Clare Milledge produces environmental installations that are process-based and porous. Her installations act as stages or sites for constellations of objects including performance, textiles, wall paintings, costumes and sculptures.

Milledge completed her PhD at SCA in 2013. Her exhibition history includes solo exhibitions at The Commercial Gallery, Gertrude Contemporary, Kalimanrawlins, and the Australian Experimental Art Foundation.  In early 2016 she exhibited at Artspace with Nick Dorey and Mikala Dwyer in Dämmerschlaf as well as in the Adelaide Biennial Magic Object.

claremilledge.com

Image credits:

If you were a bread; if you were a coin; if you were a ninja; if you were a swing bridge, 2016. PVC conduit, copper, silk, artists' beercaps, hessian, plastic fabric, cotton, hemp rope, bronze shackles, dried mandarin peel from a year looking at the sea, air. Photos: Ian Hobbs

Academic Suspicions: Staging a Hermeneutics of Incommensurability, 2015, Installation details. Photos: Jessica Maurer

All images courtesy the artist and The Commercial, Sydney

Justene Williams is an Australian artist whose large-scale installation works encompass video, photography, sculpture and performance. Williams' practice often draws on still and moving images from within art history and popular culture as a tool for investigating and renegotiating the essence of forgotten imagery. From these investigations, Williams constructs elaborate sets and costumes made from collaged medias (varieties of refuse materials, her personal archive of photographs, or the annals of Art and Film history) as sites for her delirious choreographies. In these multifaceted and spectacular environments Williams performs hypnotic and absurd actions in an attempt to reconstruct and explore ideas of perception and reinterpretation, sometimes even to invoke the ghosts of artists past.

Williams’ video and performance work has recently shown at PERFORMA15, New York, the 20th Biennale of Sydney, Artspace Sydney, and Monash University Art Museum, Melbourne, and in recent years at the Art Gallery of NSW in We Used to Talk About Love – Balnaves Contemporary 2013, in Volume One: MCA Collection at the Museum of Contemporary Art, Sydney in 2012; and Contemporary Australia: WOMEN at the Gallery of Modern Art/Queensland Art Gallery, Brisbane 2012.

Image credits:

Your Boat My Scenic Personality of Space 2012 (stills from video)
2 channel HD video installation
Installed dimensions variable
Commissioned by GoMA for Contemporary Australia: Women 2012

All images courtesy the artist and Sarah Cottier Gallery, Sydney

Jonny Niesche explores the expanded field of painting and abstraction. His work is post minimal and materially fetishistic, using glitter, mirrors, translucent custom-dyed fabrics and welded steel armature. It evokes a juncture between painting and sculpture and aims to bring forth associations from every type of experience, recasting our understanding of the effects of light and colour on the senses. 
Jonny completed an MFA at Sydney College of the Arts (2013) under Mikala Dwyer and studied under Heimo Zobernig at Academy Fine Arts in Vienna (2013). After winning the Fauvette Loureiro Travelling Scholarship (2015) he recommenced a period of work and study in Vienna under Zobernig in 2015 where he held his first solo international exhibition New Jörg, New Jörg at New Jörg Kunstverein, Vienna. In 2015 and 2016 he was curated into three national institutional group shows: Shut up and Paint (NGV); Painting. More Painting (ACCA) and The Kaleidoscopic Turn (NGV).

Recent group exhibitions include 2016: Another Green World, Sarah Cottier Gallery; Spring 1883, Melbourne and Sydney; It’s all underneath the floor, its all between the walls, Hestinger Atelier, Vienna; 2015: Gesso Artspace, Parallel Vienna; Sharing space, Postgasse, Vienna; NADA NYC, U.S.A. Solo exhibitions include: Picture this, STATION, Melbourne, 2016; Cosmos Cosmetics, Minerva, Sydney 2016; Sundial, STATION, Melbourne, 2016 and Vegas can be, Minerva, Sydney 2014. His work is held in the collections of the National Gallery of Victoria, MONA, Artbank, and private collections in USA, Europe, Asia and Australia. 

www.jonnyniesche.com

Image credits:

Cosmos cosmetics (installation view), 2016, Minerva Sydney. Photo: Jessica Maurer

Cosmos cosmetics, 2016, voile and acrylic mirror. Photo: Ashley Barber

Picture This (installation view), 2016, Station Gallery. Photo: Jack Willet

Networking all edges, 2016, voile and wood

All images courtesy the artist, Sarah Cottier Gallery, Sydney, and Station Gallery, Melbourne. 

