GRADUATE  EXHIBITION  2020

Wilson Adams Goretti Castle Georgia Clark Amber Cronin Erin Daniell sZear Darkling Thomas Folber Anika Gardner Seiichi Kobayashi Fangyi Kuang Eric Kuhlmann Caitlin Lang Kate Little Chelsea Materne Brooke Mitchell Alicia Murphy Kate Oakenfold Lily Pook-Ryan Anna Revesz Frances Rogers Callan Sawyer Truc Truong Katherine Vasquez Kate Verner Vino Vinayagamoorthi Jianzhen Wu Dainis Zakis The Helpmann Academy Graduate Exhibition is an annual celebration of ’s emerging contemporary creative voices.

Twenty-seven emerging artists from College of the Arts (TAFE SA) / Flinders University and the University of South Australia will showcase their graduate works at this preeminent arts event.

As the cornerstone event of Helpmann’s offerings for visual artists for GRADUATE  the past 25 years, the Graduate Exhibition brings a range of creative disciplines under one roof over three-and-a-half weeks. This includes ceramics, painting, jewellery, photography, printmaking, video, EXHIBITION  installation, sculpture – and for the first time in 2020, fashion design, 2020 illustration and animation. Exhibiting artists will be eligible for 17 awards valued at $70,000 to be presented on the opening night of the exhibition, making it one of the most significant opportunities for emerging artists in the country.

The Helpmann Academy Graduate Exhibition is a captivating snapshot of the future of contemporary art in our state. We know you will be moved by the drive and creative expression of the artists on display.

Friday 14 February We thank the awards and selection panel for their participation and to Sunday 8 March the staff and 2019 graduates of Adelaide College of the Arts (TAFE SA) 10:30am to 4:30pm daily / Flinders University, and the University of South Australia, for helping make this exhibition the incredible event that it is.

Drill Hall JANE MACFARLANE Torrens Parade Ground CEO Victoria Drive, Adelaide Helpmann Academy

SELECTION PANEL CURATORIAL MANAGER CATALOGUE DESIGN Charissa Davies, Senior Exhibition Curator, Logan Macdonald Black Squid Design CURATORIAL ASSISTANT COVER IMAGE Patrice Sharkey, Artistic Director, ACE Open Gabrielle Lane Truc Truong, Unicorn Land (detail), Peter Walker, Director, Peter Walker Fine Art OPENING SPEAKER Photo by Michael Haines Scott Hicks, Film Director, AWARD JUDGES Helpmann Academy Fiona Borthwick, Senior Curator, Centre for Creative Foundation Board Patron Health, Royal Adelaide Hospital Melinda Martin, Director, Linden New Art Emma Fey, CEO, Guildhouse

2 The Helpmann Academy gratefully acknowledges the support of the following partners:

MAJOR EVENT PARTNER WINE PARTNER

AWARD & EXHIBITION PARTNERS

AWARD DONORS

Roger & Helen Salkeld Sam & Margo Hill-Smith David McKee AO & Pam McKee The Lang Foundation

The Nunn Dimos Foundation Diana & Philippe Jaquillard Mark Jones David Hayden

3 HELPMANN ACADEMY AWARDS

THE HILL-SMITH / UNIVERSITY THE NUNN DIMOS FOUNDATION AWARD OF SOUTH AUSTRALIA NEW IN 2020 POSTGRADUATE AWARD Valued at $5,000 cash. Valued at $10,000 cash. Recognises the achievements of a Masters or PhD candidate. THE BENDIGO & ADELAIDE BANK AWARD NEW IN 2020 UNDERGRADUATE AWARD FOR Valued at $5,000 cash. This award will recognise an EXCELLENCE SUPPORTED BY ROGER emerging female artist. AND HELEN SALKELD Valued at $7,500 cash. THE LINDEN NEW ART AWARD Valued at $6,250 cash & in-kind. The recipient of this THE CITY OF ADELAIDE AWARD award will be provided with a 3-week exhibition at Linden Valued at $7,500 cash. The winner of this acquisitive New Art in Melbourne, through its Linden Projects Space award will have their work acquired as part of City program. The exhibition includes mentorship, marketing of Adelaide’s art collection and exhibited at a City of and promotion assistance, and install/de-install Adelaide location. assistance.

THE 215 MAGILL RESIDENCY AWARD THE CITY RURAL INSURANCE / NEW IN 2020 HELPMANN TRAVEL AWARD Valued at $5,000. The recipient of this award will be Valued at $5,000 cash. This award provides the winner provided with a 6-month residency at brand new studio with the opportunity to travel, informing their practice space, 215 Magill. with new ideas and experiences.

THE LANG / MCKEE AWARD Valued at $5,000 cash.

4 Vote for your favourite artwork during the exhibition. THE HELPMANN ACADEMY PEOPLES’ CHOICE AWARD ($500 cash) will be announced at the close of the exhibition. Submit your vote to go in the running to win an overnight stay at the iconic Mt Lofty House.

