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Contemporary Art Awards
Finalist Exhibition 2017
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Highly Commended
Lillian Morrissey
Awakening
Acrylic on board
120 x 240cm
2016
Award Winner
Amy Carkeek
Little boy blue
Archival Inkjet Print
100 x 66cm
2016
Highly Commended
Jeramie Scahill
Walking Stick
Stirling silver and rosewood
10 x 85cm
2016
Alejandra Sieder
New South Wales, Australia
This is a tribute to all the years I lived in Norway. It is my farewell...
This is the snow melting in my soul because I feel at home in Sydney. I feel I belong here. While in Norway, snow is starting to fall right now, I am having the most wonderful weather, sunshine and energy everywhere. Thank you Norway for the souls I met, for the son I had and for the opportunity to believe that utopias exist.
Melting Snow
Acrylic on Canvas
100 x 60cm
2016
Alice Penco
New South Wales, Australia
At present, food is a constant source of inspiration in my art practice as it plays a significant part in our social and cultural lifestyles. For me, food not only triggers enjoyment but it also references family connections, and adventure. Aesthetically, the objective is to unleash the audiences’ imagination with its colour and shapes provoking the viewer to consider how food connects to their lifestyle, family, and the everyday. We are inundated with new food creations daily and it seems that nothing is out of the ordinary.
Sphenopalatine Ganglioneuralgia
Spray-paint on plywood
60 x 25 cm
2016
Black Sugar White Sugar (2016) is a reflection on Australia’s Sugar Bounty. Under the provisions of this 1903 Act, the Commonwealth government paid a bounty for ‘White Sugar’ – sugar cane cut by white labourers. Cane produced using South Sea Island, or Kanaka labor was known as Black sugar. Same product, different price. It was one of a raft of measures that excluded these sugar industry pioneers until World War II when the exclusion measures were finally repealed.
Alison Peters is a multi-disciplinary artist and writer. Her process is informed by her background as a TV reporter and producer.
Alison Peters
New South Wales, Australia
Black Sugar White Sugar
Repurposed textiles, palm husk, thread, white raku clay, raw sugar
176 x 93 x 35cm
2016
The More I Digest, The Less I Know
Mixed media collage on paper
110 x 150 x 20cm
2016
Amy Campbell
ACT, Australia
My work reflects on the information overload present in the digital age, and the way that the media and internet comprise of simulated realities which distort the original meaning of information. By printing photographs of previous paintings and collaging these into new works, I endlessly reuse imagery to show the effects of image reproduction and deterioration. This occurs in the imagery, which is also physically distorted by the folding contours of the sculptural surface. The dynamic support and clashing saturated colours evoke chaos and uncertainty in the viewer which is reflective of the turbulent, information-saturated world we live in.
Amy Carkeek
Queensland, Australia
These two photographic works depict a collision of worlds and the consequences of continually striving for the unobtainable — a manufactured dream — pre-packaged and sold for our inevitable descent. The works aim to bring desire and fantasy to a head in a new world, one where the fantastical and glittering illusion is actually obtained. By altering certain discarded children’s ceramic figurines into states of absurdity and unthinkable violence, a nightmarish reality is revealed.
Little boy blue
Archival Inkjet Print
100 x 66cm
2016
Children should be seen but not heard
Archival Inkjet Print
100 x 66cm
2016
Carol McGregor
Queensland, Australia
Blood rape, get'm before they menstruate
Possum skin, cotton, ochre, "Englischrot hell" pigment, gum binder
15 x 75 x 15cm
2016
Catherine Leung
New South Wales, Australia
This work is inspired by words from the book of Psalm. 'He who dwells in the secret place of the most high shall remain stable and fixed under the shadow of the Almighty' (Psalm 91:1)
In this ever-changing volatile world, we live in, to have a place where we can remain stable is crucial. We all need a secret place.
Secret Place
Archival Print
90 x 67.5cm
2016
Ethereal Beauty (2016) is a photographic work that showcases the award-winning burlesque performer Sina King. In creating this piece, I wanted to pay homage to the heritage of burlesque, I attempted this by placing particular motifs in the background and blurring the performer on the left. These methods were used to control the depth of field and direct the audience attention across the image. By capturing the artist in three different poses it represents the mental preparations of performing on stage. By combining the theatricality of burlesque and the dream-like quality, it transports the audience into an alternative world. Therefore, I invite the viewer to consider not only the historical aspects but also the contemporary modes of burlesque today.
