central School of Art 2016 Graduate Exhibition

2016 Graduate ExhibitionBachelor of Visual Art [Honours] and Bachelor of Visual Art3 – 22 December 2016

Bachelor of Visual Art [Honours]

Alexandra Beckinsale

Susan Hamilton

Christopher Houghton

Bernadette Klavins

Grace Marlow

Christina Peek

Anne Stevens

Bachelor of Visual Art

Maxie Ashton

Alycia Bennett

Amanda Berman

Caitlin Bowe

Maxwell Callaghan

Patrick Cassar

Jasmine Crisp

Janine Dello

Antonia Ditroia

Lucia Dohrmann

Kate Dowling

Sharyn Ingham

Cariad Kitchener

Lau Kai Yang

Evy Moschakis

Kelly Reynolds

Malcolm Richards

Ebony Rodda

Cynthia Schwertsik

Cameron Smith

Claudia Smith

Lynette Trowbridge

Ryan Waters

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SENSORY NARRATIVES

Teaching and Studio Building, Adelaide Central School of Art. Photograph by James Field

One eye sees the other feels. — Paul Klee

Adelaide Central School of Art is delighted to present Sensory

Narratives: 2016 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, many of whom have undertaken study on a part-time

basis over many years, have demonstrated great passion, dedication,

commitment and plain hard work – the unsung hero of the creative

process – to complete the intensive and rigorous studio-based program.

They have shown a certain confidence, belief in themselves, to leave

their comfort zones, trust their instincts to push their work to the limit.

For these graduates the exhibition is a culmination of years of

experimentation, inspiration, exploration and deep personal engagement,

to tell their own story in their own way. 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.

Adelaide Central School of Art is recognised nationally for its excellence

in educational practice and graduate success. Our School is composed

of renowned practitioners, contemporary artists, writers and curators,

who 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 highly 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, experience and expertise the staff so generously share.

This year will see 30 BVA [Hons] and BVA students graduating:

the largest cohort of students graduating since the School’s

commencement in 1982.

These students 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. In 2016 the

School introduced a Graduate Support Program providing grants,

opportunities to participate in international and national workshops,

and studio residencies to provide a bridge between study and the

commencement of an emerging artist’s professional practice.

In addition to our exhibition sponsors and supporters I wish to

acknowledge the graduating students who worked throughout

the year, raising additional funds for the production of this year’s

catalogue: a valuable professional asset as they 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. I have also enjoyed

working with our talented designer, Maria Molbak, and our equally

talented photographer, 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.

To create one’s world in any of the arts takes courage. – Georgia O’Keefe

Ingrid KellenbachCEO, Adelaide Central School of ArtDecember 2016

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Right behind you, 2016, Giclèe print on cotton paper, print dimensions variable(L, R) I could be, 2016, Giclèe print on cotton paper, print dimensions variable | Reclaim, 2016, Giclèe print on cotton paper, print dimensions variable | Jean, 2016, Giclèe print on cotton paper, print dimensions variable

Alexandra Beckinsale

Found photographs present an ambiguous narrative to those that discover them, descriptive of a particular moment and experience that is now lost to time. Through my research practice I have considered how found, analogue, vernacular photography can act as a substitute for personal memory.

My work is a visual response to the clues present within a collection of photographs from two found photo albums created by a young woman living in Mount Gambier in 1946. I have explored how re-presenting these images as digital paintings creates a relationship between the image and the inaccuracy of remembrance. The work focuses on the individual narratives that are present within these photographs, narratives that often get overlooked or forgotten.

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Installation details: Who am I, Who are you?, 2016, parchment paper, black pen and pencil, dimensions variable

Susan Hamilton

The questions who am I and where do I belong have assumed in modern times an unparalleled degree of urgency and complexity. – Nikos Papastergiadis, Spatial Aesthetics

People innately need to belong. Fundamental to this are relationships: how we affect each other, intimately, in a group, or culturally.

This year I have spent eighty hours making fifty-two drawings of half a metre of felt draped over an oil heater, to try and understand more about, Who am I? Who are you? and Where do we belong?

(L, R) Lilo, 2016, oil paint on 5.4 mm black industrial felt, 40.5 x 50.5 cm | Rookie, 2016, oil paint on 5.4 mm black industrial felt, 48 x 50 cm

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Happy Gaia, 2016, silver gelatin negative, pigment ink on cotton paper, 102 x 83 cm

Christopher Houghton

All bodies of nature, including our own, are assemblages of animal, vegetable and mineral forces. Embedded in the stone coastline where these photographs were found are emergent human and non-human forms, revealed in geophysiological narratives of living cycles that speak to the constancy of becoming.

