Art Prize Virtual Gallery 2024

Everyone in this exhibition will eventually face the loss of someone close to them. The ensuing feeling of loss is great but through reflecting on my relative’s experience, I (Alex) have gained a greater mental presence in my own reality. This art exhibits three separate photographs merged to form the shape of my grandfather, Alan, who’s struggle with Alzheimer’s disease inhibited his perception of reality and imagination. Inside his figure is a photograph capturing my current life in Melbourne, a place he never went to and could therefore only imagine. Outside his figure though, is a sky that we could all perceive no matter where we are in the world. Finally, there is a picture of Alan himself, happy despite being distant from the current world and both realities. Reflecting on Alan’s blurred perception makes me wonder if anyone’s perception is correct or wrong, regardless of Alzheimer’s or not. Furthermore, that encourages me to consciously appreciate the present moment, which is something I could also share with Alan.

As the first person in my family to be born outside of China, I often grapple with feelings of not only my own loss of culture, but also the losses experienced by my parents and grandparents. On my last trip to China, I asked my grandparents about their experiences of the Civil War, Japanese imperialism and the Cultural Revolution. Even with decades gone by, it is difficult to tell whether they have had the chance to grieve properly. Like other children of immigrants, I also struggle with feelings of guilt. The feeling that the privilege I have being born in Australia is wholly undeserved compared to the trials and tribulations my family were forced to endure. I used to imagine how much of a relief it would be to be exonerated from these feelings of guilt. Now I realise this is my privilege: being gifted the opportunity to reciprocate in one of the most unconditionally giving relationships one can experience – being a child of immigrants.

As I reflected on my work for the past two years as a part-time photographer, I became aware all at once that the majority of the natural landscapes I photographed were captivatingly beautiful yet they existed in altered natural spaces, deviating from native Australian terrains. From the autumn colors of maple trees in the Macedon Ranges, to the pine trees in Bright, and the tall Californian Redwoods in Warburton, I confess that I was repeatedly drawn to their aesthetic allure, ignorant of their colonial undertones. Though I consider myself a decolonial student in class, I seemed to lose my critical thinking cap in the backcountry. Now drowning in guilt, I created this piece as my attempt at redemption from overlooking the apparent ecological colonization, in favor of capturing colors. I vow to engage critically with all landscapes moving forward, paying tribute to the First Nations' voices, and acknowledging the disruption of the natural landscapes they once knew.

As an international student at unimelb, my journey has been one of profound transformation and discovery. This painting, "Student Odyssey" is the essence of my experience, where spirals and a vibrant palette intertwine to tell my story. The spirals in my work symbolize the cyclical nature of expanding and everevolving learning. They represent the continuous process of growth, where each loop signifies a new insight or skill acquired along my way. The bright colors overlapping and merging showcasing the dynamic and multifaceted nature of my education. The tree at the heart of the painting with numerous branches, symbolizing my mind. Each branch reaches out, absorbing the myriad of learnings and experiences depicted by the vivid hues. I took inspiration from the tree at the front of the GSA building that is a testament to the resilience and adaptability. For me, this piece is a celebration of the vibrant, interconnected pathways that define my journey as a student, capturing the essence of learning as a deeply personal and transformative experience.

Our future generation will reflect the behaviour we exhibit today. The prevalence of violence, particularly war, has a profound impact on the emotional development of children. Such experiences instill deep-seated fear, hatred, and loss of trust, ultimately shaping them into a society that fosters a future filled with anger and animosity, hindering the growth of a peaceful and compassionate world. According to research, more than one in six children on the planet live with the effects of war and conflict. Thus, our actions today weave the tapestry of tomorrow, and it is within our power to thread it with acts of understanding and benevolence, nurturing a future where love and empathy prevail.

The theme of "Reflection" captures the profound and lifelong connection I share with my twin sister. Since birth, I have experienced the unique and mesmerizing reality of having a lively reflection—one that breathes, laughs, weeps, and ages with me. She is a dynamic mirror, a vibrant reflection of my soul, beyond the reach of any earthly glass. We share and amplify each other's strengths and positivity, lighting up vibrantly with the colors we spread on each other. Yet, at times, dark hues overshadow our vibrant colors, reflecting our missteps, mischiefs, hopelessness, and weariness. These moments of darkness are not just reflections but prompts for self-rectification, compelling us to change for the better. Through her, I confront my own weaknesses, gain clarity, and strive for self-betterment. In this continuous interplay of light and dark, we have recolored our lives countless times, transforming them into brighter and better shades. This painting captures the beauty of whole twin community—the constant dance of their twin reflections, always striving to enhance and uplift each other.

As I walked through Vivid Sydney’s light tunnel in daylight, I was struck by the way in which natural light was reflected through an artificial light source. As the sunlight reflected off the tunnel’s frame, the light glimmered in a way which was neither clearly natural, like the same sunlight on the water, nor clearly artificial, as the lit-up tunnel would shine later that night. True reflection is a necessarily human process, which requires each person to engage honestly with past and present experiences. However, the modern prevalence of AI has raised the possibility of ‘false reflection’ which appears to reflect the truth found within but is only an algorithmic interpretation of reality. This work represents the blurring of these lines, the strands generating an ‘artificial’ reflection of natural light. As the integration of AI continues, we must constantly interrogate how reliance on non-human ‘intelligence’ affects the way that we interact with the world and raises the question: “How does an artificial reflection change our own ability to reflect?”

In a world of ever unrealistic beauty standards, our reflections may not always represent reality. This piece is dedicated to unravelling realities of body dysmorphia and eating disorders. A person starved to the bone may look at their own reflection and fail to notice they are withering away. The background is hand crocheted and each thread within the piece was stitched with the materials our clothing is made from, a critique on the fashion industries which benefit from our insecurities. The piece is largely stylised and heavily inspired by post- impressionist works, representing the complex emotions borne from body dysmorphia.

There is something profound about mountains that make you reflect. They are astounding parts of nature, withstanding so much history, violence, change. Yet they stand tall, resolute.

The genesis of this work draws from moments spent accompanying my mother on her hospital visits. She recounted childhood stories of her father and her home in Ciamis colonial Dutch -architectural marvel - nestled in the Eastern Priangan. Each year, the façade would be transformed into another colour, embodying my grandfather’s resistance to, and liberation from, the confines of colonial whitewashed walls. Selecting colours that comforted the community, he would welcome guests during Eid al-Fitr festivities. The house was filled with books, diverse in language and spanning myriad narratives from Western to Eastern classic tales. Within a single breath, my mother told me that my grandfather would merge stories- deciphering the West through an Eastern lens and interpreting the East through the eyes of the West. A poem by Kyai Haji Hasan Mustapa's verse resonates: "Throughout seeking the south, only the north I encounter. Throughout seeking the east, only the west I encounter. Throughout seeking something, only nothingness I encounter."

While on holiday in New Zealand, after a two-hour hike through ice and snow, I was met with a stunning landscape reflecting the natural beauty and power of Hooker Glacier. The scene before me was divided: half of the glacial lake lay frozen with its surface opaque, while the other half mirrored the jagged edges of the mountains. This division symbolized a moment of change and transition in my life. Having spent seven years as a teacher, navigating through tumultuous times, I made a pivotal decision to return to university and pursue my passion for Geography, altering my career path. Standing before Hooker Glacier, I found myself contemplating this journey of change I had embarked upon. Though the path forward may seem murky and uncertain, like the frozen lake, clarity emerges as uncertainty fades.

The day we got the house was the day we were told his cancer was back. We were walking home from Peter Mac when the realtor called. I spent the next few hours in something of a catatonic state, immobilised with a shock and grief that clouded my ability to see forward. We couldn't see our lives ahead of this moment, the future now precarious. But what terrified me also was the idea of moving into a house full of empty white walls. I bought my first paintbrush that afternoon, resolved to have some evidence of a shared history to put on the bare walls. When we can't stomach looking forward, I suppose we try to seek comfort looking back. This painting came 6-months after these events, when we're just starting to look forward again. But it is still a reflection, an effort to reconcile a period of intense love and loss. Bilateral testicular cancer is a rarity: a thief of our past, but also maybe our imagined future.

