Art Prize Virtual Gallery 2023

Continuum, 2023 explores ideas around belonging and place through the collision of the natural material stone with the industrially processed materials of glass and neon light. With stone sourced from local Dja Dja Wurring lands the artist evokes questions that span beyond our immediate lifetimes into an immensely wider scope of deep time over millennia. Our existence is seen as a series of intense explosions of energy, contained within a narrow linear path playing with concepts of phenomenology, colour and light as a medium. Sensitive to the unique qualities and significance of stone, the artist worked in consultation with the Aboriginal Heritage Officer from Djaara Balaki Wuka.

Jogjakarta’s Pedicap Driver: The Embodiment of Unstoppable Joy" encapsulates a story of resilience, joy, and simplicity in the face of life's complexities. The subject, a pedicap driver, has become a symbol of enduring positivity through his 15-year tenure on the bustling streets of Jogjakarta. The artwork was born from a chance encounter. I was moved by his unyielding cheerfulness, despite the physical toll his profession took. His secret was simple: live without grand expectations, embrace simplicity, and inner peace will follow. This philosophy, an unexpected lesson in contentment, greatly impressed me and shaped the essence of the artwork. Shot against the backdrop of Keraton Jogjakarta, the photograph is a testament to his philosophy. The portrait is not just a depiction of his countenance, but also an embodiment of his unwavering joy and peace in a world fraught with expectations. The photograph serves as a visual narration of his tale, capturing the spirit of a man who finds his joy in the heart of simplicity.

Through this small window, people can see the ocean and the landscape outside and feel the vastness and mystery of the ocean. One can feel the connection between oneself and the ocean, and the strong connection between one's community and the ocean. The strong connection between the community and the ocean and its importance for trade, tourism and cultural exchange. The ocean serves as an important bridge for cultural exchange and trade between the community and other areas

My artwork, "XENO Morphinae," measuring 61x76cm, delves into the theme of community by presenting a captivating visual narrative. Inspired by the immense power of human connections and the significance of collective experiences, the painting explores the intricate relationship between nature and technology. Within this piece, a mesmerizing world unfolds, inhabited by a diverse array of exotic animals and creatures. From the depths of the forest, these beings emerge, transcending conventional boundaries. "XENO Morphinae" symbolizes the evolving nature of community, where robotic animals coexist harmoniously with the creatures we encounter in our daily lives. Through this artwork, I invite viewers to contemplate the shifting landscape of our interconnectedness. By embracing both nature and sciences, we open ourselves to a future where our definitions of community expand, fostering a sense of unity and belonging. The intricate details and vibrant colors employed in my artistic style aim to captivate the imagination and provoke a deeper exploration of our shared stories.

I was deeply affected by the alarming surge in Anti-Asian hate crimes during the Covid-19 pandemic. The senseless attacks on innocent individuals within the Asian community, particularly the elderly, have left me disheartened and outraged. It is unsettling to witness the harm inflicted upon people solely based on the colour of their skin. Amidst this darkness, I found inspiration in the courageous survival story of a grandmother. Her resilience and subsequent actions have deeply moved me. In her own words, she expressed her desire for the younger generation of Asian Americans to unite and stand up for one another, particularly in defence of the elderly. Moreover, I was deeply moved when I learned that this extraordinary grandmother, after raising nearly 1 million dollars (Gofundme), made the remarkable decision to donate every penny to the Asian American Pacific Islander (AAPI) community. Her selflessness and unwavering commitment to combat racism and injustice serve as a shining example to us all.

My grandparents appear small, but their shadows loom as large as the pillars around them. Nanna and Poppa are to our family as these pillars are to the Art Gallery of New South Wales. They are stalwarts; always there, never imposing, Their six children and seventeen grandchildren ebb and flow, and they steady the tide. This photo was captured spontaneously as I looked over to check on my grandparents as we explored the gallery basement; I was instead taken by the authority they commanded as they stood together in silence. The lighting creates lines drawing the viewers attention to the two, who are themselves illuminated by it. The colours are a muted sepia; Nanna and Poppa, the only colour in the photo.

“Tea time” represents the unique human connection that exists when people come together, no matter who they are. Just like the varied cups gathered in the artwork, I think communities are a place where people can bring themselves to the table and share their varied passions - in a special way that only the people within the community will truly understand. Not only can the tea table be a place to relax and share stories while enjoying a cup of tea, each member is invited to share the latest “tea” with each other. Millions of communities are out there and each one is in a world of its own. My communities help me to destress, improve as a person and motivate me to learn new things, making them an important part of my life. How about you?

My artwork "Somebody" captures a vibrant moment in Melbourne's diverse community. Through a photograph depicting individuals of various ethnicities dressed in colorful attire, gathered together on the street to participate in a community event, I aim to convey the inclusive and open nature of Melbourne's community. The image illustrates the power of a community that embraces and celebrates the unique cultural backgrounds of its members. By showcasing the coming together of different people and cultures, my artwork emphasizes the profound impact of these diverse influences on shaping the community. It highlights the importance of diverse perspectives and approaches in fostering a better, more inclusive, and comprehensive society. Through this visual representation, I invite viewers to contemplate the significance of human connections and collective experiences in creating a sense of belonging and identity within a community. My work celebrates the enriching and unifying nature of an open and inclusive community, where individuals with different backgrounds come together, contributing their unique cultural influences to foster a vibrant society.

This work consists of 475 unglazed ceramic scrapings. I’ve been collecting these objects for 4.5 years from the School of Clay and Art in Brunswick, where I teach. I’m thinking about this particular clay community. Each object is the shadow/remnant/ghost of a pot that was thrown on the wheel, scraped off the bat after the pot was wired off. I didn’t throw the pots, and sometimes I didn’t collect the scrapings either, some were gifted to me by people from the school because they know how much I love these little objects. In these scrapings I see more than the incidental remnants of a thrown pot. I see the rhythms of process and time: the centrifugal force, the push and pull, the concentration and struggles of the makers gathering each week to learn together. A material bond. The scrapings are artefacts of a communal studio setting. This community shelters me, and has given me a deep sense of belonging.

Oddkin is a creative reimagining of our relationship with the world around us. It enlarges ideas of kinship and communion with human and other-than-human beings in ways that are positive, generative, and ongoing. Questions of care and responsibility arise through a recognition of interdependence and entanglement. Methodologies of collage and assemblage speak to a relationship between parts. As these disparate objects - both found and made – are brought into relation with each other they become interconnected and contingent on each other both structurally and formally. While some components are set in place, they exist largely as a gathering of moveable parts: their composition is not fixed. Individuals and kin groupings have the potential to grow, to change and to merge, to become with each other in myriad unfinished configurations. It is in these (sometimes improbable) networks, in the coming together of lively and bumptious ideas, materials, beings, spirits and stories, that a space of possibility opens, allowing new ways of thinking about and engaging with the world to emerge.

In Islam, the calendar months move according to the phases of the moon, and one of the biggest celebrations known as Eid ul Fitr is often marked by the sighting of the new moon. This is a moment when community feels the most prevalent in my life as the nights leading up to the confirmation of the new moon feel alive with anticipation. There is a thread of connection with Muslims all around the world who also wait for this confirmation in the areas they live. Moon sighting is my depiction of how the night before this celebration feels. The night is alive with the promise of festivities and spirituality and that moment feels incredibly special. I've taken artistic liberties with the moon so it may not be completely accurate, but this digital painting is a snapshot of the bubbling excitement and the colour that punctuates the night.

Arriving in a new continent, I took my first step out of the airport and was met with the blinding sunlight. On my right hand, carried with me was my luggage which was packed half-full with Vietnamese instant noodles. Representing the uneasiness in my heart. Yet I remembered my awkwardness the very moment I stepped into the store, an asian grocery store to be exact. Rows and rows of shelves filled to the brim with magnitudes of items. Mostly unlabeled with the prices hard to find. Unorganised, chaotic, and cluttered but it reminded me of home. Showing me that there was a long legacy of predecessors who felt the exact same way I felt when I took my first step down that airport. All of these feelings came from just a “grocery store”. A symbol of our community, and even more so, heritage is unashamedly unfolded into this small building. To represent not the things we left behind when we move but the values we bring wherever we may go.

The beach is where my family meet and connect every year, we come together to remember happier memories with those who have left us, and create new memories. The water holds a strong sense of place and connection for me, and I wanted to represent this in my painting. Every summer I try to spend as much time diving in the waves and reconnecting with self and others at the beach. The act of painting was a mindful exercise for me, and always grounds me during my studies. I have used oils to create this painting, using the imprimatura technique, slowly building layers of tone, texture and colour.

In my perspective, the community resembles sunshine. Upon observation, it emanates a luminous and harmonious white hue, radiating with vitality. When this brilliance interacts with a transparent structure like a diamond, it reveals a stunning rainbow of diverse colors, reflecting the richness of cultural backgrounds within the community. This is reminiscent of the precious and captivating Australian society, where transparency and a well-defined structure, like a diamond, allow for the vibrant celebration and appreciation of diversity, fostering harmony and unity.

Following the pandemic and the prolonged isolation experienced collectively, as well as drawing from my own experience in 2023 with my chronic condition emerging and causing me to suffer socially, physically and mentally, I’ve become more aware of the importance of community in a more personal sense. This piece dissects the notion of community in panels by suggesting its presence even when we least expect it, along with the overwhelming support that it can provide, letting us know there’s always a seat at the table waiting for us, even when we’re not able to fill it.