Each photograph in this collection has evolved through the synchronous exchange of natural forces. The practice of discovering them has become a process of slowing the act of photography, being immersed in the exchange and collaborating with the Australian landscape on its own terms.

(L, R) A Brief History of Deep Creek, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 83 cm | A Form-ative Memory, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 85 cm | The Reductive Conversationalist, 2016, silver gelatin negative, pigment ink on cotton paper, 100 x 82 cm

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Rain return (performance to occur on the hottest day of summer), 2016, rainwater collected between the months of January and October, glass jars, thermometer, sack-truck, particleboard, bungee cords, fixings, dimensions variable, ongoing

Details: Driftwood, 2016, digital print, 42 x 896 cm

Bernadette Klavins

Through this body of work I playfully engage with the potential for sculptural processes to become analogous to geological activity. In a series of sincere and humorous exchanges, I act alongside raw materials such as rocks, timber and rainwater as I attempt to draw out their transformative potential. Over time, my acts of gathering, casting and walking become integrated with geological processes, such as weathering, warping and erosion.

These works remain in an ongoing process of formation, as they operate in dialogue with sites beyond the gallery. In this way, each work attempts to offer a sense of unseen activity, both my own and that of the inherent agency of the selected materials.

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Installation in progress detail: un, 2016, Femfresh talc-free powder, concrete, dimensions variable un, 2016, cans (asparagus), peaches (exposed), cans (Spam), orange, melons, modesty covers, peaches (jarred), mould (contained), gum, bricks, water balloon, rock, plasticine, chicken fillet, soap, jelly fruit, Femfresh talc-free powder, Vaseline, installation variable

Grace Marlow

My decisions as a maker are led by my body and its playful interactions with materials. This relationship generates new objects (sculptures) and alternative uses for objects, bodies and spaces. Equally intrigued by material play, I am invested in a practice of political action. I wonder, how can political intention be embedded in my playful studio practice?

From the moment we are born, gender is called upon to explain our behaviour: how we interact with people, objects and spaces. This limits how we can experience the world, often in oppressive ways.

I borrow from languages, behaviours, and symbols that construct rigid perceptions of gender, recontextualising these systems to render them unfamiliar. By de-familiarising objects, this work emphasises the failures of categories to suffice for experience and the complexities of being.

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Maybe, 2016, queen-sized bed, Crimson Joy lipstick, wax, bed linen, 76 x 150 x 203 cm(L, R) Detail: Killing Time, 2016, Crimson Joy lipstick and Kiss, Kiss, Bang, Bang lipstick kisses on paper, 150 x 200 cm Someone Like You, 2016, bespoke perfume created to imitate a past lover’s scent, perfume volume variable

Christina Peek

My practice derives from my feelings of hope and futility in the search for romance. I often feel torn between desiring romantic love and feeling pathetic for admitting it. Using materials that evoke romance, such as lipstick and perfume, I create sculptures and installations that revel in the grand gestures depicted by popular culture yet maintain sincerity in their hope for romance.

These works are both talismans, summoning romance to me, and sites to explore my hopes and fears surrounding romantic love. They ask you to question your opinions of romance, if you too feel pathetic for wanting a partner or excluded from common romantic narratives. But the most important question they pose is … Are you the one?

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Lifetime, 2016, mistinted house paints, bitumen rubber, tissue paper, detritus, cardboard on muslin, steel supports, c. 165 x 202 x 23 cm(L, R) Details: Distant Past, 2016, mistinted house paints, bitumen rubber, tissue paper, detritus, cardboard on muslin, steel supports, c. 174 x 150 x 23 cm Parting, 2016, mistinted house paints, bitumen rubber, tissue paper, rope, detritus, cardboard on muslin, steel supports, c. 168 x 224 x 23 cm

Anne Stevens

Making use of non-traditional materials, including bitumen rubber, house paint and muslin, my process-based cumulative practice generates fragile and vulnerable works that attempt to convey the intrigue I find in the affective qualities of the process of transformation.

All material things leave a memory or trace as a consequence of the cycle of growth, change and decay. These material traces of memory also continuously transform, documenting the passing of time and acting as reminders of the fragility of temporal existence. It is the wonder and beauty I find in this phenomenon which informs my work.

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Details: Soundscapes in grassy woodland, Mount Lofty Ranges, — a record of sounds over 24-hours, 2016, graphite on paper, 24 drawings, 38 x 57.5 cm each

(L, R) In memory of landings, 2016, wood, metal, gold thread and steel mapping pins, 150 x 100 cm | Flightscape, Waltaunga #2, 2016, drypoint print on paper, 22 x 36 cm

Maxie Ashton

Through my art practice I strive to visually notate moments spent in the presence of birds. I aim to represent birds as I experience them in the moment: the flash of colour, the movement and the sound overhead. Although these moments pass in a millisecond, leaving nothing but a trace in my memory, I find them precious and life-enriching. In the field, I love to give my attention to birds and to allow my immediate response to land on the page or surface in front of me, forming a record of the encounter.