Daniel Kneebone
Victoria, Australia
Ethereal Beauty
Archival photographic print on fine art paper
80 x 64 cm
2016
Dean Walker
Tasmania, Australia
A new art form I call Pretiosus Novella. It involves the creation of jewellery through narrative and vice versa. During the creation, it is almost as though I am possessed. I travel to other worlds, becoming a part of them, while my hands write and create.
This piece is called Invisible Dragon (2016). The 12,000-word short story is set in ancient China. It tells the story of Min's journey to avenge his mother's death.
The Invisible Dragon
18ct yellow gold, precious gems, leather, and paper
36cm x 19cm x 6cm
2016
Elmari Steyn
Western Australia, Australia
Courage to change your life/circumstances.
To stay, to hold on or to leave?
The storm created by one’s decision.
Swallows - symbols of leaving/returning.
Difficult choices results in freedom (flight).
Courage
Etching and Aquatint on fine art paper
28 x 31 cm
2016
Acceptance generates a stillness within.
Peace of mind with circumstances/changes/what was left behind.
Silence is not the absence of noise, more the presence of soft sounds, the falling of leaves.
Body clothed. Present in the here and now.
Silence
Etching and Aquatint on fine art paper
28 x 31 cm
2016
Graziela Guardino
New South Wales, Australia
Your absence is as strong as your presence (2016), explores material and investigates the binary forces in life such as darkness and light; past and present, absence and presence. The use of the colour black allows a full exploration those elements, the absence of them as well as the space in between.
Your absence is as strong as your presence
Acrylic, tule and wood
100 x 80 x 4cm
2016
Dharma Wheel
Acid-free 110gsm archival paper
63.5 x 60cm
2016
Jacky Cheng
Western Australia, Australia
My awareness towards the viewpoint of the act of ‘making and doing’ is highly influenced by my Chinese cultural background be it from gastronomic point of view to folding joss paper or spirit paper with my grandmother for people in the afterlife. It became more apparent during my Architectural studies in my university years, which later transposed as a series of artworks that looked like a topographical landscape even though this was not the case as it was just the act of mark-making.
I have been correlating experiences and mapping the esoteric relationship between the art of making and attaining something sublime. I do not try to cut or imitate the perfect lines of a mechanical machine but much so to gain personal satisfaction in allowing myself to experience the ‘process’ to which it conveys emotions, behaviour and bio-rhythmicity of my experience.
During the process, I am drawn to observing the power of ‘growth’. The dynamic constant change of shapes becomes an entity in itself and encourages the play of light and shadow. I am less concerned about the result and care more about the act of "doing". The journey is as important as the destination.
Lonely Alone
Oil on board
182 x 81.3 x 3cm
2016
Janet Angus’s oil on board paintings take the forms of stark three-dimensional constructions.
The processes involved in the making are through the manipulation of wood for creating multiple surfaces that extends the flat surface, and enhance the viewing experience. Commencing with a vision or idea, Angus manipulates the image digitally until it reaches the desired state. This stage is crucial as she seeks to reflect an inner state of mind, with the intention of eliciting an emotional response.
Angus’s vertiginous structures suggest the difficulties associated with negotiating one’s way through any angst-inducing contemporary environment, physical, mental or emotional.
Janet Angus
ACT, Australia
Walk Stick
Stirling Silver and rose wood
10 x 85cm
2016
Jeramie Scahill
New South Wales, Australia
"Youth Is a gift of nature, but age is a work of art."
- Stanislaw Jerzy Lec.
Designed for strutting, this stick is sexy! Hand-crafted in Australia with attention to the smallest detail including the feel and the weight as well as the silhouette created when held in the hand.
The handle is hand forged sterling silver ergonomically sculpted to fit either hand. The curves of the silver blend into the ebonised rosewood shaft, which is hand carved with a curved taper and a triangular girth impossible to replicate on a machine.