Ben Terakes was born in Sydney, Australia. His practice includes painting, embroidery, performance, and most recently, sculpture and installation. To describe his work as it has been in the past, as generally ‘erotic’ seems an uncomfortable fit - lustful, perhaps, is closer to the mark, but even that sounds too literary, too ‘adult’. It is about sex, at its most superficial, teenage, fickle

Terakes completed a Masters of Fine Arts at Sydney College of the Arts in 2010, and has exhibited extensively in Sydney, interstate and abroad, including solo shows at Alaska Projects, Locksmith Project Space, Firstdraft, Mori Gallery, and group shows at CAST, Tasmania and Spielraum, Berlin. His work has been included in Peloton’s Performance Month, and the inaugural MCA ARTBAR, curated by Australian artist Justene Williams. Terakes currently lives and works in Sydney. 

Image credits:

Seesaw, 2016

Emperors Garden Chinese BBQ or Porno Pond 2013

Portable Glory Hole 2015
 

Consuelo Cavaniglia is an interdisciplinary artist whose work focuses on how we see and understand space. Independent curatorial projects have consistently flanked her practice. She is a Masters of Fine Art candidate at Sydney College of the Arts, University of Sydney and has exhibited in various galleries nationally including Bus Projects, Melbourne, Central Gallery, Perth, and Verge Gallery, Sydney in 2016; TCB Inc. Melbourne, SCA Galleries, Sydney, and Perth Institute of Contemporary Arts in 2015; Sarah Cottier Gallery, Sydney, 55 Sydenham Road, Sydney, and Perth Centre for Photography in 2014; Firstdraft, Sydney, and Lawrence Wilson Art Gallery, Perth, in 2013; and Galerie Düsseldorf, Perth, 2012. Consuelo was a recipient of a NAVA NSW Artist Grant and the Arts NSW Visual Art Fellowship (Emerging) and in 2016 undertook an artist residency in the Pilbara through FORM.

Image credits:

Untitled, 2016, pigment ink on archival paper, detail

in the distance a pool of light was not what it seemed, 2015, exhibition view, Perth Institute of Contemporary Arts. Photo: Alessandro Bianchetti

Installation view, (front) Untitled (simultaneous spaces), 2016, galvanised steel, grey mirror and black acrylic 200 x 120 x 220 cm, (rear) Untitled, 2016, Pigment ink on wall, Dimensions variable, 2016 NSW Visual Arts Fellowship (Emerging), Artspace, Sydney. Photo: Zan Wimberley

Courtesy the artist and Kronenberg Wright Artists Projects, Sydney and Station, Melbourne

Eugene Choi (b. 1993) is a performance-based artist whose practice has evolved around the physicality of constructing internal and external structures. Influenced by the body in movement, Choi's practice travels between controlled and uncontrolled states by engaging the body in unfamiliar, yet composed situations, relying on the live response of her physical and emotional body. A self-made system of geometry becomes integral within the object, attempting to achieve equilibrium. Choi completed a Bachelor of Visual Arts (Honours) at SCA in 2015. Her work has been exhibited in Artspace Finissage (Performance Program), Artspace, Sydney (2015), SPVI#2, Turner Gallery, Tokyo (2015), Making History for BC Institute, 20th Biennale of Sydney (2016), embrace with my mother and father (making sure you are really there), Alaska Projects, Sydney (2016) and The State of Being Three, SEVENTH Gallery, Melbourne (2016). Choi is currently working towards a new work for the Redlands Konica Minolta Art Prize and various performance collaborations in Sydney.

eugenechoi.info

Image credits:

Eugene Choi, Body Scaffold (Tesseract), 2015, 4-channel video installation, galvanised steel, cast steel clamps, plywood. Photos: Ian Hobbs

Phase, 2014
2-channel video installation, steel, motors
Dimensions variable

The work of Chris Fox interrogates the conceptual and material boundaries between art and architecture, altering sites through installation, object and drawing.
Each experience of Fox’s work is relative to the technical and conceptual grammar of architecture and construction. Sculptural works, playfully mimic, distort and disrupt their environment, using materials such as cabling and cars, as well as various building material with a para-function.  His work embraces a tension that forces us to recalibrate our perception of the artworks notional form, function, environment and our spatial relationship within it.
Fox has completed a Bachelor of Visual Arts and a Bachelor of Architecture both with Honours, and is currently completing a Master of Fine Arts. He is a lecturer at the University of Sydney in Art Processes and Architecture, and has been the recipient of many awards, grants and residencies. Fox has exhibited in numerous solo, group and collaborative exhibitions in Australia, the USA and Europe, with an established sculptural practice of large scale public and private commissioned artworks.

chrisfox.com.au

Image credits: 

Drawing Apparatus – Live, 2016
Brazed mild steel, graphite, paper, timber framing, plywood, construction components.
Photos: Tina Salama, Chris Fox, Ian Hobbs

Apparatus - Tethered, 2016

Performance with brazed mild steel, graphite, paper, timber framing, plywood, endoscopes, tethered live feed to monitors, mast climbing components.  ‘Drawing Conversations', Symposium and Exhibition. Collaboration with Robin Hearfield