I aim to recall the sensual essence of nature and find ways to communicate ‘the moment’.

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Installation view: Low-Vis, 2016, anti-surveillance hat, fluorescent light, CCTV dome camera and monitor, steel, hazard tape, dimensions variable(L, R) Low-Vis (hat), 2016, reflective material, cotton, infrared LED lights, battery, electronics, 30 x 45 cm Installation detail: Spyral, 2016, construction fencing, CCTV camera, monitor, steel, concrete, 190 x 600 x 600 cm

Alycia Bennett

Surveillance is a ubiquitous part of living in the 21st century. Whether through CCTV cameras tracking us in public spaces, the GPS data from our smartphones or the products we browse online, our movements and choices are being collected and scrutinised by various government bodies and commercial organisations. For some, this means greater safety and convenience; for others, it is an infringement on their privacy.

Through installation, sculpture, sound and immersive participatory situations, my work allows the audience to become performers under the watchful eye of the camera. Audiences are able to participate in do-it-yourself gestures that aim to playfully disrupt systems of control and lead them to consider issues around the control of public space and the behavioral changes of individuals via self-surveillance methods.

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More Than Skin Deep, 2016, oil on linen, 150 x 150 cmSelf Portrait: Nude, 2016, oil on linen, 200 x 150 cm

Amanda Berman

The representation of the nude in art remained for many centuries a victory of fiction over fact – Borzello, The Naked Nude

My investigation began with the question: ‘Could I paint a nude self-portrait?’ Our visual culture promotes youth and flawless beauty. Yet many women struggle with their own body image and there is an absence of imagery which honestly reflects the experiences of older women. Using the very centre of many women’s malaise, the figure, I have challenged this issue.

The artworks highlight the shift from a self-conscious, shrouded, invisibility to a celebratory reveal of mature semi-naked women – my four sisters and me – who together applaud their femininity, are accepting of their bodies and, acknowledging its limitations, are cognisant of the wisdom and authority that comes with age.

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My Banshee, 2016, wax, muslin, lace, windshield glass, pine, ink, 166 x 75 x 95 cm

Caitlin Bowe

Once upon a time, in a kingdom not so far away, a young girl was on her way to her morning lessons, when, out of nowhere, a large screeching creature made from steel and glass struck her down and plunged her world into darkness. From the blackness she could make out the crying of a nearby woman … no … this was the cry of a banshee, signalling that soon death would come for her. The girl cried in pain and pleaded for it all to be a dream while the town’s people rushed to her aid. Her clothes where torn, her bones broken, but death did not claim her that day. She lived to tell her story.

(L, R) Installation detail: Hopeful Healing, 2016, wax, plaster bandage, 24 x 170 x 4 cm | Detail: My Banshee, 2016, wax, muslin, lace, windshield glass, pine, ink, 166 x 75 x 95 cm

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Thrown into a fluorescent void ..., 2016, oil and lithium on canvas, 91 x 118 cm

Maxwell Callaghan

For the most part, mental illness is only privately experienced, expressed and communicated. The paintings and sculptures within this body of work are concerned with remembering, externalising and reflecting upon a personal experience of mental illness and period of hospitalisation that happened two years ago. The paintings show the sequence of events and details of the period of illness and how they are perceived through memory. The two sculptures represent embodied feelings and memorialise unspoken experiences, echoing the paintings. Through honestly examining a personal struggle I hope to offer viewers a chance to examine their own experiences of mental illness, opening a possibility for greater understanding for some and reassuring others that they are not alone.

(L, R) Arriving at the Margaret Tobin Centre confused about reality. Left alone on a bed ..., 2016, oil and lithium on canvas, 89.5 x 120 cm Running out away from the building naked and delusional ..., 2016, oil and lithium on canvas, 90 x 119 cm

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Chironomia, 2016, oil on canvas, 100 x 96 cm(L, R) Impermanent #3, 2016, digital print on photo rag paper, 29 x 42 cm | Impermanent #2, 2016, digital print on photo rag paper, 29 x 42 cm

Patrick Cassar

Words I cannot express,Feelings I cannot speak.They show through motions I can’t contain.A language that can’t be written,A moment that can’t be remembered.Squeezing, scratching, caressing of flesh,A gesture of empathy.It gives me a calming voice only I can hear,It gives me reason when there is nothing to understand.