Da Nanpo community is a modern village with a neo-Chinese style. It is a village that combines modern Chinese architecture and traditional Chinese village style. I stumbled upon the Da Nanpo community on a driving tour, when I approached the Da Nanpo community, many villagers sat together and chatted enthusiastically. I was fascinated by the simplicity of the people, the fresh air, and the kindness of the buildings. In China, villages and communities have much in common. More and more villages in China are renamed as communities, which means they have more systematic management and construction. The Da Nanpo community told me that preserving and upgrading the countryside is also contributing to the preservation of Chinese history and culture.

Food always brings communities and families together. Food doesn’t have to be complicated - the act of breaking bread together is all that is needed sometimes. This paining represents the coming together of friends and family.

In the cocoon of my childhood, I learned to navigate life’s challenges alone – bottling up my struggles, reluctant to seek solace from those around me. But fate dealt a heavy blow, shaking my very foundation. Amidst the storm, I found courage to speak my truth, “I am not okay.” In that vulnerable moment, my puzzle began to shift. To my surprise, the community here embraced me with unwavering support. They didn’t pry, judge, or dismiss my pain; instead, they offered genuine compassion and encouragement, fostering an environment where healing could bloom. It was then that I realized the transformative power of a nurturing community. Armed with the compassion I received; I aspire to initiate change in my community back home. However, vast cultural differences await me. There, mental health is often misunderstood, its invisible wounds dismissed. I expect resistance, isolation, and even hostility, as my efforts may be seen as wrong and weak. But I remain steadfast, knowing that change can come one piece at a time.

This place five years ago, a tsunami hit me. I didn't lose my life but lost my soul for a while, displaced from family and fisheries communities. Yet, I stand with a new hope to recover stronger eventually - The untold story of losing communities in Central Sulawesi.

One in five elderly Japanese is predicted to have dementia by 2025. As the population ages and forgets, so do traditional crafts and customs. The artwork is a spatial exploration of the intersection of hand crafts, community, and tradition, in modern day Tokyo. Borrowing the age-old craft of Sakiori weaving, where old fabric is cut into slices and rewoven into new clothes, the project proposes a space where family members young and old can weave together. Creating new memories through traditional customs, enveloped in a tactile space for those whose minds are faltering but senses remain lucid.

Communities gather people from diverse cultures. In Melbourne CBD the diversity is largely comprised of students from multiple nations. And these apartments are full of “color”. Every window has a different story. Every car has a unique journey. Be it moving or stationary diversity makes us unified!! Irony

It was sunset on a cold winter evening off the coast of Bicheno, Tasmania. As I meandered through the glowing dusk, I spotted a peculiar community resting together on a rock out to sea. A group of Australian fur seals were peacefully sleeping amongst the Black-faced Cormorants. Just like me and my friends, these gentles souls were enjoying the sunset together. I am fortunate to capture such a magical moment using a drone from afar, watching over the peaceful community of these two very different species.

Hi Melbourne, today I play in one of your public parks and I am so happy. I feel safe and accepted even though I am little bit different. I really enjoy the playground with smile and passion. Thank you for everybody there for your kindness and, especially, for a mom who said I am cute. I feel blessed and cute too 😊. Now, I have to talk with my parents that I want to be here. I need to be part of your community that threats every person equally. I also really want to keep the beautiful and safe playground for my successors. Melbourne, with you, my life will be happier. Melbourne, I join you.

Many community members with vulvas struggle with vulva insecurity. We live in a society where shame, stress or embarrassment around vulva related topics are often rooted in a lack of proper education, negative experiences with intimate partners or misinformation from mainstream media. Just like any other part of the body, vulvas come in all shapes and sizes – but many people have never even seen their own. With Labiaplasty being the fastest growing cosmetic surgery in the world, statistics show a huge number of vulva owners are worried that they don’t look “normal”. I believe this is due to a lack of education about vulva diversity in our society. I hope to show that vulvas are art. Tufting is an age-old technique that has been used for centuries, and like our vulvas it is 3-dimensional and prone to natural variations. I hope that seeing a vulva as art may help one member of the community to embrace their own vulva and foster a sense of acceptance and belonging.

Community is central to Aboriginal and Torres Strait Islander peoples, alongside Country and culture. First Nations' settlements were designed to strengthen social cohesion, adhering to strict kinship rules. 'Community I' is an abstracted map as much as an artwork. The black shapes relate to areas of natural vegetation while the white areas denote cleared land, generally for buildings and roads. The orange and red circles denote First Nations' artifacts found in archeological digs prior to clearing the land for a new subdivision. The bigger the circle, the more artifacts were found in that location. Artifacts, long abandoned, tell a tale of past occupation and community. At the same time, the white areas of denuded land tell the story of current occupation, a story that is being repeated all around the country as we clear more land for more suburbs. Is there community in these places? Is there social cohesion?

As an artist and a Ph.D student studying ecology, I am inspired by the idea of bridging the gap between science and art. This artwork, painted in gouache on canvas board, celebrates the remarkable diversity of organisms in Victoria and the intricate relationships within these ecosystems. This artwork embodies the theme of 'community.' Drawing inspiration from the ecological communities that shape our world, this artwork highlights the interactions of many organisms, including plants, insects, and fungi. Through bright playful colours, this painting embraces the excitement of a thriving ecosystem and invites the viewer to consider the beauty and significance of these ecological communities. We are also part of this interconnected web, and it is our responsibility to conserve and cherish these invaluable ecosystems.

The wind, as a messenger, connects everything in nature, from the sea to the land, from the mountains to the sky. A giant invisible net constructed by the wind, under whose dome everything lives, forming an all-encompassing community that encompasses everything, a super-community that spans time and the world, contributing to the constant change of the planet, for better or for worse. Maybe you can find something in this wind to...

The Melbourne Marathon draws a bustling crowd each year into the city, for a grand running festival. It aims to celebrate runners of all backgrounds and ages and showcases the true spirit of running. The final straight of this marathon event shows the true magnitude of this event. A busy crowd gathers at its end, eager to celebrate their achievements with their friends, family, and other runners of the wider running community. As an individual, it is very easy to become lost amongst the masses, especially when searching for a familiar face in the crowd. However, wanting to be found may be needed to find that someone in the crowd.

Football is a powerful force that unites people from all walks of life. It brings us together and teaches valuable lessons to our young people, lessons that can be applied throughout life.

Become a community is not only about the similiarities, but also how we manage to become one as a diverse background. Community is not for the one, but is everyone's who has the same spirit and vision.

An insight into Vietnamese fishing community. Heads butted, cruel words exchanged, elbows thrown all in haste to acquire the best catch. Tensions flare as the community competes, but when all is said and done, they sell side-by-side at the markets. Respect is fundamental. All will be repeated tomorrow morning, and for eternity.

Last year, 37 years after my birth, I finally made a film: Dream Workers. Producing a film always necessitates a collection of people working together but I made this film thanks to a different type of collective experience. The meaning of this collective radically differs from a conventional interpretation of community. As my community consists of people, living on the shelves of my library. They are alive and they are dead. They are musicians and filmmakers that I have never met. Such as Audre Lorde, Agnes Varda, and Sara Ahmed... Instead of a bunch of familiar strangers who might be relatives or family members, my community consists of chosen proximities. The feminist painters and female philosophers who cleaned the path so that others like me have fewer obstacles on the way are my community. In this still image, taken from my documentary, their faces might be invisible to the eye. But in fact, they are there, in the letters of the word written on the wall.

‘That looks misplaced and utterly sad, I wonder how it got here’ – my internal thoughts when I looked down at this pillow on my rush to class. In the somber alleys of a dimly-lit city street, a poignant photograph captures a profound truth – an abandoned pillow, basking in the ethereal ray of sunset. Yet, beyond the surface, this seemingly innocuous image unveils a powerful symbol of homelessness, exposing the plight of those abandoned and forgotten by society. Through this evocative snapshot, I aim to shed light on the harrowing reality faced by those sleeping on the streets, a consequence of abandonment, abuse, and systemic injustices. The displaced pillow stands as a metaphor, representing the countless individuals who have become lost in the shadows, their stories obscured and their struggles unknown. Homelessness has become a new norm in Melbourne CBD, to a point where many have unfortunately stopped caring about the ‘why’, and become so numbed and indifferent toward a significant part of our community.

He sinks into a vermillion dream – a sea of clouds, a lake on the moon. The human form lies at the core of both my art practice and medical career. This drawing depicts the body in a state of utter repose, exploring the meaning of human dignity and vitality. Thousands of pencil marks coalesce to create the illusion of form, volume, and a unique human likeness. Analogously, it often takes an interwoven community of loved ones and caregivers to nourish a unique human body and mind. As a medical student studying at a bustling tertiary hospital, where patients are looked after by a dynamic and multidisciplinary team, I appreciate this daily. To make this drawing, I worked from direct observation of a life model holding one pose over multiple sittings. This collaborative artmaking process would have been impossible without my own community. I am grateful for friends at Hawthorn Artist Society for the studio space, colleagues who offered invaluable artistic advice and support, and – of course – my life model.