Photos: Robin Hearfield

Robin Hungerford works across video, sculpture and performance. He has a Bachelor of Fine Arts from The University of Western Sydney and Master of Visual Arts from Sydney College of the Arts, and is currently a PhD candidate at SCA. Hungerford is interested in ideas understanding the human condition and subjects of science. He explores, subverts and reconfigures technology and mysticism in unique and often comic forms in an attempt to highlight the hidden and paradoxical elements of existence. His work has been exhibited in venues across Australia including the Institute of Modern Art, the Australian Experimental Art Foundation, Campbelltown Arts Centre and the NextWave Festival. He has held a number of solo shows in Sydney at Gallery 9 and various artist run initiatives.

robinhungerford.com

Image credits:

Same As It Ever Was (Educational Prop), 2016, fibreglass, acrylic paint.

Like a Hole in the Head, 2010, video, duration 8 mins

Courtesy the artist

Francesca Heinz investigates the presentation of the female body throughout history and in contemporary society. Through various forms Heinz presents art works that are concerned with the representation of women. Taking inspiration from both historical and fictitious female characters Heinz is interested in how the female body can act as a visual vessel or a conduit in contemporary societies, often reflecting current tastes and political values. Her work aims to question this with tongue firmly in cheek. The use of latex as a substitute for skin means Heinz’s sculptural forms are often visually grotesque, lumpy and flaccid. The melding of human and animal forms is an essential component of her practice, often providing humour or absurdity but also speaking to greater ideas of ‘femininity’ and role-playing.

Heinz completed an MFA at Sydney University College of the Arts in 2010. Since she has exhibited in various New Zealand and Australian Artist Run initiatives and galleries most recently with Marrickville Garage, Verge Gallery and 55 Sydenham Road in Sydney and with The Young Gallery in Wellington, NZ. Heinz’s work was included in the 2016 Redlands Konica Minolta Art Prize and has been exhibited at Artspace, Sydney and CAG, Christchurch. Heinz co-directed Peloton through 2010-13 and has curated Performance Month since 2011. In 2012 Heinz was a recipient of the Australian Arts Council new work grant. Heinz currently lives and works in Sydney, Australia
 
francescaheinz.blogspot.com.au
 
Image credits:

Buddha Trikonarsana 2016, latex and hair
Photo: Document Photography
 
The Bakers Daughter 2015, hand coloured print, edition of 3        
Photo: Adrian Gebers
 
Vātāyanārsana 2016, latex and hair. 
Photo: Adrian Gebers
 
Backwards Kenturaide (live) 2014, performance documentation
Photo: Mark Shorter
 

Kate Scardifield is an interdisciplinary artist living and working in Sydney. Her practice mines history for intersecting systems and patterns that culminate in re-imaginings of the body, site and space. Scardifield’s works traverse sculpture, installation, textiles and painting, often incorporating repetitious iconography and labour intensive techniques.

Scardifield holds a PhD from Sydney College of the Arts, has exhibited throughout Australia and her works have been included in exhibition projects in New Zealand and the US. Her work has been featured in the Australian Art Collector, Artlink and Das Platforms. In 2012, Scardifield participated in an International Residency Program at the Sanskriti Foundation (New Delhi), received the Freedman Foundation travelling scholarship, and was a recipient of the Power Institute studio at Cité International des Arts, Paris. In 2013 she was awarded a new work grant from the Australian Council for the Arts and the Marten Bequest Travelling Scholarship for Sculpture. After undertaking residencies at Artspace, Sydney and in Oaxaca (Mexico) in 2014, Scardifield is currently developing new work as part of the City of Sydney’s Creative Live Work Studios program. Scardifield presented solo exhibitions in Sydney and Port Macquarie in 2016 and is currently working towards an exhibition project in Scotland for 2017.

Image credits:

Undoing, 2016, fabric, steel, plaster and acrylic. Photos: Ian Hobbs

Polyrhythm 1-5 2013-14
Turned timber, oak dowel, coiled thread spools, acrylic. 
Dimensions variable

Pulse Banner 2015
Lamé, linen and cotton thread.
146 x 94 cm
Photo: Brett East

Gazing, watching, waiting 2015
Appliqué and collage elements on board (framed).
62.5 x 57.5 cm
Photo: Brett East

All images courtesy the artist and ALASKA Projects, Sydney

Harley Ives’ work locates painterly qualities in the moving image through arranging the artefacts of analogue video processes. After graduating with a Bachelor of Fine Arts (Honours) from the University of Western Sydney in 2002, he worked as director of artist run initiative, Firstdraft Gallery, and curated several video art projects in Sydney. His recent exhibitions include the solo show Lake Liddell at Chalk Horse, Sydney (2014), Out of This World at the William Wright Artist Projects, Sydney (2013), and Sydney Contemporary with Bartley and Co., Christchurch (2013). He currently lectures at Sydney College of the Arts where he is also a PhD candidate.

www.harleyives.com

Image credits:

Lake Liddell, 2014
Video stills
Approx 3min seamless loop

Image courtesy the artist and Chalk Horse, Sydney

Vicky Browne is an installation artist who utilises everyday objects such as Walkmans, iPods, clothing and furniture to comment on Western systems of consumption and production. Browne often manipulates the familiar using traditional craft methods (such as knitting or weaving), and she regularly employs found or produced sound. Vicky has built a practice around materialising sound through objects. At times sound is manifest through its concept rather than its actuality, and is imagined but not actually present. Other times sound is present but it is not what we expect.