"Eternal Reflection" explores the confluence of past, present, and future through introspection. Poised at the culmination of my doctoral journey, this piece distills the essence of transformative experiences. Engraved mountains, evoking wakes, symbolise ripples of knowledge across my academic journey. A boat navigates these temporal waters, embodying the self in flux. The University of Melbourne's South Lawn clock tower anchors the present, while a distant copper peak beckons to future aspirations. This work invites contemplation of one's own reflections—both literal and metaphorical. Copper elements infuse an malleable alchemical dimension, suggesting the transmutation of time into wisdom. This piece speaks to the connection between the sacred self, knowledge, and the eternal. "Eternal Reflection" invites the viewer to traverse their own landscape of becoming.

Born from memories of the darkest and most confusing moments of my life, the painting "No Place to Hide" symbolizes deep reflection and self-examination. In the picture, the girl with her back to us is actually a tombstone, reminding us of the hidden and unresolved pain that lies deep within each of us. The countless eyes gazing at her represent our inescapable past and self-examination. The fruit on the vines is faintly visible in the distance, symbolizing "You must reap what you have sown", reminding us of the consequences of our actions and choices. The grid in the background symbolizes the bondage of destiny, hidden but always present, limiting us. Through this painting, I hope to express my inner struggle and self-examination, and use it to reflect on the meaning of life and our place in it. Please don't mind the darkness of it, perhaps you are experiencing such a moment. If you can be touched by it, congratulations, you must be a very lucky person.

The theme of reflection resonated quickly with me as a means of ruminating upon my experience of girlhood and the complex, enigmatic evocations it brings forward. This painting explores the multifaceted nature of girlhood and represents the way in which the years between early childhood and adulthood take us across many versions of ourselves. Reflecting on the moments and feelings experienced in these years was overwhelming. It filled me with memory and countless conflicting feelings that each resonated in their own way. I wanted to reflect this in my painting by creating a visual that is chaotic, bright and layered with shapes and colours that become more and more difficult to differentiate. I wanted every part of the painting to appear as its own fragmented piece to mirror the way in which these moments mean so little individually, but together form an ever-changing identity that has travelled through countless moments of the infinitely wonderful and infinitely awful experience that is girlhood.

When was the last time that you felt you were a part of something larger than yourself? For my entry into GSA reflections, I chose to paint the bark and trunk of a Gum Tree that I walk past almost every day, for two main reasons: Firstly, Eucalyptus Gum Trees are native to Australia and feel distinctly Australian to many. Despite modern cultural, demographic and infrastructural changes, markers of collective national identities remain closely linked with the natural world, perhaps because of their inclusive qualities. Secondly, so much of human reflection is centred on the synchronicities between human life and the natural world. Nature provides reminders of the inextricable connections that sustain life in all forms. It reminds us of the value of patience, diversity, and imperfection. Perhaps most importantly nature gives us tangible evidence that even the most incompatible elements can, and frequently do combine to achieve perfect harmony in ways that we often can't comprehend.

Each of us is a coalescence of our past experiences. We all carry pieces of our childhood with us, whether this is in the form of hopes and dreams, lessons we have learnt, or scars we bear. Despite this, we often ignore these components of ourselves, instead focussing on the present and looking towards the future. 'Coalescence of Me' is a self-portrait composed of photos spanning the 26 years of my life. With this piece, I wish to reflect on what has gotten me to where I am today by creating a piece that highlights the parts of myself that although may no longer be visible to the naked eye, still play an important role in what makes me, me.

I hate putting myself on display. In conversations and interactions, I’m always aware of the parts of myself that I reveal versus those I keep hidden. Everyone navigates this balance—after all, we can’t share our innermost thoughts with the world. Yet, I believe art serves as a mean of exposing these vulnerable aspects of ourselves. Sharing my artwork is challenging because it feels so personal, and I fear exposing too much. Through this illustration, I wanted to explore and reflect on the parts of myself I keep hidden, revealing how one person can embody many realities. By using a mirror as a door into these concealed aspects, I aimed to portray the dual nature of self-revelation and privacy, and to illustrate how shining light on these hidden parts can open up new worlds for others to see.

Since childhood, I have been fascinated by the sky. I would stare at the sky for hours, observing the clouds float and letting my mind wander to ponder about myself and the world, the past and the future. The clouds are very interesting to me, as they look both transient and eternal. This painting is part of a series of my work on the night sky.

The genre of this piece (i.e. Dadaism) has been associated with anti-art for over a century, created to challenge the conventional ideals of capitalism since the first World War. However, there is a noticeable lack of Dada pieces that deal with the contemporary nature of technology under late stage capitalism. In line with its predecessors, ‘Object In Mirror Are Closer Than OurPeers’ finds itself reflecting reality through absurdity; specifically, this piece takes the faux-intellectualism and pseudoscience of conspiracy theories, and opposed to just depicting the aesthetics of it as illogical (in the modern monitor), the whole political landscape (the surroundings) is cast with judgement through its mockery of “normalcy” and literalism. Technology is depicted as an inherently neutral apparatus and instrument that is weaponised for reactionism as opposed to being a faithful reflection of society. The layering inherent to mixed-media collage lends itself to depicting reality as complex and multi-layered. Fear-mongering surface-level observations that plague the contemporary political landscape are scrutinised through whimsical mockery and ridicule.

"Inner Echoes" is a visual exploration of reflection, designed to resonate with both personal and societal introspection. The central figure in a meditative pose symbolises individual reflection, a journey inward to understand one's own experiences and aspirations. The use of continuous, flowing lines, represents the seamless connection between past, present, and future, and mirrors the complexity and fluidity of one's thoughts and memories. The intricate patterns around the figure suggest the complexity and interwoven nature of our histories and experiences. It invites viewers to ponder not only their personal narratives but also the larger societal dynamics that shape our world. Through "Inner Echoes," I aim to evoke a sense of calm and contemplation. This piece not only honours individual history and introspection but also invites viewers to consider their place within the larger tapestry of society. It serves as a reminder that while our personal reflections are deeply individual, they are also part of a shared human experience, continually evolving and intertwining with the world around us.

"Underneath the Surface: Nature's Cry" depicts the stark contrast between pristine nature and human-induced pollution. This artwork uses pens, colored pens, and whiteouts to achieve depth and vividness. The upper half of the piece shows majestic mountains and a serene lake, symbolizing unspoiled nature. The mountains reflect the purity and beauty we strive to protect. Below the mountains, the industrial complex with factories and vehicles highlights the pollution and chaos of human activity. Using monochrome for the industrial elements emphasizes the bleakness and environmental degradation they bring. The smoke and pollutants rise, threatening the natural beauty above. This artwork combines the theme of reflection with the environmental message. The reflection in the lake serves as a metaphor for introspection, urging viewers to consider the impact of their actions on the environment. The contrast between the serene upper landscape and the polluted lower half symbolizes the delicate balance between nature and industrialization. This artwork invites viewers to reflect on their choices and inspire a commitment to preserving our planet.

Kelly Manning is a multidisciplinary artist whose practice spans painting, drawing, sculpture, installation, printmaking, and photography. Over her 30+ year career, her work has investigated trauma, resilience, survival strategies, and hope. Through her experimental use of natural and synthetic materials, Manning's art addresses the Anthropocene Epoch's crises on both macro and micro levels, connecting deeply with societal and cultural challenges. Her work serves as a playful and poetic catalyst for change and new thinking.

An lonely girl could be seen walking home in a gloomy evening, crossing the jammed traffic under her umbrella. “Beyond the Realm” is an imagination of an ordinary girl in an ordinary city. Living a monotonous life, she finds it hard to break free. In a city full of people, she strangely finds herself all alone, and her umbrella is a symbol of her protection from the outside world. The reflection of a young innocent girl could be seen dancing freely, letting go of every burdens on her shoulder, just like a dragon majestically roaming around the peaceful sky, as if the time stops for a moment to let her enjoy every second of her life.

