Steven Alderton is the Director and CEO of the National Art School with over 25 years’ experience in the visual arts and education as an artist, curator and director. Previous roles include Director of Programs, Exhibitions and Cultural Collections at the Australian Museum; Director Casula Powerhouse Arts Centre; Director Lismore Regional Gallery; Manager Bundaberg Arts Centre; Director Redland Art Gallery; Curator Wagga Wagga City Art Gallery and Events Manager at the Institute of Modern Art. Steven established an artist run initiative and artist studios just after leaving Art College and is committed to developing and fostering emerging artists and sustaining mid to late career artists’ practice.
BA Fine Arts (VIC College, Prahran), GradDip Fine Arts (VCA)
Simon Cooper has practiced and exhibited extensively throughout Australia and internationally. His work is held in numerous private and public collections throughout the world including the Art Gallery of New South Wales, the National Gallery of Australia, Canberra; and the Seoul Metropolitan Museum of Art, South Korea.
He completed his undergraduate studies in Printmaking at Prahran College, Victoria and his post-graduate studies at Victorian College of the Arts in Melbourne. Simon has taught with a range of institutions in Australia including Victorian College of the Arts, Melbourne; RMIT University, Melbourne; University of Southern Queensland; and Chisholm Institute, Melbourne. Since joining NAS in 2001 as Head of Printmaking, he has held other academic positions within the school including Acting Director, and is currently Head of Studies.
Dr Ian Greig is a painter with a PhD in aesthetics. He is a graduate of the South Australian School of Art, University of South Australia, where he was awarded the University Medal and an Australian Postgraduate Award. Since 1998 he has taught AH&T, Painting and Drawing at the South Australian School of Art and since 2004 at the National Art School, where he is currently the MFA Coordinator and lecturer in Honours AH&T and Research Methods.
His 2002 PhD thesis “The Aesthetics of the Sublime in 20thC Physics” explored the aesthetic dimensions of physics and found a new location for Kant’s theory of the sublime. It was praised by its three international examiners as ‘ambitious and original groundbreaking research’, with Professor Paul Crowther declaring it a ‘substantial contribution to our knowledge’ and ‘exactly the kind of thing we need.’
Since 1998 he has held 16 solo exhibitions and his paintings have won numerous awards, including the Santos Whyalla Contemporary Art Prize; the Nexus Fleurieu International Visual Art Scholarship; and the University of South Australia Art Purchase prize. He is currently represented by Arthouse Gallery, Sydney; and Greenhill Galleries, Perth.
Areas of Specialisation:
Ian’ studio practice specialises in painting and drawing. Ian’s academic interests revolve around the metaphysics of representation, with a particular interest in the various confluences of art, science and philosophy within contemporary discourse. His scholarly focus is the continuing influence of Kant’s philosophy of the sublime and the manifestation of the aesthetic impulse of Romanticism within modern thought. He has presented on his research at national and international conferences, including the International Society for Literature, Science and the Arts at the University of Texas in 2003, and the Art and Metaphysics conference at International University of Bremen in 2006. His most recent publication is a book chapter, “Quantum Romanticism: The Aesthetics of the Sublime in David Bohm’s Philosophy of Physics” in Hoffmann and White, Beyond the Finite: The Sublime in Art and Science (New York: OUP, 2011).
Subjects and Courses Taught:
MFA Research Methods
MFA Critical Reading Seminar
Dip Paint (ASTC NAS), Grad Dip Education (Newcastle CAE)
John Bloomfield is a contemporary artist and academic working in Sydney. He is senior lecturer at the National Art School, and has held the positions of Head of Department (Painting), Bachelor of Fine Art (Honours) Coordinator and MFA I Coordinator, supervising postgraduate research students and lecturing in Painting in the undergraduate and postgraduate coursework programs. He has acted as examiner MFA research NAS and external examiner MFA research UNSW.
Bloomfield maintains a research profile in contemporary art practice in the areas of painting and photographic digital imaging. His artwork is held in State and Regional gallery collections and has been exhibited regularly in Commercial, Independent, State and Regional galleries. He has been a finalist in and received a number of major awards and prizes Nationally.
Areas of Specilisation:
Bloomfield’s interests are in the developing role of new media and digital imaging and its relationship to the traditional face of contemporary painting and art practice in the 21st century (why painting). The scope of his practice is grounded in painting and digital image making based on the photographic and found image, defined by the mnemonic of the architectural and of artefact.
Subjects and Courses Taught:
MFA Painting supervision
MFA Studio seminar
Professional Practice (Coordinator)
Lorraine Kypiotis holds a Master of Arts degree from the University of Sydney in Renaissance Studies and is currently engaged in a Doctor of Philosophy in Art History at the University of Sydney with a strong focus on the function of artefacts within art academies and institutions. Her research interests also include Women in Art, Museology and 19th century Australian Art History. Lorraine is also a frequent and popular guest lecturer at the AGNSW and is a regular guest on ABC Radio National’s Nightlife program.
As the former Education Outreach Coordinator at the National Art School, Lorraine is passionate about art, education and history. She is an experienced educator who has taught in both the secondary and tertiary sectors and has been lecturing in the Department of Art History and Theory at the National Art School since 1997. High on her list of priorities is regional and national engagement with the high school sector. She runs a number of programs, both inbound and outbound, which, as well as promoting the scope of ongoing tertiary study in art at the National Art School, foster the building of skills, knowledge and values in the fine arts.
BA Visual Arts (CAI, SCAE) Grad. Dip.Vis Arts (SCA, Uni Sydney) PhD Fine Arts (COFA, Uni NSW)
Dr. Ella Dreyfus is an Australian contemporary visual artist, senior lecturer and Head of Public Programs at the National Art School. She is an award-winning artist and well known for her photographic exhibitions The Body Pregnant, Age and Consent, Transman, Under Twelve, Under Twenty, Scumbag, Intimate Distance and public installations Weight and Sea and Walking in Wiesbaden.
She won the inaugural Olive Cotton Award for Photographic Portraiture and was an Australian Postgraduate Award Scholar at the University of NSW. She was an Artist-in-Residence at the Cite Internationale des Artes, Paris in 2013, a Visual Arts Research Resident at the Banff Centre, Canada in 2014 and an Artist-in-Residence at the Kunsthaus Wiesbaden, Germany in 2017.
B Ed, Grad Dip Visual Arts(UNSW), Ceramics Dip (National Art School),MFA (UNSW),
Lynda Draper is a visual artist who primarily works in the Ceramic medium. Lynda has received numerous national and international awards and grants including a Skills and Development grant and two New Work grants from the Australian Council for the Arts. Awards include the: Premier Acquisition Award at the 54th International Competition of Contemporary Ceramic Art, held at the International Museum of Ceramics, Faenza, Italy; 16th International Gold Coast Award, Gold Coast Regional Gallery and the sass & bide COFA Art Award held at COFA UNSW. In 2010 she completed a MFA at COFA UNSW with the assistance of a Planex scholarship. Lynda’s works have been featured in numerous publications including: Vitamin C: New perspectives in Contemporary Art and Clay and Ceramics, Phaidon Press.
Lynda’s works are included in significant National and International collections including at the: National Gallery of Australia, Canberra; International Museum of Ceramics, Faenza, Italy; Renwick Alliance Gallery, Smithsonian Institute Washington; Artbank, Australia; Shepparton Art Museum (SAM), Victoria; FA Grue collection, Italy; Collection of the Dutch Royal Family; Myer foundation; Campbelltown City Art Gallery; Gold Coast City Art Gallery University of Wollongong and the IAC Collection FLICAM Museum, Fuping, China.
Lynda is currently represented in Australia by Gallerysmith, in Melbourne and internationally by Galerie Lefebvre & Fils, Paris, France.
Maryanne Coutts completed a PHD at the University of Ballarat in 1999 and has taught at Monash University, the Australian Catholic University, University of Ballarat, Latrobe University and the National Art School, where she is currently Head of Drawing. She works with animation, watercolour and drawing to explore the human experience of the passage of time. Coutts’ work has been included in group exhibitions throughout Australia and overseas. She was awarded the Portia Geach Memorial Award in 2007. Her work is held by several regional and tertiary collections.
Areas of Specialisation:
Maryanne’s particular areas of interest and specialization include Drawing and Time, Animation, Narrative and Literature Theory, Poetics of Mass Media, Textiles, Contemporary Drawing Practices and Journaling.
BA Visual Arts (Nepean CAE), Grad Dip Visual Arts, MVA (Sydney), PhD (Lond.)
Dr Stephen Little is an artist and educator and he has taught progressive, creative higher education courses since the early 1990s. Prior to his current role as Head of Painting with Australia’s National Art School he has held lecturing posts at a range of other creative arts institutions. These have included Goldsmiths College in London, Sydney College of the Arts (University of Sydney), the University of Western Sydney (Nepean), the Australian Catholic University and Penrith College of TAFE.
Aside from academic posts Stephen has spent many years working in different capacities with a range of galleries in Australia and overseas. These have included, but are not limited to, the Museum of Contemporary Art (Sydney), the Alan Cristea Gallery (London), White Cube (London), and the Lisson Gallery (London) where he held the position of Technical Manager for five years.
The wealth of accrued experience that he now brings to his current post, in conjunction with his arts practice and his professional associations across a range of educational institutions, has provided him with a valuable and varied set of competencies that draw on theory, practice based research, and first hand experience with some of the art industry’s most reputable galleries and international art organisations.