Browne completed a Master of Visual Art at Sydney College of the Arts in 2010 and her work has been exhibited at Artspace, Sydney; Artspace, Auckland, New Zealand; and Dunedin Public Art Gallery, New Zealand. Recent exhibitions include Living in the Ruins of the Twentieth Century, UTS Gallery, Sydney, Sound Full: Sound in Contemporary Australian and New Zealand Art, City Gallery Wellington, New Zealand and It is what it is, Hawkesbury Regional Gallery, Windsor. Browne also maintains a collaborative practice with musician Darren Seltmann. Together they have exhibited at MONA FOMA, Hobart, completed a residency at Artspace Sydney (2014), and exhibited the work 'Black Mountain' at the Blue Mountain Cultural Centre. Browne was announced the winner of the 2013 Fauvette Loureiro Memorial Artists' Travel Scholarship Prize and completed a residency at the 18th Street Art Centre in Santa Monica (2014).

Browne currently teaches at Sydney College of the Arts (The University of Sydney) and UNSW School of Art and Design (formerly COFA) and is represented by Galerie Pompom, Sydney.

vickybrowne.tumblr.com

Image credits:

Man Machine, 2012, customised turntable wood vinyl record copper plastic. Photo: Ian Hobbs

Graphite Sound Drawings 1-4, 2015, light boxes tracing paper adhesive graphite. Photo: Ian Hobbs

Permanent/Impermanent 2015
Mixed media
Installation view
Photo: Brett East

The Graphite Drawing Machine 2015
Wood, electronics, graphite power
150 x 45 x 45cm
Photo: Brett East

Bells on Bells 2015
Leather, metal, polycarbonate record, wood, string
Dimensions variable,
Photo: Brett East

All images courtesy the artist and Galerie Pompom

Biljana Jancic is interested in the intersections between contemporary art and architecture. She produces large scale sculptural interventions that seek to pursue an experimental approach to spatial research, often within the white-cube context. Her works respond to the architecture and atmosphere of the host site. In developing the work she seeks to articulate and highlight architectural features, while simultaneously disrupting the space in which they are situated. Having originally trained in the painting studio at SCA, she continues to work with ideas of expanded painting. She has experimented with various industrial materials to unpack the spatial properties of painting by creating environments that are open to circulation and the somatic experience of the viewer. For example, she frequently works with reflective surfaces that implicate the presence of the viewer into the surface of the work. In other works she has worked with lasers and PVC pipes to inscribe lines of force within spaces as a way of spatialising ideas articulated in geometric abstraction. These installations also directly implicate the architecture of the gallery into the artistic gesture so that the boundaries between incursion and context become blurred. 
 
 
Jancic completed a PhD at Sydney College of the Arts in 2013 and in 2016 was the recipient of the The Fauvette Loureiro Memorial Artists Travel Award for recent SCA alumni. Her works have recently been exhibited in the TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, 2016, Primavera, Museum of Contemporary Art, Sydney 2016, An Imprecise Science, Artspace, Sydney 2015; Kaleidorama, Stills Gallery, Sydney 2015; Conquest of Space, COFA Galleries 2014 and I Want to Change the World, Ucity Art Museum of GAFA, Guangzhou, China, 2014. Jancic’s art making practice is supported by her critical writing and curatorial practice.

Image credits:

A Beach (Beneath), 2016, installation view, Primavera 2016: Young Australian Artists, Museum of Contemporary Art Australia.

Exit Strategies, 2016. CCTV camera, image splitter, 5 channel video projection. Installation view SCA Galleries. Photo: Ian Hobbs

Spill, 2013. Aluminium tape, painter’s tape. Installation view The Lock Up, Newcastle.

Chris Dolman’s practice uses the formalist tropes of late Modernism with an irreverent and self deprecating humour. Moving across painting, printmaking, ceramics and video, and drawing on the histories of geometric abstraction, Pop, and Surrealism, Dolman employs non-traditional self-portraiture to explore absurd notions of identity and engage themes of loss and failure.
Dolman graduated from the Victorian College of the Arts, University of Melbourne with first class honours in 2010. He was the recipient of the Wallara Travelling Scholarship, as well as New Work (early career) and ArtStart grants from theAustralia Council for the Arts. He has undertaken residencies at Hill End, Bundanon Trust, BigCi NSW, Ceramic Design Studio (Sydney Institute), and St George Institute of TAFE. He has exhibited nationally including shows at: Alaska projects, Firstdraft, West Space, Seventh, FELTspace, Wellington St projects, MOP projects and [MARS].

