FOREWORD

In her novel "The Philosopher's Pupil" Iris Murdo"ch writes of a circle of ancient stones as "dense with mysterious authoritative impacted being".

For me, this phrase describes exactlithe experience of art. In this, the sixth B.A.V.A. graduation show, students have chosen their own authority, their own mysteries of reality, their own individual expression o{ impacted bein-g.

It has been the underlying philosophy of the course to place the responsibility for the making of art upon the individual student. This apparently simplistic statement describes a- process which is in reality complex, challenging, frustrating and even painful. It requires courage and tenacity and that quality which we are sometimes strangely reluctant to mention - humility.

Directing, instructing is easy.

Guiding, advising (or, to use current jargon "empowering") is difficult for both teacher and student alike. The very notion of challenge brings its own paradox- how do you react to advice which urges you to question e~erything, including that advice? Yet despite (or perhaps because of) the conceptual difficulties facing every student, the works exhibited here represent, not a culmination, but rather a "way station" in each student's search for-authority and being.

It should not surprise anyone to find mystery commingled with authority, density with transience, quotation with controversy- indeed at least one graduate is unable to illustrate her work in this catalogue because its uncompromising frankness infringes the law of the "real world" -the constraint is imposed from without, not within this Academy. -

If, as a spectator, xou are offended, you must learn tolerance; if you are mystified, you should surrender to the mystery; if you cannot identify the meaning, you may yet acknowledge the authority of signification. Best of all, since art is inevitable, you may as well relax and enjoy it.

Brian Dean Senior Lecturer & BA (VA) Co-Ordinator Visual Arts Academy of the Arts.

-------------- ----- ----·--------------

a m ::s I

(I (I ::s m m ::s a. (I .. en 0 ::s

The images I use are taken from aspects of nature - concentrating particularly on trees and their amazing similarities to the human form.

Fig trees in particular captivate. Their many forms and shapes trigger the imagination, there is so much to be found if one is prepared to look. This I see as my role - to create art that is totally inspired by beauty and to provoke the viewer to look beyond the everyday and to see the wonder, mystery and enchantment that has been placed before us -with the hope that they too may find the creator .•.•

/

•

=- .. =­ CD .. - -·-:I CD

m :I a. .. CD :e en

m :I :I m c:r CD --m .. a en .. .. 0 :I ao..

.. ·awr~ AW S! ~!li:J pue a:~n AW S! S!LJl

pua:Ja.ld .1apea1 PI.IOM we 1 PI.IOM AW S! S!41u

.... -· 0 :s Da n Da a ·CD .. 0 :s

I

n .. ft) c:r ft) .. ,.

"Impotent pieces of the game [she] plays Upon the chequer-board of Nights and Days; Hither and Thither moves, and checks, and slays; And one by one back In the Closet lays"

ADAPTED FROM the . RUBAIYAT of OMAR KHAYYAM.

~ -· a Cl. D) < -· (I

' n :r c Cl. -(I -· ao.. :r

(

-'< :I a. I»

CD --CD :I

-0 .. -· .:.. m '< CD ---· en

Making great statements about the trivial, through the medium which generates perceived greatness provides a working Infrastructure to express the small senti­ment hidden In the trivial.

The genesis of the work Is In the everyday; the Idiosyncrasies that personalize the multitude. Lamlngton drives, bingo halls and sea-shell lamps, Holden cars, footy and golf trophies; all of the cultural Icons of modern society. Removing these-Items from the status quo and projecting them globally through film repositions the focus and allows society to see the humour at Its domestic heart.

-= --• r ca en ·­-

What would It be like If you lived each day, each breath, as a work of art In progress? Imagine that you are a Masterpiece unfolding, every second of every day a work of art taking form with each breath.

\

THOMAS CRUM Transitions ... I am the transition.

I am the join that links the memories, the Images that we enclose ... that we cage.

cro.. -.. CD

(JQ.

CD < m :I en

~ CD -a. -· :I

ao..

·­-0 .. ca ·-'OJ)

ca -G» = c ca E

~ re-tra11sJate ~ ~ .. dual identity.

-CD D) ::s ::s CD

ao. 0 a.· =' ~

c CD CD ..

"0.0 >­CD u ca .. ..