Each piece of rosewood, a timber traditionally used in walking stick making, was especially selected for its tight grain and structural integrity. It grew on the Dorrigo Plateau, is over 150 years old and hardened by a lightning strike and bush fire.
The shaft separates into two pieces with a sterling silver sleeve and a stainless steel rod to provide a reinforced join. This makes it easy to pack away into your travel bag. The tapered end is sterling silver with a replaceable non-slip tip that slides into an inner sleeve.
Joanne Morris
Victoria, Australia
This artwork was created by combining the use of a raw charcoal stick and my unique method of ‘Painting with charcoal ‘ - a skill that involves applying the charcoal with dry brushes that I handcraft myself. I use this monochromatic medium to focus the viewers’ attention to the drama of light, shadow and texture without the added influence of colour. My unique technique resulting in a fresh and delicate contemporary piece.
Looking Through
Charcoal on cotton rag
100 x 75cm
2016
This intricate portrait depicts the details of face and personality. My highly realistic, black-and-white style draws attention to light and shadow without the distraction of colour. My works are painted using finely ground charcoal and hand-crafted tools; an organic approach that breathes life and meaning into my portraits.
I create with a method called ‘painting with charcoal’ using fine animal hair brushes I craft myself, plus charcoal powder, I can achieve a dramatic effect of contrasting light and shadow. I love using these ancient techniques to create realism, drama and depth in my works.
Studio Window
Charcoal on cotton rag
100 x 130cm
2016
Joanne Schloss
Victoria, Australia
In my work, I often use my immediate environment and people around me to express something from my subconscious. I piece together images from different contexts to create the new image. This gives my work a dream-like feel. I like to see the meaning emerge and unravel.
Ultimately my work is about the human condition. The struggle to find happiness and meaning in our lives. To live with the circumstances and choices we make. People’s relationship with nature and the wild always interests me. Nature is seen to be something to be owned, harnessed or conquered. Our treatment of animals reflects that.
The Battle
Oil on wood
60 x 90cm
2016
Take no heroes only inspiration! “We are here to laugh at the odds and live our lives so well that Death will tremble to take us.
This work was created out of inspiration and respect to the late Charles Bukowski, a German-born American poet, novelist, and short story writer. His writing was honest and influenced by the social, cultural, and economic ambience of his home city, and addressed the ordinary lives of poor Americans and the drudgery of work. “What matters most is how well you walk through the fire”.
“Some people never go crazy. What truly horrible lives they must lead."
Charles Bukowski
Pencil on cresent board
38 x 51cm
2016
John Procter
South Australia, Australia
Jude Hotchkiss
New South Wales, Australia
Early childhood sensory experiences combined with current environmental concerns inform the structure, qualities and mood of my current abstract work.
Weather extremes and climactic drama were hugely important in a childhood spent in regional Australia. Dust storms, bush fires, flood and drought ruled life. Survival depended on anticipating and interpreting these occurrences. Days and weeks were foretold in colour, direction, temperature and cloud shape. A great deal of time was spent looking at the sky.
Cloudfield
Oil and medium on canvas
122 x 122 x 4 cm
2016
Serendipity….
"There isn't any questioning the fact that some people enter your life, at the exact point of need, want or desire - it's sometimes a coincidence and most times fate, but whatever it is, I am certain it came to make me smile.”
― Nikki Rowe
This was an exploration for me with a limited palette. I used just 3 colours, cobalt blue, Expresso, and Havana Brown....It was fun mixing the colours to see what they became and how they applied to the skin tones.
Serendipity
Acrylic on canvas
61 x 61cm
2016
Julie Hollis
Queensland, Australia
Kailum Graves
Queensland, Australia
Billionaires—the crème de la crème of a society in which money is the principle gauge of success.
#1 presents 130 of the world’s 1,810 billionaires in the congratulatory style of #1 Dad mugs found in cheap gift shops. The work is an attempt to flip the celebratory logic of wealth on its head and give a middle finger to neoliberalism—economic system that values greed, self-interest, and extreme personal wealth.