Unreal is the new surroundings I found myself in when I moved by myself for university. Moving interstate alone meant that I did not necessarily feel a sense of community. This series is collages using photographs that I have taken around Melbourne CBD and the excitement I felt in this new physical environment as it fulfilled a sense of embrace. I perceived the physical environment as one of true culture, vibrancy, and exhilaration, further reflected in sourcing collage elements through local pop-culture prints sources. Through this lens, an abstracted sense of community meant that I always felt welcomed and though alone, I was never lonely.

This photo was taken during my inadvertent exploration of the natural surroundings of the school with a friend, a Broomtail Possum climbing a eucalyptus tree and looking high up in the opposite direction from the observer, with city lights close by in the background， which strongly contradict with the partial theme of pure nature it dwells in. This makes the possum appear as if it is an international student, immigrant, Australian aboriginal person, or person full of ambition and a feel of uncertained future in a rather tight place connected to the others but didn't merge in, physically or mentally in a existentialism basis. This photograph is meant to evoke a sense of empathy for coexisting beings, in a common but fragile and closely utilised existence, in our communities.

Community typically incubates a shared direction and the sense of belonging among its members. Hill marker on Point Ormond welcomes the group of sunset watchers on a daily basis. Undoubtedly, they gather here for at least one similar purpose, that is, waiting to catch a sight of the last beam of the day. But as far as a community is concerned, do they feel like they belong in one? Further. Can this temporary gathering really be called a community? How short can one not be referred to as a community? And vice versa, how long can a community last? Can long standing enemies be called community as they also share, somehow, similar direction? It may take many more sunsets to answer these questions. Better find some companions to crack them. Oh, and one is found, can we also call it a community?

This photograph is taken by a film camera. It shows the extraordinary combination of nature, human and human creation, which is my understanding of ideal community.

This is a prayer wheel at the Great Stupa in Bendigo, Victoria, where the famous Jade Buddha is housed. Sponsorships of the prayer wheels are usually made in the names of the sponsors, or dedicated to loved ones. This particular prayer wheel struck me for its lack of ownership and simple, yet universally shared aspiration. Whilst I did not take this photograph to submit to this competition intentionally, I believe it is reflective of the theme because there would be no community without motherhood.

As an artist, I find myself captivated by the profound connections between nature and humans. In my latest body of work, “Crimson Rosella” I delve into the intricate tapestry of relationships between these stunning birds and the vibrant communities they inhabit in rural Queensland. Through my art, I strive to celebrate the resplendent beauty of the Crimson Rosella while weaving a narrative that speaks to the essence of community and interconnectedness. The Crimson Rosella, with its striking plumage of deep reds and blues, it becomes a metaphorical muse that embodies the spirit of unity, diversity, and harmony within our human communities. These enchanting birds, much like people, thrive when they are surrounded by support and acceptance. They illustrate how strength lies in our unique colours and voices, and how together, we create a symphony that enriches life.

The first time we came to this country, we could only see an empty sky and a wide lawn. We didn’t know how to immerse ourselves in this unfamiliar setting, that has a different colour of culture and varied nature. We try to walk slowly to climb the hill of success and connect with new friends with whom we can share the same goals to be the change makers. For international students like us, the community not only represents people’s connection but also how we associate ourselves with all parts of the ecosystem that supports our existence. And yes, we now realise that the sky is no longer plain, and the lawn is no longer dull. Because we can feel how our community has become the soil of our passion, like the lawn as the foundation in every step, like the sky that shows us unlimited possibilities. We know it’s not easy to finish the journey, but just believe that we can nail it.

As part of Chinese New Year, it is tradition for elders to give red envelopes containing money (‘Ang Pao 红包), to the younger generation as a token of good luck. My mother would share stories that warned us to never throw out the Ang Pao as it would invite bad luck. Although I wouldn’t call myself an overly superstitious person, for some reason myself and similar western-born-Chinese friends held onto this belief and accumulated many Ang Pao over the years. Using the Ang Pao, I carefully attached each envelope to an old red ball gown. The red envelopes symbolise Chinese culture, and the gown represents the trends of modern society that our community have grown up with. My artwork explores the cultural elements of Chinese New Year traditions and superstitious beliefs that have impacted our community, who are spread across two cultures. It takes a reflective view of the social and cultural clashes, and the struggle we face with promoting our Asian heritage in modern western society.

I have a family with members from diverse ethnic and sexual backgrounds. My artwork aims to show how each member fought against the tide to be accepted into the family fold. Against the tide, each one of us paved the way for another -to be accepted for their authentic self. We thrive as a vibrant community of enablers, disrupters of known patterns and believe that the change we affect within our family is a small step in embracing diversity in the larger global community. We lead by example; we are the world.

The work is a 3D mapping of six circular videos and experimental audio, each video gradually abstracts from the figurative objects of life, eventually transforming into the natural objects that connect us to our lives, with the figurative objects mapping the individual, and the natural objects ultimately acting as a vast community that encompasses each one of us. The circle is inspired by Mandala, the psychologist Jung’s belief that the archetype of each of us is divided, and each individual in the work symbolises the small circle, building a network of relationships within the community through the exploration of their own heart and identity. The viewer is transported into a virtual world of individual inner and community group consciousness. The circle symbolises the human mind’s quest for a realm of freedom and eternity, and man’s quest for unity and harmony. At the end of the images, they return to darkness, reflecting the viewer’s face, which provokes the viewer to think about themselves, and all the viewers who see the work can also form a community.

Our Lollypop Lady Pauline served her community for over thirty years at the school crossing. She was an integral part of our school community, having lived in a house across the road for over fifty years where she raised her family. She knew a lot of families and students from our school, having her knowledge of the local area span over several generations. She had a pet bird named Toohey that features in this artwork. Every Friday I would gift her with a cherry ripe as a way of saying thankyou for the work she did in getting all the students to school safely. This is in her pocket in the painting. The triangles in the back ground represent over her eighty years of connecting with the local Chelsea community and St Joseph’s school and parish. Pauline was employed by the City of Kingston in her role, but also served on the Chelsea parish and parents and friends groups for many years.

This photo was taken in one of the universities in Melbourne. During the visit, it is lucky to meet their graduation ceremony and feel the meaning of this slogan and clear the connection with the community on that day. In the days when we study hard, we have gained a lot, which could be called “wealth”. However, it is not limited to money, it also refers to the knowledge and ability to help people and unleash power to create well-functioned community, which is more important. Graduation is not the end, it is a new beginning to embrace our community.

My connection to my local community is based around nature. I meet so many people (and, even better, their dogs!) by walking my dog and spending time in parks. I never felt like a local until I adopted a dog; it’s amazing how animals can connect complete strangers in a moment of laughter. I made these little creatures from natural objects I found on my walks and air-dry clay. Referencing human and marsupial babies, insect larvae, puppies and ‘sea-pigs’, these vulnerable creatures need each other to survive. They symbolise community at its most fundamental.

Janur, or palm tree leaf, is an integral part of the Indonesian society. It is something you can always find whenever Indonesians get together, such as weddings, funerals, other religious and cultural events. It symbolises community in Indonesia: frail on its own, but sturdy and beautiful when put together.

When discussing community, my first thought is city, Melbourne city. For me, Melbourne city is the community I am in now. I came to this city when I was an undergraduate and started my university life. And I have completed my undergraduate degree and entered the University of Melbourne for my postgraduate study. Everything about me has always revolved around the city. For others in Melbourne city, they are living, studying, working, socializing, and experiencing the multicultural exchange and collision. There is no doubt that Melbourne city is a community for all of us. This photo was taken in Docklands, with Marvel Stadium in the near distance and Melbourne city view in the far distance, combined with a brilliant sunrise. As the first dawn breaks through the night, a new day begins for everyone in Melbourne city. We are all in this community moving towards our goals and becoming better versions of ourselves.

Sport has an incredible ability to transcend race, sexuality, ability, gender and understanding. It can create the most unlikely friends that can share in the most unbelievable moments. It creates community among individuals that would otherwise have nothing in common besides the chant they can all recite in celebration. As well as the shared look of understanding when the celebration doesn’t come. Community is forged in all the little moments that happen in sport, and most of them have nothing to do with what is happening on the field. This photo is representative of the little moments, within the big ones, that are rarely captured.

Prior to the rise of the Taliban, women’s communities in Afghanistan were making progress in terms of rights and recognition in society. However, the Taliban’s governance brought one of the worst human rights records for women, leaving them vulnerable and oppressed. Their rights were stripped away, and they were confined to their homes and denied access to essential healthcare and education. The destruction of religious monuments and the enforcement of a restrictive dress code further marginalized women’s communities. Tragically, the Taliban subjected women to heinous acts of violence, including rape, abduction, and forced marriage, leading some families to send their daughters abroad for protection. Afghan women community were systematically excluded from the workforce, losing their roles as teachers, doctors, nurses, and clerical workers. The painting serves as a powerful reminder of the immense challenges faced by the Afghan women community and the urgency of protecting their rights and freedoms.

The diorama depicts fictionalised landscape representation of Loch Eil Outward Bound school near Fort William in Scotland. Embedded in the artwork are various scenes made up of mini figures who represent a group of university students undertaking an Outdoor and Environmental Education journey. Through immersion in the outdoors groups of people form community though building genuine and authentic connections and sharing collective experiences. The outdoor education groups in the diorama experience landscape through adventure activities, delve into the rich tapestry of diverse cultures of the Celts by looking towards the back scene of Ben Nevis (the home of Cailleach, the Celtic goddess of the wind), and unpack their relationships with nature shaping their identities and fostering a sense of belonging. For example, the group uses their imagination whilst canoeing to search for the loch ness monster and unpack their relationship with the environment through witnessing a group of hunters killing a stag. The artwork situates the viewer to join in on this experience.