We assume that words are the most important aspect of communicating how we feel in a conversation. Can hand gestures express an emotion or state of mind we have trouble expressing in words? I have focused my practice on looking at hand gestures, particularly how they can be used to reveal emotional discomfort.

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She had the power at her fingertips, 2016, oil on canvas, (diptych) 192 x 86 cm(L, R) He could go to any place if he wanted, 2016, oil on canvas, 110 x 110 cm | His possessions acted only as fuel, 2016, oil on canvas, 120 x 152 cm

Jasmine Crisp

“Is this your favourite coat?”“Do you have allocated sections in the fridge?”“Where did you get that lime?”“What age is the wallpaper?”“Did your mum buy you those jeans?”

These are some questions I have asked my sitters while documenting their interaction with their objects and environment. I am driven by a fascination with social behaviour, and the cherished belongings people collect to display a sense of self. I have combined personal experience, my relationships with others and theoretical research to construct a series of interrelated paintings. My painted plots unfold in domestic locations inclusive of the scattered belongings and eccentric behaviours of my characters.

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Bittersweet, 2016, oil on linen, 50 x 70 cm(L, R) Breakfast, 2016, oil on linen, 76 x 84 cm | Wish list, 2016, oil on linen, 76 x 84 cm

Janine Dello

Women are surrounded by images of ‘the latest thing’ and encouraged through fashion magazine advertising to covet and constantly consume. Fashion has the ability to empower women but also makes them vulnerable to its demands. These ambivalences and contradictions are why I both love and hate fashion.

My work focuses on the tension between female desire, consumer culture and fashion’s role in transforming female identity. This series of paintings explore the contradictory emotions relating to female consumption habits – desire, anxiety, addiction, self-obsession, longing, seduction, pleasure – emphasising the imperfect, messy realities of contemporary women’s lives.

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Abby and Leonardo as the Madonna and Child, 2016, oil on canvas, 170 x 110 cm(L, R) The Bride as Venus, 2016, oil on canvas, 110 x 170 cm | Peter as David, 2016, oil on canvas, 170 x 110 cm

Antonia Ditroia

The Madonna and Child, Venus, and David are the three archetypes I have selected from the repertoire of Italian artists who have preceded me. Using the narratives of these figures, the feminine, the masculine, and family ties, I am able to contextualise the cultural identity and traditions of young Italian Australian people. Making aesthetic parallels to famous historical artworks, my work communicates the influence of ideals and traditions imported from the migrant generation. An important question is, therefore, how do these conventions impact the identity of the current generation living in modern day Australia? My investigation is into how this creates aesthetic and behavioural diversity in Italian Australian people, and how potent our heritage may continue to be. The ultimate question hangs — Will we continue to grasp on to our homemade salsicce!?

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Untitled I, 2016, unravelled fine art linen canvas and acrylic paint, crochet, 126 x 126 cm(L, R) Detail: Untitled II, 2016, graphite and acrylic paint on fine art linen, drawn thread embroidery, 75 x 75 cmInstallation detail: Untitled I, 2016, unravelled fine art linen canvas and acrylic paint, crochet, 126 x 126 cm

Lucia Dohrmann

I describe these works as paintings in the expanded field, where the only materials used are artists’ linen canvas and white acrylic paint. The unravelling of the threads of the linen produces a yarn that allows for repetitive crafting processes, such as crochet and embroidery.

These crafts are based around repetitive sequences of stitches that create endless combinations of patterns. Some Minimalist painters also use patterns and geometric forms as a way to avoid representation and highlight the materiality of their works. The amalgamation of these two fields in my work brings together the hand skills that my mother taught me from an early age, and my preference for the simplicity and geometric nature of twentieth century Minimalist paintings.

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The Hero’s Journey, 2016, oil on canvas, 107 x 152 cm(L, R) Hiding under the covers reading stories by the torchlight at night, 2016, oil on canvas, 76 x 76 cm Reveries In The Darkness I, 2016, oil on canvas, 38 x 38 cm

Kate Dowling

I’ll be a story in your head. But that’s OK: we’re all stories, in the end. Just make it a good one, eh? — Doctor Who

The threshold between the known and the unknown is explored through paintings that suggest it is within the quiet dark of the bedroom that the mind enters a private world of reverie. Here, within the internal landscape, the hero’s journey begins. The imaginary world sends the hero into a vast wilderness of uncertain landscapes to face whatever risks and challenges arise. There is an element of mystery at the beginning of any story, a threshold between the everyday world and the mysterious world of the imagination. It is here that the story is realised.