Areas of Specialisation:
Stephen’s studio work draws on a range of different media as a means to extend current discourses on the limits of the ‘paintable’. In his PhD thesis Painting in Transit: Inter-domain transfer and material reformation, he investigated alternative perceptual models, materials, and modes of presentation to those traditionally used in the classification of painting. Stephen locates ‘painting’ today as being no longer wholly definable in relation to its former material tradition, but as existing within a range of material exchanges and perceptual associations that ultimately generate their own variations, relationships and internal logics.
Subjects and Courses Taught:
PAI100 Painting Introduction 1
PAI120 Painting Studio Elective 1
PAI200 Painting Studio Major 2
STS200 Painting Studio Seminar 2
PAI300 Painting Studio Major 3
PRS300 Professional Studies / Painting Studio Seminar 3
Geoff Kleem is an artist and educator with extensive experience in teaching and research supervision. His practice though primarily photographic is conceptually driven and multidisciplinary, often encompassing installation, sculpture and other areas of practice.
He has exhibited nationally and internationally since 1982 with works held in the collections of the Art Gallery of NSW, Queensland Art Gallery, National Gallery of Victoria, South Australia Art Gallery, National Gallery of Australia, Museum of Contemporary Art plus institutional and private collections.
He has had over 30 Solo exhibitions and participated in over 100 group exhibitions. Notably at the Art Gallery of NSW Sydney, Museum of Contemporary Art Sydney, Artspace Sydney, Perth Institute of Contemporary Art, Monash University Gallery Melbourne, Australian Centre for Photography Sydney, The Centre for Contemporary Photography Melbourne, Heide Museum of Modern Art Melbourne, The Suburban Chicago USA, Yale University USA, University of Technology Gallery Sydney, PS1 Museum New York USA and the MAK Museum Vienna Austria. His work has also been included in many institutional exhibitions touring Asia and Australia.
Geoff Kleems work has been broadly discussed and reviewed in publications such as Art and Australia, Australian Art Collector, Artforum Magazine, Art+Text, Broadsheet, Eikon and Eyeline Magazine.
Awards include Professional Development and New Work grants from the Visual Arts Board of the Australia Council, Residency Fellowship at PSI Museum New York USA, Artist Residency at the Chinati Foundation Marfa Texas USA, Visiting Artist University of Tennessee USA, Visual Arts Board studio residency Tokyo Japan and the University of Sydney Power Fellowship at the Cité Internationale des Arts Paris.
He is represented by Kronenburg / Wright Artists Projects.
Hany Armanious, one of Australia’s foremost artists, will take up the position of Head of Sculpture at the National Art School from the beginning of the 2019 academic year. A warm, experienced and inspirational educator, Hany Armanious has been teaching in the higher education context since 1998, as a lecturer at Sydney College of the Arts, University of Sydney, the College of Fine Art, UNSW and most recently as a full time permanent lecturer at Queensland College of Art, Griffith University. At QCA he has been responsible for the design and implementation of a new sculpture curriculum, expanding the understanding
of the role of sculpture in contemporary art, with an emphasis on merging skills and material possibilities with conceptual rigour.
Dr. Michael Hill lectures on modern, contemporary, and Australian art, as well as conducting specialist electives on subjects such as architecture and 17th century painting. His research interests include Baroque art, portraiture, classical architecture, and art historical methodology.
Michael is also a curator and advisor to Sculpture by the Sea in Bondi, Cottesloe, and Denmark. He has been Head of Art History & Theory at NAS since 2011.
Joseph Purtle’s practice focuses on wheelthrowing and expressive high-temperature glazes, exploring variations in the firing atmospheres of gas and wood kilns. He was the winner of the FONAS award, 2012, the Kerrie Lowe Gallery Award, 2013, and the Ashley Dawson Damer Award for Excellence in Ceramics, 2013. He has exhibited in Kerrie Lowe Gallery, Mils Gallery, Rex Livingston Gallery and the Sogetsu Ikebana Exhibition at the Botanic Gardens. He is currently undertaking a Masters Degree in Fine Arts and was recently featured in the group exhibition Bang at Pier 2/3 at Walsh Bay.
Louise Boscacci is an artist, biologist and process thinker who has worked with the materiality of clay and the possibilities of ceramics for the past two decades. Most recently, a nexus of porcelain-light photography has become a vocabulary of innovation and experimentation in company with sound. She recalls first finding and digging clay in the pause of a north Queensland wet season afternoon as a child, taking it up seriously again as an adult ostensibly to get it out of her system. She has exhibited extensively in Australia, and in international events, since 1997. Boscacci has been a recipient of two Australia Council new work grants as an established artist, and in 2009 was awarded the Australia Council London Studio residency where she studied collections of ancient and historical ceramics in England and Italy alongside the contemporary arts hotspot of metropolitan London.
Somchai Charoen is a Thai born ceramic artist based in Sydney who has exhibited both nationally and internationally. Trained in industrial ceramic design, he was a former lecture at Silpakorn University, Thailand. Since migrating to Australia in 2001, he has worked commercially as a mould and model maker as well as establishing his ceramic homewares label Eat Clay. Somchai has been working with many artists, designers and ceramics companies including Ben Quilty, Hany Armanious, Rod Bamford , Trent Jansen Mud Australia and Bison Australia. He is a co-founder of Belmore ITCH, a residency for non-ceramic artist to explore and interpret the medium.
Bronwyn Kemp was brought up in Broken Hill, NSW. She completed a Certificate course at East Sydney Technical College in 1973, then a Diploma course at the South Australian School of Art in 1975, before setting up her own studio in Walkerville, SA. A visit to Japan in 1976 introduced her to Shino and Oribe ware. In 1979, she trained at the Jam Factory in Adelaide, SA, for four months, then rented studio space there. From 1980, as well as continuing to produce functional ware, she started to make wheel and slab-built sculptural forms decorated with coloured clay as inlays and slips. From 1983-1988, she took over from Jeff Mincham as Head of the Ceramic Workshop at the Jam factory. She is currently based in Sydney, NSW, working with porcelain to make forms decorated with incised line work that derives from local landscapes and bush flora. Her work is marked with an impressed ‘K’ in a square.
Madeleine Preston is a Sydney based artist and tutor in computing for artists and designers at UNSW Art & Design and a sessional lecturer in sculpture and theory in ceramics at the National Art School. She has a Bachelor of Fine Arts Theory from the University of Sydney, a diploma of Fine Arts in Painting from East Sydney Technical College (now the National Art School), and a Master of Fine Arts (painting) from RMIT and is the co-director of Home@735 Gallery.
She has exhibited widely, recent exhibitions include On this day alone-Octopus 13 curated by Glenn Barkley, at Gertrude Contemporary, and Glazed and Confused, curated by Lynda Draper, at Hazelhurst Regional Gallery, Sydney. In 2016 Madeleine was selected for inclusion in The Australian Ceramics Association Biennial show Over Under Sideways Down curated by Glenn Barkley at Manly Art Gallery and Museum and was also a finalist in the Sulman Prize. In 2017 she received the special commendation prize in the Woollahra Small Sculpture Prize. In 2017 she was awarded an Australia Council Development Grant and a NAVA artist grant and was a resident in the Art Gallery of NSW’s Moya Dyring studio at the Cité Internationale des Arts in Paris.
Tania Rollond makes ceramics and drawings, often combining these disciplines. Working between representation and abstraction, she makes drawings on (and about) objects to test the limits of recognition and meaning. Tania holds a Master of Fine Arts (Research) at UNSW Art & Design and a Bachelor of Arts (Design) from Curtin University. She studied ceramics at the National Art School and has been a lecturer there since 2004, and has also taught ceramics at UNSW and TAFE. She has been exhibiting regularly since 2001, and her work is held in the collections of Bendigo Art Gallery, Shepparton Art Museum, and FLICAM, Fuping, China, as well as many private collections in Australia and internationally.
Linda Seiffert creates distinctive sculptural forms which inquire into the mystery, diversity and dynamism of nature. Her body of work incorporates both ceramic tradition, natural and found materials with frequent site specific installations and public works.
Graduating with a Bachelor of Fine Art (Ceramics) from The National Art School Sydney, she was awarded the Graduating Student Award for excellence and has since received a myriad of accolades for her distinctive sculptures.
Her recent research and works explore the transitional zones between the man made & natural environment. A consideration of the incongruity of these diverse environs, and her work exists as both testament of human separation from the natural world and is an evocative affirmation of our inarguable place within it.
Charles Cooper’s paintings are ambiguous in nature, graphic in impact and detonated in their surfaces. There is a fine balance between what is seen and what is felt for the viewer. In recent work for example, what appears to us at first as geometric compositions with modernist overtones turn out to be allusions to the specific, mundane places of an automobile society.
The signs and symbols we see most days as city dwellers are the material subject matter from which the work derives. A familiarity already in place opens our eyes and encourages personal interpretation. Cooper is asking us to view these symbols as metaphors for our own journeys. He does not comment on our responses, but gives a platform from which to re-interpret and question what we see and how we perceive.
Born in Sydney in 1952, Charles Cooper has shown extensively within Australia and abroad over the last 30 years. He has curated exhibitions and has been the recipient of numerous awards and grants, as well as public and private commissions. He also has work in many leading regional and university collections throughout Australia.