Jamica Kwani is a documentary film-photographer. Her work aims to capture the interaction between the natural and anthropogenic, often focusing on human subjects interacting laboriously with their environment. A literal approach to the theme, this piece reflects a boat worker on the East Rapti River in Chitwan National Park, Nepal. 'No one is your friend, no one is your guide' refers to an encounter of a charging wild elephant in Chitwan, which sent guides and tourists alike running for their lives. Despite the imminent threat of deadly wildlife encounters - think crocodiles, rhinos, tigers and bears - hundreds of thousands of tourists flock to the park each year with hopes to come face to face with such animals.

"Interwoven Connections" explores the fabrics of the microcosmos, capturing the beauty and potential of stem cells. Incorporating mixed media elements, including microscopy photography prints, textiles, and recycled plastics, this work invites viewers to reflect on our societal and environmental connections and responsibilities. This piece mirrors my research on combining biodegradable polymers with stem cells to create artificial corneal transplants. The vibrant cellular connections highlighted by colourful thread reflect how individual contributions—such as a single stem cell donor—can impact future generations, potentially restoring hope and vision for millions. The use of plastics symbolises the importance of sustainable practices. Just as cells interact with new biomaterials to regenerate tissue, we must influence each other to change practices and regenerate our environment. The lenticular plastic, symbolising a microscopic lens, signifies our ability to magnify positive change through collective effort. "Interwoven Connections" reflects on the delicate balance between the personal and the collective, the present and the future, highlighting our potential to contribute to a brighter, sustainable, and interconnected future for everybody.

"Makan" is a deeply personal reflection on family values, created during a time of nostalgia following the passing of my kumah (aunt). Growing up, I was very close to my aunt and cousins, and we bonded over our love for food. This painting captures many of the cherished dishes enjoyed at our family gatherings. "Makan," meaning "to eat," symbolises how food has always been at the heart of our family reunions. The composition feels warped, almost dreamlike, reflecting the memories of a bygone era. It is a warm, cozy memory, yet uncomfortable and melancholic to revisit. The composition features memories and references to childhood. the stark contrasts in lighting, evoking the moody atmosphere of my aunt's dimly lit dining room. The oranges in the painting are reminiscent of the gifts we received every time they visited us; The sunflower seeds my grandmother's favorite snack.

When I was young, I believed that anything was possible. As I grew older, I realised how ordinary and small I am. I used to think that misfortune only happened to others, but now I understand that the repercussions of war reach even the opposite side of the Earth, and government policies beyond our control shape our life trajectories. Yet, breaking free from the monotony of everyday life and making us more like ourselves, this is the creativity of an individual that interprets and expresses everything. It is the charm and essence of art to take us beyond the mundane and into new realms. I reflected the keywords of what has shaped me into who I am now through images, stickers, and text. The intentionally designed visuals, reminiscent of movie posters or book covers, hold the hope that beyond the two-dimensional surface, there may be deeper and more intriguing stories, just as one cannot fully grasp the entire narrative without directly watching the movie or reading the book.

I am leaving behind my old self. As I step out into the world, I shed my insecurities and doubts. Let the birds fly around me, their wings carrying my hopes and dreams. As they soar, my heart flies with them, lifting me toward my soul, where endless possibilities await.

In "A Reflection Learner," I explore the intersection of self-discovery and knowledge acquisition. The artwork features a figure with a book as their face, symbolizing the transformative essence of literature and education. The mirrored text within the book reflects the internalization of various narratives—culture, love, and war—highlighting their role in shaping our identities. The gloved hand turning the pages signifies the careful and thoughtful process of learning. This piece aims to convey that learning is a reflective and deeply personal journey, where each page turned reveals new facets of the self. I believe that each person is a book of reflection; through mutual reflection, we learn and understand from each other. In this process, everything becomes not only a tool for personal growth but also a bridge fostering deep connections between people.

Taken at Mount Rinjani, I sought to capture a moment of reflection not just in nature, but within oneself. The solitary monkey perched on the rock, gazing into the distance, symbolizes a pause to reflect amidst the vast expanse of our surroundings. I hiked to this high vantage point early in the morning to capture the calm and clarity of the scene. The clear blue sky, the tranquil lake below, and the majestic peaks encapsulate the serenity and the introspective mood I aimed to convey. This image represents the theme of reflection both literally and metaphorically. The monkey's calm demeanor invites viewers to ponder their own thoughts and experiences, much like the still waters below reflect the sky. Inspired by the GSA's 30th anniversary, this piece encourages viewers to look back on their personal journeys, to find peace in their memories, and to consider the future with a calm, reflective mind. This photograph embodies the essence of pausing and reflecting, resonating with the broader theme of introspection and cultural contemplation.

My drawing began with a visual art diary, handed to me on the first day of my MTeach degree at UniMelb. Each blank page symbolized my eager journey into a space of wonder and learning. This diary reflects my curiosity about myself and the world, shaping what I envision as my future classroom and teaching pedagogy. Through my identity, the multimodal spaces in the drawings represent my ideas and the journey of my authentic practice. I aim to present my practice of story-telling, space, perspectives to the world through the windows and drawers depicted in my artwork. I embrace the world and engage in practices that weave the stories of my identity, inspiring my students to do the same. This drawing is a reflection of my practice through three years of my master's degree, representing the multimodal essence of myself as an artist, researcher, and teacher, always exploring and evolving.

My painting, "Reflection in Gaza," is a poignant exploration of reflection, inspired by the ongoing tragedy in Gaza. It depicts a young girl amidst the rubble of her war-torn home. In the mirror's reflection, she sees an alternate reality with her parents, who have perished in the conflict. This duality highlights the contrast between her devastating present and the lost warmth of her past. The left side portrays soldiers and destruction, symbolizing the relentless violence ravaging her life. The mirror's reflection offers a glimpse into what once was—a family united, a home filled with love. Through vibrant colours and stark contrasts, I aim to evoke a sense of loss and longing, underscoring the profound impact of war on innocent lives. This piece invites viewers to reflect not only on the personal grief of those affected by conflict but also on the broader implications of societal and cultural devastation. It calls for acknowledgment and empathy for the unseen struggles and hopes of those living in perpetual conflict.

Watching a sunset in nature fills me with peace and wonder. I created this afterglow sunset photo collage from my album to reflect the diverse and breathtaking beauty of sunsets. The sky changes at every sunset, displaying beautiful colors as the day ends. It makes me reflect and feel grateful for the simple moments in life. These sunsets remind me of life's constant changes and the promise of new beginnings each day. I enjoy the beauty of afterglow as it brings a sense of hope and joy, and find tranquility in nature. No matter how the day ends, a new one always begins.

In this modern society full of chaos and complicated interpersonal relationships, we often get overwhelmed by the exploration of our own identity and others' perceptions about ourselves. We feel being constantly observed and judged by others, whether it being our appearance, outfits, behaviours, skills or personal attributes. Whilst pondering on these thoughts can facilitate self-reflection and improvement, over-contemplation may bring harm. This idea is explored in this artwork, in which the statue represents an individual seemingly surrounded by others' attention and in deep reflection. There is a stronger sense of reflection and the individual is not bothered by the audience, portrayed by her focused attention and downgaze. This might be a more ideal form of reflection, where the reflection is less focused on others' opinions but more on one's inner world. Better self growth can therefore be directed with less misleading. The artwork does not only reflect an issue from an individual level, but also from the perspectives of the larger society.