#1
130 ceramic mugs
204 x 116cm each
2016
The Business of Art 1
Found concrete, resin, dirt, oo/ho model items
30 x 20 x 25cm
2016
Karl de Waal
Queensland, Australia
These two works utilize the dynamic of sculpture to comment on the adverse effects the 'business of art' has on not only the artist but the very nature and development of an art practice. These works attempt to subvert the very nature of how the art world sees value in some works and not in others.The cult of celebrity and the 'so hot right now' system of curating destroying the fundamentals of creativity ultimately undermining the role of the artist and the diverse powers of expression the arts should be acknowledging and celebrating.
The Business of Art 2
Found concrete, resin, dirt, oo/ho model items
36 x 25 x 25cm
2016
Kate Bender is an emerging artist whose colourful abstract paintings lie somewhere between abstraction, optical illusion and the representation of space.
While the paintings appear abstract, they are an exploration and representation of the navigable internal spaces of the mind. Interacting with these paintings becomes an immersive, sensorial experience. Multi-directional light sources activate a luminosity that emanates and pulses from somewhere deep within and outside of the canvas.
Simultaneously there is a radiating charge of energy and sense of stillness within Bender’s paintings. This perplexing state of looking is balanced through the overriding harmony that flows from the colour relationships.
Kate Bender
New South Wales, Australia
Untitled
Oil on canvas
84 x 76.5cm
2016
Nesting
Genuine gold leaf and oil on linen
77 x 56cm
2016
Katherine Gailer
Victoria, Australia
I create imaginary landscapes exploring characters, cultural identity and spaces of magical realism. My artistic expression aims to underscore the main theme that looks at the complex relationship between fragility and strength, vulnerability and empowerment– and my artworks can be interpreted as a series of confronting tensions to articulate the essence of female existence. The representation of women is one of my core inspirations: the investigation of the female body as a symbol of sexuality, motherhood, beauty and ambiguity. Rediscovering a sense of the sacred and revisiting our ancient past embody the driving force for the development of my artworks.
Thread by thread we weave our destiny. We wrap and woof our thoughts, and so re-create our identity. The Weaving of Oneself is, therefore, a choice. We choose the patterns we embody; through those we filter and perceive the world, and recognise our own reflection.
Through my work, I aspire to contribute to the ‘weaving’ or reconstruction of a contemporary female identity; a matrix of the female experience as a source of power.
The Weaving of Oneself
Genuine gold leaf and oil on linen
56 x 102cm
2016
Fish Trap
Clay, wood and wire
60x 100 x 22cm
2016
This work is Raku vessels with the beginnings of fish-nets resting on a driftwood PLATTER. This work reflects the environment with which I surround myself, this body of work has evolved from materials i have collected on my many walks along our beach, visits to salvage yards and garbage dumps for the sole purpose of recreating beauty from a big world of junk.
Kathleen Valks
Queensland, Australia
Katrin Terton
Queensland, Australia
I wander and listen to the dying things
Whisper, haunted, intangible
Skins loosened, memories stripped bare
Remnants, fragile, forgotten
Hidden beneath the layers
Where the dust settles into another truth
Shifting Skins
Mixed media installation - fabric, snake-skin, sheds, feathers, bones, skeletons, thread, wood and image projection.
2.5 x 4 x 4 m
2016
Kim Bennett
New South Wales, Australia
Part of a body of work named 'Fervour and Forfeiture' that explores the self and our experiences of loss, grief, reflection, and empowerment. The work is a response to the defining moments in life that determine our path, whether that be planned or unplanned. Hindsight challenging insight – we often do not fully understand or see the truth of a situation and the choices we have to make as a result.
These observations and experiences are responded to through the process of laying down material and instinctually placing textured layers and washes; often resembling abstracted landscapes and figurative forms and portraiture. Haptic and considered mark making and layering were specifically chosen to convey the emotional content of the work – revealing, hiding or hinting at what lies beneath or is left behind, but never forgotten. To reinforce the central premise, I used my whole body to create sweeping marks and lines and to lay the paint and ink, creating movement and textures. As with life, if you look closely or scratch the surface so much more is shared with you.
I did it for you
Acrylic, ink, graphite and charcoal on board
120 x 120cm
2016
Larissa Rogacheve
South Australia, Australia
The collision of formal play, dry composition of circles overlaid with cinematic, illustrative ,medieval and grotesque imagery is the key to this stylised piece.