THE ACE OPEN RESIDENCY AWARD THE ROYAL SOUTH AUSTRALIAN SOCIETY NEW IN 2020 OF ARTS AWARD Valued at $3,750. The recipient of this award will be Valued at $1,000 cash. provided with a 12-month studio residency at ACE Open, South Australia’s flagship contemporary art space. THE SALA AWARD Valued at $1,000 cash & in-kind. Awarded to an artist THE JAQUILLARD EXHIBITION AWARD who will benefit from exhibiting their work at SALA, NEW IN 2020 the SALA Award provides premium registration for the Valued at $3,000 cash. Awarded to assist with the 2020 SALA Festival elements of framing, mounting or logistics of an exhibition. THE HELPMANN ACADEMY PEOPLES’ CHOICE AWARD THE JAMFACTORY AWARD Valued at $500 cash. This award is voted for by visitors Valued at $2,500 cash & in-kind. Presented to an artist to the exhibition and presented to the winning artist at working in ceramics, glass or jewellery, the award the conclusion of the exhibition. includes a mentorship with relevant senior creative staff from JamFactory and an opportunity to have work on consignment in JamFactory’s retail store for 12 months.

THE DAVID HAYDEN PROFESSIONAL DEVELOPMENT AWARD Valued at $1,000 cash. Awarded for the purpose of purchasing materials.

THE PETER WALKER / HELPMANN ADVANCEMENT AWARD Valued at $1,000 cash.

5 HELPMANN ACADEMY’S PARTNERS IN THE VISUAL ARTS

UNIVERSITY OF SOUTH AUSTRALIA The School of Art, Architecture and Design was created with the merger of the South Australian School of Art and the Louis Laybourne Smith School of Architecture and Design. Well-known past and present alumni who began their careers at the South Australian School of Art include Margaret Preston, Hans Heysen, Stella Bowen, Ivor Hele, Jeffrey Smart, Barbara Hanrahan, Mandy Martin, Aleks Danko, Hossein Valamanesh, Zhong Chen, Gavin Walkley, Paul Hecker, Nik Karalis, Caroline Lieu, Melinda Kate Hill and Debra Little.

As one of the oldest art schools in Australia, the innovative tradition that marked the School at the turn of the century continues. Building on this tradition of innovation and with a research focus that promotes a critically reflective approach to creative practice, the School offers a number of Undergraduate and Post Graduate Programs in Art, Architecture, Interior Architecture, Design and Urban and Regional Planning including the introduction in 2018 of a new Visual Arts undergraduate degree, the Bachelor of Contemporary Art.

Professional artists, designers and theorists at the School of Art, Architecture and Design drive their ever-evolving teaching and research. Students gain skills in critical analysis and creative thinking and practice, and graduate as career-ready professionals. Their researchers address some of society’s big challenges: from sustainable living, to communicating information responsibly in a saturated visual culture.

ADELAIDE COLLEGE OF THE ARTS (TAFE SA) / FLINDERS UNIVERSITY Adelaide College of the Arts is the only tertiary institution in Australia housing the study of visual, music, and performing arts training together in one building, enabling cross discipline learning that has long-term benefits. This thriving hub of creative activity brings dance, acting, screen and media, visual art and craft, technical production, graphic design, music and sound production, creative and professional writing, and arts administration under one roof.

The modern, $60m iconic performing and visual arts centre of excellence, based in the heart of the city with purpose-built studios, theatres, and workshops with industry-specialist equipment and technologies, equips students with the highest quality education and experiences. The building provides a daily snapshot of the cultural sector and creates a wonderful sense of community throughout for students and staff.

Adelaide College of the Arts employs highly-respected professionals and industry specialists with high-level expertise and practical teaching skills to deliver intensive, studio-based learning work with students. Courses offered range from non-accredited short courses up to degree and honours level. Lecturing staff are actively involved in their fields through practice and research, with students benefiting from these practical connections and collaborations with industry. Their graduates continue to find success nationally and internationally.

6 WILSON ADAMS University of South Australia

The contrast between the reality of suburbia and the fantasy created by my wearable art is a common thread through my work. It references the DIY aesthetics and nightlife fashion, expressed by Leigh Bowery and the New York Club Kids. In the work Saint Satan the golden ‘Glomesh’ crown reflects an interest in religious art and iconography. It also explores my interest in ways to distort and conceal the face and the connotations attached to it. The faces painted onto the orange jacket and drawn on the pants, explore ‘Saint Satan’, a drag character. The orange jacket is a garish symbol of bad taste and questions why ugly things are so expensive in a consumer driven society.