Areas of Specialisation:
Charles’ expertises are in the areas of painting, drawing and installation.
Joe Frost’s paintings and drawings have their origins in urban life. They depict personages and places, and express a complex sense of belonging formed from his feelings – both sympathetic and critical – about his subjects. The synthesis of observation and invention in his working process produces paintings that are layered in every sense of the word; that invite the viewer to experience seeing as an active, interpretive process.
As Laura Fisher wrote in a recent catalogue essay, “Frost practices a form of painting that echoes the selectivity of our habits of perception… where an improbable collection of visual cues coalesces to form something that feels utterly familiar and authentic. He includes things that are both visible and invisible to the eye: from the most prosaic objects of domestic life to the wake created by a person’s movement through space, from the artificial lights that punctuate our urban experience to the emotional force fields of an argument.”
Since his first exhibition with Legge Gallery in 1999 Frost’s reputation has grown steadily. He has been a lecturer at the National Art School, Sydney since 2003 and is a writer on art with more than thirty published essays and articles in newspapers, magazines, and exhibition catalogues.
BA DipEd (LaTrobe), BA (Sydney), BA (Hons)(Sydney ), MFA (UNSW), PhD (Sydney)
Margaret Roberts in an artist and educator with 15 years experience of teaching and research supervision in higher education institutions, including Sydney College of the Arts and the National Art School, and experience teaching in TAFE colleges as well. Since 1990, Margaret has exhibited regularly, both individually and in collaboration, in artist-run (ARI) spaces, as well as public and commercial galleries in Australia and overseas. In 2013-4 she exhibited in the Sydney ARIs, Articulate project space, Factory 49, Marrickvile Garage and Sydney Non Objective (SNO), as well as in the non-objective project space in Paris, ParisCONCRET. She also participated individually in the first biennial contemporary arts festival Cementa_13 in Kandos NSW, and will participate in Cementa_15 as part of a collaborative artists’ project. She has exhibited in public galleries including Artspace, the Tin Sheds, the Art Gallery of NSW and the Canberra School of Art Gallery, and commercial galleries including Conny Dietszchold Gallery. She has been awarded several funded residencies including at the Perth Institute of Contemporary Arts and overseas in Dunedin,Yogyakarta and Paris. Margaret was also on the Board of Artspace from 2004 to 2008 and has been a founding co-director of Articulate project space since 2010.
Areas of Specialisation:
Margaret Roberts’ art practice focuses on spatial relationships between artworks and their locations, including expanded drawing, site-specificity, installation, public art, audience participation, documentation and the archive. It employs the found location as a material element in artwork, in conjunction with line, shape, construction, video, object-making or performance, as appropriate. Her expertise is based in sculptural, drawing and painting traditions, and the extension of those traditions into contemporary conceptual and spatial practices that are based more on the premise that ‘idea dictates form’ rather than on any particular discipline or media. She has experience in both individual and collaborative practice. Her 2009 PhD thesis, Art and the Status of Place, discusses site-specific art in relation to the changing cultural values given to place. It has been part-published as papers in art publications including Scope, conference collections and catalogues.
Deborah Beck has held 17 solo exhibitions in Sydney and Melbourne, has participated in group exhibitions throughout Australia, and has been a finalist in the Dobell prize for drawing, the Sulman prize, the Portia Geach memorial award, and the Blake prize. She studied at the National Art School in the 1970s and received a Master of Arts (history) at the University of Sydney in 2010. She has taught in art schools in Sydney for over twenty years is currently a drawing lecturer, historian, collections manager and archivist at the National Art School. She has co-curated four major exhibitions in the NAS Gallery.
Deborah Beck is also an author and her first book Hope in Hell – a History of Darlinghurst Gaol and the National Art School, was published by Allen and Unwin in 2005. Her second book Set in Stone: the Cell Block Theatre was published by UNSW press in April 2011, and won a NSW Premier’s History award in 2012. Her third book, Rayner Hoff: the life of a sculptor will be published in March 2017.
Liz Bradshaw is an artist and cultural researcher. Her work is engaged with the historical and epistemological archives of industrialisation and modernity and reworks the ideas, processes and artifacts of these histories as they resurface in contemporary culture transformed by technology and globalisation. She investigates the ways these histories and praxes produce marginalisation, and resist, silence or accomodate the voices of others. She has exhibited and published internationally, and her work is held in public and private collections in Sydney, New York and the UK. She has taught art and design at Universities & Colleges in Australia and England.
Anthony Cahill’s art practice is concerned with the relationship between the human and the natural world. He holds a Master’s Degree in Fine Arts, lectures in drawing and painting at NAS and was a finalist in the JADA Touring Drawing Award and the Rick Amor drawing prize. In 2016 he exhibited At the the Australian Embassy in Berlin, Airspaceprojects, Home @735 Gallery. He will be exhibiting a new suite of paintings at Home @ 735 in April 2017 as well as a collaborative exhibition “Redherring II at Airspaceprojects with Pollyxenia Joannou, September 2017.
Roger Crawford translates the objective world into powerful reductive paintings and drawings. An experienced artist, he is represented by Watters Gallery, Sydney, where he has had many solo exhibitions over 30 years. Roger is a long-standing staff member of the National Art School, lecturing in the drawing and painting departments.
Roger states: “I believe in process and what it gives us – the notion of time itself as the function of art.”
Ben Denham is a visual artist who works with performance video and makes machines that engage different parts of the body in the process drawing and writing. Denham works with performance video and makes machines that engage different parts of the body in the process drawing and writing. In 2002–03 he spent a year and a half in Mexico with the assistance of the Helen Lempriere Travelling Art Scholarship. He maintains strong connections to Mexican art and activist culture. He completed his doctorate in 2009; his thesis considered the relationship between art and neuroscience, with a particular focus on gesture and linguistic embodiment.
Rachel Fairfax is a painter working in the mediums of drawing, painting and ceramics. She holds a Bachelor of Fine Arts and an Honours Degree in Drawing from the National Art School. She is represented by Stella Downer Fine Art, Sydney, and Harvison Gallery, Perth, and in the past has been represented by Ray Hughes and Defiance galleries. Her exhibitions, residencies and community-based projects have taken her across Australia and overseas. Rachel has been awarded two Reg Richardson Scholarships and been a finalist in many Australian art awards. Named as one of Australia’s leading artists by the Sydney Morning Herald, Rachel exhibits widely and is represented in many public and private collections. Since 2003 she has taught drawing at the National Art School and other colleges of art.
Cameron Ferguson specialises in drawing and watercolour, with over 15 years’ experience working and exhibiting in Sydney. He has taught drawing for a range of institutions, including TAFE, community colleges, high schools and, recently, the National Art School. Cameron has completed a Bachelor of Fine Arts (Honours) at the National Art School, a Graduate Diploma in Education at the University of Technology, Sydney, and in 2017 completed his Masters of Fine Art by Research at the National Art School. His work is situated within the still life genre and object-based art, involving creating a series of drawings and installations that form associations between objects, place and memory.
Patrick Hartigan is a painter with a mind also for drawing and the moving image. His paintings, brushy renderings of classic genres (portraits, nudes, interiors, still lifes), pull childhood and familial nostalgia from the comforts of memory and push artist legacies around (a Picasso head, a Modigliani nude, various permutations of Brancusi) as fresh material. This core forms constellations in his exhibitions with imagery that is emotionally and formally more abstract and more sparing. Predominantly oil on found supports, his recent paintings demonstrate a sculptural mindfulness, incorporating dimensions of depth and time beyond the flat plane.
Paul Higgs is an eminent artist, working primarily in collage, who has exhibited extensively in Australia since the late 1970s.
Higgs studied painting at the Sutton College of Art and Winchester School of Art in the UK, before moving to Australia in 1977. He has shown extensively in Sydney and regional centres and has works in the collections of The Art Gallery of NSW, Artbank, Wollongong University and numerous regional art galleries and private collections in Australia, the United Kingdom and Norway.
Higgs has been the recipient of many awards including the Campbelltown Art Prize (1997) and the NSW two-year travelling art scholarship which included The Dyson bequest and the Art Gallery of New South Wales Paris residency (1984).
Higgs is based in Austinmer, NSW and teaches at the National Art School, Sydney.
Harley Ives is an inventive and thoughtful video artist. If the contemporary is at least in one sense defined by a new approach to history, Ives embodies this ambivalence. The past, present and future all conflate into the now, where linear art history dissolves all together into an overall equivalence. The most immediate response to Ives work is that he is in some way “returning” video, or at least the picture on the screen, to painting. This is definitely true and he mines the genres of painting to make this connection explicit: the sublime waterfall, flowers in a vase in portrait format, various landscapes in landscape format.
Annelies Jahn is an artist who works in the mediums of drawing, installation and painting. She holds a Bachelor of Fine Arts, Honours, and a Masters Degree in Painting from the National Art School. She has exhibited with Factory 49, .M Contemporary, Sydney Non Objective (SNO) and Stacks Projects in Sydney. Annelies was awarded .M Contemporary’s Bresic Whitney Emerging Artist Award for 2015. In 2013 she received the Coutts Family Award for Excellence in Drawing and was a finalist in the John Olsen Drawing Prize. In 2012 she received the FONAS Drawing Award and the Jocelyn Maughan Sketchbook Prize. Her work is represented in the National Art School Archive and private collections.