The Festival of birds
Assemblage of 5 canvases, gold leaf, and tempera
80 x 150cm
2016
The Unfinished Piece for Mechanical Pianola
Pianola roll, watercolour, silk, acrylic medium
35 x 250cm
2016
This is a rhapsody about the nature of the grotesque dream, which makes us come back to artificial subjects in fruitless effort to escape the rational and inevitable. Who would not wish to find this hidden pianola roll of life narrative? What if the imagery and music it produced could have been amended? The sense of time, antique surface, constant loss of information, embedded into the image is at the center of my interest here.
Laura Delaney
Victoria, Australia
Saved from landfill (2016) highlights the widespread environmental atrocity of plastic chairs being buried in landfill with a ‘harem of zebras’ being saved from such a fate. By ‘animating’ the chairs, it is hoped that it will encourage people to think about the often thoughtless purchasing and discarding of these ubiquitous objects.
The narrative aims to highlight the collective disassociation of the environmental impact of excessive consumerism. One source claims the chairs can take up to a thousand years to decompose.
Saved from Landfill
Found polypropylene objects
130 x 100 x 200cm
2016
SOLD
Healing Rain
Acrylic on canvas
100 x 75cm
2016
Leah Doeland
New South Wales, Australia
Embedded into the first layer of paint is my artistic representation of the Hebrew script for "Adonai Roph'ekha", The Lord who heals.
This is a deeply spiritual piece encouraging an encounter with the ONE who heals.
The season of winter is often characterised by coldness-loneliness-barrenness, but why is it viewed in that light? Winter is essential; winter is the earth's time for rest and regeneration.
A place of rest can sometimes look and often feel unproductive and alone... but beauty comes from resting and time spent restoring your soul.
From a distance, this painting looks dull, muted and uninteresting, but please look a little closer, find the beauty in the intricacies, look for the splendour amongst the decay... Out of the darkest winter, spring blooms... and with spring comes new life and new opportunities. This artwork carries a blessing of rest and hope for tomorrow.
Winter Splendour
Acrylic on canvas
100 x 75cm
2016
Leah Emery
Queensland, Australia
Who Told You You Were Naked (2015) marries imagery that evokes a forbidden fruit narrative, with pornographic human landscapes. The melange of the biblical and the sexual was borne from exploration into the role religion has played in cultural attitudes to sexuality, nudity, responsible sexual practices, and women's role in the discourse of sexual liberty. The viewer is forced to identify and confront their own relationship to pornography and body image in a theologically unnerving, aesthetically inviting facade.
I use my works toprotest the cultural etiquette of withholding healthy public access on topics surrounding sex and intimacy quintessential to human experience.
Who Told You You Were Naked #1
Embroidery thread on Aida cloth
43 x 46cm
2015
Awakening (2016) is the largest piece in a series investigating contemporary Australian society through the use of architecture as analogy. The works are based off line drawings from NSW and Victoria of suburban houses, overlaid with new postmodern architecture. The work is layered until the lines blur and disintegrate, in a visual metaphor for the tension between ideologies and epochs as culture changes with technology. The resultant image is both a memorial to the twentieth century 'Australian Dream' of the small suburban home, and a conceptual map of our position in a new world of information flows and globalised capitalism.
Lillian Morrissey
Victoria, Australia
Awakening
Acrylic on board
120 x 240cm
2016
My work explores the shifting re-interpretations of motherhood as a subject matter in contemporary art. Specifically, it investigates the process of reorienting personal mother/child experiences by creating new narratives to reinstate a creative space within motherhood and art practice. This work is based on a narrative of my daughter, who leads the viewer into an unknown destination within the landscape. In this context, she leaves the weights and thread as metaphorical clues for the viewer. As I learn about her emerging identity, she leads me into an unknown ‘landscape’ where there is tension surrounding her need for independence, and my simultaneous reluctance to let go.
Lost/Found
Video projection, fabric, thread, sterling silver, pebbles, paracord
180 x 120 x 120cm
2016
Linda Clark
Queensland, Australia
This image is part of a body of work inspired by the idea of belief and overcoming challenges in finding ones own truths.
