YEAR 12
STUDIO ART, ART
Student’s develop skills and an understanding of materials and techniques while trialling artistic practices. Student’s learn how to discuss meanings and messages in artworks and discover how the arts industry is structured.
One key component of the studies, is to complete a progressive folio and final artworks completed in the student’s chosen medium.
We hope you enjoy these artworks.
AMY SOUTAR
‘Individuality’
2020
Pencils and water colour on paper and card
Three eye miniatures, of my friends’ eyes, presented in hand-drawn decorated frames, symbolically representing the sitter’s personality.
ASHLYN HEAP
‘Nature’s Gifts, Our Connections’
2020
Matte stickers printed on paper
Nature’s Gifts, Our Connections examines the connection we as people have to nature. By creating colourful bright and abstracted plant stickers, the work is able delve into the relationship between plants and humans though play. Through encouraging people to create their own collages I was able to explore an individual’s feelings towards the environment and their own personal experience.
ISABELLA LOMULDER
‘Religious Architecture’
2020
Watercolour on Paper
This piece is inspired by the beautiful religious architecture seen in and around multicultural Melbourne. Miniature watercolour paintings of sacred architecture highlight the similarities and differences between each sacred building.
CORINA KARAKASI
‘Love, Hate and Obsession’
2020
Digital print
Love, Hate and Obsession is an artwork inspired by the TV show ‘Killing Eve’. It explores the relationships between emotions. Depicted are two key fictional characters, Eve and Villanelle, presented in ‘Flat Design’.
DARCY WILKINSON
‘Emotions, Vol.1’
2020
Photographic digital prints on foamboard
I tried to embrace the emotions inner beauty rather than its harsh flaws, seen through anger, sadness, fear and jealousy.
Elizabeth Banger
‘Home Sweet Home’
2020
Found objects
Home Sweet Home, challenges the often false perceptions of happy families.
Ella ZIto
‘Grandmother’
2020
Graphite on paper
Inspired by a personal photograph of a loved grandparent, Grandmother explores the beauty of aging and the memories that come with it with the use of graphite pencils on paper. The limited colour palate shifts the focus to tone and the fine display of aging.
Emily Broeren
‘My Connections’
2020
Wool, pvc pipe, tinfoil, paper, masking tape, paint, pva glue, paper towel, superglue
2025 x 1090 x 1025 cm
My Connections, represents my own family and the wisdom that has been passed down through the generations of women. Crocheting is a skill passed down through my family and so I have used this skill to create a crochet yearn bomb inspired by the colours and patterns of my family heirlooms. This piece celebrates the positive women influences in my life and the passing down of knowledge. It aims to be a bright, comforting piece that portrays the love that should be felt within a family.
Emily Scull
‘The Essence of Time’
2020
watercolour and pencil on paper
The Essence of Time is a piece that depicts a calm and wise, goddess-like figure encapsulated in a moment in space. I aimed to create a piece that embodied the beauty of time in a humanoid life form, whilst conveying how abundant and infinite time can be. The glassy clock eyes symbolise the ability of the figure to see time, as well as attract various manifestations of it.
Ethan Frawley
‘Love letter to nostalgia’
2020
Water colour on cold press paper
Love letter to nostalgia, is an enquiry into all things nostalgia and how we look through fond memories with rose coloured glasses. Love letter to nostalgia, explores idealism and romanticism of memory. The stylistic, exaggerated depiction of the work portrays a fond location from the perspective artist, using an idealised representation of the scenery.
Genevieve Magilton
‘Personal Landscape, Self-Portrait’
2020
Coloured paper collage
425mm X 560mm
Personal Landscape, Self-Portrait is inspired by the concept of individuality. Depicting Magilton herself, the work focuses on how symbolism and colours are used to convey aspects of the depicter’s personality. Her work represents her own identity, through such symbols as the gum leaves and the heart pin, created by collaging coloured paper.
Ishika Kinzel
‘Blaze in gold quench in purple’
2020
Found wooden box, eco print, cotton rag paper, LED lights, aluminium foil, string, nails
Blaze in gold quench in purple is a light box and print which is constructed from the natural pigments of leaves in my garden. Leaves that are ostensibly mono-tonal revealed, vibrant, pigment multiplicities; Speaking to the unseen intricacies of the natural world. The compositions of the mountain range references traditional Taoist art and philosophy which propose humility, respect for the natural order and accepting where one is. The title references Emily Dickinson’s poem “blazing in gold and quenching purple” in which the speaker meditates on the connate beauty and comforting routines of the natural world. Ishika encourages viewers to take time in noticing natures marks as well the way nature always returns to itself.