I’ve been working with the Marshall Islands in varying capacities over the past decade, largely as a conservation/climate change project manager. Most recently, I’ve been working with the College of the Marshall Islands on developing community-owned IP (www.landofdanger.com) which successfully fundraised over US$4,600 for publishing a comic book starring the first Marshallese superhero. This piece examines themes of island contamination with radioactive isotopes from the series of United States nuclear tests between 1946 and 1954, the inability under current known technology to appropriately rehabilitate and reinhabit the atolls, and the inescapable trauma it has wrought upon the Marshallese community. This is one painting of a series, in which my method involves using my PhD. case study themes to prompt AI image generation. I then use the result as a reference image for my painting, which I undertake with watercolour and brushes on hot-pressed A3 300gsm acid-free paper. This piece depicts a Marshallese scientist and lab technician featured in the forthcoming climate future case studies of my PhD. dissertation.

Lotus flower language is clean, high moral integrity; Lotus can also express the quality of firmness, purity, innocence and purity. my favorite is the water-lily. How stainless it rises from its slimy bed! How modestly it reposes on the clear pool. In traditional Chinese culture, lotus is often used as a symbol of peace, harmony, cooperation, joint force, unity and union. That is the value of the community. This moral also represents the positive community environment, which creates a sense of belonging for all members.

As an artist, my realism oil-painting captures the timeless allure of a Persian carpet, weaving together intricate cultural heritage and captivating beauty. Through meticulous brushwork and an acute sense of detail, I aim to transcend the canvas and immerse viewers in the essence of this cherished art form. By elevating the humble carpet to the realm of fine art, I invite contemplation on the interplay of colours, patterns, and textures, fostering a dialogue between tradition and modernity. The carpet’s symbolic significance echoes the interconnectedness of humanity, where each thread contributes to the larger tapestry of existence. In exploring the rich history and craftsmanship behind these rugs, I aspire to evoke nostalgia while offering fresh perspectives on their enduring appeal. My painting seeks to honor the artistic legacy of Persian culture while inviting audiences to rediscover the ordinary and discover the extraordinary in a piece of woven art that embodies both history and artistry.

This photograph is a visual ode to the vibrant and historic Fitzroy Street in Melbourne. Here, the past and present, art and life, reality and dreams intertwine to form a unique urban tapestry. The focus of the photograph are old architecture covered in graffiti, a symbol of Fitzroy Street and the soul of this community. These graffiti are the creations of street artists who have left their mark on the texture of the city with spray paint and imagination. They tell the story of Fitzroy Street, showcasing the diversity and innovative spirit of this community. Above the architecture , the purple sky and bright moon form a dreamy backdrop. The colour purple here not only symbolises mystery and creativity but also represents deep contemplation and endless possibilities. It is a reflection on the history of Fitzroy Street and a vision for its future.

My artwork titled “Hug” explores the profound gesture of human connection within the theme of community. Inspired by the power of hugs to transcend barriers and foster belonging, I captured genuine moments in Melbourne’s diverse CBS side. The act of hugging emerged as the most representative scene, symbolizing a universal language of connection, empathy, and support. As I filmed during a rising festival, the ambiance amplified the emotional impact. “Hug” showcases the tapestry of cultures and shared stories, § emphasizing how this simple act bridges divides and forges strong bonds. Through my approach and style, I invite viewers to reflect on their own experiences of community and the profound impact of shared moments. By presenting this artwork, I highlight collective experiences and the significance of human connections in shaping our identities.

The members of this dragon dance group all have Chinese ancestry. Even if their appearance no longer has Asian characteristics, they will not speak Chinese. They will be proud to tell you that their ancestors came from China, and they have fully preserved the tradition of dragon dancing during the festival. This photo was taken on Easter in Bendigo in 2023. There, lived a group of Chinese descendants who immigrated with the mid-19th century "gold rush".

Celebrating diversity on campus is about creating a community where everyone feels welcome, respected, and valued.

Our well-being as social creatures is intertwined with relationships, social circumstances, history, and culture. The influence of others extends beyond the individual, shaping our interconnectedness. During COVID, I returned to university, seeking community and connection within the educational system. Online learning provided a wonderful sense of camaraderie with fellow students. Back on campus, I treasured every moment, exploring Melbourne University's natural wonders and beautiful buildings. Architecture and design play a crucial role in shaping our environment. Each time I pass through this old campus building, my sense of community and belonging amplifies—a shared experience among past and future students.

For me, community means acknowledging and understanding how household labour impacts our lives. As we assume more duties and face blurred boundaries, it's crucial to strike a balance between our working and personal lives. In my art practice, I enjoy delving into the mundane facets of daily duties such as cleaning, laundry, and caregiving. This helps me relate to the everyday experiences of people and feel more connected to them. I have created 'laundry packaging', using my family's washing piles and photographed them in a way that looks like product advertising.

"After a good dinner one can forgive anybody, even one's own relatives." Oscar Wilde. My colourful, textural, towers are created from hand-built ceramic cups, bowls, glasses and plates. I am drawn to domestic everyday objects that facilitate our lives - meals shared as family, friends, neighbours - community. The vessels are bearers of potent memories that become conduits for storytelling. The sorting, ordering and stacking of these domestic objects gives me a sense of peace and control. Their narratives are thoughtfully reframed through the prism of vibrant, fanciful assembly. Despite the playfulness of the pieces, an uneasiness lingers in their perceived physical instability, adding depth and complexity to the narrative. It is this juxtaposition that invites viewers to engage and participate in unravelling the layers of meaning in each artwork.

Embracing the vibrant threads of community, my photograph weaves together diverse stories, cultures, and connections in Little Cove, Noosa. Through the depiction of people, I celebrate unity and shared experiences. Together, people contribute to a grand tapestry, each thread enriching the masterpiece of the community of Little Cove, Noosa.

This picture captures Nga on a day trip to a cherry farm in Silvan. Walking up and down the orchard selecting the best picks. The picture shows Nga’s warmth, which she radiates in the community in North Richmond. Nga loves singing, dancing and is often around lending a helping hand and saying ‘how are you today?’. Nga is quite a star having featured in multiple pictures which have been displayed in Richmond housing estate and Federation Square. The picture reminds me of how much I love the community in Richmond and my enjoyment and luck of working at Belgium Avenue Neighbourhood House. There are daily pleasures like Nga learning how to sing songs in French. Community is everything.

I made this work during my residency program in Centre Intermondes, La Rochelle, France, from May to June 2023. I weave portraits of people I met in the city during my residency. At first, it was difficult to communicate with the people around me because of language problems and the adaptation period. The impact is a feeling of loneliness and confusion, not knowing what to do. Luckily, these people help gave me many suggestions. As simple as wanting to be talked to, it's very helpful. This work represents the adaptation process. In a new place, there must be walls that make it difficult. However, if we keep trying, we can find fluidity, a fluid atmosphere, in the community. This work is important not only in the residency context but also in my presence here in Melbourne. I came to this city three weeks ago as a new PhD student. I will use the insight I got from the work above to adapt to my new life in this vibrant city.

I was born into a divorced family and had been taken turns taken care of by my grandparents, aunt and uncle, mother, and father’s new family before I grew up, but most of the time, I took care of myself. As I grew up, I gradually realized I am distinguished from those 'traditional family children', especially in my personality and how I think of a family even though I've lived through such inclusive and diverse big families, and I can get double, triple and even quadruple love from them. However, much love, much pressure; waves hiding behind the peace. Distinct families make me hard to find the one giving me a sense of belonging. Maybe I'm too greedy, or this is human nature. These photos include partial members of my family, various stuff from my homes, and myself. No matter if they are ignored or paid attention, they invisibly affect me. The unique story shapes a unique person, which explains the self in a unique community.

My painting shows an array of fruits on an old wooden table. This painting serves as a metaphor for the theme of community, illustrating how different individuals, like the diverse fruits, can come together to create a beautiful and harmonious whole. The fruits' various flavour's symbolize the diversity of talents, cultures, and perspectives that contribute to the richness of a community.

It’s interesting to found how similar nature and humans are, there is no same tree, and their community, is the forest. For me, most of the communities in my life are used to chit-chat with others, and people gradually approach or alienate me in the process of sharing the trivialities of life. Community is how humans conclude with the outside world, and it also makes them independent individuals. Every individual is brilliant and unique.

Inspired by the multi-cultural landscape in Singapore, I wanted to capture the essence of how each person can possess both similarities and differences with another in the same community. We might be similar in terms of age or race or religion, but every person is in their own unique season in life. The flowers in the photograph might look similar to each other, but there are differences that can also be seen, or even unseen. Ultimately, these flowers, with the right amount of sunlight and water, will bloom when the time is right. This represents how I view my community - with the right support from various aspects of our lives, we will grow together at our own pace.