Pollyxenia Joannou’s paintings and sculptures have been exhibited in Australia, the UK and continental Europe in numerous solo and group exhibitions. She completed her Masters degree at Central Saint Martins, London, has taught in the UK, and has lectured in painting and drawing at many art schools in Sydney, including Meadowbank TAFE, Design Centre Enmore and the National Art School. Polly was the winner of the Redland Art Award in 2016 and was awarded the Onslow Storrier Studio Residency at the Cité Internationale des Arts, Paris, in 2017..
Lisa Jones is a Sydney based artist originally from London whose contemporary art practice explores drawing, sculpture and video. She has exhibited both nationally and internationally, individually and in collaborative projects in institutional exhibition spaces, artist run initiatives and commercial galleries. Her drawings have been acquired by the Jacaranda Acquisitive Drawing Prize and the Macquarie University Art Gallery.
BA Visual Arts (CAI, SCAE), Grad. Dip. Prof. Art Studies, MFA (NAS)
Deborah Marks’s art practice encompasses painting, drawing and collage and involves figurative representations that deal with psychological issues. Her work concerns the conflicted nature of being in the world as internal/external processes.
She has been exhibiting over the past twenty five years in solo and group exhibitions throughout Australia and more recently in Germany. In Sydney she has exhibited with Defiance Gallery, Charles Hewitt Gallery and Wagner Contemporary Gallery. In 2016 she held a solo exhibition of her paintings at the Kunstverein Murnau Gallery, Germany.
Her artwork has been collected by private and public institutions including the prestigious Kedumba Drawing Award Collection. Her work has been selected as finalist in numerous competitions including the Portia Geach Memorial Award, the Blake Prize, the Mosman Art Prize, the Ravenswood Art Prize and the Korean/Australian Art Prize.
Since 1999 Deborah has been a sessional lecturer at the drawing department at the National Art School. As well Deborah also teaches in the school’s external programs including the HSC Life Drawing Workshops, the Dobell School as well as Summer and Winter Workshops as part of the Public Programs.
Deborah Marks was awarded a BA in Visual Arts majoring in painting from City Art Institute, Sydney, Australia in 1985. In 1987 she gained a Post Graduate Diploma in Professional Art Studies. In 2011 she was awarded a Masters in Fine Art from the National Art School, Sydney, Australia. In 2007 Deborah was awarded the Cite International des Arts Paris studio residency.
Catherine O’Donnell’s practice is about the beauty of the uncelebrated and ordinary.
Her drawings are an exploration of the architecture, culture and history in the everyday-ness of the urban environment. She sees the suburbs as full of connection and disconnection, sameness and difference; in short, my drawings examine suburban living as a site of complexity. She is particularly interested in the way that the vernacular architecture and general street scapes of the places we regularly inhabit become recessed into our minds like wallpaper – they are at once visible and invisible.
Daniel Pata has over 30 years’ experience in teaching life drawing, with much of his own practice incorporating the figure. During this time he has also spent an extensive amount of time in France, where he has explored the long-standing tradition of the figure as a primary motif in art-making. He has a Master’s Degree in Fine Art exploring the works of Cézanne, and has exhibited widely in Australia, France, England and China. Daniel is represented in many collections, including at Oxford University, UK, and the National Gallery of Australia.
Jude Rae is a Sydney based artist primarily known for her still life paintings, portraits and architectural interiors. The low key, non-narrative imagery she employs allows the attention to dwell on the formal and material aspects of representational painting, encouraging a more reflective and considered approach to the complexities of visual experience. After graduating in Fine Arts (History) at Sydney University Jude taught at City Art Institute (University of NSW) and in 1987 had her first solo show with Painters Gallery. At this time she was also a founding member of the Ultimo Project Studios, an urban housing co-operative for artists in Sydney. In 1989 she moved to London and later to New Zealand where she was the first Director of South Island Art Projects, which today exists as the Physics Room (Christchurch, NZ).
Over the last thirty years Jude has exhibited her work in Australia, New Zealand, Germany and the USA. She has been awarded residencies in France, Italy and New Zealand and has taught at a variety of art schools including Auckland University, the Australian National University and most recently at the National Art School (Sydney). In 2005 and 2008 Jude Rae won the Portia Geach Memorial Award for Portraiture and in 2014 she was a finalist in the Archibald Prize.
In 2016 Jude was the recipient of the prestigious Bulgari Prize awarded in partnership with the Art Gallery of NSW and in 2017 a survey of her work was held at the Australian National University Drill Hall Gallery.
Her work is held in major public and private collections in Australia, New Zealand, UK and USA. She represented by FoxJensen in Australia and FoxJensenMcCrory in New Zealand.
Evan received a Diploma from the National Art School in 1991. He completed a Master of Fine Art (Research) at the College of Fine Arts, University of NSW in 2002. Evan worked as a studio assistant for the sculptor Robert Klippel between 1996 and 1998. He taught painting and drawing to Diploma students at various TAFE colleges between 2002 and 2016. He currently teaches observational drawing at the National Art School. Evan is represented by Watters Gallery and has held 26 solo exhibitions since 1993. He has also been included in many group exhibitions. Evan was selected as a finalist for the Sulman Prize in 2006 at the Art Gallery of NSW. He was winner of the NSW Parliament Plein Air Painting Prize in 2015. His work is held in private and public collections including the National Gallery of Australia, NSW Parliament, University of Technology Sydney, Art Bank and Wollongong Art Gallery.
Margaret Seymour is interested in a broad range of contemporary media and art practice. Inspired by new methods and materials for art making, she has a strong interest in digital art objects, specifically the way they transform our experience of space and time. Combining experimental approaches with more established techniques, she creates objects and installations that echo some of the temporal and spatial displacements we experience living in an electronically connected world. Recent works include Tracker (2013), Remote Sensing (2014) and Solar Echo (2014), an environmental artwork exhibited in La Lune: Energy Producing Art on Long Reef Headland.
Margaret Seymour won the Woollahra Small Sculpture Prize 2011 and received an Australia Council New Work grant in 2012. She has over fifteen years of experience teaching undergraduate students and supervising higher degree research candidates.
Kim Spooner’s incisive and expressive portrait and figure paintings are held in public and private collections. She is an award-winning portraitist with portraits in the National Portrait Gallery, and is an inspirational teacher who is skilled at communicating ideas and responding to the individual needs of students and artists. She completed a residency at the Cité Internationale des Arts, Paris, in 2009. Winner of the 2006 Portia Geach Memorial Award, Kim is represented by Annandale Galleries, Sydney, and Adele Boag Gallery, Adelaide
Noel Thurgate is an artist with over 25 years’ experience in teaching drawing, including nine years as Head of Drawing at the National Art School. His work draws inspiration from the figure and the landscape, and his outdoor and studio drawings explore and develop the underlying abstract qualities found in nature. Exhibiting since 1975 in shows ranging from the Young Contemporaries, the Archibald Prize and the Kedumba Drawing Prize to numerous solo exhibitions, Noel has work exhibited in state, regional and institutional collections.
Susan Andrews is a painter whose geometric artworks explore perceptions of spatial uncertainty through line, plane, structure, colour and shape. Andrews has exhibited her work in commercial galleries, regional galleries and artist run spaces (ARIs). Her work has been exhibited in numerous art prizes including the Grace Cossington Smith Art Award, Jacaranda Drawing Prize, Dobell Prize for Drawing, Blake Prize, Adelaide Perry Drawing Prize and the Sulman Prize. Andrews has undertaken artist residencies in Beijing (2008), Paris (2000, 2006, 2016) and Bundanon Trust (2005).
Dr Andrew Donaldson’s career spans over two decades with a profound interest in abstraction. From 1990 until 1992 he studied with Prof Klaus Rinke at the Kunstakademie Dusseldorf, Germany. From 1994 to 1995 he studied with Prof Claus Carstensen as a Samstag Scholar at the Royal Danish Academy of Fine Arts, Copenhagen. In 2009 he was awarded a PhD in art history by the University of Sydney.
Since his first exhibition in 1988 he has held more than 25 solo exhibitions and participated in more than 60 group exhibitions locally, nationally and internationally. A survey of his work was held at The University Art Museum (UAM), University of Queensland in 2002.
Donaldson’s work is represented in national and international collections including the National Gallery of Australia, the Museum of Contemporary Art Australia, the Art Gallery of New South Wales, the National Gallery of Victoria and in other state museums, university art galleries and private collections. Donaldson is currently writing a history of 20th century Australian art with Rex Butler and is a lecturer in the Painting Department at the National Art School.
Paolo has worked within many facets of the arts industry; starting in theatre both on and off stage, then in film and the arts department at The Film, Television and Radio School he went on to work on low budget films and commercials, from there he followed his passion for music and pursued work on long running festivals such as BigDayOut, Homebake and Splendor In The Grass. His tasks were varied from photographer, curator, decorator, artist liaison, rider captain and merchandise coordinator. He helped in the setup of festivals as well as working in the production team. He then turned his focus to the visual arts, beginning studying a BFA in Photography at The National Art School, graduating in 2002. Paolo was then employed casually as a technician in Painting, Sculpture, Photography, Art History and Theory and assistant to the gallery manager. During this time he has gathered experience in multiple disciplines, finally establishing himself permanently in the Painting Department at the National Art School when he still works today.