Dolman is an MFA candidate at Sydney College of Arts, with an Australian Postgraduate Award from Sydney University.

chrisdolman.com

Image credits: 

Anxious Interiors, (installation view), 2016. Photo: Ian Hobbs

Empty Vessels, Awkward Advances 2014
Installation view, Wellington St Projects

Travel Log Vanitas 2013
Glazed ceramics, wood table, metal trestles
Photo: Silversalt

When We Were Kings 2012
VHS tape covers, craft paper, groucho glasses, rubber teeth, masking tape, pompom, lamp shade, cushion, plastic stool

All images courtesy of the artist and Galerie pompom, Sydney

Liam Garstang is the curator of Sunday Punch and Galleries Manager at Sydney College of the Arts, where he completed a BVA Honours (First Class) in 2008 and was awarded The University of Sydney Honours Scholarship for Academic Excellence.

Garstang’s practice is based on personal, generational, and collective events and iconography, as well as deep spontaneous emotional responses to Place. It evokes questions relating to experiences of loss and reclamation, and aims to open up dialogues for himself and his audience that explore alternative modes of expression. His works are realised through a cross-disciplinary approach that includes installation, video, performance, printmaking, and ceramics.

In 2014 he curated the outdoor exhibition 2cubed for St. Jerome’s Laneway Festival Sydney. Garstang’s solo/collaborative exhibitions include To Kill the Saudade, Contemporary Art Centre of South Australia (2013), There’ll Be No More Shepherds, Casa da Zorro, Evora, Portugal (2012), With Eyelids Cut Off (with Adam Geczy), Wagga Wagga Art Gallery, NSW and Riddoch Art Gallery, SA (2012), and The Old Times Were Certainly The Scariest, Megalo Print Studios, Canberra (2012). Selected group exhibitions include Familiar/Unfamiliar (curated by Rona Green) a Print Council of Australia national tour (2011-13), Performance Month 3, Peloton Gallery Sydney (2011), and Print Big (curated by Alison Alder) Fitters Workshop, Canberra, (2010). He has received numerous awards and prizes, including an Australian Council for the Arts ArtStart Grant (2011) and has undertaken artist residencies at OBRAS Centre for Arts and Sciences, Portugal (2012), and Megalo Print Studios, Canberra (2010).

Image credits:

Psychic Whip, 2013
Ceramic. Photos: Ian Hobbs

One Evening, 2012
Video still

There’ll Be No More Shepherds, 2011-12
Video still 

Portrait 2, 2011
Performance documentation
Photo: Julia Rochford 

Downside, 2012
Drypoint on 300gsm Hahnemühle paper
240 x 540cm

All images courtesy the artist

Adrian De Giorgio is a Sydney-based artist whose work focuses on the exploration of internal states through the expanded field of abstraction. Moving across painting, drawing sculpture and photography, his work doesn’t reference recognisable form. The results are images and objects deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. De Giorgio has a Bachelor of Fine Arts from the National Art School and a Masters of Fine Arts from Sydney College of Arts, University of Sydney. His work has been exhibited locally and internationally at artist run initiatives in Sydney and Berlin.

Image credits:

Twins, 2016, acrylic, ink and Posca on board.

Standing One, 2015, pine, acrylic, iridescent plexiglass and Hubba Bubba.

Parting Ways, 2015, acrylic and Ink on board.

Richard Kean lives and works in Sydney, Australia. For the past three to four years Kean’s work has mostly focused on aural string installation as a format for speculating on the politics of architecture in Australia. Kean’s installations use architecture as a resonator for strings that are played by anyone willing. His work also responds to the poetic expansions that can be drawn from the aural string and its nuanced sine wave. This has led him to look at electro-magnetism and numeracy through creating vortex-based copper coils. By drawing the coil schematics using specific geometric and diagrammatic methods, Kean now uses art as a de-contextualised format for speculating on the significance of the numerical patterns inherent therein through sound and electromagnetism, as well as symbolic and vortex-based mathematical systems. Kean completed his PhD at Sydney College of the Arts in 2015.

Image credits:

Schematic for a nonagram based vortex coil with numerological resonance, 2016, wood, copper, steel. 

Archetype, 2016 (detail), wood, copper, steel. 

Photos: Ian Hobbs

Kai Wasikowski is a Sydney-based artist working with photography, multimedia and installation. Wasikowski’s practice explores what it means to be ecologically aware and connected to place. Through photography, multimedia and installation, Wasikowski’s work considers the encroachment of technology and human production on previous ideals of nature, and the new emotional environments this shapes.