From childhood, community is something that encompasses, embraces, and influences us. We learn to navigate and grow within a network of connections, to family, friends, neighbours and strangers, and our lives leave reciprocal traces of colour and light on those to whom we are connected. This artwork is an expression of the love and tenderness of community. The colour choices are whimsical, evoking childhood happiness and comfort, while the overlapping layers, textures and patterns of gouache reflect the disparate but unified nature of a community – the many separate elements that together form a whole. The image of melaleuca trees with interlocking roots also recalls the subsurface communication of trees through their network of roots and mycelia, the human need for empathetic connection, and the fact of our fundamental interrelationship. The central figure is my mother, my life’s first connection, as she carries her grandson through the park.

Our communities are comprised of diverse and sprawling connections. Like fungi clinging to glistening moss, we are each unique yet indelibly connected through an unseen network. We thrive as the fruits of our communities.

I took this photo during a Wednesday night group training, capturing both marathon runners and dedicated athletes on the sports field. In the 3rd month of coming to Melbourne, I fell in love with running. In the 4th month, I decided to challenge myself to a half marathon. In the 5th month, I ran my first 10KM along the Yarra River. By the 6th month, I joined the group session for the Melbourne Marathon. Became part of the running community, I am getting closer to the finish line.

When I think of communities, I am struck by the overlapping nature of our human existence together. There are so many interconnected, complicated threads of individual lives that sometimes come together, and sometimes only briefly. One thread may never touch another. They may not even know of the other’s existence. Yet they are linked by a woven mass of another thousand threads, each one marching to its end with singular determination. When you focus on a single thread, the purpose seems unclear. What’s the point? But when you see how they join together, it starts to make sense.

Every time I attend a Chinese temple fair, I am deeply shocked. In Chinese history, the early role of temple fairs was to offer sacrifices to ancestors or to pray to the heavens for good weather and good weather for the people to live and work in peace and contentment. With the changes of the times, the current temple fair retains the original wish of seeking happiness and adds fun. Let me feel the profoundness of Chinese culture and increase my sense of national identity.

Back in 2018, I moved to Melbourne for my undergraduate degree. Ever since then, I have been living in Carlton, which has been more than five years now, and I am continuing my learning journey in Dentistry. When thinking about ‘community,’ Carlton is the go-to term. This photo was taken on 25/07/2023 at 6 pm after I finished a whole day of classes and clinical sessions at the Royal Dental Hospital of Melbourne. I had a review appointment with one of my lovely patients for his gum health, and I was impressed by how much my patient’s oral condition has improved. With overflowing gratefulness in my heart, I was on my way home when I saw this amazing view captured in this photograph – warm lighting, calming sky. ‘Community’ is more than a location; it is a warm and welcoming place for everyone to live, grow, and eventually give back. I am privileged to have the opportunity to live, grow, and slowly start to give back to the community now.

Cities and food have always held a special place in my heart. To me, the community thrives within the bustling streets and lively buildings, especially when we come together to share a meal. The built environment acts as a stage, setting the scene for our lives to intertwine with those we already know or are about to meet. Vibrant streets, colourful parks, evocative buildings, and magnificent squares hold countless cherished memories and stories of our collective journey through life. Amidst these urban landscapes, social gatherings are held where food is a constant companion, acting as a bridge between people from all walks of life. When we sit down to share a meal, barriers dissolve, and we find ourselves enveloped in easy conversation. Memories and stories flow freely, creating lasting connections and nourishing bonds that foster in us a sense of belonging.

Within a Post-colonial frame, within a place now known as Melbourne. Melbourne’s Merri Creek has long been patronized as a contested site of leisure, wastage and infrastructure, yet this intricately carved Wurundjeri ecology continues to gather diverse communal listening to its powerful material pedagogy. Recent global trends have granted political rights to rivers and creeks, such as Aotearoa’s Whanganui River and Melbourne’s Birrarung council of 2017. However, the Merri Creek Ecology remains outside such remote experiments in contemporary bureaucracy, whilst critics ask; “Should rivers have legal rights?”1. As urban pressures increase around the Merri, the architectural opportunity emerges for new typologies to answer this complex duality and respond. Design holds capacity to situate and spatialise the developing political agency of the creek within its unique elemental and cultural conditions. This work proposes an integrated architectural program of ‘Creek Council Embassy, Community Ecology, and Public Listening Place’ to be relationally designed and enmeshed within the particular tectonic conditions of the Merri Creek valley at Clifton Hill, Victoria. 1. May, C Should Rivers Have Legal Rights? Melbourne Law School, 2020 https://law.unimelb.edu.au/news/MLS/should-rivers-have-legal- rights

Humans live in communities with different beliefs, cultural backgrounds, and thinking styles. It is precisely this diversity that enables people to brainstorm and work together to overcome difficulties and tasks. The hands in the picture are from different people, who may be of different races, ages, and genders. When everyone is planting tulips together, some people cover the wind and rain, some loosen the soil and fertilize, and some provide sunlight. Because of the joint efforts of everyone in the community, flowers can bloom, just like any feat accomplished in human history.

I visit Uluru on July 2023. I saw a local man instructing didgeridoo outside the Gallery of Central Australia. The low voice drew a large number of people to listen to it, so that people's troubled minds were promptly calmed.

I am inspired by the numerous cafes on the Parkville campus, which provide students with a good opportunity to communicate with each other. Ordering a cup of coffee, sitting at the surrounding tables to study or talk with their peers is definitely a landscape. So I created the work COFFEEmmunity, depicting some well-known cafes, each of which has its own characteristics. I hope my work can reflect the community of all the coffee lovers here.

Melbourne is a diverse city, very inclusive and open. Next to the Yarra River, there is a graffiti street, where the painted graffiti walls are full of vitality, attracting people of different races and cultures to come and appreciate. Everyone's face reveals a smile.

Community is all about how even an unassuming chess ornament in front of the State Library of Victoria can intertwine people's activities and build friendships.

I come from South Korea, the only divided nation in the world. In 1950, we were thrown into the Korean war, where an external force divided our nation in half. The mountain that divides North and South Korea, has led to a growing distance between unification over 70 years. The division of community is not a unique story to my homeland. We dichotomise ourselves regardless of systems or geography as if the world is made up of two incompatible people. After coming to study in Australia, I witnessed the confrontation between the indigenous and immigrant communities here as well. My work represents this dissension in our community, portrayed in yellow and red figures. However, in the end, we are one. A true community is achieved through supporting each other, irrespective of background or social status. In my work, yellow and red come together, holding hands, and supporting each other beyond the physical barrier of the mountain. The birth of harmony within our reconciliations was portrayed as a baby and his mother in different colours.

Food is important to Chinese and the best way for Chinese to fit into a community is sharing food with other members. The 3 pandas(symbol of China) in the picture are sharing hotpot (a kind of Chinese food) with each other in a yard and wear traditional Chinese costumes. Besides, Usually, people in the same community may do same things with each other, so the 3 pandas in the picture may cultivating food ingredient together before. The picture shows a typical harmonious community in China.

This project uses a native plant, swordgrass, to make handmade paper to express the connection between the people who live in Australia and the land. The project aims to emphasise the importance of connecting with the local environment and indigenous cultures. We should not let them disappear in the process of urban development and end up having to learn about them through exhibitions like this one. The transparency of the paper does not only represent the transparency of the material, but also the transparency of the relationship between people and the land, and the transparency of the importance we attach to the land. How much we value this land determines the direction of the change in transparency.

This artwork represents our vibrant community, which is formed by bringing together diverse cultures, embodied by the two ladies holding pots that symbolise our individual identities. The melting pots in their hands vividly illustrate the profound impact of cultural fusion in shaping our original selves. Similar to how these pots made of different elements melt together to forge a single, stronger metal pot, we, too, blend harmoniously, uniting our strengths to create a resilient and fortified community. The two coloured lines on the forged pot symbolise our appreciation for diversity. While we stand together as a strong and united community, we also take delight in the unique colours and characteristics that each individual brings.

Community was something that was historically denied to people like me, and otherwise sought in secret. As a queer woman of First Nation's descent, I learnt from my family that aspects of identity should be hidden for our protection. The women of my family adopted facets of religion forced on them through residential schools, marrying white men and changing their children's names from Cree to Christian in the hope their babies would not be taken away. Traditions were passed down orally and in secret, we were taught how, but not why we existed this way. After my father died a violent death, I was raised on a religion falsely attributed to him and taught to hate who I was. Instead of embracing my ability to flow between genders and walk two paths I was told that it was a sin of the flesh, that I needed to be saved. Emancipation actually helped me rebuild my identity and discover what community truly meant. After I was kicked out onto the street as a child I started my own path and I found true community among my queer and chosen family.

This picture taken at Shibuya station in Tokyo initially invites the viewer to look beyond the construction works and the overhead bridge towards the bright and colourful advertising in the background. In my interpretation of this year’s theme of community, the advertising becomes a metaphor for the expectations placed on us by the communities we live in. In the subdued foreground, the flock of commuters slowly navigates their way towards this vision, identifiable only by the colour of their umbrellas. This highlights a question that many of us are faced with: Should we stand out, or fall in line? Reflections of the light from the vision are warped and blurred together, reflecting how social expectations can shape our identities and behaviours. As with communities, the construction works are also constantly changing. If you were to go back to this exact location now, you would not be able to see the same landscape, thus emphasising the fleeting nature of communities and the ideas that are echoed in them.