Saint Satan Photograph 61 x 91cm Image courtesy of the artist https://saintwiladamx.pb.studio/ @narcxissuss

7 GORETTI CASTLE Adelaide College of the Arts (TAFE SA) / Flinders University

Myths are made for the imagination to breathe life commercials, video games and literature. Myths and into them. – Albert Camus archetypes are vital for the development of a healthy Tales and Never Ending Tales is material exploration personality for they possess within them the tangible into the capacity of myths to communicate complex ability to shape both the individuals and society’s ideas through drawing, painting and ceramics. conscious and unconscious behaviour. As a child, my life was enriched by stories, fables and Rhythm and repetition are at the core of my work, and myths which created space for reflection and growth. the viewer is invited to contemplate and overlay in their They continue to be retold globally and are adapted minds the myths they may have encountered. to contemporary situations. In this internet age, we Albert Camus, The Myth of Sisyphus and Other Essays, encounter myths in real time across international New York: Vintage Books ,1991. boundaries in a variety of ways, including movies,

Tales Mixed media 376 x 112cm Photo courtesy of the artist

@G orettiCastleArt @goretticastle

8 GEORGIA CLARK Adelaide College of the Arts (TAFE SA) / Flinders University

I’m sorry for the state of my brain (detail) Silver halide gelatin hologram, glass 6.3 x 6.3cm (each) Photo by Naomi Shan

I can’t trust the thoughts that come inside my head. This division between who I am and who I want to be is not mine. Do I even own the ‘I’s in these statements. How can I be sure of anything more than that they just occur in my stream of consciousness. Do I give this other half jurisdiction? If I shift my perspective will the thoughts disappear? Are they really there at all? But when I squint my eyes everything looks fine, right? What’s the problem Georgia? I don’t know. Let me change the subject.

9 AMBER CRONIN University of South Australia

Room for the Hunter Sulpture: Concrete blocks, pewter, acorns, rocks Photo by Thomas Borgas

www.ambercronin.com @amberrosecronin

Conceived as an architecture or universe in itself, Room The entire body of work expands out from this action as for the Hunter is a collection of objects that centres the core motif. Linked to archaeology, the process involves around the idea of digging. Deleuze and Guattari claim the casting of a hand-dug void. The resulting positive form “…the first architectural gesture is acted about the earth, provides an identical displacement when the concrete it is our grave or foundation“. The gesture captured is form is poured. Each block has within it, a unique cast of an excavation, an emptiness repeatedly dug into and an action. suspended in these forms. The flat surface of each block The action of digging is closely linked to the process of creates a plane which can be transformed into a wall, a mould making. While I aim to expose and capture the floor, a structure, a pattern. The story of becoming, of the characteristics of a gesture in this piece, mould making first action, breaks the surface of each. allows me to engage with spatial and temporal dimensions Moulding and casting is a system that extends our to create something architectural and choreographic. attention. I want my mould making to register and Like language, these forms fit together as rich acknowledge the original objects. Drawing on a childhood constellations of meaning. Mediated by movements of memory of playing under an oak tree, the cast pewter body and material, the resulting network of objects fuse acorns reference a time of curiosity. It captures a nostalgia language and sculpture – an installation that contains a for a moment when channelling the magic of an object sliver of possibilities in the world of these objects. came easily. The hand formed material included in the collection speak of the excavation, the absent material, each a unique moment or action.

10 ERIN DANIELL Adelaide College of the Arts (TAFE SA) / Flinders University

I believe that jewellery is a beautiful amalgamation of art and identity. This series of small scale sculptures explores notions of femininity, mental health, and perseverance by paying homage to three prominent female artists: Frida Kahlo, Yayoi Kusama and Artemisia Gentileschi. My work has been influenced by the distinctive expression in their paintings; the emotional language of line, shape and texture from their two-dimensional qualities guiding the development of my three-dimensional pieces. By contrasting the smooth refined elements with rough edges, my work expresses how physical pain or mental health battles can shine a light on feminine strength and the power of perseverance.

Frida Ring I & Artemisia Ring Sterling silver Dimensions variable Photo by Naomi Shan

@erin.jane.jewellery

11 SZEAR DARKLING Postmodern Yak Glazed stoneware, salvaged Adelaide College of the Arts readymade artefacts, light (TAFE SA) / Flinders University 32 x 17 x 11cm Photo by Sarah Sturm