Wasikowski completed a Bachelor of Visual Arts (First Class Honours with University Medal) at the Sydney College of the Arts in 2016 and was awarded the Deans Award for Honours and the 2016 Artereal Gallery Mentoring Award. Solo exhibitions include; Lux, the Corner Cooperative, Sydney, 2015 and Taking Liberties, Photo Access, Canberra, 2015. Recent group exhibitions include Habitual Ritual, ANCA Gallery, Canberra, 2016; Ideally Yes, Interlude Gallery, Sydney, 2016; Objectifying Elsewhere, Seventh Gallery, Melbourne 2015. Wasikowski has also exhibited in various emerging artist awards including the Young Artist Initiative, M. Contemporary, Sydney, 2016, Exploration 16, Flinders Lane Gallery, Melbourne, 2016 and was the recipient of the 2016 Art Month Sydney Emerging Artist Award, held at the Galeries Victoria, Sydney.

www.kaiwasikowski.info 

Image Credits:

In-tension, 2016, fishing rods, 210 x 140 x 80 cm

Global climax (tunnel vision), 2016, Duratran photograph, LED lights, Axminster carpet, monocular, single channel video

Looking with a forked tongue, 2016, pure pigment print, lenticular lens, 165 x 118 cm

Global climax (tunnel vision), 2016, video still

For the last five years Hana Hoogedeure and Luke O’Donnell have had an ongoing collaborative practice in performance, installation and sculpture, documented as video works. Together they are interested in the physical restrictions of two people working together and reference other collaborative duos, such as lifestyle, cooking and renovation TV shows. Hoogedeure's and O'Donnell's work centers on the idea of artistic couples and creative teamwork in pop culture, and examines the functionality and repercussions of such collaborative relationships.

www.hanahoogedeure.com.au

Image credits:

Shut Your Cake Hole, 2014, still from HD Video (12 min). Filmed by Brenton Alexander Smith

Annie & Halle, 2013, still from HD Video (13 min). Filmed by Brenton Alexander Smith

On The Other Hand, 2016, still from Digital HD Video (13mins)

Nick Dorey’s practice is inspired by alchemy. Through the process of chemical or symbolic transformation of found objects, Dorey creates wondrous large scale installations.

Dorey completed Honours at SCA in 2013, had his first solo show in 2014 and was selected for inclusion in the Museum of Contemporary Art’s Primavera exhibition in 2014. He is a two time recipient of the Zelda Stedman young artist scholarship, recipient of an Australia council ArtStart grant 2014-2015 and is currently an artist in residence at Artspace.

nicholasdorey.com

Image credits:

ulysses v streisand, 2014
Oregon, pine, wall paper, builders plastic, Christmas tree, TAB sign, G-clamp, Bronte Nippers swimming cap, acacia obtusifolia bark (shredded), candle holder, cock cage, methylene blue hormetic ratio, inner-tube, Sex Marriage and Birth Control by Rev. Alfred Henry Tyrer, spray timer with compressed air in a can, Artist bath towel, carved wooden goblet , tampon, amyl nitrate, tiki torch containing rosemary spirit, Sepik region clay bowel C1970, kitty litter, gas burner, plastic pig, space blanket, HDPP 20L containing Lavender fermenting lavender wine, printed computer paper, builders plastic incidental painting bondage tape, red ribbon.
Dimensions variable

Nullification 5:2 Arc of the receiver, 2015
Oregon, T2 pine, CCA treated pine, hardwood flooring, gyprock, tarpaulin(black), builders plastic(black), builders plastic (clear), plastic drop sheets (clear) shade cloth (green) , packing tape, cloth tape, electrical tape (black), chicken wire, plasterers mesh, ratchet straps, spirit of Roman wormwood, spirit of lavender, spirit of plantago, rosemary tincture, rosemary wine, bottle brush tincture, Phalaris aquatica tincture, thistle tincture, sassafras doryphora tincture, urine, chalk, 24w CFL globes (coolwhite), 24w CFL globes (warm white), stinging nettle (live), sow's thistle (live) asthma weed (live) dish washing tray, cement and studio floor compost, pvc pipe, dark light, one armed phosphorescent jesus on cross, copper foil, chickweed salve, cock candle, edging chair, tide down straps, cock cage with fire retardant expanding foam and ribbon, bowl kittey litter tin cast cans, carved timber goblet, jungle juice, jasmine enflorage, shaved Christmas tree, bug-zapper, water feature ( water, methylene blue, pump, pvc pipe, guttering, dumpster lid, drop cloth, clay, pottery garbage bags chickweed), studio floor refuse (dust, cement, gyprock, sawdust, wood shavings, blister packs, sausage roll wrappers, sauce packets, beenbag balls, tape, plantago leaves, pine needles, oak cartons) Christmas tree, volleyball ball, red ochre, terracotta alembic foam, pot, nightshade dry, bucket, devil's apple, sandstone, rosemary hydrosol, sweat (clarified) sperm & silver, angles datura extract,  G-clamp,  fire retardant expanding foam cock.