This Woman Moves Through Water was created over 140 hours during Waring Wombat Season, when the days darken, and the night lengthens. This season in Naarm, when life eases to a slow crawl, is a time for contemplation, for moving slowly, and for rest. It is a time for dreaming, the surrealism of this dreamworld spilling out over the plinth and onto the ground. The grasses used to make the work speak to another type of Dreaming, a consideration of the artist’s identity as a mixed-race First Nations artist searching for place. This work, movement captured in a still moment, embodies the extended physical stillness needed to create a woven work of this magnitude. It speaks both to the time spent in meditative creation, and to the fluidity of inner thoughts that flourish during periods of still reflection. This Woman Moves Through Water is the embodiment of fluid thought in this act of stillness – the slowness of time spent in meditative creation revealed in each of the artist’s stitches

A layered display of the complexities of problems impacting the undergraduate student while backpacking through New Zealand for the first time. Many deadlines, many assignments, trip plans and friendships. They all came crashing down at once.

Reflections Of is a response to the male gaze that impacts the experiences of women every day. Through mass media, film and TV women are often displayed as objects, their sole purpose is for the desire of men. It’s time to change this narrative. It’s time to reflect on the past and take the power back, to make these men feel as small as I do when they objectify me. Reflections Of is about finding the beauty of the female form, without the erotic, my bent over figure (with rolls and all) is reorientated, no longer bowing to the patriarchy but being beautiful in its own right. The male characters are powerless, unable to see anything beyond the shape of the figure towering over them. “Look at me,” she shouts, with the confidence of a man. With the use of archival imagery with modern photographs I have created this digital collage to reflect on these experiences, looking to the past and into the future.

This landscape is a view towards University Square from the fifth-floor library of the Melbourne Law School. The work is a reflective and melancholic response to a question I asked myself after seeing empty public spaces due to the restrictions imposed by COVID-19: What would Melbourne be like without people, abandoned, deserted? How would the native flora of this city slowly take over the empty buildings?

We are partners in life, work and artmaking. We met during our MArch programme, having previously studied painting and literature. This drawing encapsulates our recently submitted thesis project, limb, which involves critical mapping, panpsychist philosophy and prosthetic architecture, proposing a condition of non-anthropocentric urban ecology in and around Fishermans Bend. It won the Bates Smart Award for highest subject mark. We have continued to develop it, both as a speculative exercise and as a future procurement proposal for City of Melbourne and City of Port Phillip. This drawing is a reflection of the project's aeriality, scalability and replicability. It extrudes an orthographic plan of major roads in Greater Melbourne, with Port Phillip Bay along the bottom edge. We suggest that this process of extrusion creates verticality and three-dimensionality from a traditional, two-dimensional cartographic substrate. Likewise, the project underpinning the drawing is largely aerial, investigating prosthetic architectural attachment to substrates like power poles, roofs, eaves, downpipes and bridges. It attempts to prompt policymakers to consider a new, green, elevated, flood-resistant datum.

A reflection on Brutalist architecture and public housing: Being known for its bold forms, textures and raw materials, Brutalism has a deep historical connection with public housing, particularly in the mid-20th century when it emerged as a response to the urgent need for mass housing. The stark aesthetics and monumental scale of some brutalist buildings contribute to feelings of isolation or alienation among residents and outsiders alike. My work reflects on the qualities of brutalism that often disregards human-scale that fails to foster a harmonious relationship with its inhabitants. This extreme visualisation, not unlike Lloyd’s of London’s headquarters (1928), showcases a sense of honesty in design where the materials used are left bare and the function of the structure is clearly expressed. Ultimately, my artistic inquiry aims to provoke a dialogue about the ethical responsibilities of architecture. It challenges us to reconsider the balance between architectural innovation and human-centered design, urging architects and urban planners to prioritize inclusivity, sustainability, and the well-being of inhabitants in shaping our built environment.

I interpreted the theme of reflection as my personal reflection on my childhood through growing up and my parents' separation. This piece references a wall of my mother's garage in the house she's bought for herself following the split. Much of the family home we lived in for a good 20 years has been condensed into this garage, and looking closer reveals glimpses of my childhood hidden in the details. Mum has now populated the house with two cats, and they occupy this garage. While the presence of cats indicates she's settling in to this new chapter of her life, I think of how little all this clutter will mean to these new inhabitants. I painted this piece using gouache, a medium I have recently started exploring after years of being a watercolour painter. While I tend towards a realistic style in my art, I tried to let the paints breathe more with this piece to give it more life.

This box contains the inside look of my brain in these past 1.5 years. Ripping these post its out of my notes was a trip down the memory lane. A series of bursting side thoughts during classes, study sessions, and planning sessions, full of the questions, the "might be"s and "could be"s that eventually transformed into their final form in an essay or thesis. Well, some of them did. These are the stepping stones that have brought me to this new version of me. They capture each reiteration of thoughts, worldviews, and understanding of the world around me, and therefore enable the evolution of the person I've become. For those interested, this upgrade only costs $85k and a whole life I left behind.

Fire walking on water was displayed at this year's Winter Fest in Tasmania. It was compelling to watch. You could see the gas bubbling up to the surface igniting the fire. It was a beautiful display intentionally created. It was wonderful to photograph the dance between fire, water and gas. Unlike coal seam gas where fire walks on water in a way that is unnatural and unsettling to a nature. Capturing the beauty and reflections of a fire, water and gas in this art installation did make me question whether fire walking on water from coal seam gas would also offer beautiful reflections. In this way beautiful reflections disguise harm. Just like in this image, fire walks on water, its beauty disguising the harm of using a finite fossil fuel.

This painting explores the theme of "reflection" through a deeply personal scene: my mother’s kitchen. The kitchen, a cornerstone of our household, becomes a canvas of memories. The photos on the sideboard act as visual echoes, capturing fleeting moments in time and I encourage viewers to be a guest into my reflection and then to consequently reflect on their own cultural traditions that contribute to our shared human history. The Bessemer pot, a well-worn utensil that stirs recollections of countless family meals, is not just a vessel for food, but for memories steeped in tradition and care. The aromas, simmering quietly, fills the air, evoking a symphony of senses. You can almost hear the gentle bubbling, a background melody to the cooking process. This painting reflects and evokes a tapestry of time, space, smells and sounds, encapsulating nurture and love. It is a homage to the simple yet profound act of cooking, a reflection of the bonds that tie us together through the sensory richness of culture, heritage and home.

So beautiful is the reflection of this body of deception. Loathe its superficiality as it reflects all above in an attempt to distract from all below. Is this not the truth? What lies beneath the surface in the darkness, in the depths? Smooth and intangible shapes slide, scratch and slash upon one another. Such a stir, yet not a ripple above. Squirming, twisting and writhing. This is not elegant. It is perverse, carnal, chaotic and covertly brutal. The surface of the water lies flat as glass. Pretend not that sinister bodies do not lie below... I want to ask in this piece what it looks like to look deeper, below, and within. What are we afraid we might find? What monsters lurk? What fears do we hold, suppressed in our subconscious? What insecurities are living within? Parasites of our mind manifest as thoughts we fail to reconcile, by each we are held paralysed.

The photos taken in a place called Xinchang, China, present a stark contrast and difference compared to the skyscrapers in developed cities like Beijing and Shanghai, China. This place seems to be frozen in time, still retaining its original appearance without being impacted by modernization. This contrast highlights the differences between Xinchang and the major cities, showcasing the disparities in development levels across different regions of China.

In February we were given notice to vacate our home of 5 years. The timing was terrible and we loved this house. At the time, I was getting into using found materials and items from our recycling bin in my collages. So I decided to embroider the floorplan onto a satchel from the last delivery to the address. I never found a copy of the floorplan online. Reflecting on the time I spent in each room, I mapped the floorplan from memory. The rooms I spent more time in, like our bedroom and the office space I worked in during the pandemic, were easier. But some of the cupboards and spaces between rooms were out of proportion and didn't match up. Usually before moving I walk around and take photos to remember a house by. I didn't feel the need to do that this time.