The ability to create image_s via the medium of video, HiS and film Is one thing; another Is the manipulation of the Image through technology and know-how.

-During the past two years I have been delving into the art form of visual special effects. Through controlling my passion for visual explosions within my more experimental and earlier works; I have been able to create not just a visual piece, but also a narrative and suspenseful short film.

A body Is not one of those objects which can be made Into art by direct transcription. A mass of naked figures does not move us to empathy but to disillusion and dismay.

'The Nude' : Lord Clark.

.... CD -· cro. ::r I

D» :I :I

cro. ~

CD CD ..

, c: 0 E E ca .c G) c: ·--;; ·-.. .c u

.r

Ceramic Is an earthy, tactile medium. It needs to be touched, handled, involved with our everyday lives.

My approach to earthenware comes from the head, my imagination. Stoneware comes from the soul. Working In the higher temperatures of gas and ~ood creates the element of uncertainty that gives this range an edge.

I look into composition, depth and texture -combining authentic imagery with a modern approach {and a touch of innocence).

< -· n ~ -· I

At :I :I

" :::r At .. -At :I ca.

c 0 (I) ·-.. .. ca .c

CD c c ca CD -

.. • " ;, ' • • .. '~ ' . . ; ·~. t..o';:·; ~ ' ' .. -~. --~. '·.·. . :-. b · ., ;:, t"- .. """• • • ~ .. , .. ~h.. . . . ~ . · -~~~t, :~r -~.P·~~·~. .. . . . • _,...l '" . i . · · · · ·r;· ··~11- ~~. · -.... i · •

.:

' . . pe. p . , .. \ , ~ .. . ~~~ ~ .~ ._. "_ .. -..... , . , . -- - - : - ,..., .. ... ·- ~·..:... .. . . -~r J "

,_';p~:~chi··~ ~e·~eg_! ~t-' og:·~ ··:· : ~ ~ ~- -~~J ;_ • '.. - 4' 'II· ,._ •' • - .. f: • "' \ ... - ... _.'\ ••

~; :·~t-.~h~'.Ptl.kt'OWIJ~~\ ~r:~ .·- · .. :~" --~·~"'~ · ~!.¥ •• ~~ •,~_.- .. _..·-~· ;.:. ---t, 'A . ~- :· ......... ·"' ~-{ . ·~~;-~~ .:.;_.; ·st:r~nJ·· a.:~Jwt~ .~: -.hOW~~ i11_ ··ovrt;~O_ .. : ..,t:->• .• · ~ ~-~- ¥~ff ~~-~ __ A l .. ' -•/'- tt (w"'l~

:·_.·._~--\·~·;··_ ··-·~:.-.• ~ ~--•. • .... _ ";_"_,_._·_i_.·f··. ·n·· __ -_··a·_·,.li_ .... ___ -·t·.~:-:_ f, :~····m __ _ , __ .. ··.······_···-:···· __ ... • .. ~~Ut· ·. : · _- _ ... ·_·. ~ -: ~--._ .. ·_ :: : __ ~; ·_ · · __ ·-"~ .. . ~~ ~" ·;,. ·_ . .. -· · ·· ·· ·s · · ·r. e-·ss· ·· · · · ~ .., , + - t • < " .0 ' ~/ • f , , j • .. I

-.; ·"' ~ ; h· -~~ ~ • :rt·• ct J 0 . - I . .., - ~ : \ .... · • ' • " , ~ . . •• t t . * . ., ff J._~ ·

·~:: ;$il'trlitd~l'fl~;({i f r'~· . < it~: . -<i( ' . • ' • . • • . .. • • • ••• '

. .... ' . .... .• ~ • A. - • • ... . t ' J ,.~ •

-. .... V • " • . ~ '1@1 •: • .. , . . • ' ' ' J. • • • ' • ' • ~ • I •

.. ':~: ·~ot_.~~~-·r~t _ ~ :_ c.·o· ~-"_:_ ~ · ~J~t- Elf_. c_ ~pt~·~ ~~~ ;~ • · , • , ·r ,. · · . • . .. ~ ' .··; t ~ ·· · ~· .- .. • ·· at ;b. · ··. ·an·y····th• .. ·n~ c·an • ., f '!. . ,..., . :. . . ' . . . , f' ~

, ' . . ·~. !l'"'·t ··: .· .... ~: 'i ·: :.·~ --. ·. ·: . ,' .. ·. -~-'"~'· .. . -~ .. : .. ... ~·,. ~a·· ·k "··•.i.:. ·~~~ • .- t• , .. y., · ·. :. ; ' .. , . · .. ·., -\. .. u ~ - ~ . .,l:"i. .. ~- ·' -~... -. '0 . • . • .. ' .. • f ' .. --.·"· ..