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Eucalypt, 2016, oil on marine ply, 90 x 60 cm(L, R) Deer off road, 2016, oil on marine ply, 50 x 40 cm | Deer on road, 2016, oil on marine ply, 50 x 40 cm | Kangaroo on road I, 2016, oil on marine ply, 50 x 40 cm | Kangaroo on road II, 2016, oil on marine ply, 50 x 40 cm

Sharyn Ingham

My work is concerned with developing a visual language to express the collision between the built and natural environments on the margins of suburbia. I use the medium of oil painting to create an intimate, immersive space to bring humans into a different relationship with nature, one that is more caring, compassionate and less destructive. I am depicting the trees and animals that are of great significance to me from my local area in the Adelaide Hills. Through this heartfelt and authentic relationship I want to highlight the intense difficulties for our native animals associated with this edge zone where the forest and human settlement meet.

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(L, R; T, B) A vertical standing arrangement with a right-angled accoutrement, 2016, pencil on Canson paper, 150 x 150 cm | A convoluted form with linear attachments, 2016, pencil on Canson paper, 150 x 150 cm | An upright vertical elevation with diagonal appendage, 2016, pencil on Canson paper, 150 x 150 cm | An intricate arrangement with horizontal protrusions, 2016, pencil on Canson paper, 150 x 150 cm

The conforming forms assemble, 2016, animation, 00:05:00

Cariad Kitchener Objects that we encounter every day can become so familiar that we stop really seeing them. I am playing with these objects, reconstructing the things that exist in everyday surroundings, and examining and changing existing presumptions to provide a new angle of experience.

My drawings and animations explore the capacity of a simple action to transform objects into something unfamiliar and ambiguous. I want to convey a non-functional transformation or event happening to these objects as if observed by myself in the world. Drawing the new structures purely from memory was a way for me to document their spontaneous creation or formation leaving the question open as to whether or not they’ve acted autonomously in their materialisation.

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Saudade series (Neither of us), 2016, oil on canvas, 47 x 72 cm(L, R) Saudade series (Talking about), 2016, oil on canvas, 47 x 72 cm | Saudade series (Trying to paint while), 2016, oil on canvas, 47 x 72 cm

Lau Kai Yang

My dearest Chris,

I’ve been painting all year … There’s a room full of paintings now! Sometimes they’re cold and blue, sometimes they’re warm and brown but I couldn’t finish any of them — it’s really hard to paint moments that exist only in my head, especially when the person I’m painting is not here. I think this is what the Portuguese mean by saudade: a present absence born of longing. I’ve got stretcher bars, but I’ll leave them be for now. I know your sentence is for life, but maybe we can still finish the paintings someday? I’ll write to you again next week. Until then, please take care my friend.

Yours in saudade,Kai

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Sanctum, 2016, muslin, builders’ line, wooden dowel, nylon line, black light, dimensions variable(L, R) Installation details: Sanctum, 2016, muslin, builders’ line, wooden dowel, nylon line, black light, dimensions variable

Evy Moschakis

As a child I would often seek out secret worlds, such as the cubby-house created by draping sheets over furniture or lying under the lit Christmas tree in the dark. There my imagination would transport me to other realms, like in the fairy-tales of bedtime stories.

Fast-forward in time to a recent trip to Greece where I learned of the tragic effects of war on my ancestors. I have chosen to interpret this story from a position of strength, as a descendant of survivors.

My body of work has layered these two aspects of my history into an immersive installation. The use of textiles and black light enfold and illuminate to tell this story and capture the wonder of childhood.

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Video still: Golfing Around, 2016, video performance, 00:03:51Video stills: Playing With Balls, 2016, video performance, 00:02:50

Kelly Reynolds

I make decisions to use chance strategically – the meaningless and randomness of events or sounds becomes meaningful, becomes something else – a play of chance or – work of art. – John Cage

The focus of my practice is utilising play, chance and humour as a tool, a model, and a creative method to subvert the conventional modes of making art. Like Cage I collaborate with chance, incorporating strategic play and a make-do improvisational approach: sucking it up, playing with balls and blowing my own horn … This provides an opportunity for the work to open up and be pushed into new directions and unexpected outcomes.

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after the fall, beneath the waves, 2016, charcoal on paper, 200 x 152 cm(L, R) Details: connected by a fall, 2016, charcoal on paper, 200 x 152 cm | connected by place, 2016, charcoal on paper, 200 x 152 cm

Malcolm Richards

The work is not about falling over or falling down. Rather, it addresses those other falls – falling into despair, from grace, from favour or falling ill – and while it is not about redemption, neither does it exclude it. The drawings search interpersonal connections and our quest for a life lived with integrity and authenticity.

The work is pared back to charcoal on paper, just black and white: figures in a void, yet all searching for their own dignity.