@lost.in.szpace

All hail the post-modern yak! During a Mongolian archaeological expedition, July 2019, traveling three days from Ulaanbaatar to the Darkhad Valley nearing the Siberian border, I wondered what the age of technology brings for the Mongolian yak? Does it join the globe in nowhere space-time identity- crisis place-time, with two eras of living existing simultaneously in liminality. My naïve wishful-thinking- self could say ‘co-existing’ without flinching; however, is it instinct or conditioning that without experience of my own I know these things to be in conflict? More accurately describing our surrogate global system in conflict with any other make of living. Case in point, the proof of being ancient seeming insignificant in sight of contemporary economic development, regardless of sustainability. Apparently now as pressed for time as everyone else, looting and poaching are prevalent issues in Mongolia, a country both wild and tame. If only civilization could skip a few steps of the monetization process and retain the integrity of spiritual evaluation for core assets. Post-modern Yak is silly and fun. If you peer through the sunglass’s lens worn on the journey, a western interpretation of subsistence living can be seen; an existence characterized by just ‘scraping by’. Dissuaded from possessions or enticed to indulge, east or west, nomad or settler, denizen or citizen, we are bound to gambit on a couple bucks, whether well-being is tied to a herd or a hedge. Inertia is the lesser known greatest addiction of our time. To combine an over-active imagination with notions of exponential economic acceleration, there is something pleasantly recuperative about watching a yak hanging out, munching herbaceous landscape, providing for an entire family. This reminds us that nature has our back if we could be trusted, kind and willing to co-exist. I am also doubtful that giving up the past is a smarter future.

12 THOMAS FOLBER PhD Candidate University of South Australia

Beginning as heterogeneous collages of image, sound, and text, these pictures were pushed towards visual collapse through subversive intervention and error prone translation. Assemblages of digital artefacts are produced, corrupted, and recycled into new aesthetic outcomes. Translated off-screen they returned to the computer in a regenerative cycle of transformation and convergence. Drift emerges as fragments of actualised noise, tangible tokens that represent the physical consequences of wandering between media and across mediums.

Drift_3 UV ink print on Cordenons Canaletto 500gsm paper 117 x 84.5cm Image courtesy of the artist

www.thomasfolber.com

13 ANIKA GARDNER Adelaide College of the Arts (TAFE SA) / Flinders University

Hanging is the weight of our lived environment/ hanging is the form of our bodies torn. Palpable are the constructs perpetuating the norm/ palpable is the shift that age has worn. “When a pole is to be removed, it should be “pushed” from the ground by two hydraulic extraction jacks, while a mobile crane or borer erector vehicle is attached at or just above the point of balance. Two jacks, installed diametrically opposite, are used to ensure that the pole emerges vertically out of the ground and can be easily lifted directly onto a pole jinker. The mobile crane or borer erector vehicle must not attempt to assist the hydraulic jacks in the removal of the pole. The mobile crane or borer erector vehicle function is to steady the pole and receive it after extraction from the ground.” Source: Ausgrid NS 128 Specification for Pole Installation and Removal1 The adherence to these specifications in Urbanscape reveals the nuances of human interpretation and the ways in which action carries meaning. 1Ausgrid is an Australian network providing powerlines and poles for over 1.7 million homes, specifications for pole installation and removal.

Urbanscape Bronze (copper, tin), steel (iron, carbon), insulation (glass, resin) Dimensions variable Photo by Sarah Sturm

www.anikagardner.com

14 SEIICHI KOBAYASHI University of South Australia

Improvisation: Murakami TXR (1’50) Acrylic and oil on canvas, pvc, silk and synthesis organza 45 x 34cm each Photo courtesy of the artist

www.seiichikobayashi.com @stupidasapainter

This body of work explores the conceptual meaning of aesthetics and technological development in contemporary art through abstract paintings. My works also revitalise the traditional Japanese aesthetics, the concepts such as Wabi-Sabi and Zen. These Japanese aesthetics and philosophies find beauty in spontaneous imperfection and subtleness. In particular, they revitalise the aesthetics of the Rinpa painting school. Their paintings feature a lot of negative spaces and are compositionally highly controlled and decorative, but the brush strokes are fast and rough, emphasising beauty from imperfection in their images. Silkscreen printing processes are fundamental to my art practice. The original images for screens are created with digital applications such as photoshop and processing. The hand-working process of silkscreen humanises the digital images and creates spontaneous unexpected effects with paint.

15 This body of work draws upon my cultural heritage and seeks to discover new connections corresponding to the material and viewer. ‘Gong-Bi Hua’ interprets to ‘Meticulous painting,’ a long-established painting technique with high details and carefulness in style which began in the Han Dynasty. By utilising materials of traditional ‘Gong-Bi’ silk with found objects on the land of Australia, I question what response it brings to sight. In reverse of the complex techniques, I intend to preserve most materials in their original form with small constructions, the unpretentiousness of the materials diminishes the border between two cultures. A position where I stand. Within the ambiguity I dwell.

FANGYI KUANG University of South Australia

CASA, CASA 3 ‘Juan’ Silk, branch 125 x 72cm Photo courtesy of the artist

https://kkuangate.wixsite.com/mysite @Dooloha

16 ERIC KUHLMANN University of South Australia

This work stems from one seemingly simple question: What is drawing? My exploration of this question has spurred the creation of this series, which has involved implementing a series of computer programs that turn human movement and voice into animated digital drawings made up of thousands if not millions of simple lines. This work draws on my background in computer coding, studies in linguistics and computer science, performing as a singer and explorations of two-dimensional mediums including painting, printmaking and photography. Underlying my work is an interest in the dualities of space and time, noun and verb, thing and action, and how these manifest in thought, communication and artefact.