Isobel Magilton
‘Unmask’
2020
Inkjet print Photograph on paper depicting paper-mâché and acrylic masks made by the artist
Simplistic in creation but extensive in symbolism, ‘Unmask’ presents masks in an unconventional way, by emphasising aspects of people usually hidden by typical masks. The artist’s work presents their perspective of themselves and two other people though masks, with developed symbols, styles and colours tailored to each figure. Each mask, created by applying paper-mâché over sculpted clay and painted once removed, presents specific parts of the chosen participant that the artist sees though their perspective. The work encourages others to consider how they would design their own masks and others though their own perspective.
Jack Clifford
‘Light and Colour’
2020
Animation
Light and Colour, explores the beauty of light on an imagined rockscape.’
Lili Smith
‘Changing Hands’
2020
Acrylics on canvas board
Changing hands is a 14-part series that looks at both the similarities and differences between the seven sins and seven virtues. The 14 painted hands, paired by colour and based around the opposite of each sin/virtue, was inspired by my view on the world. Good actions and events cannot be considered good, without actions and events that are perceived as bad. The colours and decorations are symbolic of each sin or virtue. Each gesture is also based around how the sin/virtue would be expressed through the use of one’s hands.
Matisse Lehmann-Grant
‘Loss and Freedom’
2020
Watercolour, ink and fine liners
Loss and Freedom explores the theme, symbolism and emotional connections in relation to the home, and the raw and vulnerable feeling of loss and freedom. The story boards depict a narrative about a girl leaving behind the confining constructs of society to find a new world, of which explores colour and light to depict a scene of acceptance and new ‘home’. ‘
Maya Secchi
‘Noodle House’
2020
Installation
Found objects
Noodle House, explores the comfort of food and the connections it creates. It was an installation of a house made of ready-made noodles, (comfort food during Covid-19) and Maya invited her peers to interact and share food as an act of Relational Aesthetics. The event happened on the day of the final folio submissions and created a positive memory of sharing.’
Molly Morris-McGinty
‘Untitled’
2020
Oil on canvas
900mm x 900mm
I’ve explored the night as an atmosphere that influences those that inhabit it. I have attempted to portray the night as an environment in which new expressions of emotion arise. Night is the time of darkness, with many sinister connotations, but also a space of still beauty. There is an emergence of things that have hitherto remained silent or controlled, as the dark obscures and allows truths to come forth. This work explores the psychological unravelling of our minds as any façade of composure dissolves in darkness and away from the view of others. A distorted face, that is no longer a portrait to tell an individual’s story, instead attempts to express this emotional dissolution.’
OLIVIA CHUBB
‘We Are All Buzzing’
2020
Acrylic paint on canvas
700 x 915mm
Inspired by the early 20th century, Futurist art movement, which focused on the rapidity of technological change and modernity through the depiction of movement and dynamism, my painting ‘We are all Buzzing’ 2020, aims to generate a sense of frenzy, through distortions and a disarrayed style, challenging the speed of communication in today’s society. This is manifested through a fly, commonly represented in art to allude to life’s transience, serving as a mememto mori. By heightening the complex, detailed features of a fly we don’t often see, interfered by obscure blocks and shapes, I seek to convey the beauty that is often overlooked by the information that constantly bombards us, a visual language that conjures the restlessness in our contemporary lives, in a poetic, yet captivating manner.
SARAH TREADWELL
‘Endless Loops’
2020
Lino prints on paper on 3-ply board
155.4 x 79.5 x 0.7cm
Endless Loops depicts the feelings of boredom and monotony, that have overtaken the lives of so many, throughout the government imposed lockdown, as a result of the Covid-19 pandemic. I originally intended to study people’s relationships with space, observing a variety of people in both public and private spaces, but due to the events throughout the year, my concept changed over time. My work depicts the repetitive nature of life at home, with a set of prints of my brother in spaces around the house repeated seven times to represent a week.