Visual Arts Grad Show
Word from our staff
I am delighted to introduce the graduate exhibition for 2022. This year’s exhibition comprises 15 students from the Bachelor of Creative Arts, Visual Arts (honours), Bachelor of Creative Arts, Visual Arts, and Bachelor of Education (secondary education). Their works demonstrate their independent creative approaches as well as an accumulation of three (sometimes more) years of hard work despite the challenges of the pandemic. The artworks, based on independent projects, reflect a diversity of media from painting, drawing, spatial practice, and video installation.
In this exhibition, the students’ diverse conceptual concerns speak to pertinent contemporary political and social issues related to feminism, ecology, First Nations reclamation, urbanisation, consumerism, the military, technological dystopia, historical marginalisation and persecution, as well as various approaches to the construction of collective and personal memory.
La Trobe's Visual Arts programs combine hands-on practical studio-based experience with knowledge of theoretical and historical frameworks specific to contemporary art and visual culture. Focusing on both technical and conceptual development, students are immersed in our purpose-built facilities which include our painting and drawing studios, digital lighting studio, photographic darkrooms, and sculpture and printmaking workshops.
In their undergraduate classes, the students have developed skills in a range of artistic mediums including painting, drawing, sculpture, spatial practice, photography, and printmaking. In their third year, they consolidate their experience in the dynamic environment of the studio through the development of independently led semester-long projects that culminate in this exhibition.
During their Honours year, students have undertaken a year-long self-directed project, as well as two semesters of course work. They have learnt to conduct research in a practice-led environment and to develop complex conceptual frameworks. Sara Hancock ‘s So-Called Parasites is a multimedia installation consisting of video elements, projection and sculpture forms exploring our relationships with insects. Jacq. De Haart’s Nowhere Now Here explores ruins and sites of dereliction as spaces for envisaging post-capitalist futures. Abigail Bayliss O’Dowd’s Supermarket Secrets investigates the manipulative atmospheric, design and marketing tactics employed by supermarkets to influence consumer choices.
On behalf of the exhibiting students and the visual arts staff, we invite you to explore this website of works from the graduate exhibition, and to come and visit our Bendigo campus to see the exhibition at the Phyllis Palmer and Annex Galleries, opening Friday 25 November and running until Friday the 9th of December.
Dr Kylie Banyard
Senior Lecturer, Visual Arts
Supermarket Secrets explores the influence of global capitalism on consumption practices in the context of the supermarket.
Nowhere Now Here, 2022, explores ruins and sites of dereliction as spaces for envisaging post capitalist futures, where free associations and non-conformity pierce through the sameness and homogeneity of our contemporary cities.
So-Called Parasites is a multimedia installation consisting of video elements, projection and sculpture forms exploring our relationships with insects.
Tango. Sierra. Echo. consists of multiple pieces of works that span around the theme of the military.
Gushing is part of an ongoing body of work exploring the materiality of sculptural forms.
My artwork explores my personal relationship with my Aboriginal culture and spiritual practices, beliefs and wisdom through the context and discipline of Martial Arts, Muay Thai.
Golem is an installation that interprets the Jewish folklore tale, The Golem of Prague through animation, projection and mixed media works.
She is Beyond Good and Evil, depicts the character of the devil as a woman, and follows her through different scenes where she corrupts, and therefore “frees” different women throughout history. The film is a celebration of pop culture, kitsch, tacky and lowbrow aesthetics.
Traces is a series of artworks that looks at identity through the lens of remnant genealogical memorabilia and uses those rescued fragments (objects and family photographs) to assemble a suite of collaged paintings that, together, amount to a personal identikit.
This artwork is a series of six collages, that move through moments and feelings of life that we all experience and feel, whether it is welcome or not.
My project explores nostalgia, love and loss through a shrine installation.
My practice explores parallels of fractalization in nature and words. I am interested in how ideas fractalize as a generative process against the linearity and predictability of language.
My art project focuses on socio-political commentary on how women’s bodies can be reclaimed from a feminist lens.
In this series of paintings, titled Where are you? How do you feel about it? Are you sure? is my reflection upon so-called city life, particularly as a reaction to moving to a regional city from Melbourne.
Nomophobia is the clinical name for the fear of being without a smartphone. In this series I explore the destruction of life through technology – specifically the impact of social media use via smartphones.