Kdraw 3 Computer program, computer, kinect 2 sensor Dimensions variable Image courtesy of the artist http://erickuhlmann.com

17 CAITLIN LANG University of South Australia

This body of work is informed by the current geological epoch, known as the Anthropocene, in which human activity is the most dominant and detrimental influence on the Earth’s climate. The clustered porcelain vessels are largely influenced by the detrimental effects on coral reefs following a severe bleaching event; the result of human-induced climate change. What remain are the bare skeletons of coral, much like us after we die. This connection to the human body is also observed throughout time-lapse imagery as thriving coral expands and retreats and is reminiscent of our lungs breathing and our hearts beating. Anthropocene embodies an intricate synthesis of biomorphic and figurative interconnections. The thousands of perforations are individually formed to overwhelm each hand-built vessel. This process is underpinned by the use of metaphor. Each mark represents the destructive nature of humanity’s environmental impact.

Anthropocene (detail) Porcelain Dimensions variable Photo courtesy of the artist

@caitycarrot

18 This body of work draws upon my research into ‘Hybrid Assemblages: An Interdisciplinary Exploration of Grid-Based Generative Art Systems’. This uses a systematic interdisciplinary methodology, combining pattern, randomisation and emergent properties of materials and data to offer ways of thinking about creative processes and experiences. My work draws on the systematic methodology of post minimalist conceptualism combined with late abstract expressionist exploration of material properties. The grid as a framework facilitates transfer of information and process. Data sourced from music and textile operations is plotted and manipulated, using symmetry and repetition processes common to music composition and the repeat pattern of textiles. The relationship between digital and analogue is explored through the use of punched, gridded paper evocative KATE LITTLE of the Jacquard weaving loom, pianola music rolls and early punch card PhD Candidate computers. The site becomes a surface to observe the interplay of materials, University of South Australia spatiality, and the tension between order and chaos.

KL_1912: ‘Woven’ Ink and cotton thread on paper 132cm x 100cm Photo courtesy of the artist

www.katelittleart.com @katelittleart @katelittleart

19 CHELSEA MATERNE Adelaide College of the Arts (TAFE SA) / Flinders University

Tree rings hold the mystery in the way they grow and record their life, creating a memory. The life of a tree can be told within their rings; from the droughts in the summer through to the wet winters that are marked by the width of the rings. Any other damage, including bug infestation and bushfires, leave their mark through the rings as the new wood. Starting by searching for wood, my process involves manipulating the felled stumps with fire to create a surface with which to print. This labour-intensive printmaking process further references the slow passing and patience of time. Each print is enhanced with hand- stitching, allowing me to see the memories encompassed within each tree. The stitching intertwines memory into the paper, exposing what is left behind. These are the memories within the trees, that which have been witness to so much history.

Tree Rings (detail) Red gum tree ring hand printed on Magnani pescia paper and embroided with black cotton thread 20 x 30cm (framed) Photo by Naomi Shan

@chelsea_materne_art

20 Existentialism is nothing else than an attempt to draw all the consequences of a coherent atheistic position. It isn’t trying to plunge a man into despair at all. Jean-Paul Sarte, 1946, Existentialism is a Humanism. This body of work is an attempt to reconcile the philosophical theory of existentialism, which emphasises the existence of individual free-will. Drawing upon Sartrean existentialism, the work uses the puns and humour of internet meme culture to emphasise the value of personal responsibility and freedom of choice. If human beings have ultimate freedom from divine intervention or condemnation, then what is stopping them from achieving their goals? The viewer is invited to consider their own choices and the self-imposed restrictions on their actions, to interact with the work and the concept it represents. Perhaps a self-awareness of existentialism, of understanding the root of our capacity for free will, could be the answer to our nihilistic tendencies wrought by the online landscape of social media.

BROOKE MITCHELL Adelaide College of the Arts (TAFE SA) / Flinders University

Unattainable Goal Gold-plated brass, garnet, treated blue quartz, pencil, ladder Dimensions variable Photo by Sarah Sturm

@brooke_mitchell_jewellery

21 ALICIA MURPHY Adelaide College of the Arts (TAFE SA) / Flinders University

This body of work is a masculine/ feminine jewellery series, that brings awareness to and engages the viewer with the healing and medicinal properties of plants. Plants have been showcased for their beauty and medicinal qualities and have been selected with both the wearer and viewer in mind, drawing upon the masculine and feminine qualities inherent in certain plant life. Cast pumpkin seeds have been used for men to represent the healing properties of the seed that to aid and maintain men’s prostate health. The viburnum plant has been cast for women as its healing and medicinal qualities aid pre-natal and post- natal birth, menstruation and menopause. This work invites further investigation and research from its audience to learn about the medicinal properties of plants and how they can help others.