Oculus is an immersive sculptural installation that explores the consciousness of connection felt between people and with place through a direct sensory experience. Through thick refractive acrylic and a large circle of semi-translucent mirror, viewers perceive their own reflection overlaying images of other people and their broader non-human, natural and architectural surroundings. It encourages playful curiosity, wonder and connection that cultivates an expanded sense of self through identification with a broader community environment. Developed through an art/science dialogue as part of Melbourne Monash Consciousness Research, Oculus also generated new research relationships through its process. The final sculptural installation provided a catalyst for discussion among a cross-disciplinary academic community as well as broader public on the capacity for art experience to cultivate a sense of connection with others, the influence of environment and the role of these experiences in feelings of agency, belonging, care, mental health and wellbeing.

This work is inspired by the community of people in the Philippines who shaped my childhood. My world was small yet also large. Every person was my aunt or my uncle, grandma or grandpa without anyone explaining how exactly we were related (or if we even were). It was an ever-expanding network. Every birthday, every feast day, and every funeral was filled with food. Food was in colourful wares brought by grandma’s friend, the neighbour’s co-worker or the grown-up cousin who is home from overseas, all to celebrate, to partake or to console. Everyone was making-do with very little yet very loud in their generosity. Recently, I learnt that "barangay” (the Tagalog word for “village”) originates from the word “balangay” (a kind of Filipino boat). Even in earlier times, our sea-faring ancestors took their communities with them wherever they went; partaking in happiness and sorrows. This culture of belonging and sharing has survived to this day. With this work, I aimed to capture the people and the spirit that make our communities.

While the word “community” invariably indicates people, with their various natures and in their varied interactions, “community” can also refer to a plethora of other aspects of society. Through this piece I wish to bring to light what often shades us from light, and the pieces of this world that are often left out in the collective conception of “community”. As people of the modern age, we are often too preoccupied with productivity, pressuring, or too constricted by our chores, creeping, to notice the canopies above, covering. And yet, everyday these slumbering giants, branches spiralling, leaves tumbling, soothe our sight and supply us shade through their colours and their cracked ceilings. The first column: powerlines that provide energy, a worker that builds, a bee that pollinates, each critical to “community”. The second: a park to rest, an event to attend, a building to work in. The third: the beauty that exists just above our heads. From bottom to top, the cycle of the seasons, ever-present.

Consider a room full of individuals, gathered together for a multitude of common reasons. You may know each and every person in that room, yet for the most part, what you perceive is the empty space between those individuals. It is almost as if the entire room remains colourless until that one person shows up, standing out to you like a vibrant red rose. Only after that moment does the crowd appear to you as a community, transcending mere numbers and headcounts. It is that single soul that defines the essence of gathering, imparting life to every corner of the room in your eyes, like a solitary red rose infusing an entire space with its vibrant hues. So, this piece of digital art is dedicated to that one special person in everyone’s life who paints our world with colours and transforms the mere crowd into a community.

My artwork captures the subtle beauty of a mundane yet profound moment on a university campus. It portrays a group of University of Melbourne students, hailing from diverse backgrounds, walking together near the Bailieu Library, likely on their way to a tutorial or lecture. In this ordinary scene, I aim to showcase the power of human connections and the sense of community that arises within educational settings. The students' varied backgrounds symbolize the rich tapestry of cultures and experiences that come together in a harmonious journey of learning. Through a realistic yet intimate artistic style, I seek to evoke nostalgia and a sense of belonging for viewers who have experienced similar moments. The artwork emphasizes the importance of togetherness, friendship, and shared experiences in shaping our identities and fostering a deeper sense of connection within the campus community. As viewers engage with this piece, I hope they recognize the beauty and significance of these seemingly routine interactions and appreciate the profound impact that collective experiences have on our personal growth and understanding of the world around us.

"This work is based on a forest plant community that I scanned as part of my PhD research using Terrestrial LiDAR in order to characterise forest structure in fire affected forests. I was compelled to make this work from the laser scanning data as the beauty and complexity of the forest seemed to be lost when I characterised it with numbers alone. I segmented my scans and explored how colour and transparency can depict depth, incorporating both complexity and similarity across the layers. Much like our human communities, the individual plants within this community shape those around them – either assisting or competing with one another. Evidence of previous disturbance and recovery, in this case fire, can be seen in the failed shoots sprouting from tree trunks across all the layers. Despite the individual differences, the entire community faces the same stressors and disturbances as a whole."

I am a Finnish-Australian artist and I work across sculpture, installation, print and video, with textiles located at the centre of my practice. I use these materials to explore a physical embodiment of ways of relating and feelings and expressions of identity. My current project explores the ‘Coat of Arms’ as a way to explore nostalgia and interactions between national and personal identities. I have been able to connect with Finnish culture throughout my life by visiting the Finnish Society of Melbourne - most recently my visits have allowed me to conduct research for my master’s project. I have been creating abstracted images of Finnish heraldry, and screen printing my own coats that feature multiple 'arms'. One day I wore one of my ‘coats’ to the Finnish Society and I brought a camera. During my visit I looked through the community library. The resulting image is a photographic record of that visit. I see this as a record of how identity is created in community settings and how that connection is important for wellbeing.

To me, community is the "Integration" of people or animals or nature or all. Community is quite similar to the Matryoshka Doll or the nesting doll, which though are separate entities but still could be integrated into one. Each doll in the painting depicts some of the common communities of animals, children, elderly people, the artists, the indigenous people, the rich, the poor, and the students. The seven dolls representing the seven colors of the rainbow also integrates the pride community. All these communities are separate but yet connected in another way such as in a community of neighborhood which might include all the individual entities from each of these communities. On an ending note, I view community as a medium of integration and connection which brings about unity in diversity.

I'm a PhD student starting research on improving dairy cow health and longevity. Before coming back to the university, I spent a decade working on dairy farms in Australia. During this time dairy industry went through several ups and downs, and someone created a Facebook page "Show some dairy love" to support dairy farmers. My inspiration for this artwork came from Paul Kent and his cow Bootz. Paul quickly became popular on the "Show some dairy love" page. He is one of the first farmers in the dairy community who broke the stigma around mental health and became vocal encouraging many farmers to seek help and support during dark times. Paul like many dairy farmers has a strong connection with his cows and always says "These cows are my family". In this drawing, I wanted to share his deep bond with Bootz and raise awareness about mental health in the farming community.

My work focuses on finding creative ways to visualise the processes that underlie the creation and maintenance of functional organisms. As a scientist, I utilize powerful microscopes and biochemistry, which allow me to explore the hidden realms of cellular activities. My artistic journey revolves around the beauty of natural forms and shapes. Using fluorescence to tag proteins, I capture enthralling images that unveil the wonders of biological processes. These images, while scientifically relevant, are captivating to the eye, blurring the boundaries between art and science. The complexity and coordination found in the vascular network have always amazed me. This fascination and the concept of "community" inspired my piece titled "I'll Find You." "I'll Find You" reflects my personal experience as an immigrant. I explore the subtle but profound impact of community on our lives, something that goes unnoticed for many years but eventually, shapes your journey. It is a tribute to the power of unity, where the strength of one person's journey resonates and ripples through the lives of others.

This work represents Australia as a vibrant mosaic of cultures. Drawing from my unique experiences as a Master of TESOL student and an Adult Migrant English Program (AMEP) teacher, I have intricately filled the outline of the Australian map with 50 snapshots. These images serve as a symbol of the Australian Citizenship Act 1973, enacted 50 years ago, which helped to establish the multicultural Australia of today. Each of these pieces captures the essence of my students from diverse cultural backgrounds, traditions, and religions. Carefully stitched together, these images form moments of joy, unity, and belonging, presenting Australia as an inviting and harmonious community. This land signifies more than mere geography; it embodies a shared humanity that transcends our differences. Through this art, I hope to inspire a broader sense of belonging, showcasing Australia as a land where everyone can feel at home, celebrating their unique identities within a harmonious community.

This photograph represents what community personally means to me by displaying a collection of objects that depict my mixed heritage. Community in my family has always been appreciated by coming together and enjoying food and each others company. As a result of this I view my mixed identity as the coming together of these communities, this is what inspired this photograph and the others in my “Collection of Identities” series. The objects photographed were selected to depict how the mixing of different cultures can come together cohesively, they were chosen to reflect each culture while also twisting the traditional narrative these objects would usually carry. The English tea set and Scottish tartan clad biscuit tin hold Malaysian Kueh (small desserts we eat at celebrations) and Ceylon tea bringing together the four cultures and communities that make up my identity. I have enjoyed this process of creating a visual exploration of my cultural heritage and the rich communities in which I live.

This is an image of the cities most iconic piece of infrastructure. This links to the idea of community as flinders street station ensures to keep a range of lines connected all of which meet in the middle, right here in the heart of the CBD. The moving lines also helps to depict the idea of connectedness through our city, where in which comes alive in the night time. This image was taken with a standard digital camera, placed on a tripod with an extended shutter speed setting of 6-8 seconds. It was later put into PhotoShop to help under-expose the image as it did start off very blinding. The reason why I changed the image to black and white is because I wanted to depict the contrasting tensions between the movement of the continuous lines from the stillness of the infrastructure and road lines.