In Kinship with Ardea, I sought to explore the theme of reflection through the serenity of nature within the presence of a heron. The piece captures the stillness of a solitary heron within a forested wetland and invites the viewer to pause and consider their own inner landscape. The reflectiveness of the marsh symbolises the ability of the environment to echo our inner state. Here, both the heron and the environment are intertwined, each reflecting and informing one another. The choice of the heron was deliberate; herons are often symbols of patience, grace, and introspection. This linocut is a representation of my PhD research which explores people’s connection to nature and their ability to see themselves in the natural world. The linocut medium is also a process of introspection, with each deliberate cut requiring a moment of pause and thoughtful consideration. Through this work, I hope to convey the tranquillity and beauty that can be found in both the natural world and in self-reflection.

"Ripening Gentleness" emerges under a blue ballpoint pen. It is fully improvised with my unconscious flow in depths, originating from a tiny caterpillar-like form nested towards the heart of the drawing. During the improvisation, I allow my mind to circle the element of drawing lines, letting my hand and pen wander without a conscious direction. This unconscious state reveals my hidden deep intuition, setting off a journey of internal visual reflection. The lines grow and radiate in various directions. They echo and mimic one another, undergoing a metamorphosis. They move with a gentle manner; they grow and unfold quietly. My human hand connects the lines, and the lines touch my human presence. They form a creature like me, but non-human with subtle human traces. The growth finally takes to ripening and gives birth to – Gentleness.

In this self-portrait, I delve into a year of profound self-discovery and empowerment, centered around the theme of "Reflection." The artwork embodies my journey towards embracing authenticity uncovering my true self with openness, resilience, and honesty, imperfections included. It highlights my growth in resilience and resolve, revealing insights into self-awareness and personal evolution. Beyond mere self-representation, this piece is a deep introspection into my evolving identity as an identity often mysterious even to myself. Informed by informal interviews, I have visualized and understood the emerging facets of my persona, embracing each imperfection as integral to my path. This art celebrates the intricate process of self-discovery, recognizing vulnerability as strengths the courage to express emotions, confront challenges, and assert desires. The portrait reflects my ongoing exploration of identity, portraying my struggles and growth.

After a long period of cloudy days, the sun gradually began to shine through the clouds. I had a feeling that something new was about to happen, and I involuntarily snapped the shutter. I feel that it symbolizes GSA, which has already passed 30 years and is about to enter a new generation.

Who are you? Is the you in front of others the real you? Is it the real you in social media? Are you being yourself? The prevalence of social software makes people are willing to share their lives on it, or wonderful, or plain, but more and more people like to create a persona for themselves, posing for pictures, imitating the star, the camera presents may be rich, poor, may be unfortunate, happy, so what is real after the camera? It’s all just a disguise? Since when do people like to hide their true selves. Using a Lumix camera from fifteen years ago, the work uses the mysterious blue color as a metaphor for people's disguise, aiming to use the past to reveal the present disguise, hoping to go back to a time when everyone was free and easy to be themselves, and thus to cause modern people to reflect on themselves.

This digital painting depicts when you hide in a place so dark even light cannot reach, loved ones come with a flashlight to illuminate your whereabouts. No matter where you hide, they will find you and offer support. Everyone experiences moments of sadness and emotional lows, perhaps seeking refuge in darkness. However, those who love and care for you will find ways to locate you and provide support. I hope everyone has someone like this in their lives, willing to shine a light for you no matter how dark the corner you are in.

"Dual Perception" captures the essence of personal introspection and the multifaceted nature of identity. The artwork presents a face split into two distinct halves, seamlessly merging into one, symbolizing the complex interplay between different facets of the self. One side, painted in vibrant purple with green highlights, represents the inner, more concealed emotions and thoughts. The other side, in natural hues with a touch of bright orange, reflects the outer persona presented to the world. The contrasting colors highlight the coexistence of opposing emotions and identities within an individual. The hands covering parts of the faces signify the act of self-examination, hinting at the complexities of self-reflection, and inviting viewers to ponder the layers of their own personas and the hidden aspects of their consciousness. The central eyes draw the viewer in, urging them to contemplate their own layers of identity and the dualities within. This piece captures the essence of personal reflection, encouraging a deeper understanding of one's inner world and the multifaceted nature of human identity.

In contemporary life, takeaway food containers have become a symbol of our daily existence. "Variations of New Life" captures this through the medium of ceramics, transforming everyday objects used by the artist into pieces imbued with cultural resonance. This work contemplates the interconnectedness of art, humanity, society, and the era we live in. It meticulously preserves the tactile traces of clay, enhanced with engraved lines and a balance of precision and fluidity, striving for a perfect blend of form and meaning. The application of slip coloring and polishing further accentuates the work's serene, elegant, and rustic spirit.

The red wall and door represent traditional Chinese architecture, symbolizing ancient China and its past life. Beyond the river lie modern high-rise buildings, representing contemporary China and current life. The door serves as a window of time, highlighting the quiet observation and mutual witnessing of changes between the two eras. China's rapid early development led to the destruction of many traditional buildings, cultures, and customs. Recently, there has been a resurgence in the pursuit of traditional culture, clothing, and customs, reflecting an increased sense of self-identity and pride in traditional heritage. This revival is also a response to the immense pressure and fast-paced life in modern China. So, the red colour not only symbolizes traditional China but also the allure of the past for modern people. The destroyed buildings, cultures, and environments cannot be restored, and everything we are now experiencing will eventually become history and be stored in the frame of time.

I've always been questioning myself: Who am I? Is my identity shaped by the environment I grew up in or the education I received? What factors have moulded me into who I am? I feel that I've changed a lot throughout my journey of growth, constantly acquiring new labels and using them to define myself. Yet, I still feel lost—who am I? Especially since coming to Melbourne, a city of cultural diversity, my identity as a Chinese has been reinforced. Everyone here is to some extent reinforced with certain labels, like their gender, their race etc. However, once we are bound by these labels, we may never truly see ourselves clearly. Boldly embracing the richness and diversity within oneself, and accepting and loving oneself with an open heart, is what truly matters.

In this self-portrait, I capture a moment of reflection during a time of significant transition. As I near graduation, I’m faced with the challenge of deciding my next steps—whether to continue my studies or dive into the workforce. This decision is further complicated by the various opinions and advice from family and friends. The painting represents a period of downtime where I’m taking a step back to think deeply about my future. The stillness in the portrait reflects my need to pause and introspect amidst the whirlwind of options and expectations. It’s a visual representation of the inner contemplation required to make these important life choices, highlighting the importance of taking time for oneself to navigate the path ahead.

This piece was created during the COVID-19 period, at that time people had a lot of time to reflect on life and think about themselves. In this work, the parrot represents a person trying to think about their decisions from a god's perspective. The 8-ball means every key decision people make in life. In many billiard games, this ball is usually the key ball that determines the winner of the game. So, people try to put themselves in God's perspective with every decision they make and hope those decisions will serve the intended purpose. However, this is often not the case, and all one can do is grow in reflection.

When supporting a friend in her graduation dance showcase, I noticed the dancers' moving limbs and billowing fabric flashed before my eyes in a mystical blur. That's when I frantically lowered the shutter speed and attempted to visualise my vision in long exposure. The title, “A Moveable Feast" gives a nod to Hemingway's memoir about reminiscing his fleeting, beautiful time in Paris. I recall Ezra Pound’s imagist poem "In a Station of the Metro” as the illustration of my vision: “The apparition of these faces in the crowd: Petals on a wet, black bough.” In capturing the ethereal essence of movement, I wanted to blend the physical with the abstract in a symphony of light and form. Just as Pound tried to “record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective”, I too was tranfixed on the transient nature of movement, which urged me to reflect on my own experiences and the fleeting moments that shape my life.

This assembled painting relates to the context of climate change. A dozen overlapping placards could reference the materials of public demonstration and are assembled to form a single text-based piece. It references the superlative adjectives that we hear so often hottest year, wildest storm, driest month, richest countries, cheapest solution, etc. It is part of a body of work that deals with our collective issue of climate-induced migration, and the individual choices that we face in the imminent future. The prompts for my work are the challenges that we face in our changing world today and, more importantly, our responses to them. I try to follow the trail of an issue that motivates me, in the hope that this leads to the making of art that will engage others as well.