Areas of Specialisation:
Woodwork construction, exhibition install and hanging, framing and organization and management of the Painting studios.
Subjects and Courses Taught:
Frame making and stretching canvas, use and induction of machinery and tools in the campus workshop.
Nick Collerson combines figuration and abstraction in his experimental, improvisational and poetic painting practice. Nick studied for a term at the Royal College of Art in London during his Masters of Fine Art, which he completed in 2013. Painting most days, Nick has a very active studio practice and has exhibited with the Hughes Gallery; he currently exhibits with Liverpool Street Gallery in Sydney. He is a lecturer in the Painting Department at the National Art School and also presents private courses.
Christine Dean is an artist, teacher and writer who started exhibiting in 1988.
Christine currently teaches Art History and Theory at the National Art School and Design Theory at UTS. In 2010 she completed a PhD titled ‘The Pink Monochrome Project’ at the College of Fine Arts, University of New South Wales. As a writer she has focussed on Australian art of the 1960s and has written essays on David Aspden, Martin Sharp, Vivienne Binns, Peter Upward and Vernon Treweeke. Dean has also pursued an interest in the impact gender theory on contemporary developments in LGBT art.
Her exhibition history includes: ‘Spirit + Place’, Museum of Contemporary Art, Sydney, 1996; ‘Juice’, Art Gallery of NSW, 1997; ‘Monochromes’, University of Queensland Art Gallery, 2000; ‘Points of Departure’, Toby Fine Arts, New York, 2007; ’Bent Western’, Blacktown Arts Centre, 2008; ‘Avoiding Myth & Message’, Museum of Contemporary Art, Sydney, 2009; ‘Sealed Section’, Artbank, 2014 and ‘From Straight to Gay and back again’ 2015, Alaska Projects, Sydney.
In 2000 she was awarded a Pollock Krasner Fellowship and in 2001 the Australia Council Los Angeles Studio.
Joanne Handley is interested in the power of image to interrupt the hyperreal and reveal truth about the ‘present now’. Located within existential, philosophical and poetic concerns, her practice draws from avant-garde cinema, celluloid stills, physics, and contemporary culture to critique the modern condition and speculate on social and political futures. She works across painting, photography and neon installation to create a democratised space in which language and image reside in a confluence of interchangeable meanings, questioning the veracity of their own idiosyncratic representation and agency as seer.
Handley has staged solo exhibitions in Australia and the US and participated in group exhibitions at venues including the New York Hall of Science, USA; Artists Space, New York; Contemporary Art Museum at the Institute for Research in Art, USF, USA; Stedelijk Museum, Roermond; Art House Tacheles, Berlin; Dynamic International Museum of Contemporary Art, Italy; Center for Maine Contemporary Art, USA; Wollongong City Gallery; Macquarie University Gallery; SoFA Gallery, Australian National University; 4A Centre for Contemporary Asian Art; and the Powerhouse Museum, Sydney.
She has been a finalist in the Fremantle Arts Centre Print Award (2017); Hazelhurst Art on Paper Award (2017, ’05); Josephine Ulrick & Win Schubert Photography Award (2016), Paramor Prize : Art + Innovation (2015); Blake Prize & Touring Blake Prize (2008,’09); Fisher’s Ghost Award (2015, ’13, ’12, ’10) and World Year of Physics Art Prize (2005). In 2016 Handley was selected for Ten Artists To Watch, LACDA, Los Angeles by curators Arpad Kovacs (Getty Museum) and Peter Frank (Huffington Post). In 2015 her neon light installation 21 Breaths showcased as the feature artwork for Vivid Sydney’s Official Media Launch at the Sydney Opera House and was included in Vivid Path To the Future at The Seymour Centre, University of Sydney for Vivid Sydney Light Festival. Previously, her work has been included in a number of significant institutional exhibitions including Square One, Wollongong City Gallery (2012); (collected) women, Wollongong City Gallery (2007); Liminal Personae, 4A Centre for Contemporary Asian Art (2006).
Handley completed an MFA at the College of Fine Arts, University of New South Wales (2004) for which she undertook research in the United States. She has taught at fine arts institutions in Australia and the US and lectures at UNSW Australia | Art & Design and the National Art School, Sydney.
Joanne Handley’s work is held in private and public collections nationally and internationally.
Steven Harvey was born in 1965 in Sydney, Australia. Harvey completed a Bachelor of Art (Education) at the City Art Institute, Sydney in 1986 and completed a Post Graduate Diploma in 1989. In 1994 Harvey graduated with a Masters of Art (Painting) from the University of New South Wales College of Fine Arts.
From 1994 to 1998 Harvey held solo exhibitions at the Coventry Gallery, Sydney including Walking Through (1994), Works from the Riverina (1996), Float (1997) and Summon (1998). Harvey also featured in annual group exhibitions at Coventry Gallery from 1994 to 1999. In 2000 Harvey held a solo exhibition titled Lure at Martin Browne Fine Art, Sydney. Other notable solo exhibitions include: Grace (2002) at Martin Browne Fine Art, Apostle (2003), The Precipice Sessions I (2005) at Niagara Galleries, Melbourne, Night Bird (2004), Australian Limbo (2007), Finn’s Raft (2008), Ark 44: The Night Bird Prophecies (2009), and Neanderthal Scholar (2012) at Liverpool Street Gallery, Sydney.
In 1997, Harvey was awarded an Artist in Residence at Arthur Boyd’s Bundanon Trust Studio in New South Wales. In 1998, Harvey was selected as the inaugural Artist in Residence at the University of New South Wales, Sydney which culminated in a solo exhibition titled Latitude held at the University.
He has participated in a number of key touring and invitational exhibitions, including Painting (2002) at the S.H. Ervin Gallery, The National Trust, Sydney and A Tribute to Western Australia (2003) at the Holmes à Court Gallery, Perth featuring works that explored the Western Australian landscape alongside those by Peter Sharp and Kate Turner.
Steven Harvey is represented in public collections including Artbank, The University of New South Wales, Tamworth Regional Gallery, The Macquarie Group Collection, New England Regional Art Museum, and private collections in the United States of America, the United Kingdom, Australia and New Zealand. Steven Harvey lives and works in Sydney.
Chelsea Lehmann has exhibited extensively in Australia for the past two decades, and has been the recipient of several awards, grants, and local and international residencies. Her most recent exhibitions include Corporealities, (Home @735 Gallery, Sydney 2020), Persona (Flinders Street Gallery, Sydney, 2020), June (MARS Gallery, Melbourne, 2019), and The Articulate Surface (UNSW Galleries, Sydney, 2018). She is a Lecturer in Drawing at the National Art School and completed a PhD at UNSW Art & Design in 2019.
Expressionistic painter Rodney Pople completed a diploma in Fine Arts at the University of Tasmania in 1974 and later attended the Slade School of Art in London in 1978 and the New York Studio School in 1979 as a postgraduate. Pople has held solo exhibitions in Sydney, Melbourne, Tasmania and China. His work has been included in group exhibitions at the Art Gallery of New South Wales, Sydney and the Australian Centre of Contemporary Art, Melbourne. Pople has taught at several institutions including the University of Tasmania in 1984 and the Victorian College of the Arts in 1990. Pople was artist in residence at the Moira Dyring Studio, Cite Interationales Paris through the Art Gallery of New South Wales in 1990. He was awarded the Lake Macquarie Art Prize in 1988, the Fisher’s Ghost Prize in 1994 and a National Art School travel grant in 1999. Pople won the Glover Prize in 2012 with a controversial portrait of Port Arthur and the Paddington Art Prize in 2016. His work is held by the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne; the Queensland Art Gallery, Brisbane; Artbank, Sydney; several regional and university galleries and internationally by MOMA, New York.
Rumour has it that Marco Polo introduced velvet painting to the West. Artist Leslie Rice was introduced to it seven hundred years later when his father returned to Sydney from a business trip in Tijuana with a velvet painting among his souvenirs. The quintessence of kitsch exotica, velvet painting to this day holds a guilt-ridden attraction. With his suite of virtuosic velvet paintings Rice has reclaimed this guilty pleasure and quickly earned himself a reputation as ’one to watch’. His accolades include inclusion in the Archibald Prize and two times winner of Doug Moran National Portrait Prize.
Rice has spent more than 15 years as an established tattoo artist (from a lineage of tattooists including his father and sister) and finds the transition to velvet to be strangely familiar. Like painting the body with a needle, painting velvet with a brush is exacting and unforgiving. Rice’s subjects side-step the usual preoccupation with sunsets and pin-up girls made popular mid last century in velvet painting’s halcyon days. Instead dramatic, Mannerist tableaux including biblical and mythological references proliferate. These subjects find their source in Rice’s immediate world where friends and families close at hand are transposed into dramatis personae.
Making paintings with their longevity in mind, Rice now secures each work under glass, often choosing to pigment the glass lending the works a holographic quality where the beholder is invited into the picture.
Damian Dillon is a Sydney based artist whose solo and collaborative practices incorporate video, photography, painting and collage. He was runner-up in the 2013 Chippendale New World Art Prize and a finalist in the Blacktown Art Prize and the Josephine Ulrick and Win Schubert Photography Award. Rebecca Shanahan is a Sydney based artist working in video, photography and installation.