oratorio, 2014
Oregon, pine, braceboard, bougainvillea, silver cardboard insulation, villaboard, gyprock, microwave, bucket, clay, turkey bones, tiles, mushrooms, artists boots, hatchet, masking tape, Christmas tree, hydrosol of doryphora sassafras., enfleurage of trachelospermum jasminoides, high-tensile cable, builders plastic.
200 x 179 x 270cm

Hossein Ghaemi uses secrecy, the unconscious, theatricality and mysticism to create surreal scenarios through real and imagined characters. Performance, sound, video and painting are at the core of his practice.
 
Ghaemi holds a Bachelor of Visual Arts (Honours) and is currently undertaking a Master of Fine Arts at Sydney College of the Arts. Significantly, Ghaemi was selected for Primavera 2014: Young Australian Artists at the Museum of Contemporary Art Australia. Ghaemi is represented by The Commercial, Sydney.

Image credits:

Apex on the Honey Flaxen Gaze/ Sinking Inwards and Singing for New Stars/ Six Footholds Hugging From A Distance At Sunset Again, 2016, performance. Photos: Mikhaela Rodwell, Ian Hobbs

The Deficient of Solution Development: Quizzing Makes Remedy 2013
Performance
Photo: Jessica Maurer

Truth 2014
Video still

The Ooo in Who 2011
Performance
Photo: Sally Poon

All images courtesy the artist and The Commercial, Sydney

Will French’s multi-disciplinary practice carries a common thread of a wry humour and playfulness. Addressing the personal, popular and political his work spans traditional, mechanical and conceptual manifestations. He often utilises accessible objects and amplifies their reading through a slight tweak or blatant upending.

French was born in Melbourne and spent his childhood in Korea and Indonesia. He completed a Masters of Visual Art at Sydney College of the Arts in 2005 and was the 2008 recipient of the Fauvette Loureiro Memorial Artist Travel Scholarship. He has twice been a finalist of the Helen Lempriere NSW Travelling Arts Scholarship, was the recipient of the 2009 Westpac Redlands Emerging Artist Prize and was a finalist in the 2015 John Fries Award.

www.willfrench.com.au

Image credits:

Knot Set on Stone. 2014

Please Turn Over, Please. 2014
Terrazzo and Brass

All 2015
Bronze

This Will Never Last 2014
Documentation of Performance. Vapour and Skywriting.
Photo: Dara Gill

All images courtesy the artist

Koji Ryui makes sculptures in response to commonplace materials, inviting a deep contemplation of the ordinary that transcends its physicality with minimal gestures and a playful sensibility. Blurring the border between animate and inanimate, seen and unseen, Ryui mischievously explores the delicate space between formal reality and human perception through subtle and often humorous interventions.

Since his inclusion in the Museum of Contemporary Art’s annual exhibition of emerging artists, Primavera, in 2006, Koji has been represented by Sarah Cottier Gallery, Sydney and has participated in numerous solo and group exhibitions at contemporary art galleries and museums such as Artspace, Sydney, Gertrude contemporary art spaces, MUMA, Melbourne, and PICA, Perth. In 2013 Ryui exhibited in Roppongi Crossing 2013: Out of Doubt, at Mori Art Museum in Tokyo, Japan, which significantly marked his first exhibition in the country of his birth. In 2015, Ryui participated in the exhibition Unmapping the end of the world as part of 10th Mildura Palimpsest Biennale, where a group of fifteen artists walked the UNESCO national heritage listed sites in Australia, Japan and Italy exploring three of the most archaeologically significant locations and artefacts. This was followed by the Australian Council Skills and Arts development grant to undertake the Tokyo residency program investigating ritualistic spaces in Shinto Animism and Zen, as well as the prestigious 2016 one-year studio at Artspace, Sydney.

Image credits:

Moai, 2009, foil, timber
Photos: Ian Hobbs

All images courtesy the artist and Sarah Cottier Gallery, Sydney

Huseyin Sami’s practice to date has been predicated on pursuing a consistent line of experimentation to illustrate how painting can capture ideas of time, action and process. His works have centred extensively on the field of painting and developing numerous activities that have iteratively engaged with the process of making paintings and the broader praxis of art history. These progressive pursuits have explored the material of household paint into studies of colour, form and materiality in an attempt to define a unique material language of painting.