- . .. ' . . .. . ~· ' . . ' . ~ -· ' .. ..,, .... ·.\· ... ~ .. ""'~ .. ~· • *.'"' ~ .... _ '·. ~ ...... *" * ' ~ ~' A J; .~ ~*f, - . ... .,)

· , · \ • .~: J ... • ,_· !"~·::J· eanf · · P·aul'·$~·tr · ··· !?.... '· ~ '\· • . .,. • • t .... :· -~-~ .... . . . ., ·.. ,:: . . . '· .. • ' ' \ . . .; . ···. ' ' ~ . . ~ . :

" ~~---- - .. ., ~ ' ~- .. .; . .. •· . \ .. " ' . ~ -- ' . .... "'•., ' • "' • ~ ~,. '"<I/ -. • ~ _,. ' : .. .J I ..

... .... .,. .- .... . ~.. : ~ ~ ~ .. ..., .. . ... ~,.~ .. - _":., - ... ·-. '·~ •

y .-\'"'

' ... · ..... ~ t• '-:·

l?o.u:id.e, "'D a..f.tvu I

(~"'~~t)~) >-

g)e.aif" ~a.k ~ 9an.. lf~ 1992._ g)Wo!t.c.ed.

..... 0 a. -· CD

:r CD m a. -" '<

a. -· m :s m :r

-~ CD en

n :::r .. -· ~ -· D» :I :I CD .... -· --D» .. a.

E ·-G) ~

c 0 en ·­--fa

"But In a flash, as of lightning, all our expectations, all our classifications and derivations, our aetiologies, suddenly appeared to me like a thin net.

That great passive monster , reality, was no longer dead, easy to handle. It was full of a mysterious vigour, new forms, new possibilities. The net was

nothing, reality burst through it."

John Fowles (''The Magus"} .

0 £ My expressions are Involved with the ·-ca process of learning and experiencing. --Q) ·-, c My Images offer a brief trl p ca r to the past of my ancestry ,

without dwelling in nostalgia or revealing too much.

As these two characteristics will always surface in people as they lust after more or alternative ways of satisfying themselves.

It's not a power play it's just respect .....

a .. -· :I CD

51. n -CD 0 ca.

• • E - c

0 E ·-en

There's more than one way to pluck a teddy bear and

. don't forget to eat the roses on the way.

"Everything has it's beauty, but n~t everybody sees it."

~ --· CD

5I 0 .. -CD '<

-·-G) c ~ c c G) ....

Instability and dislocation generated by the decay of modern society has created confusion, Isolation, suppressed anger and my artwork. Of course my perception might differ from yours... but so what.

' '

cr CD = 0 en cr 0 .. = CD

·Apoq :JO a:luasqe

n ::r .. -· • • • en .... 0 -= ::r

C1> .. -= ::r -· ---· -= en 0

- :I

2 3

p e r c e v I • e

/

.. G» ;: I 0 c. c ·--; :I ....

The most important aspect , of my world is sleep, the one third of your life in which you dream. I endeavour to make this two thirds.

.... m n .a c CD CD

-g , .. n CD --

c 0 ., .a 0 .. ., ca --ca ,

I am interested in constructs of reality and a human being's pursuit of it; and in consequence, the illumination of illusions. The cat is chosen as a symbol for both its familiarity; its simplicity d form andalsoforitspast use mystically, mythically and heroically. I hope the works may

engender viewer awareness d the preciousness d life and our continual pursuit d the experience d happiness and not the concepts d happiness.

.. CD cr CD n n m

' .

We .. '< m

can ::s

do · amazing things, even with the most stubbom hair.