Fecire, my grandmother who was a displaced Kurdish refugee, raised me until I was twelve. I made this sculpture for her memory and used the tones and colours she did wear in a photo I had growing up. I framed it. It always stayed with me. The sculpture has a lid and can hold items. I left her amulet inside the sculpture. It is from Dersim where she was born. It is to the honour of my past and present.

In "Fractured Dreams," two kittens sleep entwined, peacefully asleep atop a broken mirror. Each of the two kittens contain artistic references from both artificially generated images and photography of real animals. Their serene forms embrace and combine atop the shattered mirror to juxtapose a duality — a poignant metaphor for our fractured perceptions of reality and the role of AI in our lives. The mirror, once whole and unblemished, now lies in pieces, each shard reflecting a distorted perception about the role of artificial intelligence within society. "Fractured Dreams" is a testament to the delicate balance between innovation and tradition, and a challenge urging us to confront and shatter our preconceptions of AI – to navigate this evolving landscape with grace, curiosity, and compassion.

I capture the serene moment of an individual sitting quietly amidst the ruins of an ancient building. This image reflects the profound relationship between people and historical structures. We are mere passersby in the life of this architecture, witnessing the marks of time etched into its walls. Each crack and crevice tells a story of its own, a testament to the passage of years. While we observe and reflect upon its history, the building remains steadfast, indifferent to our presence. We, the transient visitors, come and go, but the structure stands as a silent witness to countless lives and eras. Through this photograph, I aim to highlight the fleeting nature of our existence against the backdrop of enduring history, emphasizing that to these ancient edifices, we are all but ephemeral passersby.

The painting depicts a meditative process of reflecting on the self inspired by the Hindu spiritual philosophy of “Aham brahmasmi”, meaning, “I am the universe”, which suggests that the individual self or the “aatman” is one and same with the universal self or the “Brahman”. As an individual tied to meditative practices, the piece depicts a personal reflection on how one feels connected to the divine. In the painting, this profound reflection and realization of the interconnectedness of all existence is illustrated through the use of symbolic imagery, such as the central figure in a meditative pose surrounded by elements representing the universe, celestial figures such as Jupiter and the moon that represent the attainment of wisdom and emotional reflection simultaneously in Hindu spiritual thought. The tripartite figurehead is also an archetypal imagery of powerful deities in Hinduism, symbolizing processes of creation, preservation, and destruction as key foundations of existence in the cosmos as well as the self.

In this photographic self-portrait, where I lie in front of the Royal Botanic Gardens Victoria immobilised by rubbish, I reflect upon the degradation of the natural environment. Over a two-week period, I hand-collected rubbish from the Botanic Gardens during the popular 2023 Lightscape show. As a local resident, I find the overwhelming amount of waste in and around the gardens disheartening, often disposed of in the grass areas during public events such as the Mother’s Day Run or the Melbourne Marathon. This self-portrait poignantly depicts how our human-oriented society will crucify us all on a monotonous planet if this behaviour continues. The work symbolises how human negligence is engulfing both nature and humanity, reflecting on the fact that humans will eventually be harmed—crucified—by all the rubbish we produce and consume. The photograph serves as a powerful reminder of the urgent need for society to reconsider its behavioural practices to protect our planet.

“Teenagers taller than 160 cm and weighing less than 50 kg should be screened for anorexia nervosa,” said the head general practitioner at my clinical placement. This highlighted for me how common eating disorders can be. People with anorexia nervosa have a distorted perception of their body, leading them to refrain from eating to avoid gaining weight. If untreated, it can be life-threatening and requires a complex and painful recovery process to restore body weight. This artwork is inspired by a session I attended at the MD Student Conference 2024, where the impact of social media on public perceptions of beauty was discussed. In a world where perfect figures dominate, and beauty filters are ubiquitous, do you feel disappointed when you look at your imperfect yet realistic reflection in the mirror? Can we still accept that the real world is full of imperfections and that we are all unique and beautiful in our own way?

Nestled in the southwestern mountains of China, the city of Chongqing boasts a unique urban landscape shaped by its remarkable terrain. A captivating blend of old and new buildings forms a distinctive urban forest. Within this forest, both street vendors and city professionals alike are travelers navigating the vibrant heart of this mountainous metropolis.

Contemplating life and the universe enveloping us, I ponder if we exist as solitary beings in a galaxy of our own creation, or if we are interconnected entities living harmoniously as part of a greater cosmic whole. I am inclined to believe that both scenarios hold truth. Despite our diverse backgrounds and cultural differences, we have the power to impact one another. Our actions possess the power to influence those around us with various nuances. We could emulate a tree, providing solace to others, radiate warmth akin to the sun, or embody resilience like a rock, imparting lessons on fortitude. Our thoughts intertwine, influencing and inspiring those around us to pause, reflect, and delve deeper into their own consciousness. Conversely, we all reside in the realm of our chosen beliefs, surrounded by the celestial expanse of our thoughts. Ultimately, we all are the separated inseparables!

It was taken at Shinsaibashi, one of the liveliest areas of Osaka, one year ago when I was still in Japan. Somehow I have always loved the rainy days, so I took my camera and went out to see if there was something I want to take. When I walked here, the originally crowded street became even more crowded by the decoration of numerals umbrellas people held in their hands, walking fast. Travellers, shoppers, people just ended drinking, students....At that moment, I had a bit of the feeling of choking and anxiety. We are not born to be busy and struggling, what is the original shape of life that we are supposed to live with. I couldn't answer the question immediately, and then, I recorded this photo.

Stairs present three prospects (and refuge). Firstly, they are a functional device, a structure that allows us to move from one datum of height to another. Secondly, they present a compositional opportunity to explore a predominately horizontal geometry with a residual flexibility of placement to allow for an oblique assent. Thirdly, they are the heart of the narrative and have a strong metaphoric resonance. You can be up or down, happy or despairing. Your stair journey can lead you to your salvation or to your damnation. Or you could be fixed in place, fossilised within the stairs sedimentary layers. Stairs are a reflection of the viewer.

This digital drawing tries to encapsulate the profound connection between self-reflection and the urgent issue of climate change. A young lady staring at the horizon where poluting industrial smoke surging up to the air. It encourages viewers to look inward, examining their own beliefs, behaviors, and responsibilities concerning the environment. The introspection suggests a deep, personal contemplation of one's role in contributing to or mitigating climate change. The environment around the lady is meant to remind us about the nature that we need to preserve. The SDG rubric serves as a guide in decision making, helping us to figure out a formula that puts environmental sustainability first. This scene emphasizes the critical importance of our natural surroundings and the responsibility we all share in protecting it, using the Sustainable Development Goals as a framework for achieving lasting ecological balance.

This work rethinks Charlie Brown, an icon of U.S. childhood, putting a spin on his catchphrase ‘good grief’. While the U.S. enjoyed stability and prosperity in the 1950s, the decade when Brown’s character first appeared in the comic strip Peanuts, images of disaster were close at hand. This work fills in his signature squiggly-line shirt with images from 1950s atomic bomb tests, newsreels, and horror films.

In this evocative scene, we reflect on Naarm (Coastal Melbourne) before European settlers left their mark. The rugged landscape, characterized by sunbaked cliffs and wind-beaten scrub, speaks to the enduring and unspoiled beauty of the land. The vibrant hues of the rocky terrain blend seamlessly with the soft, sunlit earth, creating a timeless tableau that captures the essence of the Australian coastline. Amid this pristine environment stands a notable figure—the dog at the center, a subtle yet poignant symbol of impending change. Unlike the indigenous dingo, this dog, brought by early settlers, represents the first whispers of colonial influence, foreshadowing the profound transformation that would soon sweep across the continent. The untouched flora and the tranquil atmosphere evoke a sense of nostalgia for a time when the land thrived under the stewardship of its original custodians, inviting viewers to reflect on the pre-settlement era, contemplating the deep connection between the natural world and its original inhabitants, before the beginning of a profoundly destructive chapter in Australian history.