In this painting, the subject discovers that contemplative introspection must be considered in finding any answers. With a shift in focus from looking outward, some sense is made as the answers gradually appear.
No Mirror Required
Oil on linen
56 x 66cm
2016
SOLD
Lisa Kotoulas
New South Wales, Australia
Flooding at the Rivergums
Oil on canvas
102 x 102cm
2016
This is a scene from bushlad on the borders of the Murray at Echuca-Moama during this year's minor floods. Repetitive shadows mirrored tree trunks and pieces of sky in the water.
Lucila Zentner
New South Wales, Australia
This is a scene of bushlad around the Murray at the start or the 1026 spring with wildflowers in bloom.
Springflowers of Emkatdee
Oil on canvas
77 x 114cm
2016
SOLD
Luke O'Reilly
Queensland, Australia
These two paintings are an intuitive contemplation of the countless forces that shape individual experience, often before it even reaches our conscious awareness to be interpreted. From the composition of warring microbial colonies in our digestive tract to experiences of our grandparents causing epigenetic ripples which reach down to us, as well as the many cultural/historical metanarratives within which we are helplessly embedded. It is also an exploration of the concept of human individuality comprising of an inner orchestra of states/subpersonalities/intelligence/etc.
Contingent
Oil on aluminium
100 x 100cm
2016
Contingent II
Oil on aluminium
100 x 90cm
2016
The first time I saw Andrew Wyeth’s 1948 painting ‘Christina’s World’, I was immediately reminded of a reoccurring dream from my childhood. In this particular dream, I would find myself crawling in a field, attempting to reach shelter before the sun set and I was plunged into darkness on my own.
Through referencing Wyeth’s striking composition and reflecting on my memory of this dream, I wanted to explore the power of landscapes and their ability to shape our perspective and our place in the world.
Weight
Oil on wooden panel
50 x 60cm
2016
Michael Simms
New South Wales, Australia
Windows No.2
Hand woven tapestry - wool, cotton and linen
35.5 x 46cm
2016
Windows No. 2 (2016), based on x-rays, invites the viewer to peer into the very core of what makes up our identity. It shows our innermost physical being – something that we cannot fake, airbrush or Photoshop. It is a ‘secret portrait’, laying bare all that is true within us. The medium of hand woven tapestry further imbues the work with a sense of humanity through the many hours of tactile, hands-on work required to render this piece. This process provides a contrast to the immediacy of x-ray technology.
Michelle Driver
South Australia, Australia
Cry Wolf
Archival Giclee print
30 x 40cm
2016
This work is a combination of my love of predators and the story about the boy who cried wolf, which my father recited to me as a child. Painted freehand in specialist art program with no use of references.
Michelle Webb
Victoria, Australia
The blooming Jacaranda tree spreads its radiance and fragrance. The elegance and beauty represent a young lady. In this exhibit, benevolence is provided through shade and a touch of life to the otherwise barren earth. This juxtaposition shows that hardships can often yield the most beautiful results. The tender coils that make up the blossoms are worked finely to capture the essence of this tree when flowering.Through contrast, the jagged stone highlights the soft curves of the metallic tree. The finesse of each turn reflects a refined tone in the personality of the both the tree and the metaphoric lady.
Ming-Yu Chang
New South Wales, Australia
Transient Grace
Aluminium wire and rock
22 x 22 x 35cm
2016
Pines are held within a venerable status and are associated with longevity and wisdom. This exhibit represents the perseverance of nature and a wise aged man. The tree is depicted as having weathered through years of hardship, and yet remains firm from the experiences. Each carefully formed leaf is the fruit of patience, and every detailed root is shaped by the struggles and contours of the world. The metal that forms the plant life seeks to forever capture this image in time. Together it forms an image of strength, with each part equally important in representing a dignified character.
Intricate Dignity
Aluminium wire and rock
20 x 20 x 30cm
2016
Still lifes of origami silver unicorns came from the movie Blade Runner, in which they were left on the ground by one of the replicants to remind the lead character that he might be replicant since he keeps having possibly implanted dreams about unicorns.
Nada DeCat
New South Wales, Australia
Find My Herd
Oil on linen
46 x 71cm
2016