Sami’s practice circumvents new questions and strategies toward the making of paintings, engaging a repertoire of pictorial codes and devices such as pouring, dripping, rolling, stretching and cutting household paint to present the possibility of opening up a new creative space and breaking with traditional habits. 

huseyinsami.com

Image credits:

Untitled (Peep), 2015, acrylic on canvas, steel angle, hinges 

Long in the Tooth #2 2015  
Acrylic on wire
Dimensions variable

Conversation 3 2014  
Acrylic on canvas  
60.5 x 45.5cm 

Painting Collapse (Pinkdoodle) 2012
Acrylic on canvas
101 x 76cm

Wire Colour Hang (GAWB) 2014  
Acrylic on wire  
50 x 48cm

All images courtesy the artist and Sarah Cottier Gallery, Sydney

Stefano Di Lorenzo is a Sydney based artist who explores materiality through sculpture and installation. Di Lorenzo’s interest in materiality is driven by bold intention and justified by abject reasoning and represents itself in various sizes, shapes and forms, taking on appropriated objects and constructions in order to expose, distort and challenge perception of space, form and location. The focus on audience is a major part of Di Lorenzo’s work, creating an overall ambiance and uneasiness accommodated by uncontrollable laughter.

Di Lorenzo completed a Bachelor of Visual Arts at Sydney College of the Arts in 2015, and was awarded the Deans Award for Sculpture. He has exhibited at Hardware Gallery, Pop Goes the Easel and Sculpture in the Vineyards.

Image Credits:

P.E.O.E.T N0.12.1 – (“if I could only understand why people drink cow milk and not titty milk”) 2014
Silicone, 10mm mild steel rod, recycled fabrics, sticky tape, found pillow stuffing, oil paints, Virgin Mary. Photos: Ian Hobbs

Image courtesy the artist

Heidi Abraham is an interdisciplinary artist concerned with cross-cultural positioning and cross-cultural representation in both written text and visual art. Her research and studio practice centres on the notion of text in terms of cultural language, subjective voice and its physical manifestation in visual art.  Her most recent works include the act of transcribing. Abraham employs materials such as type- writer ribbon and vinyl to transform transcribed text from radio interviews, email, film dialogue and an array of other sources. The text is then installed, with the intention that the words and their meaning become embedded in the space.

Born in Sydney, Abraham graduated with Honours Class 1 from Sydney College of the Arts in 2009.  Recent solo exhibitions include there is no god but god, Contemporary Art Centre of South Australia, 2011 and recent group exhibitions include Art is an Irritant, Verge Gallery Sydney, 2011, A Transposition of Space, Concord Art Space Los Angeles, 2013, 2cubed, St Jerome’s Laneway Festival Sydney, 2014, and Notes Toward a Future Feminist Archive, Affiliated Text Sydney, 2015. 

Image credits:

The other Mary, 2015 (installation details)
Pine, Acrylic Paint, Ink, Vinyl, 
Dimensions variable

Anna John's practice spans sculpture, ceramics, sound and installation. Working with a diverse material palette, she explores spaces where binaries become blurred and associations run wild. She understands the art object as medium through which we can wildly relate, thus John's sculptural works open up transitional spaces that scrutinise the norms of value, time and labour by asking what it is to make, to place and to see. The spaces she creates in her exhibited works elucidate her interest in the potentiality of objects never at an end, always in flux, charged with movement and rhythm. Her objects and practice are steeped in a hand-made, vernacular quality, Revisiting motifs, moments and monuments of art history - her work embodies and emanates the performativity of objects, and the performativity of studio practice.  As a long time collaborator in Sydney band Holy Balm - her approach to music carries this similar quality of the vernacular and improvisational, shaped by an acute awareness of the materiality of sound. Anna has shown extensively in Sydney, Melbourne and internationally in Beijing Rotterdam, Kassel and Tokyo. 

Image credits:

Anna John, The fourth, fifth and sixth policemen, 2007-16. Photos: Ian Hobbs

Walking Upright, 2014
Cotton, heat transfer
47cm x 145cm

Stages for Objects, 2015
Concrete, fabric, steel, glazed stoneware, found objects, Flutecore, blu-­tac, ply
Dimensions variable

Paintings and sculptures, 2012
Wood, photocopy on rice paper, archival glue, ceramic objects, found objects
Dimensions variable

James Nguyen is a Sydney-based artist interested in art and politics. His work is a mix from drawing, installation, video and performance. He has a Bachelor of Fine Arts (Honours) from the National Art School and a Masters of Fine Arts at Sydney College of Arts (SCA), University of Sydney. He has been the recipient of the Clitheroe Foundation Scholarship and the Anne & Gordon Samstag International Visual Arts Scholarship.

Nguyen’s video and performance practice looks at the process of making and observing art through the “performative potential of the camera”. By documenting the actual recording of footage, the camera and the act of film-making becomes part of the work rather than just the filmic apparatus. 

jamesnguyen.com.au

Image credits:

Filming with Sarah Jacobson 2015
Three channel video (video stills)
Filming: Sarah Jacobson
Performance, Editing and Sound: James Nguyen