Steven Cavanagh has been a photographer for ten years. With a background in Fine Arts, he studied at the National Arts School (NAS) completing a Master of Fine Art majoring in photography. As a photographer, light, the world and the relation to it inspire him. His work sits outside any one photographic genre, referencing the surface of reality and representation, whilst also sitting firmly and knowingly within the psychological space of contemporary art. His images investigate the physical and psychological landscape of masculine identity. He has exhibited nationally.
Skye Wagner’s art practice covers a range of media, including performance, photography and video. She has exhibited at MOP, Articulate Project Space, The Paper Mill, Kudos Gallery and Slade Research Centre, London. She has a Bachelor of Media from Macquarie University and a Bachelor of Fine Arts from the National Art School. Currently she is a lecturer in photography at the National Art School and a sessional tutor at the University of Technology, Sydney, in the Photography and Situated Media Program.
Carolyn Craig is an artist whose work examines the coded construction of subjectivity. She investigates inscriptive performance as an active site for the maintenance and enforcement of types of cultural normativity with a particular focus on the idea of “habitus” as discussed by Pierre Bourdieu. Carolyn deconstructs gestural actions as tropes and stereotypes by utilising her own body as a site of absurd action. The performative traces of these gestures are recorded and inverted to query the distribution and maintenance of fixity. She is one half of the artist collective BRUCE & Barry with Heidi Stevens.
Areas of Specialisation:
Carolyn’s interests and areas of specialization include gender and typological representations, photo discourse and history, drawing ontologies, contemporary print-media and social praxis and contemporary art.
Subjects and Courses Taught:
STU100 Studio Introduction to Printmaking
PRI200 Printmaking 2
PRI300 Printmaking 3
PRI400 Printmaking Honours
Angus Fisher is a practising printmaker who is skilled in using intricate, traditional techniques to represent the natural world. Angus is a graduate of the National Art School and is currently represented by Australian Galleries, where he exhibits regularly. He has worked as an artist and teacher around Australia and as an archaeological illustrator in Greece. Angus is currently working towards an exhibition in Sydney as well as the creation of a limited edition series of books.
Claude Jones, who divides her time between Sydney and Munich, creates mixed-media sculptures and 2D images incorporating printmaking, drawing, collage and painting. She has studied printmaking in Australia, Canada and the USA, and has worked as both a printmaking teacher and technical supervisor for over 15 years. Claude has been a finalist in numerous art awards, winning the Moreton Bay Art Prize in 2011 and the It’s LIQUID International Art Prize in 2012. She has undertaken six international residency programs, has received several grants and has exhibited widely. Her works are represented in public and private collections, including Artbank, the Art Gallery of NSW and the Americas Biennale Print Collection. Claude is represented by Artereal Gallery, Sydney.
Esther Neate pushes traditional boundaries in print to produce objects that bear the impressions of time and process. She holds a Master Degree of Fine Art in Printmaking and has eight years’ experience in arts education. Her prints, woodblocks and porcelain sculptures have been exhibited at Annandale Galleries and Dominik Mersch Gallery in Sydney.
Brenda Tye was born in Malaysia in 1969. She is a printmaker specialising in the areas of custom and collaborative printmaking with other artists, and teaching art across various mediums, techniques and age groups. In 2009 she established art school and custom printing business named The Art School Studio.
David Horton is an award winning sculptor who uses welded steel to explore space and light through mellifluous line and geometric form. He has won major awards in the Sculpture by the Sea, Helen Lempriere, Waverley Woollahra, Transfield and Sydney Airport Sculpture awards. He is a lecturer in sculpture and drawing at the National Art School and Sydney Grammar School. His sculptures are currently being exhibited at the McClelland Sculpture Survey exhibition in Melbourne.
Georgina studied art history at the University of Sydney, receiving the University Medal in her Honours year. She completed her PhD in 2010 with a thesis on doors and architectural space in eighteenth-century genre painting. Since 2006, she has taught art history and theory at the University of Sydney, and in 2011 joined the National Art School’s Art History Theory program.
Georgina was a Visiting Scholar at the Yale Center for British Art in New Haven, Ct, from October to December 2011, and regularly contributes lectures to the Art Gallery Society of New South Wales. Her recent publications include: ‘Rethinking vision in eighteenth-century paintings of the blind’, Art Theory as Visual Epistemology, ed. Harald Klinke (Cambridge: Cambridge Scholars Publishing, 2014), Fugitive forms and grand designs: 16th to 19th century drawings from the collection of Justice Roddy Meagher (Sydney: University Art Gallery, 2014) and “Looking back at Zoffany”, Art History 35, no 4 (2012).
She recently curated an exhibition of early modern drawings, Fugitive forms and grand designs: 16th to 19th century drawings from the collection of Justice Roddy Meagher at the University Art Gallery, University of Sydney and has worked as a researcher in photography at the Art Gallery of New South Wales
Jaime is an art historian and independent curator based in Sydney, and a lecturer in modern and contemporary art in the department of Art History and Theory and the National Art School. Her doctoral thesis completed at the University of Sydney (2012) was entitled ‘Impossible Topographies: the Spatial Art of Marcel Duchamp.’ She has a special interest in surrealist legacies and the nexus between the art/architectural object and 20th century philosophies of space. Her current research project is on the subterranean aesthetics of Marcel Duchamp and Georges Bataille.
Shane Haseman is an artist, writer, academic and occasional curator. He has exhibited extensively over a fifteen-year period both nationally and internationally. Selected exhibitions include: 2015 Performa Biennial, New York; 2006 Adelaide Biennial, Art Gallery of South Australia; ‘New 11’, Australian Centre for Contemporary Art, Melbourne; ‘Sympathy for the Devil’, Artspace, Sydney; ‘Post-Contemporary Painting’, Institute of Modern Art, Brisbane. Shane received his PhD from the University of Sydney, Department of Art History and Theory, with a thesis on the theory and practice of the Situationist International. He has written articles for Australian art journals and institutions, including the MCA and Artspace. Shane is co-director of KNULP Gallery and lecturer in the Department of Art History and Theory at the National Art School.
Dr Molly Duggins research interests are anchored in nineteenth-century visual culture, particularly in the visual culture of the British Empire with a focus on Australasia, and include album studies, collecting practices, and the intersections between science, art and design.
Jessica Priebe is an historian of eighteenth-century European visual and material culture, specialising in artists’ collections. She was recently awarded a Junior Research Fellowship in Enlightenment Studies with the Sydney Intellectual History Network at the University of Sydney. She has published essays on eighteenth-century French art and collecting, most recently in the Journal of the History of Collections. Her book “François Boucher and the Luxury of Art in Paris, 1703-1770: Artist, Collector, and Connoisseur” is forthcoming with Routledge. Prior to receiving her doctorate from the University of Sydney in 2011, she worked as a political adviser and junior speechwriter for Ministers in the NSW and Federal parliament, including the office of the former Deputy Prime Minister
Dr Priya Vaughan uses visual art and material culture as a frame through which to explore Australian cultures, experiences, ideologies, identities and histories. Her current research focuses on art and mental health.
Ben has over 13 years of experience of management and quality improvement in the tertiary sector in the United Kingdom and Australia. From his time as Vice President Education & Representation of the Queen Mary, University of London, Student Union he moved on the Learning & Skill Development Agency (LSDA), a national non-governmental quality improvement and research organization for the Further Education sector in the UK. He worked on numerous quality improvement programs culminating in his role as Development Officer on the National Teaching and Learning Change Program at LSDA’s successor organization the Learning and Skills Network (LSN) and as Partnerships Manager for LSN’s bespoke quality improvement, consultancy and training service.
Ben completed his Masters of Education (Leadership & Management) at the University of Sydney in 2009 and since 2010 has been the Quality Manager at the National Art School with responsibility for Student Services and the School’s academic quality and compliance procedures. In 2015 Ben was appointed as Registrar.
Jenny Orchard is a contemporary artist and has had a career in ceramics, sculpture and art making since 1980. She is passionate about exploring liminal states of being and celebrating the diversity of material form.
Jenny is represented in the National Gallery of Australia, State and Regional galleries across Australia, and in Japanese, American and UK collections. She has exhibited widely, participating in International shows and conferences such as the second Jakarta Ceramics Biennale in 2014, Art from Australia at the Gail Museum in Seoul, and Uncertain Paradise at the Imazoo gallery Seoul 2015. Her work has featured in Sculptural Objects and Functional Art at Chicago and Miami, Ceramic Art from Australia at the Tao Gallery Tokyo and Sculpture by the Sea in Sydney in 2009, 2010 and 2011.
Gary Deirmendjian’s practice encompasses sculpture, photography, video, installation and site-specific intervention. Working predominantly in public/shared space, he is broadly recognised for creating thought provoking and socially concerned works that are of a challenging scale and immersive. He has exhibited extensively and received numerous awards and new work invitations and commissions for private and public artworks, as well as site-specific projects, realised broadly in Australia and several internationally.
He holds an MFA in Sculpture from the National Art School (2006), Sydney, where he currently teaches (Sessional Lecturer since 2012).
Prior to turning to full-time artistic practice, Gary trained as an Aeronautical Engineer (Honours, University of NSW, 1990) becoming significantly active in Defence Research & Development and then Industrial Design through establishing private practice and teaching (Lecturer, University of Western Sydney, 1996–2001). He is the author/photographer of Sydney Sandstone (Craftsman House, 2002), containing essay contributions from fellow collaborators, including Tim Flannery and Phillip Cox.