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Home in the country, 2016, oil on panel, cedar mantelpiece, steel fire grill, installation variable

Ebony Rodda

I moved to Adelaide some years ago to study at art school but grew up in the country, in the mid-north of South Australia. I didn’t realise how much I would miss my home. Each of my many journeys back and forth stretched my homesickness a little more, and consequently, informed my practice about place. Home for me is about growing up in an old town hall converted into a house, with parents that own an antique shop, being surrounded by an agricultural environment and a community rooted in country life. My work reflects the special connection I have to this place and my newfound appreciation of all its beauty and boringness.

(L, R) Leaving, 2016, oil on panel, 24 cm dia. | Returning, 2016, oil on panel, 24 cm dia.

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(T, B) Poly – Ubiquitous 10, 2016, digital images, prints on paper, dimensions variable | Poly – Ubiquitous 11, 2016, digital images, prints on paper, dimensions variable

(L, R) Details: Poly – Ubiquitous 1, 2016, digital images, projections, 00:00:49

Cynthia Schwertsik

I focus the camera lens on the seductive beauty that humble everyday utilities have to offer. The magnificent colours, transparency and light are intriguing. Only on closer inspection, the simple origin of the image is revealed.

Plastic is a fascinating invention. All these convenient weightless companions that keep our delicatessen fresh, hygienic and separated have elevated expedience to a cultural form. On the rush through a busy day the trail I leave behind me is impressive.

Imagine: the world produces enough cling-wrap in a year to mantle the earth.

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Erosion, 2016, oil on canvas board, 20 x 20 cm(L, R) Putrescent Seepage, 2016, oil on canvas, 40 x 40 cm | Drifting on the Wastes, 2016, oil on canvas board, 35 x 45 cm

Cameron Smith

Consumed by horror, death, decay and The Walking Dead, my work is the embodiment of a zombie apocalypse. Dark and atmospheric oil paintings depict a brutal wasteland falling into ruin as our presence is slowly stripped away. Humanity is decaying from within, internal structures are breaking down and revealing themselves, as we are reduced to mindless biological abominations perpetually trapped in a state of living death. Familiar features are eroding as ancient primordial entities emerge from the ooze of extinction. A new nature is ready to reclaim the decomposing remnants, organic transmutations giving way to a new evolution.

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(L, R) untitled 3, 2016, oil on glass with photographic image, timber, 27 x 22 cm | untitled 1, 2016, oil on glass with photographic image, timber, 27 x 22 cm

Claudia Smith

Our relationship to ‘home’ is defined by positive standards: safety, ease and light. The suburbs after dark test this preconception. When I cycle through this environment, I am traversing an unknown world: a place very much like our own, but darker and uncharted, in which all inhabitants are hidden in their homes and the streets are empty and quiet.

My works draw on Freud’s concept of the Uncanny – the sensation of the familiar returning as something strange and unsettling – and my own interest in horror films. I depict a world that sits on a separate plane from our own. The multiple layers of glass or acrylic obscure and distort the original photographic image underneath, creating a filter that augments our mundane environment.

Neighbourhood watch, 2016, oil on acrylic, timber, 50 x 50 cm

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Thread work, 2016, elastic thread, steel pins, PVA, c. 239 x 220 x 1.5 cm(L, R) Transient moment #1, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 56 cm | Transient moment #2, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 76 cm | Transient moment #3, 2016, ultraviolet sensitive ink on watercolour paper, 56 x 56 cm

Lynette Trowbridge

There is no denying or deferring affects. They are what make up life, and art ... [Y]ou cannot read affects, you can only experience them. – Simon O’Sullivan

Light is both the subject and material of my studio practice. I work in partnership with natural light to explore and to convey its infinite variability. Influenced by the aesthetics of Zen Buddhism, chance and the everyday, through restraint and repetition, I seek ways to transform the ephemeral experience of light into material forms.

My works aspire to convey the qualities of the ephemeral nature of light and to evoke an affective experience. They reflect a sense of time, which resonates with my experience of making and the pace at which the works reveal themselves.

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(T, B) Riaghan, 2016, Australia, 2016, oil paint on wooden panel, 61 x 91 cm | Detail: 33rd Great Grandfather, Rollo Lothbrok, 895, Norway, 2016, oil paint on wooden panel, 61 x 182 cm (diptych)

(L, R) Riaghan - Paint-slinger, 2016, Australia, 2016, oil paint on wooden panel, 61 x 182 cm (diptych)

Ryan Waters

As part of our identity we tell ourselves a story, one we repeat to reinforce our memories and imagine who we might become. When I was young my story was very small; it tried, but didn’t know how to grasp the world around me. My story grew to encompass all of my curiosities, and eventually, I realised the story didn’t begin with me.

This series of ancestral self-portraits is another way my story expands, by looking into the past and trying to glean information on pivotal ancestors whose varied paths have led to me. I have replicated the close-up and limited perspective that history permits to invite viewers to move their imaginations towards what is happening outside the frame.