.:.:: u ·-.c u en CD ·­-~

Telecommunication, a milestone within a world of vision and sound, eludes us with potential fantasy and false reality. This has become an exciting revolution In an Intellectual society with promotions toward technological advancements. For one to be able to have so much control over other ·persons Intellect, In Itself evaluates the energy and further possibilities of such an art form. In evaluating the extension of psychedelic Insights with the use of this technology, It Is possible to create a very fulfilling world of Illusion beyond the depths of reality. In doing so, we can prolong the subconscious mind In Identifying with Images of a conformed reality with that of an appropriated reality, Influenced by the Individual's personal existence. Through my studies, the accumulation of Ideas toward this field of work, has established a basis for many more challenging experiments.

mucche buca

I

'Think what you may' Glad to be finished.

.. -· (I -en (I -· < -I ~ (I

--CD < (I .. en

·aw~:udns

~ m .. .. -· :s m en m --~ 0 0 a.

... m en 0 :::s en ; -m.

.= .. ~ en ca --G) .a ca N ·-

To me being an artist has ever only meant one thing -absorbing the influences around me. AsaCOilSe(JiellCe myworkcan not be defined in a unidirectional path, instead it has tocontinuetoevolveto suit my ever changing views andi~.

Such non-defined criticism mightgiveafut:ile impression for my work in the present. I feel however that, on the contrary, this desire for self­improvement might become the means that pennits me to find sincere artistic expression, which is satisfying to myself, (and perhaps even

I.. -- I others).

------------------·-----~--~---

it is hard to pin point just what I want to do with my work in video as their are so many possibilities. I find it the most manageable and accessible media I have had the chance to work with, as the manipulation d the image in post-production is incredible. My main focus is in addressing theproblemseffectingsociety - unwanted pregnancies, animal experiments, etc.. Then again, in a sometimes depressing world, we need to escape to a realm d fantasy that is .possible in movies. So I try to present a social problem to the subconscious of the viewer. I want to make movies which are both serious and light hearted, without forcing the viewer to fonn an opinion •. I prefer for my audience to take the underlying message of my movie and place it in their subcons~ious, to tJwell on in the future.

D» --· n -· D» en .. D» = -CD '<

e s .I e a a .I

f

, CD ... CD .. ~ 0 .. CD '<

The image one sees on paper is. not the same as the image stored in one's mind. Interpretation is everything. Or conclusively, what you actually see is not what you think you see and if you think it is, it is most likely something else.

a CD --· = m .. .. 0 n =-0 c: --· m en

~ c ·-c c G) > ca -0 -

I

The fusion of various arts, or at least a breaking down of the boundaries between them was advocated by the early twentieth century avant-garde. This made experimental works such as Artists' Books possible.

'

M~aimisto probuc~ art wl1icl1 caH b~ ~Hjo~~b m.orbma"i Amtralian;.

'The Exalted Cyclops' ofthe K.K.K. There are paid up members in every city and throughout

'----------------------------~ A u s t r a I i a .

a. -· ::s A»

< 0 ao. CD -

r •

-c ; ~ m -.. 0 :I

::s -· ::s m

~ ::s a. CD , -

,

/

.... m en 0 :I

~ 0 0 a. ~ m .. a.

My interest in social and political issues and my love of clay are combined In my work. Employing a fusion of styles,

I

techniques, images and philosophies, I explore m ultlculturalism as a new interpretation of traditional designs and symbols with devel-opment of naturalistic symbolic patterns and forms, shapes and colours. I try to make a statement about my Identity and the necessity of a multicultural future world.

'

1989 Highly commended at the Caloundra Arts Festival.

1990 Highly Commended in Royal Queensland Art Society.

1990-1991 Associate Diploma of Arts {Ceramics and Sculpture)

Thank you to the following people for their assistance and help in the production of this rise catalogue

Annabel Armstrong Susan Crebert Brian Dean Jacqueline Gonsal Ann-Maree Hart David Hawke Jodie Headley Diana Howes lan Hutson Byron Lloyd Photocopying Services Saroya Oslington Jenny Rathborne Craig Robi ns~>n Luke Walton Nina Wandel Mark Webb

Catalogue Design, Desktop Work and Finished Art by

Christopher Phillipson Lola Venning