Emma Wise is an interdisciplinary artist whose practice is grounded in the creation of site-responsive installations, indoor and outdoor. She believes in the power of an elegant resolution and has often used simple elements on a large scale to dramatic effect. Her work is frequently driven by strong views on socio-political issues, and she is particularly interested in the negotiation of territory, in barriers and borders, ownership and passage.
More recently, interactive and collaborative works incorporating conversation and collective mapping reflect her belief in the strength and importance of community. Emma has worked as an oral historian and in film editing and her work can incorporate sound and/or video, often using the intimacy of direct voice, written and recorded, or found and edited.
Stephanie is a Sydney-based artist who has exhibited for over twenty years, with eleven solo exhibitions and over eighty group exhibitions across commercial galleries and artist run spaces, art fairs, university galleries, regional galleries and art museums. Stephanie specialises in oil painting, watercolour and drawing. Stephanie has been a finalist in a number of prize exhibitions including: the Archibald Prize, the Wynne Prize, the Sir John Sulman Prize, the Mosman Art Prize, the Doug Moran National Portrait Prize and the Helen Lempriere Travelling Art Scholarship.
Stephanie has been a visual arts lecturer for over fifteen years – primarily teaching painting and drawing. This has included teaching students up to MFA level. Stephanie graduated from UNSW Art and Design in 2002 with a Master of Fine Arts.
Gary has been an artist for the past 40 years, and has a background in experimental filmmaking, photography, visual arts, music and sound art, and digital media production.
Gary has worked as a creative director and collaborator on a wide variety of cultural projects in museums, art galleries, visitor centres and botanic gardens across Australia and was twice involved in delivery of Australia’s representation at the Venice Biennale (2001 – Lyndal Jones, 2008 – Abundant (Architecture Biennale).
Gary has been teaching experimental drawing since 2018 at the National Art School and has developed and run workshops in autonomous drawing machines at NAS, as well as at the University of Technology Sydney and Monash University’s Sensilab.
Rolande Souliere’s transdisciplinary art practice explores the social, political, and cultural aspects of Indigeneity in contemporary society and its linkages in western art. Utilizing repetitive process strategies of wrapping, binding, and layering, Souliere’s artworks incorporate mass produced items such as reflective road signage, automobile headlights and brake lights, variable message boards, construction materials and household items. These universal materials are stripped from their usual contexts, manipulated, and repurposed into dynamic installations.
Souliere’s technique combines abstraction and the assisted readymade with handmade processes to discuss Indigenous narratives. She views contemporary art, mass production and “craft” process as inseparable from the flows of production and consumption under global capitalism. Yet importantly also have connections to race, cultural identity, and sovereignty.
In 2021, Souliere is one of the artists commissioned by Artspace, Sydney for “52 Artists 52 Actions” and is also included in the group exhibition “States of Collapse” at Dunlop Art Gallery, Canada. In 2020, The Contemporary Art Gallery, Vancouver and Translink BC commissioned her for three large -scaled site specific temporary public art including a double length public transportation bus. Other permanent and temporary public art include Indigenous Womxn Banner Project (2019), Mediating the Treaties (2017-2018) by The City of Winnipeg and Bringing Back Wabakinine (2015) commissioned by City of Toronto, Canada.
Social art is also part of Souliere’s art practice, she has worked with North American and Australian Indigenous peoples on her Collage of Indigenization social art project (2013-2018) as well as on an international street art project, Coyote Responds (2016-2018) in Toronto, Berlin, Vancouver, Winnipeg and Sydney for Or Gallery.
Souliere is a member of Michipicoten First Nation, born in Toronto, Canada and is also an Australian citizen. She has a PhD form Sydney College of the Arts, University of Sydney.
Fiona Lowry is a Sydney-based artist. Fiona held her first solo exhibition in 2002, and is currently handled by Martin Browne Contemporary in Sydney. Fiona Lowry’s artworks are contemporary renderings of conventional portraiture and landscape painting.
In 2008, she won the Doug Moran National Portrait Prize for a self-portrait in the Belanglo State Forest, the site of a series of murders in the mid-1990s. In 2010 her work was included in Wilderness: Balnaves contemporary: painting at the Art Gallery of NSW. She was a finalist in the 2011 Archibald Prize with a portrait of artist Tim Silver and in 2012 she had works in the Wynne and Sulman Prizes. In 2013 she won the Fleurieu Prize with a landscape of the Shoalhaven and was highly commended in the Archibald with a portrait of Shaun Gladwell; in 2014 she won the Archibald with a portrait of Penelope Seidler.
Several public, university and corporate Australian collections hold Lowry’s work including Artbank, Sydney; Macquarie Bank, Sydney; National Portrait Gallery, Canberra; UBS, Sydney; The University of Queensland Art Museum, Brisbane.
Tim Maguire is a contemporary Australian artist best known for his cinematic in scale floral paintings and prints.
Tim studied art at East Sydney Technical College, before receiving a scholarship to attend the Kunstakademie Düsseldorf in 1985. Tim was awarded the 1993 Moët and Chandon Fellowship. Tim has exhibited extensively in Europe and Australia for more than two decades, including a 2008 major solo show at Ikon Gallery, UK. For many years he has worked collaboratively with the French master printer, Franck Bordas. His work can be found in the collections of the National Gallery of Australia in Canberra and the Art Gallery of New South Wales in Sydney.
Shuxia holds a PhD from the Australian National University, an MA in Art History from the University of Sydney, and an MA in Studio Art (Honours) from Sydney College of the Arts.
Shuxia has worked as a guest lecturer in the University of Sydney’s Master of Arts course – Curating Asian Art and tutored in the Australian National University’s Arts in Contemporary Taiwan Course. Since 2007, Shuxia has also worked as a researcher on Chinese Art and Chinese studies, as a curator for Chinese Art, and an art administrator and communications and event officer for cultural and academic events. Shuxia has curated exhibitions in both China and Sydney and joined the Chau Chak Wing Museum as its inaugural curator for the China Gallery in 2019.
Karen graduated from Queensland College of the Art, Griffith University in 2011 with a Bachelor of Fine Art. In 2019, Karen was the recipient of the Stonehouse Glasshouse residency in France. The residency culminated in an exhibition of ceramics and paintings.
Her work has been exhibited at Art Basel HK, Art Stage Singapore, Art Taipei, and Tokyo Art Fair. Her works are held in prestigious public collections including Monash University Museum of Art, National Gallery of Victoria, Australian War Memorial, Griffith University Art Gallery, Artbank, Macquarie Bank Collection, QUT Art Museum and the Salsali Private Museum in Dubai, in addition to various private collections both in Australia and overseas.
+61 2 9339 8744
Drawing Lecturer (Sessional)
Luke graduated with a Bachelor of Fine Arts from the University of Newcastle. He has an extensive exhibition history including recent exhibitions at Burra Regional Art Gallery, National Art School and Adelaide Central Gallery. He was a finalist in the Dobell Drawing Prize 2019 and has lectured in the Drawing Department at Adelaide Central School of Art. Luke’s studio practice reappropriates cultural signifiers used in the construction and deconstruction of identity.
Luke has a significant experience in programming and teaching, having developed and delivered workshops, professional development seminars and masterclasses for Newcastle Art Gallery, the NSW Department of Education and Training, Art Gallery of South Australia, and here at the National Art School.
Sue Pedleyis an artist who researches place, community, culture and history in relationship to materiality through site-specific installation and interdisciplinary practice.
Sue has a Master of Visual Art having studied at Tasmanian School of Art, Sydney College of the Arts, College of Fine Art and Stadelschule, Franfurt, Germany. Sue has had studio/residencies in London, France, Germany and Sri Lanka funded by the Australia Council and Asialink. Sue has exhibited her work on paper widely, including in New York, Japan, Sri Lanka and Vietnam.
In addition to her Sessional Lecturing at the National Art School, Sue works as a tutor in drawing at the University of Sydney and the University of Technology, and works in drawing at the University of UNSW, Art and Design.
Elizabeth Pulie has been exhibiting her work since 1989. She achieved a PhD from the University of Sydney’s Sydney College of the Arts.
She has presented papers at eight conferences and symposia since 2014, both within Australia and internationally. Elizabeth’s theoretical research, writing and presentations extend the idea of ‘the end of art’ to contemporary art discourse and practice. Her work encompasses material forms such as painting, weaving, political banners, collage and embroidery.
Elizabeth is represented by Sarah Cottier Gallery, Sydney and Neon Parc, Melbourne.
Since 2000, Gemma’s work has featured in more than 100 exhibitions, most recently at Rhythm Sequence, UNSW Galleries, Sydney, 2019. Gemma has exhibited regularly with Sarah Cottier Gallery since 2006 and with Milani Gallery, Brisbane since 2008.
Gemma’s work is held in museum, corporate and private collections, including those of the National Gallery of Australia, Canberra; Museum of Contemporary Art, Sydney; Art Gallery of New South Wales, Sydney; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Art Gallery of South Australia, Adelaide; Art Gallery of Western Australia, Perth; Queensland College of Art and Griffith Artworks, Brisbane; Queensland University of Technology, Brisbane; University of Queensland, Brisbane; Monash University Museum of Art, Melbourne; Murdoch University, Perth; Deakin University, Melbourne; Artbank, Sydney; KPMG, Brisbane; Gaden’s Lawyers, Brisbane; QIC, Brisbane; and UBS, Sydney.