This is a screenshot of my animation. This animation is about my consideration about the water. Since water is running out one day, the water is taken as the shortage of supplies. It is sold in the shopping machine and it is hard to catch. I am using doll grab machine as a tool to express a kind of people's desire for water and it is hard to get. This story begins when all people walking on the street. The blue body represents water left in their body. When it is my turn to shop water. It is the last drop. My hands are starting to dry out. They became drier and drier until the bones are leaving out. The meaning of this animation is to call on people to save water and not waste the limited resources of the earth. I hope that there will be no "one drop left" situation.

A mother's loving gaze, silhouetted by a thousand pinpoints of lights, captured in a fleeting moment in time. A person's own upbringing, values and hopes for the future are reflected back to them in the form of their child.

Our childhoods compose such a short period of our lives. Yet, everything we do in this period strongly impacts who we become. I tend to do a lot of reflecting on my childhood and how I grew up. There’s a collection of photo albums at my house, each filled to the brim with photos from my childhood. Flipping through these albums is very nostalgic and causes me to reflect on how my childhood shaped who I have become. That’s where the inspiration for this artwork came from – an open photo album that depicts typical things I did passionately as a child. Spending time outdoors and flying kites, family trips to the beach, reading books. Celebrating birthdays, playing with stuffed animals and creating art freely. When I reflect on these activities, I realise that I’ve changed so much from the little girl I was back then, but at the same time, I haven’t changed at all. This artwork is a reflection of my childhood (and perhaps yours as well).

In a mesmerizing fusion of cultural heritage, my glass painting captures the essence of 'Reflection' by intertwining the intricate elegance of Bangladeshi Jamdani motifs with the profound symbolism of Australian Aboriginal art. The delicate patterns of Jamdani, symbolizing Bangladesh's rich textile tradition, flow seamlessly into the vibrant, earthy hues and dot work characteristic of Aboriginal art, representing the timeless connection to land and ancestral stories. Through this glass canvas, viewers are invited to reflect on the beauty of cultural diversity and the harmonious possibilities that arise when traditions intersect. This artwork is a testament to the harmony and friendship that can flourish between diverse cultures by celebrating the unique beauty of each tradition while highlighting their shared values of storytelling, community, and respect for heritage. This fusion honours the individuality of each art form while embodying the spirit of unity, illustrating how cultural exchanges can foster understanding, friendship, and a richer, more inclusive world.

A self-portrait mixed-media artwork; that encapsulates my journey into landscape architecture and its harmonious integration into my long-standing passion for arts and crafts. I employed heavy body acrylics and modeling paste to create a textured foundation, enriched with the vibrant hues of oil pastels. Crepe paper floral arrangements, artificial moss, and air-dry clay embellishments add a three-dimensional aspect, symbolizing my deep connection to nature and design. In terms of style, "A Meadow in my mind" merges elements of contemporary realism with abstract expressionism. Surrounded by intricate floral landscape that flow seamlessly into the subject, it reflects the symbiotic relationship between my identity and my artistic interests. My purpose was to delve into themes of personal growth and express how my passions emulsified. I invite viewers to consider how their own interests and beautify their identity, encouraging a deeper appreciation of the multifaceted nature of personal reflection. The vibrant, textural quality of the piece serves as a testament to my journey, making it a compelling and innovative work.

Traditional reflection: The Coffee set. This coffee set, reflects how traditions keep their essence despite the passage of time. Coffee is a common heritage in different nations which unite the world and give a sense of belonging. This coffee set represent middle eastern and Turkish coffee rich culture and tradition through the embedded design of the vintage looking utensils. The aroma, the taste, the texture, the gathering the joy, the laughs and the stories over a shared cup of coffee makes all the memories that take us back to special moments in our life. This coffee set, blends the continuity of culture, personal contemplation, and social bonds, which in return force us to pause to appreciate the beauty of these traditions and their impacts on our lives.

The design expresses my inner world with five Kpop music with the help of strange core elements. The main line of this project is the five works of the South Korean boy group StrayKids from different periods. They are real and have abnormal moments in some points, which is very suitable for me and is in line with the element of strange core. So in the side content part, I integrate myself into these five songs and their MVs. On the surface, I am talking about music and pictures, but in fact, I am a thorough analysis of myself. Finally, I will analyse myself in the form of a scene.

Rwa Bhineda is the concept of two different things becoming one where these two different things cannot be separated, good (represented by the beautiful girl in the right-side) and bad (represented by the scary figure in the left-side), day and night, left and right. The two complement each other and work together to form a unified whole, there are also differences when looking at yourself in the mirror, that's right, if we raise our right hand, our left hand in the mirror will be raised. In the course of human life, they will always encounter the elements above, self-reflection about the differences between two elements that need each other will produce a concept of balance within oneself, there will always be the temptation of evil in good, there will be a way of goodness in evil, by reflecting ourselves, reflect on the actions we have done and accept all these differences, then a harmonious life will be realized.

This drawing is inspired by a moment captured during a tour of a retrofitted building, crafted by Melbourne’s sustainable urban repurpose practice, Revival Project. The junction detail between the post and ceiling caught my eye, stunned me with its beauty and storytelling. The drawing features an original Oregon post, preserved from an old red brick warehouse at 47 Easey Street, Collingwood. This post, now given a second life, showcases a trimmed top reinforced with additional timber parts. It supports ceiling beams with a T metal bracket, symbolising strength and elegance. The drawing depicts a junction that is in proximity with many other building elements such as: timber return air grill, track light, and reclaimed timber ceiling panels, creating a cohesive and aesthetically pleasing composition. This pillar stands as a testament to sustainability, demonstrating how reclaimed materials can be transformed into architectural art, merging functionality with beauty.

This story is dedicated to all of those who have ever thought they were a little bit different from everyone else. It's a story about me, and probably a story about you too.

A pedestrian in a blue hat and jacket is walking past an old tree in this photograph. The trunk of the tree is covered with moss and the branches hover over a light yellow house in the background with windows reflecting the view outside. This photo brings a sense of stillness and reflection. The stoutness of the tree and its signs of aging contrast with the youthfulness and lightness of the pedestrians, as if to speak of the passage of time and the different stages of life. Pedestrians pass by in a hurry while the trees stand quietly, witnessing the changes of the years. This image reminds us that there are many moments in life where we should stop and reflect. No matter how busy we are, the environment and nature around us are silently witnessing and recording our lives. Perhaps we should be like this tree, quietly feeling the passage of time and thinking about our past, present and future, so as to find inner peace and balance.

In my photo of Japanese architect Tadao Ando’s M Pavilion, I explore the theme of reflections, both literal and metaphorical. Through the interplay of light and shadow, I aim to capture the essence of introspection and self-discovery. Reflective surfaces become portals to inner worlds, inviting viewers to contemplate their own journeys and perceptions. One of a triptych, each piece embodies a dialogue between the seen and unseen, mirroring the complexities of human experience. My artwork seeks to evoke emotions and memories, echoing the reflective nature of our minds. By manipulating perspectives and exploring the depths of reflection, I strive to reveal layers of truth and beauty that are often hidden beneath the surface. Ultimately, my art serves as a mirror, inviting viewers to pause, reflect, and discover new dimensions within themselves and the world. around them.

“Distorted” explores the theme of self-reflections and questions their authenticity. Often, we undermine or overhype our past experiences, skewing the purpose of self-reflection. This distortion becomes evident in everyday situations, such as reflecting on a situation, conversation, or filling self-evaluation forms, where we may unconsciously present an altered version of our reality. The essence of self-reflection is to grow from past experiences, but when our reflections are not genuine, this growth is compromised. Psychology research indicates that personality disorders and mental illnesses can significantly distort our thoughts and perception of reality. These distortions challenge the integrity of self-reflection, making it difficult to achieve true self-awareness. This portrait aims to visually represent these psychological complexities, highlighting how our minds can alter the truth. The sweeping of the acrylic paint across the portrait represents the imperfect and distorted nature of our reflections. This smeared effect emphasises the theme of distorted self-perception and invites viewers to consider the accuracy of their own self-reflections and the impact of these distortions on their personal development.