Pumpkin Seed Cufflinks Sterling silver 2.5 x 1.5cm Photo by Naomi Shan

@_aliciamurphy

22 Totem Grove is the result of an exploration into the timeless and intimate relationship between humans and trees. I present them as powerful emblems of place, memory and identity. Many cultures view trees and the spaces they occupy as sacred. This work captures their essence and presence. Driving my creative process is a personal fascination with the interconnectedness of the living world and nature. The work asks the viewer to explore their relationship with nature and imagine hidden connections and the space beyond the perceived world.

KATE OAKENFOLD Adelaide College of the Arts (TAFE SA) / Flinders University

Totem Grove Sheoak stump, wool, steel, eucalyptus leaves Dimensions variable Photo by Sarah Sturm

@kateoakey

23 LILY POOK-RYAN Adelaide College of the Arts (TAFE SA) / Flinders University

The earth is in a bit of a state. Oceanic acidity is the highest it’s been in 50 million years, we generate 2 billion tonnes of waste globally each year, 50% of all coral reefs are bleached beyond repair, half of the world’s net wealth belongs to the top 1%, and the 1.7 billion people belonging to the ‘consumer class’ are devoting their lives to the accumulation of non- essential goods. In A Bit of A State the bones are created using waste generated from the consumption of ‘non- essential goods’. They are a quantifiable visual aid of the In A Bit of A State (detail) remains of products purchased. Recycled paper, acrylic, mega epoxy, artificial dye As our capitalist society erupts, Dimensions variable so does the pressure that binds Photo by Anna Revesz us to a consumerist identity. https://lilypook-ryan.wixsite.com/bushwoman @lilypookryan

24 ANNA REVESZ Adelaide College of the Arts (TAFE SA) / Flinders University

There is a pulse in this rock, a heartbeat in this piece of wood. Memory is held in the mind – amongst the bright flesh, the flowing blood, the active neurons. It can also be accessed when objects are held – amongst the fraying rope, the crumbling rock, the decaying wood, the rusted metal. There is history and memory within these objects. The rope gently weaves in and around these fragments, holding them together and emphasising their distance in the same way that the brain and the body interact with past moments. Memory feels the pulse in this rock, memory hears the heartbeat in this piece of wood. The mind returns to places, times, to these things that lie inanimately. And when it returns to these things, the mind brings memory, and memory brings life.

Recollection 5 Inkjet print 60 x 90cm Image courtesy of the artist www.annarevesz.com @annare veszz 25 FRANCES ROGERS University of South Australia

Chain Series (detail) Raku clay Dimensions variable Photo by Ella Wilson

@francesrogers_

My art practice is an exploration of the human condition and how we relate to the material world. I have been experimenting with natural and recycled materials which offer utilitarian purpose, whilst simultaneously foster a primitive and spiritual connection. With an emphasis upon the importance of process, I believe that the act of making pulls us into the present moment and triggers intuitive thinking. I aim to capture a sense of tension between ancient and contemporary, creating objects that camouflage themselves from categorisation and indication of era. The chain installation is made using Raku clay links, a hand building process of connecting circular forms. This plays with playing with the malleability and strength of clay, each link supporting the next. They are adaptable and rearrangeable, textured and graspable, naturally scented and are instruments of percussion. Showing the process and evidence of time within this linkage manifests a sense of meditation within repetition. We experience the world through a multitude of senses that our constructed environment is not equipped to satisfy or stimulate. I create work that connects us to innate human experiences.

26 CALLAN SAWYER University of South Australia

This series of illustrative works present various narratives within the common theme, “Man Vs Monster”. Do these pictures depict the bravery and comradery of humans in the face of evil, or does this depict them as the true monsters in their pursuit for dominance and destruction? Grounded by my interest in history and traditional forms of picture making, I draw inspiration from ancient Greek and Roman ceramics, medieval tapestries as well as ancient cave paintings and etchings. When working digitally, I have a broad range of colours, brushes and tools at my disposal. Due to the vast array of possibilities with digital painting, I find it important to set limitations for myself; using a limited colour palette and a limited range of tools and brushes. In doing so, I have created work that feels familiar, unique and emotional.