Emojis as a collective resource are designed to reflect parts of our world. They help to scaffold communication in online communities, and are one way we express ourselves to others when we are apart. Here I have freed them from their usual linguistic accompaniment and placed them in an explicitly visual space, building them up in layers to create a chaotic image of “community” in a familiar, virtual register. Their ambiguity enables this supersaturated representation to be read in a variety of ways, reflecting the differing interpretations of “community” at play in our (sub)cultural bubbles. The humanoid emojis possess (potential) signifiers of emotion, race, and gender. Depending on how much weight a viewer places on these elements (and how we read the "default" emoji skin colour), this image of “community” may come out as pessimistic or optimistic, confused or clear, descriptive or surreal.

On 26/11/2008, a terrorist attack shook Mumbai on the CST railway station, leaving everyone deeply scarred. My dad and uncles couldn't return home due to unpredictable bombings. My fondest memory growing up in Mumbai was Holi - a vibrant festival of colours uniting our diverse community with Gulaal (pink colour). Moving to Melbourne, I discovered Holi celebrated near Flinders Street Station. Sharing my culture with people from diverse backgrounds sparked an instant sense of belonging. Recently, I found that the architectural blueprints of CST and Flinders Street's station were inadvertently swapped in transit. Now I see these stations as the gateways that intertwine my culture and community together, which is reflected in my painting - (left) CST marred with blood-red commemorating the lives lost, a girl playing Holi in the centre symbolising hope, and Flinders Street Station (right) adorned in Holi Gulaal. This represents resilience, unity, and the profound influence of communities. It reminds me to embrace togetherness and celebrate the beauty of diversity that threads our world together.

This digital artwork is inspired by a piano piece, which I interpreted by writing code to visualise the music. I collaborated with a pianist who created the audio recording for this work. This recording can be streamed from https://on.soundcloud.com/bfdPD. From the musical data file, I wrote code to extract the volumes and durations for every note played. Much like a record player, the time ‘axis’ is the underlying spiral. Each point represents a note played, and its coordinate has been shifted according to the pitch. The volume of a note is shown by the size and colour of each point. My work as a scientist is very often driven by artistic principles such as beauty, simplicity, and creativity. Conversely, concepts in music like tuning and rhythm are inherently mathematical. I was inspired by the theme of “community” to consider how the scientific community and the musical community share considerable overlap despite their very different outputs, and to show this in a collaborative artwork that combines music and science.

This work imagines the theme of ‘community’ literally—to depict the university’s Parkville, Southbank, and Burnley campuses and their surrounds—and figuratively, to show the more-than-human ecosystem of plants, animals, and landscapes of Melbourne/Naarm. It depicts New Year’s Eve of 2020, a time when many people were still ambivalent about going out, showing a lone figure silhouetted in a high-rise window. While they don’t appear to be ‘with’ others, they are connected to other illuminated windows across the city as they watch the fireworks. A group of flying fox bats also passes overhead, and a neighbourhood cat relaxes in a shopfront window. Local landmarks, like the Eastern Hill Fire Tower, the Exhibition Building Dome, the Carlton Albanian Mosque, and the John Medley Building archway, share space with more abstracted palm trees, bus stops, and construction cranes.

One of the subjects in the Master of Cultural Materials Conservation course gave a group of students the opportunity to visit Ngarranggarni (Gija) country in the northern corner of Western Australia, around three hour’s drive from the Northern Territory border. As we were not permitted to share images of this part of the country, I therefore drew the scene when a professor was crossing the river to pick us up, with uncle Patrick, an aboriginal elder, standing behind her. During our time there, we were welcomed into the aboriginal land, providing an unbelievable opportunity to learn directly from the aboriginal community and elders – artistic, cultural and spiritual knowledge. More than gaining experience and knowledge from the people in the land, as students (and many of us are international students), it was an opportunity to show our respect and to promote the uniqueness of Gija culture. Perhaps most importantly, however, it was a phenomenal chance to extend an educational bridge, and illustrate the power of human connections – to be part of the community that glues the institution and the Indigenous Australian community together.

On a bright sunny noon as I was walking on the trails of a hidden wetland site in India. A hazy picture of human figures was seen from far away. As I approached the scene, a group of women dressed as men were resting under the shade of trees, waiting for the boat. Within the rectangular frame, the photograph conveys the exhausted emotion of the women depicted by resting their hands on the waist to gain a momentary relief. The workers in the image can be seen resting on the pile of the invasive weed they have removed through the day which is a symbolic representation of their hard labour. The water body in the background covered with the weed also tells the strenuous work that the people would be doing in the coming days. As this community of men and women at the forefront of environmental conservation clears the waterbody for the upcoming migratory season of birds. Surely, not all superheroes wear capes many remain in disguise.

This work is the answer to the question of who composed the community. We took photos of people from different backgrounds and asked about their definition of community. Then we printed their portraits, dismantled and combined them to create a new face. The disharmony of combining diverse faces represents how the community comprises various people with unique identities. The completed new face reveals that people live in harmony despite their differences. An individual in a crowd does not stand out and is just an isolated fragment. However, when you pay attention and look closely at them, you will realise how many intriguing stories an individual has. Those abundant stories gather and give vitality to the community. In the invisible richness of the community, how much you will enjoy this benefit is entirely up to the individual’s decision. “My definition of community is shared vulnerability” – JL “Finding home in other people” – Katie “A group of people binded together by a shared goal” - HP

Human evolves to be social creatures. Being part of communities is just part of our lives. Together, we share a profound sense of belonging, support each other and create unforgettable memories. Looking at this photo always reminds me that we live together in a community full of warmth and togetherness. Life is not a solo journey, we should always appreciate the communities that enrich our lives and cherish every moment spent together.

I chose Holly Voges for the subject of my painting. I wanted to encompass what made the scientific community feel intimate, collaborative and welcoming to me. So I felt I had to choose someone not only known well to me, but someone who I admired both their scientific input and their fostering of inclusive values. Holly is a constant smiling face and despite her bursting schedule she is always generous with her thoughts and ideas and welcoming to newcomers of the institute. Her energy enables her to excel at collaborations with scientists and clinicians alike when she divides her energy between creating stem cell derived heart valves for use in children with heart disease and fostering greater inclusivity and diversity through her work with SAGE at MCRI. I chose vivid colours to emulate the absurdity and surreallness of what we often see down the microscope, with inspiration taken from the artificial colours assigned during fluorescence microscopy. I chose to include motifs of stem cells and cardiomyocytes in the background as a homage to her contributions to her field.

The circle has been used as a symbol to represent a place of gatherings, meeting, oneness, unity, family and community by people all over the world. This handmade sterling silver pendant is set randomly with stones from all over the world - diamond, turquoise, sapphires, ruby, nephrite, moonstone, chrysoprase, tourmaline, jadeite, emerald, rose quartz, opal, peridot, and pearl. Some stones I have been given, others reclaimed, some sourced and others cut by myself. Some are set upside down, some have natural inclusions, some are chipped. I wanted to represent my ideal community, a place where no matter what your ethnicity, physical or mental differences are, that together we support, inspire, create and enhance each other. Or my daughter commented, it looks a little like a group of bacteria, which is another sort or community and just as important. LOL.

Breastplate is a reflection on being a part of multiple communities, and how these groups combine to create our own personal community and support our sense of identity. The medium of crochet is itself tied to the central theme, as fibre art has traditionally been handed down through family and communities. The concept of community is strongly connected to acceptance and inclusion. Without these factors, navigating today’s world can be a lonely and vulnerable experience. Even when we aren’t physically connected to our communities, we carry them with us through every interaction. The self-drafted meshwork of figures hold each other to create a network, forming a sort of armour. Traditionally associated with protection from a potentially hazardous environment, this reflects the way experiences of community can provide safety and confidence to the individual as they go out into the world.

The color 'blue' always means peace and harmonious in my mind, as well as sunshine means. The photo always makes me delve deep into the lovely blue house and the bright sunshine. I think the scenario is exactly what a ideal community in my mind. I hope people can find their inner peace and have a rest in their home after a long and busy day.

Street art is a “live culture.” Buskers from diverse cultures spread their distinct cultures through body language. Walking down historical Flinders Street, buskers busking, from Bourke Street Mall to the world. The City of Melbourne is known for its vibrant street culture and the values that buskers bring to the community. As we see rich local characteristics of the art of life and urban culture, I then understand “The rich tapestry of shared stories from buskers has formed our identities and encouraged a sense of belonging in the community.”

My work encapsulates a visionary reimagining of the Old Quadrangle's columns, an embodiment of the University of Melbourne's core ideals: community and cultural diversity. Much like the Quadrangle's central presence, these pillars stand as the bedrock of the institution. My designs draw inspiration from my diverse life encounters, resulting in a tapestry that honors various cultures without appropriating them. I emphasize that my intent is genuine and devoid of cultural appropriation. In crafting these columns, I prioritize artistic expression over technical constraints. The fusion of intricate designs mirrors the interwoven fabric of our university society. Every stroke is a tribute to the harmonious coexistence of different cultures. As the Quadrangle's architecture echoes the university's essence, my proposal mirrors its commitment to fostering unity through appreciation of our collective heritage. Through this artistic venture, I aim to foster a sense of belonging and celebrate the mosaic of identities that enrich our academic landscape.