Architecture can serve as both a protective shield against external dangers and a vessel for interaction between humans and the environment. This concept originates from the MSD building and follows the university's sustainable development strategy, envisioning the future evolution of humanity, structures, and nature. By deconstructing and reconstructing the mediums of interaction between humans and nature—windows and exterior walls—a new form is realized.

Painted in my home studio, '5 Meditations' is a still life painting of objects arranged on a red silk drapery. The items included are representative of different forms of meditation including classical, spiritual, and religious. Still life paintings have been a major part of my creative practice since the COVID-19 lockdown, but this work varies from previous works in composition and subject. I feel that I am moving away from the genre, and wanted to try something different. '5 Meditations' aligns to the theme of ‘reflection’ because mediation is a format for introspection. The work features not only means that I regularly employ to meditate but also a skull and flame, motifs associated with ‘memento mori’ and ‘vanitas’ paintings. Throughout art history both forms of the genre are associated with themes of self-awareness of one’s life and behaviours.

Aletheia is a woman searching for herself in the chaos of the modern metropolis. Aletheia, which in Greek means truth, literally translates to unveiling. Reflection becomes both an inner and outer unveiling. It is a process of digging within oneself to understand and fill the dormant voids beneath the surface, but also a force that moves outward, leading to a confrontation with the world. The veil thus both uncovers and covers the essence of humanity and the cityscape. The metropolis is where our reflection takes place, a luminous synonym of opportunities and promises but also conformity and consumerism. Three butterflies, an expression of psyche in classical mythology and also a symbol of change, represent an evolution that is primarily an exposure, revealing oneself in forms that always include others, both complete and incomplete. A butterfly that is egg, caterpillar, chrysalis, and insect, in an endless cycle. An evolution that is, overall, discovering one’s truth, complete and incomplete at the same time.

"Reflection" is a layered concept, captured in this photograph of the circular stairs at Baillieu Library. The recurring curves and upward spiral symbolize my journey through life and studies while pursuing a master's of law degree at the University of Melbourne. The circular stairs represent the cycles of learning and growth I have experienced. Each step signifies a new challenge and lesson, illustrating the ongoing process of self-discovery and academic exploration. The circular form embodies completeness and unity, reflecting the interconnectedness of knowledge and personal development. Through "Baillieu Circular Stairs Reflections," I invite viewers to reflect on their own journeys and the reflections that shape their lives, recognizing that every small step contributes to the greater whole of personal and academic achievement.

Currently living in the western suburbs, on the border between beautiful Wurundjeri and Bunurong Country. During the final year of my Masters of Public Health, I have begun collaging as a non-academic pastime by completing a series of small works. The process of collaging is meditative and iterative, bringing together disjunctive materials into a reconstituted whole. As a queer person on the cusp on the parenthood, the last few months have been a period of intense reflection on the unknown future. This piece represents the spatial and shifting layers of perspective, combining disparate colours and textures into a contemplation — both tangential and ethereal. Collage provides a medium to blur the boundaries of perspective. A bricolage — created through the process of ripping, cutting, discarding and layering — the future, like myself, can be garnered in the reconstituted whole.

Reflection means drawing on past experiences to shape our futures. By self-reflecting, we aim to create change and improvements, allowing us to grow. “I’ve trained for this” addresses how I have been preparing myself since childhood, despite the uncertainty of the final destination. The train represents the journey, and the subjects on the train represent myself at various moments in my life. Even though I am looking through a window, I cannot help but see myself staring back. Each subject casts a reflection in the window, offering something to learn from. Abstraction and bright colours are used to convey the mixed emotions experienced across this journey. Some subjects face the windows, and others away, since self-reflection may not always be intentional. The train is arriving at Parkville station: symbolising the changing environment around me. I don’t know where my experiences are leading me to, but wherever I go, I reflect on my journey and the people I’ve met along the way.

I spent my early teenage years hating my father, followed by years of regret for feeling this way. The hardest part has been coming to terms with the fact that upon reflection, my father has always been the gentlest, most loving, and forgiving person I know. So why did I hate him? I feel so distant from my younger self and the way her mind works, so I may never know. My father is the gentlest, most loving, and forgiving person I know. I have inherited several of his traits, including quirky one-liners that have infiltrated my vocabulary and settled like stone. I hope to be as gentle, loving and forgiving as he is. However, I am very different from my father. At times these differences have caused conflict, but they have also equally brought us closer. Every child is not a complete reflection of their parent, which is what I have tried to capture in my incomplete portrait of Philip, the gentlest, most loving, and forgiving person I know.

“I see the most beautiful version of myself in you” – My mother used to joke that way when she brushed my hair when I was a child. Back then I didn’t understand why she said that. Now I kinda understand what she meant. She saw her youth in my face and how her present self reflected in the purest imagery with no judgment in my eyes. My eyes used to be the kindest and truest mirror. How I want to be like that again, having the most beautiful of people and the world reflected in my eyes. Now as I grow up, every time I see my own reflection, I am trying to be as kind and true. I want to keep saying: thank you for growing up so well despite everything that happened to you, you are the most beautiful to me.

In February 2024, during a university break, I ventured on a journey of self-rediscovery. After a period of depression and feeling adrift living abroad, I sought solace in the unfamiliar landscapes of Java. The experience of hiking through volcanic terrain, witnessing the mesmerising blue flames, and standing at the edge of the world's largest acidic lake became a turning point. "Tenacious Resilience" captures this transformative moment. The lone, scorched tree stands defiant, mirroring my own journey of healing and growth. Its ability to survive in such a harsh environment is a powerful symbol of the resilience we all possess within ourselves. Much like the tree, I too found the strength to overcome adversity and embrace the unique beauty and challenges of my new home. Nature, it seems, is the best therapy.

Reflection starts from within. I wanted to encompass the person that I am today, whilst still acknowledging the inner child that can often feel unseen. Growing up as a sensitive little girl who struggled to fit in, my goal is to celebrate her uniqueness as vividly as possible. The tattoos are an essence of the experiences that has shaped me to who I am today, displayed on my own 4 year old body. The term "crybaby" is commonly used as a way to invalidate another person's emotions. However in this painting, it is an integral piece to a beautiful artwork. This painting is done mostly with acrylic paint, and the tattoos are hand drawn using a ball point pen.

Australia has many iconic birds - from loud kookaburras to colourful lorikeets, it is hard not to appreciate the animals we encounter daily. However, I have always been interested in elusive species which often 'fly' under the radar! When I first heard of this fluffy fella, the male pink robin (Petroica rodinogaster), I knew I had to find it to see if the colour is as bright as it appears in photos! Pink robins live in the depths of wet rainforest gullies and move fast, often, all you see is a flash of pink before it disappears. It took me several trips before I managed my first sighting in the Otways region (on the lands of the Gadubanud Peoples). I snapped this photo as it perched for a second at the base of a waterfall before it quickly disappeared into the canopy. I can confirm that the bright pink colour is real, and so vibrant that it can be seen in the reflection on the water below!

This piece explores a male perspective on reflecting back through painful past experiences. Inspired by a conversation with a young man at a dog park, I was moved by his tender gaze as he shared memories of abuse. Despite the lack of protection during those times, he found solace in his dog, who provided security and healing. To honour his story and those like it, I painted an eye with the reflection of his dog. Using gouache, a medium that captures the tenderness of his gaze, this painting symbolizes the profound bond that helped him through his struggles. The eye, intimate and revealing, reflects a connection often unspoken but deeply felt. This artwork invites viewers to contemplate their experiences and appreciate the quiet, powerful role that empathy and companionship play in overcoming challenges. His story highlights the bravery needed to confront trauma and shows how simple relationships can provide essential strength and support. Through this painting, I celebrate the strength found in vulnerability and the healing power of unconditional love.