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Southern courtyard development artist impressions as planned at 20 October 2016

Support our creative journey Established in 1982, Adelaide Central School of Art is an independent not-for-profit Higher Education Provider. We are not dependent on state or federal funding, nor exposed to the changing priorities of universities. Our income is generated by student fees, public programs, projects, fundraising, grants, donations and sponsorship. Now, in our fourth year at our award-winning heritage campus, we are delighted to share with you some highlights of our achievements from 2016.

Early this year we launched our Graduate Support Program (see page 67), which provides dedicated ongoing support and opportunities for career progression at national and international levels for our graduates.

The development of our Southern Courtyard has commenced, providing a significant extension to our Teaching and Studio Building. The new space will include a covered and secure external work area, providing additional teaching facilities, storage, and a secure, sheltered outdoor environment for students and staff. The School has engaged Skein Architects and ARUP Engineers for the design and delivery of the project, which is scheduled for completion by mid-2017.

Jane Skeer was named recipient of the 2016 Arkaba Hotel Commission, which is now in its third year. Proceeds from sales of previously commissioned artworks, and also the fundraising dinner hosted by the Arkaba Hotel, supported our Bachelor of Visual Art [Hons] Scholarship which was awarded for the first time in 2016 to Grace Marlow. An additional $2,500 Study Support Grant was awarded to Bernadette Klavins.

The School also announced the recipients of our inaugural $5,000 School Leaver Scholarships: Miriam Barker-Lanzi, Shaye Duong and Jess Santy. An additional School Leaver Study Support Grant of $1,500 was awarded to Yolande Heaney. The scholarships provide funds for study-related expenses, and we are delighted to offer them again in 2017.

We partnered with Adelaide Festival Centre’s OzAsia Festival this year to present our first international exhibition, roundabout, in Adelaide Central Gallery. Thanks to generous donor support, we were also able to bring one of the artists to the School from the Philippines for the install, opening and an artist talk.

Following successful commissions in 2015 and 2016 (see page 66), we will continue our partnership with Hentley Farm in 2017 and 2018, and again offer an artist associated with the School the opportunity to design the label for their Creation Wine Series.

We have much to celebrate as we embark on our 35th year in 2017; 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 and future students, staff, associates and graduates. We urge you to join our community as a supporter.

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.

We are grateful to those who do support our programs and initiatives, and it is our pleasure to acknowledge the generous assistance we have received from the following supporters and partners:

INAUGURAL MAJOR DONORThe Spencer Family Foundation

PRINCIPAL DONORSAlan and Sue Young Thyne Reid Foundation

STUDIO DONORSSue and Geoff BoettcherKathy and John CrosbyAnna and Tony DavisonJoan Lyons | Didy McLaurinSkye McGregorMargaret and Bob PiperChristine Webber

2016 GALLERY DONORSSue and Geoff Boettcher The Spencer Family Foundation

2016 DONORS Elinor Alexander | Roy AnandaJoy Beech | Margaret BirtleyElizabeth Bowen | Raelene ChappleErica Green | Kendra HauschildIngrid Kellenbach | Nicholas LinkeYoko Lowe | Renate Millonig Rebecca Murray | Christopher PennyCathy Simons | Tina and Raymond SpencerMaria Tomasic | Jane VieceliAdelaide Central School of Art Painting Group

2016 LIBRARY DONORSDr Elizabeth Cant | Des Chabrel

2016 SPONSORS & PARTNERSAesop | The Arkaba HotelBaker Young StockbrokersDGB Group | Fontanelle Gallery and StudiosHentley Farm | K.W. DoggettNew York Studio SchoolNorwood Foodland | Port Art Supplies Richard Pryor & Associates

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(L, T, B) Installation detail of roundabout, 27 September – 27 October 2016 in Adelaide Central Gallery, featuring Mark Valenzuela, New Folk Heroes, 2016, ceramic, concrete, found objects, dimensions variable | Hentley Farm The Creation Shiraz with wrap-around label designed by Annalise Rees, 2013 vintage released September 2015 | Hentley Farm The Creation Shiraz pendant labels designed by James Edwards, 2014 vintage released July 2016

Graduate Support Program

In 2016 we launched the Adelaide Central School of Art Graduate Support Program to assist our high achieving alumni continue their development as professional artists. This new initiative provides a range of opportunities for our graduates, including local, national and international residences, and funds for the development and display of new work. The Program also supports professional development activities and provides financial assistance to graduating students who are selected to exhibit in the Perth Institute of Contemporary Art’s annual national graduate exhibition, Hatched.