In Whispers, I wanted to explore the theme of community as interface with the past. An open channel to the past can give deeper resonances to how we participate in our immediate and broader communities. What do the voices of the past say? Do they speak as one or as many? Should they scream when they whisper? To evoke these questions, I arranged my subjects using diverse artistic styles. The upper section depicts a stretch of Eastern Australian landscape in the style of Australian impressionism, particularly the 9 by 5 Impression Exhibition, cobbled together from first hand references. The lower section depicts a body of spectral figures scratched out of the paint, mired in black strata. The middle section depicts a simple abstract structure enclosing a human figure with their head to the ground. The desired interplay is for the underground chorus to challenge the over-world, mediated through the central figure. The challenge may be hard to hear but it must be heard.

This artwork is the symbol of the world and different cultures fusion representing as a single community. In the right side you see the Eastern cultures and the left side of the picture shows the Western cultures. Drawing upon the vibrant colors, intricate patterns, and majestic architecture reminiscent of ancient Persia, I employ a mixed media approach, combining acrylics, charcoal, and pastels to create a visually compelling and textured representation. The fusion of various mediums reflects the diversity and complexity of cultures, embodying its ability to adapt, evolve, and persist through the ages.

"Rising;" is a film photograph taking with the Fujifilm Tiara with Kodak Ultramax 400 Film during the graduation ceremony held in 13 August 2022. On paper, "Rising;" meant student risen for academic staff on stage to leave, it can also meant as a graduate community, we rise and stand on the precipice of change, bidding farewell to the community we have build and known for 3 years. Blurred academics leaving at the background also convey a sense of fading familiarity, as graduating individuals in the foreground signifies our eager anticipation of new communities we are to build in our future.

Behold this artwork, a vivid portrayal of the 'community' as a majestic long-distance train, where we share journey towards a common destination. Through the windows of existence, we gaze upon the panorama of life, eager to extend our hands to the world outside, yearning to embrace the wonders it offers. Yet, the unspoken norms and boundaries of social interactions halt our daring dreams, pausing our outstretched desires. (1st window) In other seasons of life, we gallantly pursue individual freedom, shedding the cloak of conformity, and fearlessly painting our thoughts and actions with the hues of authenticity. Yet, in this audacious endeavour, we may face the tempest of alienation, challenging the notion of belonging. (lady at the last door) There are some stages of life when we are neutral and try to find the subtle balance between both ends, seeking solace amid the swirling currents of life. (monk at the window) Alas, all tales must find their closure, and we have to disembark at the end. (man at the middle door)

I named this piece 'The Story in Your Eyes' because changes in a person's health can often be detected through the eye. Every patient that comes into the clinic has a different story to tell, so each consult and treatment is tailored and personalised accordingly. I initially wanted to blend the theme of 'community' into healthcare and how it impacts the wider community, however I decided to narrow it down to optometry as it is what I am most familiar with. Since studying optometry, I have come to realise the importance of optometrists in not only providing the best possible vision for the patient, but also screening, diagnosing, and managing the patient. It is common for optometrists to communicate with other healthcare professionals such as GPs, and it takes a team of healthcare professionals from different disciplines to achieve the best outcome for the patient.

I want to express the simplest but the greatest hope of my community: happiness and harmony. Recently, my community experienced flood damage due to a typhoon. People lost their homes, farmers lost their land, and lives were lost. It was a heavy blow to my community. I heard many touching stories of people helping and protecting others, contributing to the recovery of the community. The people in the community are kind, helpful, and strong, and they believe that everything will return to normal soon. My watercolour painting represents the happiest life that everyone desires. It combines the natural environment and the built environment to show the community's strength, friendliness, and vitality. The best life is a simple one.

‘Clinking’ is a photography collage that superimposes my most important social gathering moments with friends at the dining table since I came to Australia in 2015. These valuable occasions have witnessed my journey from being a foreign international student to gradually settling into the local community while encountering friends from diverse cultural backgrounds. In this collage, food serves as a universal language, acting as a binding medium that unites diversities. Each culinary experience represented in the collage reflects different cultural communities. At the center of the artwork, the typical Australian backyard firepit attracted a wide range of cuisines, from Western and North American to fusion and Asian, mirroring the Melbourne community. The title, ‘Clinking,’ refers to the sound produced when using cutlery and toasting, adding an audio dimension to the visual narrative. Through the integration of visual and audio elements, I aim to recreate those unique moments that highlight the highs and lows we shared within our own small communities, and the meaningful connections we formed.

For me, community is a sense of belonging. As someone who recently moved across the globe, this touches upon the very thing that has challenged me over the past month. However, I took a leap and discovered that community is formed by the people we connect and surround ourselves with. This artwork illustrates how communities are integrated, much like the sky and the land. It reminds us that we are connected in more ways than we can sometimes imagine. Inspired by Dutch art, such as Delftware tiles and van Gogh’s Starry Night, and by Australia’s Aboriginal art and flag, this connection becomes evident. Our footsteps might be different, but we ultimately share the same journey of life. My journey is still being written and is just one thread woven into the story of countless others of my community. Being part of a community means that we are never alone in our stories. We can lean on each other for support and encouragement as we continue to take leaps.

My painting seeks to convey a powerful message of unity, respect, and equality among diverse cultures and traditions. I present a compelling visual narrative that celebrates the essence of "community" through the portrayal of women in five distinct roles. The 1st image features a woman adorned in a white dress, her eyes blindfolded as she stands bravely with a sword and scales of justice in her hands, symbolizing her unwavering pursuit of justice. In the 2nd image, This portrayal emphasizes the significance of compassion and friendship in forging strong community bonds. The 3rd image captures her engaged in a physical workout, lifting weights in the gym, showcasing her commitment to building physical strength and mental resilience. In the 4th image, she gracefully performs the traditional Indian dance form, Bharatanatyam, immersing herself in the cultural heritage passed down through generations. Finally, the 5th image portrays her as a fashion model, confidently walking the runway with a positive attitude. This represents her ability to adapt to contemporary trends while staying true to her roots, embodying the dynamic nature of modern-day communities. Through this artwork, I would like to remind everyone that by nurturing a sense of belonging and celebrating our differences, we can create a harmonious and inclusive society where every individual is valued and respected.

As a migrant child, for years I felt like I didn’t belong anywhere. During undergrad, I realised that I didn’t need to belong to a physical place; home is the feeling of being with friends who have been and will always be with me. In honour of those friends who helped me in the huge transition of moving to another part of the world, I created this painting on my face inspired by the four representative textiles of their respective states in India. For me, community means being able to belong with each other no matter where we come from, where we are or where we go. (Top right – Mysore Silk from Karnataka; Top left – Sambalpuri Fabric from Odisha; Bottom right – Paithani Brocade from Maharashtra; Bottom left – Kanjivaram Silk from Tamil Nadu)

I took this photograph while walking through the CBD one day. The first thing that catches your eye is the strong colours and figures in the graffiti, but a closer look reveals a person sitting in the alcove, obscured by the walls. This figure is an existence that is recognized but concealed, much like those excluded from the prevailing currents of society. The importance of “community” is something I have had to think about a lot as an Iranian woman who moved to Melbourne last year. “Communities” exist everywhere, but every “community” implies insiders and outsiders. When I first moved here, I felt invisible and spent a lot of my time walking around the city by myself. One experience cannot be reduced to another. Still, this street scene evoked the importance of belonging and the complexity of overlapping communities: we are often near people, yet not connected to them.

We are idiot meme lords with no serious contribution to the world; except that we are best mates - and that is worth expressing. I painted my friends Eily and Leili as whimsical and mischievous circus freaks with extravagant costumes. Their faces are manipulated by an Instagram filter and when I show them this horrible depiction of themselves they will be terrified but they will laugh. That is the nature of community with my friends. We are UniMelb Grads who bonded over an obliteration of meaning. Delivered in the right context, any compelling piece of art will do its work. Eily and Leili - have a great week.

“Community” to me is about a sense of belonging and being respected, sharing, and living together with harmony, liberty, and democratic rights as reflected on the gate of a diverse community, aiming to unite people from all walks of life, to embrace, and to celebrate their differences.

Currently, we are living in a time where our decisions will determine the fate of the earth and our existence for the next couple of years. Due to this overwhelming responsibility, many of us live in fear, denial or hopelessness. This art piece portrays a plant with water droplets reflecting back a human hand. This is a reminder that we are a reflection of nature and nature is destined to thrive. The different colours of the rings represent optimism. Red for enthusiasm, yellow for hope, blue for trust and silver for prosperity. The first step towards a brighter tomorrow is connection. Therefore, when you look at this art piece, imagine a community where humans, plants and animals live and grow together in harmony.

In this vibrant composition, a group of five youthful souls converge against a backdrop of graffiti-adorned walls, a testament to their shared bond in the eclectic Little Collins Street community. Every selfie captures a distinct personality yet unifies in showcasing the collective spirit. They're a patchwork of individuality, each distinct, but integral to the rich tapestry of their shared experience. The graffiti, much like the community it represents, is dynamic, expressive, and constantly evolving. This urban tapestry serves as a silent but colorful chorus to their shared stories and mutual experiences. The delight in their eyes reflects a profound love for their community, and their mirrored selfies symbolize the enduring echoes of their interwoven lives. This creative tableau is a unique exploration of the theme ‘Community’. It peels back the layers of conventional interpretations, delving into a personalized narrative of identity, belonging, and the power of collective experiences within a vibrant urban enclave.