Man Vs Monster Digital media Dimensions variable Image courtesy of the artist www.callansawyer.com @cal_sawyer 27 TRUC TRUONG University of South Australia

Unicorn Land and Bench the French explores the injury of power felt by Vietnamese people throughout the reign of China and France, commenting on cultural hybridity, mimicry, and internalised racism. Utilising Vietnam’s pre-colonial script, Chu Nom, Vietnam’s currently-used script Chu Quoc Ngu, and English, the work examines the repercussions of control, that while look to be celebrated, have also caused problematic attitudes amid its people. Lion dancing symbolises the removal of unwanted spirits, a concept I pursue as a way of understanding my past and the hidden aggression toward experiences of racism and displacement. The black lion, representing myself as a second-generation Vietnamese Australian, is commonly known as the youthful fighting lion, whereas the bigger lighter coloured lion, representing my parents as first- generation migrants, exemplifies maturity, wisdom, and peace. These traditional lion/unicorn heads were delivered Unicorn Land (detail) Mixed media from Vietnam and altered, using my own clothing, Dimensions variable which was deliberately damaged with bleach, Photo by Michael Haines symbolising the destructive impact on my parents. The various effects of bleach is dependent on the qualities www.tructruong.com of the different fabric, allowing us to differentiate the @truc.fakeit different forms of emotional damage as experienced by myself and my parents, who escaped Vietnam after The Fall of Saigon in 1975. This mirrors the damage of cultural assimilation that has impacted my family, as some pieces turn completely white, change in tone, or do not change at all, and instead, begin to disintegrate.

28 KATHERINE VASQUEZ ‘Where are you really from?’ This is commonly asked when Adelaide College of the Arts (TAFE SA) you’re a non-white Australian. Questions like this are what / Flinders University spurred a denial of Australian identity. For most of my life, I identified myself as proudly Salvadorian. Until only recently visiting El Salvador connected me more to the country but also helped me to understand that I am also Australian. My history has continued to influence and define an exclusive identity despite Australia’s increasing diversity; an identity I have chosen to question and redefine. Rather than just celebrating my Australian nationality, this body of work is a celebration of both my nationalities. Realised in a form which unites them together in the colourful pieces of micromosaics, the work defines how Australians can be more than one nationality. Combining elements such as native Australian seeds, with aspects of Salvadorian design styles, the work is the result of the union of two nationalities.

El Union de dos mundos. The union of two worlds (Circle pendant) Sterling silver, resin, polymer clay, seed beads, Billy button and Indigo seeds 3 x 3.4 x 0.06cm pendant with 40cm chain Photo by Naomi Shan

29 KATE VERNER University of South Australia

This body of work has been driven by an interest in obscure stories and the re-telling of these stories in modern alternative media. Their individual stylistic inspirations, however, are diverse and unique. Much of my work draws upon classical fairy tales, such as those by Brothers Grimm, and involves a reworking of the original story. In this process, I use visual symbols and elements of Japanese scroll painting to communicate the key themes of these fairy tales in new ways. I have used such techniques in the work The Silver Hands, designing with a minimalist palette of black in homage to the early bookplate prints created for children’s books. This allows the work to connect with both children and adults alike. In my second work, The Yellow Wallpaper, I have utilised modern text layouts to show the protagonists mental state and contrasted them with traditional Victorian printing methods to create illustrations closely connected to the original story. My animations range from hand-drawn, to digital 2D and 3D. Working across a range of digital media allows me to explore and create a visual language using movement and colour. This form of media, with the many elements available to me, allows for the presentation of complex narratives.

The Silver Hands Painted laser etched board, from digital design 120 x 60 x 0.6cm Photo by Sarah Sturm

@vernkate11

30 VINO VINAYAGAMOORTHI Adelaide College of the Arts (TAFE SA) / Flinders University

Climate change is the most devastating problem of the 21st century. Fashion is one of the polluting industries, contributing to 20% of global wastewater and 1.2 billion tons of carbon towards greenhouse gas emissions. 85% of clothing ends in landfill every year and in Australia, 6 tons of clothing goes to landfill every 10 minutes, 65% of this is non-biodegradable synthetic fibres. The list goes on. My practice seeks to identify the invisible space between the garment, the makers, the consumers and the ecology. My designs aim to remove the seasonal concept from fashion, building holistic conscious connections between the entities, and minimising the waste in the production process. The gender-neutral design and the adaptable shape of the garments will ensure comfort and create memories for the wearer. The redesigning possibilities of these pieces can increase the value and the life with the consumer. Reduce, repurpose, and remember, it all starts and ends with zero…

Zero Textile Dimensions variable Photo by Sarah Sturm

@vino.design

31 Holistic Therapy (detail) Glass filled with essential oil and cork stoppers Dimensions variable Photo by Ella Maude

www.shirleywujianzhen.com @ShirleyWuJewellery @shirleywujianzhen

JIANZHEN WU Masters Candidate University of South Australia

Through the integration of holistic therapy and creative art processes my work encourages a connection between mind and body. The meditative process of making allows me to express and release my negative energy, to disconnect from overwhelming thoughts and to stay in the moment. The glass forms are created through the rhythmic exhalation of breath, allowing me to physically dispel my anxiety into the blown object. When filled with essential oils the diffused homeopathic scent replaces the space that the negative energy created, completing the cycle of healing from the works inception to its final outcome.

