RMIT’s 2010 Printmaking graduate exhibition, Resist, presents a diverse range of seventeen students’ work which focuses on the concepts of “process, materiality and politics” as well as debates surrounding “gender, globalisation, identity and sustainability”.
The intricate detailing of stained glass windows and wood work from churches around Melbourne were the inspiration for Lindy Yeates’ pieces in her final work, Meditation. The four works presented in this series feature elements of nature, such as shells, leaves and a bird’s nest, which have been combined with the swirling silhouette of a stained glass window and elegant handwriting from a historic church document. Drawing on her Christian heritage, Lindy finds solace in meditation and contemplation that is apparent through “closer examination of the spiritual in the everyday” and manages to capture via etching, watercolour and ink.
Impending Storm consists of a series of works from Marrianne Mitakis featuring the Ninox Strenua, or Powerful Owl. This species is the largest indigenous Australian owl, but is sadly endangered due to destruction of its natural habitat. The striking etching technique that Marrianne has employed in Impending Storm serves to highlight the vulnerability of this species. The total work is comprised of nine delicate panels which also successfully convey the fragility of Marrianne’s piece, and this beautiful creature.
Rhi Liesch’s works are presented within a series of journals titled Dream Diary. Works included in these books feature a combination of images, patterns, text, photographs and sketches, loosely united by a cobalt blue and white colour scheme. Rhi has a fascination with “the artists’ book as a mode of creating non-linear narratives, driven by unconscious thought patterns such as dreams and daydreams.”
Rhi encourages the viewer to thumb through her journals and believes that “by presenting visual interpretations of my own unconscious thoughts, I am referring to aspects of shared human experience, where individual manifestations are varied and abstract.” Rhi’s eclectic collection of works invites the viewer on a journey into her creative thought process, revealing her ideas captured at specific times.
William Erickson’s series of etchings demonstrate his fascination and frustration with “humankind’s refusal to move away from our unsustainable consumer lifestyles.” William’s confronting black and white images are combined with bold statements, such as “Wow just ten days for something laid down sixty million years ago to melt into the air”. These pieces highlight the damage being caused from “our addiction to fossil fuels and the damage that their extraction and use is causing to our planet and its ability to support life now and in the future.”
Through His Eyes is Carla Hobbs’ exploration of the reversal of male and female roles. Digital print and live video performance assist Carla in understanding her identity and also revealing if she looks more like her mother or father.
“My intention is to produce a series of mood landscapes that evoke a strong sense of unease and disquiet within the viewer, whilst at the same time being strangely seductive”, says Kathryn Gribbin of her work in Still, Here. Kathryn’s landscape images are captivating and haunting, exploring “the darker, more serious side of nature”. Whilst Kathryn’s images subtly present feelings of calmness and tranquility, they also contain an underlying sense of foreboding.