‘Shift’ has been used as the title of this exhibition to represent the students’ journey from ‘novice to professional’ artists. ‘This exhibition is multi-facetted, exploring personal realities that range from hybrids of nature, culture and technology through to notions of boundaries and thresholds’ (Richard Harding, Printmaking Studio Coordinator, School of Art).

Located at Red Gallery, Fitzroy North, Melbourne, this exhibition takes place from December 2-19 and includes work from RMIT graduates who have completed the BA Fine Art and BA Fine Art (Hons) course.

Eloise Linklater used etching and monoprint to create different versions of prints that collectively formed Adaption. Eloise says, ‘Embracing the rich and tonal range that can be achieved through etching I am interested in producing works that play with both scale and variation. Initially fascinated by the natural world, the relationship between art and science has been the catalyst for my most recent work. The evolutionary theory of Charles Darwin, biological imagery and astronomy have inspired this direction as I consider visual and conceptual links between macro and micro looking.’

Eloise’s work can be interpreted in many different ways – some prints resemble the moon, space and the cosmos. Another viewer described Eloise’s work as looking at the moon from underneath the water. Whatever way you look at it, these pieces are unmistakably beautiful and original.

Ann Cunningham explains ‘An appreciation of nature is at the core of my artistic expression. The pattern and texture of plants holds a particular fascination.’ Ann’s project, Conic consisted of delicate artwork, inspired by cones and leaves that were suspended from the ceiling, as if they were drifting on the breeze.

Many of the projects featured were displayed in a three dimensional manner, providing depth and numerous angles for the viewer to observe. Angela Cullip’s Domestic Landscape tells a story in the way if is folded and progressively moves from one scene to the next. Angela describes her work as ‘an investigation into domestic space and how this space is negotiated in relationship to the outside world, and conversely how the world outside the domestic arena engages with this space.’

In Garden of Harmony and Conflict, Andy Nguyen drew on fantasy, coupled with religion and the concept of ‘heaven and hell iconography of western Christianity.’ Created using etching with watercolour, this image intricately depicts of all sorts of animal/human creatures. The detail of this artwork is such that no matter how long you spend staring at it initially, if you look at it a second time you will see something that you overlooked the first time. ‘I’m attracted to fantasy and mythological aspects of biblical references. My characters are interactive and human-like but they are separated into utopian and dystopian worlds.’

Fantasy and imagination were prevalent in some works that introduced weird, wonderful and intriguing creatures. Nicole Macdonald’s Unfathomable Beauty draws ‘inspiration from fanged deep sea creatures and their bizarre and shocking appearance.’ Nicole has used large multiple plate etchings which ‘have a capacity for vibrant colour and movement…These prints being to life the alien forms that inhabit the abyss.’

Jane Maginness’s Dreamland (as the name suggests) ‘explores that way an individual’s dreams are perceived when exposed to others. Using mixed media, Jane has created a series of figures and winged objects that are a representation of her own dreams and plans ‘to observe how the viewer perceives the world generated from my own personal world.’

Emma Nunan adopted the skills of printmaking and sculpture in her project, Light, Breathe, Dark. As inspiration for her work, Emma considers ‘the natural environment a place that evokes contemplation, meditation and reflection. The natural world can be a rich resource that allows us as individuals to reflect and develop an understanding of one’s identity and place.’ The resultant work includes sculptural pieces, constructed from many delicate and intricate layers.

Pamela Jackson’s pieces, The Window Was Locked and Little Darling explore the padlock ‘As a symbol, it can represent entrapment or protection, depending on one’s personal experience. Memories associated with the padlock can include fear, desire or a significant experience that has been locked away.’ Pamela uses etching which results in work that has a worn, nostalgic feel to it. ‘I utilize the symbol of the padlock as the framework for that which we keep secret, and only explore when memory is jogged.’

Jack Whitmore’s bold screen-printed posters are politically inspired, ‘intended for quick dispersal into the public domain.’ Works including This is Not a Test and Hard On for War made a strong statement displayed together.

Anna Willoughby explores body building within the ‘context of rapid technological growth and cultural change through globalisation, Charles Darwin’s theory of natural selection is being increasingly revised and illustrated by bizarre contemporary behaviours.’ Anna has created hybrid creatures, consisting partly of body builders and ‘beastly’ animals ‘as a way of exploring the contemporary evolution of humans, looking in particular at these mutations of strength, form and character in the context of Darwin’s theory of natural selection.’ Rachel, Iris, Warren have been created from screen-print on archival cotton rag.

Annelise Scott’s work was effectively presented as loose pages from a large book. Collected Memory explores how ‘Memories come back to us in fragments, often triggered by what initially may seem to be obscure, however the trigger for me is frequently linked to the home, particularly objects within the home.’ By featuring household objects, Annelise ‘explores the connection to common domestic objects and how they impact upon memory, giving evidence of a history and informing insights into identity.’

The broad selection of work exhibited at Shift was of an incredibly high, professional standard. ARTS THREAD congratulates the RMIT’s BA Fine Art students on their graduation and wishes them all the best in their promising careers

Red Gallery has been operating since June 2002 and is ‘committed to presenting innovative contemporary art.’ The gallery space consists of three rooms, so three separate shows can be hosted simultaneously. Red Gallery also tries to exhibit work from established and emerging artists at the same time to provide a broad and diverse showcase of pieces.

Red Gallery can be found at 157 St. Georges Road, Fitzroy North, Melbourne.

RMIT Fine Art courses
Red Gallery

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