32 DAINIS ZAKIS Today we are exposed to a plethora of visual stimuli University of South Australia whether it be on a mobile device, printed matter, television or billboards. We are constantly being told how to live and think. Influencers are now the major communicators whether they are a professional, friend, activist, commentator, politician or just a “know it all”. Are our dopamine systems being overloaded with this constant stimulation? My work looks to provide relief. The works are capable of existing without context; capable of existing solely for the eye, to be visually consumed. They are to be considered an oasis, isolated from the real world, where the only thing that exists is the image and your thoughts. Linger in this space before returning to reality. With software being the tool for the mind, the computer has become my domain for making work. It is here that I write code to generate the artwork. By its nature the computer dictates two distinct phases in the making of art, the conception and the production. Conception takes the idea and converts it into code. Computer generated art can only be perceived when the program is complete and so each time the code is run a new work is discovered. Copies are unique and unable to be repeated. Production takes this further and moves the digital work into the analogue environment, a transfer that is as dynamic as creation. The work moves freely between digital and analogue with ever changing technologies creating new avenues of expression. The computer has become my creative partner. In Shapes Red and Black 1-01 a combination of simple shapes set against a background of random ellipses. The use of red, black and white completes the minimalist approach. Each time the code is run the background will change. Similarly, in Multiple Images in Squares Projected the sequence of randomly sized and coloured objects will never be repeated. Shapes Red and Black 1-01 Digital print on PVC 152 x 181cm Image courtesy of the artist www.dainiszakis.com

33 HELPMANN ACADEMY HELPMANN ACADEMY HELPMANN BOARD OF GOVERNORS FOUNDATION BOARD ACADEMY STAFF PATRON PATRON Jane MacFarlane His Excellency The Honourable Mr Scott Hicks Chief Executive Officer Hieu Van Le AO Film Director Governor of South Australia Emma Bargery CHAIR Administration Coordinator CHAIR Mr Peter Walker Ms Karen Thomas Director Nadia Dolman Head of Office Peter Walker Fine Art Program and Events Manager Dentons Fisher Jeffries FOUNDATION Olivia Power BOARD MEMBERS BOARD MEMBERS Marketing and Engagement Professor Joanne Cys Ms Sarah Abbott Manager Pro Vice-Chancellor: Division of Education, Director Arts & Social Sciences SASSAFRAS Public Relations Mahalia Tanner University of South Australia Communications and Ms Cassandra Crawford Development Coordinator Mr Richard Fennell SA State Head of Business Banking Executive, Consumer Banking Banking and Financial Services Group Bendigo Adelaide Bank Macquarie Bank Limited Professor Vanessa Lemm Vice President & Executive Dean Ms Alexandra Dimos College of Humanities, Arts & Social Sciences Director Flinders University Nunn Dimos Foundation Mr Brian Oldman Ms Kristen Jackman Director Consultant Ms Diana Jaquillard Ms Alex Reid PSM Consultant Interim Chief Executive Officer Mr Richard Jasek Office of the Training and Skills Commission Executive Producer / Director Mr Mark Roderick Mr Hugo Michell Managing Director Director Perks Integrated Business Services Hugo Michell Gallery Professor Jennie Shaw Mr Christopher Penny Executive Dean, Faculty of Arts Director University of Adelaide Ginn & Penny Insurance Brokers Mr Peter Walker Ms Nataliya Sard Director Adviser, Investments & Portfolio Strategy Peter Walker Fine Art Ord Minnett Helpmann Academy Foundation Board representative Ms Emma Trengove Senior Private Client Adviser Mr Craig Whiteman Ord Minnett Partner EY

34 GOVERNMENT PARTNERS

Arts South Australia

PARTNER INSTITUTIONS

PHILANTHROPIC PARTNERS

K & S Langley Family Fund

The Nunn Dimos Foundation

PLATINUM PARTNER FOUNDING PARTNER

MAJOR PARTNERS

THE HELPMANN ACADEMY ACKNOWLEDGES OUR MEDIA PARTNER SUPPORTING PARTNERS PARTNER ORGANISATIONS FOR THEIR CONTINUED SUPPORT THROUGHOUT THE YEAR The Helpmann Academy empowers South Australia’s most promising emerging creatives to realise their visions and build sustainable practices.

We believe the arts are an essential part of society, and that the talented and dedicated emerging artists we support are valuable contributors, who deserve to be encouraged and celebrated.

A career in the performing or visual arts is a tough road to tread. Our aim is to develop connections and pathways for successful and sustainable careers and walk alongside emerging artists as they make the transition from study to professional practice.

We’re proud to collaborate with a passionate community of partners, donors and cultural organisations to provide a unique and valuable program of grants, awards, fellowships, residencies, mentorships and masterclasses.

Together, we work to ensure artists are exposed to a diverse range of opportunities, providing the best chance to develop their artistic identity, and act as the principal driving force of their own careers.

Phone us: (08) 7089 0720 Email us: [email protected] Suite 417, Level 4, 147 Pirie St Kaurna Yarta, Adelaide SA 5000

HelpmannAcademy @HelpmannAcademy

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