This year the Program helped recent graduates Nick Hanisch and Alex Mullen to attend the New York Studio School (NYSS) September Drawing Marathon. This intensive workshop brings together students from all over the world for a fortnight of art-making led by acclaimed artist and NYSS Dean, Graham Nickson. Attendance by our graduates extends an ongoing relationship the School established with NYSS, an institution that shares our commitment to excellence in studio-based visual art education.

The Program also provided a 12-month studio residency at Fontanelle Gallery and Studios to 2015 BVA [Hons] Graduate, Jane Skeer. The School is proud to partner with Fontanelle Gallery and Studios, a South Australian artist-run initiative.

Through the Graduate Support Program, the School has funded exhibitions in Adelaide, Melbourne and further afield in Taguig City, Philippines. Financial support was also provided to graduates for the development of major new works and for a residency program at Artist in Residence Yamanashi, Japan.

We believe we are the only Higher Education Provider in the visual arts that offers a program of this kind. 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.

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 2016 we welcome Rachel Kent, Chief Curator at the Museum of Contemporary Art, to assist in judging and presenting our awards at the Graduate Exhibition opening event:• Major Travel Award for a high achieving graduate • James Martin Award for a high achieving Bachelor of Visual Art graduate• Tracey Whiting Award for a high achieving Bachelor of Visual Art [Honours] 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 Award for Excellence • Port Art Supplies Encouragement Awards for continuing students

ADELAIDE CENTRAL SCHOOL Of ART AWARDS SPONSORS

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

This catalogue accompaniesSENSORY NARRATIVES: 2016 Graduate ExhibitionBachelor of Visual Art [Honours] and Bachelor of Visual Art Adelaide Central School of Art3 – 22 December 2016

Published by Adelaide Central School of Art IncorporatedPO Box 225 Fullarton South Australia 50637 Mulberry Road Glenside South Australia 5065Telephone 08 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: 978-0-9925466-4-9

Catalogue Design: Maria MolbakPrinting: Finsbury GreenPaper Stock: K.W. DoggettPhotography: James Field

Works in the catalogue were photographed on 11 – 13 October 2016, or provided by the artists. Some works have been developed further.

COVER IMAGEDetail: Maxwell Callaghan, Thrown into a fluorescent void ..., 2016, oil and lithium on canvas, 91 x 118 cm

ExHIBITION SPONSORS

ADMINISTRATIONIngrid KellenbachChief Executive OfficerAnna O’LoughlinAcademic Administration ManagerMichael BishopFinance and Facilities Manager Beth ShimminMarketing and Development ExecutiveLuke ThurgateProject Manager – Public ProgramsJames Edwards Project Manager – ExhibitionsAndrew Herpich Student Liaison Officer Emma BishopAdministration OfficerSharyn InghamAdministration and ReceptionCathy MilneAdministration and ReceptionCatherine KerriganLibrarianDavid ChesterAssistant Librarian Matt TaylorWorkshop TechnicianJon George, Glenn Kestell, Thomas Readett and Luke WilcoxFacilities AssistantsJulian TremayneExhibition InstallerDorothy Crosby and Annamaria fratiniStudent CounsellorsDavid DemasiAccountantJudith HombschVolunteer

BOARD Of GOVERNORSAlan Young AMChairCathy SimonsChair, Finance Committee Nicholas LinkeDeputy ChairEmeritus Prof Kay LawrenceChair, Academic BoardRoy Ananda Prof Barbara Bolt Anna DavisonStephanie OckendenIngrid KellenbachAngela Dawes Secretary

ACADEMIC BOARDEmeritus Prof Kay LawrenceChairRoy AnandaAcademic Staff RepresentativeAlycia Bennett Student RepresentativeSasha Grbich Dr Joy McEnteeTim O’SheaJenna Pippett Graduate RepresentativeLeigh Robbfiona SalmonIngrid KellenbachAnna O’LoughlinSecretary

DEPARTMENT HEADSRoy AnandaDrawingDr Andrew Dearman Art History & TheoryNicholas follandContemporary Studies, SculptureMary-Jean RichardsonPaintingSasha GrbichBVA & BVA [Hons]Coordinator

LECTURERS 2016Roy AnandaDaryl AustinMelanie BrownNona BurdenDeidre But-HusaimJack CrossJohnnie DadyDr Kirsty DarlastonDr Andrew DearmanJames DoddNerina DuntTrena EverussDr Susan feredayNicholas follandZoe freneyGeoff GibbonsSasha GrbichRob GutteridgeDr Sue KneeboneJessica MaraMonte MasiJohn NeylonBrigid NooneChristopher OrchardAndrew PurvisMary-Jean RichardsonJulia RobinsonYve ThompsonLuke ThurgateLucy TurnbullSera Waters

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