Smith has produced several public artworks, including Triple Tangle, Museum of Contemporary Art Australia Foyer Commission, 2018; Collision and Improvisation (ceiling), 2012, Queen Elizabeth II Courts of Law, Brisbane; and Synchro (Peach/Red Oxide), 2010, Brisbane Airport.
Mason is a Sydney-based visual artist whose practice encompasses painting, sculptural reliefs, collage and installation. His work engages with the social dimension of architecture, in particular its relationship to memory.
Selected projects include: Prologue: Tongue on tongue / nos salives dans ton oreille, Galerie Allen, Paris (2019), Afternoon, Sophie Gannon Gallery, Melbourne, (2019), Slanted Mansions, COMA, Sydney (2018), Redlands Konica Minolta Art Prize, NAS Gallery, Sydney (2018), Arcades, Galerie pompom, Sydney (2017), and NEW16, Australian Centre for Contemporary Art, Melbourne (2016).
Mason is currently a PhD candidate at UNSW Art & Design and holds a Master of Fine Art (painting) from the National Art School. He has been a finalist in numerous Australian art prizes including the Sulman Prize, Churchie National Emerging Art Prize, Sunshine Coast Art Prize and NSW Visual Arts Fellowship (Emerging). He has been awarded studio residencies at the British School at Rome, Italy, Parramatta Artists Studios and Artspace, Sydney and is a current artist in residence at Shirlow Street Studios, Sydney. His work is held in the collections of Artbank and the Museum of Contemporary Art Australia.
In addition to lecturing at the National Art School, Mason is a tutor in Art Processes & Architecture at the University of Sydney, School of Architecture.
Mason is represented by Kronenberg Mais Wright in Sydney and Sophie Gannon Gallery in Melbourne.
Anwen Keeling is a contemporary Australian Figurative Painter. Anwen graduated with a Bachelor of Arts (Visual) (First Class Honours) from Canberra School of Art, Australian National University in 1998, and was awarded the University Medal. Anwen also graduated with a Masters of Art (European Fine Art) at the Winchester School of Art, Southampton University in 2001.
Keeling’s work is represented in the collections of the National Australia Bank and the Australian National University, Canberra, regional galleries including Tweed River Regional Art Gallery and the Gold Coast City Art Gallery, as well as private collections in Australia, the United States of America, Hong Kong and the United Kingdom.
Keeling was a finalist in the Sulman Prize at the Art Gallery of New South Wales in 2010 and in 2011 for her painting of the elite sporthorse, Copabella Visage. Her paintings have been selected for The Year in Art (2003) and the Salon des Refuses (2004) at the SH Ervin Gallery, The National Trust, Sydney.
James completed a Bachelor of Fine Arts in Sculpture and Printmaking at the University of Wollongong in 2006. In James’ practice as an artist he has worked predominately in mild steel, often merging it with wood and plaster. James has extensive experience in Product Design and Development, gained through the Dinosaur Designs head studio.
Jacqueline Bradley is an artist concerned with bodily relationships to the outdoors. Through objects, performances and installations, she explores the role textiles and clothing play in constructing and mediating experiences of the landscape.
Bradley has exhibited and collaborated with artists and curators in Australia and internationally, and worked with national parks staff and landscape architects on projects regarding performance in the landscape in Canada and Australia. In recent years, she has developed projects for the National Portrait Gallery, the Drill Hall Gallery and the South Australian touring exhibition ‘I’m a feminist, but…’.
In early 2019 Jacqueline was funded by Arts ACT and the Australian Embassy in Washington to exhibit works from her PhD series ‘Am I doing this right?’ and to develop and construct a large artwork on at the Embassy Gallery in Washington. Her work was recently discussed in Columbia Universities Climates: Architecture and the Planetary Imaginary, and she is currently working on a new project for the Unsolicited Proposals Unit, curated by Eleanor Scicchitano.
As well as lecturing at the National Art School, Jacqueline works from her backyard studio in Canberra.
Caterina is a photographic artist whose work focuses on environmental portraits, representing people, places and diversity. Her photographic prints demand reflection on the mental conditioning of reality, dreams interactions and conformity. A fascinating blend of cerebral questioning, social observation and defined parameters – both physical and emotional, Caterina’s work strives to inspire through representational conflicts between life and innate human needs.
Caterina graduated from the College of Fine Arts UNSW with a BA in Fine Arts 1989, and a Master of Art in Photomedia (2008). She has held solo exhibitions and has been a finalist, awarded and participated in several group exhibitions here in Australia and the USA. Caterina has in-depth technical skills, with the appreciation for quality and attention to detail in her work.
Sarah is drawn to epic and historical tales recounting human will, sorrow and optimism. Her practice responds to both theoretical texts and pursuits of optimism. Each work threads recurring themes of sorrow and fiction to ask philosophical questions about truth, formlessness and aesthetics, exploring the object-hood and materiality of photographs.
Sarah’s recent exhibitions include; Contemporary Collection, National Gallery of Australia, Care, Interstate Projects, New York, Its all beneath the floor, its all between the walls, Vienna, Austria, The Alchemists, Australian Centre for Photography, Sydney, Cataracts and Waterfalls, solo show at Sarah Cottier Gallery, Sydney and the NSW Visual Arts Traveling Fellowship, Artspace, Sydney.
Artist Residency programs include; Banff Art Centre in Alberta, Canada, Artspace, Sydney and the NES Artist Residency Program, Iceland. She is the recipient of multiple New Work grants from the Australia Council for the Arts and her work is held in institutions and private collections in Australia, Germany and America.
Todd is an artist whose photography, painting, film and video works operate at the crossroads of art, literature, and field-based enquiry. Bringing the themes of Romanticism to bear on the humorous and often pitiful adventures of the twenty-first century, Todd’s deeply introspective, image-based works evoke the tragicomedy of life, the inevitability of failure and the place of sincerity in the face of hopelessness. In his earlier works, acts of endurance and repetition mediate questions of meaning and, ultimately, purpose.
Todd’s film and video works were the subject of a major solo exhibition at MONA, Hobart, in 2013 titled Ten Years of Tears. In 2006 he won the prestigious Helen Lempriere Travelling Art Scholarship. Other significant exhibitions include: Preparations for Rain 2018 Sarah Cottier Gallery, Sydney; New Matter 2016 Art Gallery of NSW, Sydney; Primavera 2012 Museum of Contemporary Art, Sydney; and Desire Lines 2012-13 at the Australian Centre for Contemporary Art, Melbourne.
Todd’s work is held in many public and private collections internationally, including the National Gallery of Victoria, Melbourne; the Museum of Contemporary Art Sydney; the Art Gallery of NSW, Sydney; the Museum of Old and New Art, Hobart; and the Sir Elton John Collection.
Bridie Lunney has taught for a decade in Melbourne at Monash Art Design Architecture, Victorian College of the Arts and Royal Melbourne Institute of Technology across Sculpture, Contemporary Practice, Drawing and Interior Design. In addition to currently lecturing in Sculpture at the National Art School, Bridie is also a PhD candidate at Monash Art Design Architecture.
Bridie focuses on combining practices of large-scale architectural interventions, sculpture and durational performance. Bridie’s recent projects include Temporal Proximities, Magdalene Laundries at Abbotsford Convent, 2019; From Will to Form, TarraWarra Biennial, New Histories at Bendigo Art Gallery, 2018; and Fold for Melbourne Prize for Urban Sculpture, Federation Square, 2017.
Rebecca is highly skilled in both the technical and artistic aspects of printmaking, managing the studio spaces and being Covid and WHS compliant. Rebecca was previously the Technical Officer in the Printmaking Department at UNSWAD, since 2017. Rebecca is committed to helping students develop their art practices and visual language and highly invested in the student experience.
Dean Cross was born and raised on Ngunnawal/Ngambri Country and is of Worimi descent. He is a trans-disciplinary artist primarily working across installation, sculpture and photography. His career began in contemporary dance, performing and choreographing nationally and internationally for over a decade with Australia’s leading dance companies. Following that Dean re-trained as a visual artist, gaining his Bachelor’s Degree from Sydney College of the Arts, and his First Class Honours from the ANU School of Art and Design.
Dean has shown his work extensively across Australia. This includes the Indigenous Ceramic Prize at the Shepparton Art Musuem, curated by Anna Briers and Belinda Briggs (2018), Tarnanthi at the Art Gallery of South Australia, curated by Nici Cumpston (2017), RUNS DEEP a solo show at Alaska Projects, Sydney (2018), The Churchie Emerging Art Prize (2016), The Redlands Konica Minolta Art Prize (2015), and the Macquarie Group Emerging Art Prize (2015) where his work was awarded the Highly Commended prize by artist Joan Ross. In 2018 Dean has also exhibited at the Australian Centre for Photography, Sydney, as a part of the NEXTWAVE Festival Melbourne, with curator Amelia Winata, and at Artbank, Sydney in Talia Smith’s “In a World of Wounds”. Also, Dean has been a year-long Artist in Residence at the Canberra Contemporary Art Space (CCAS). Dean was also selected to be a part of the 4A Beijing Studio Residency Program in Beijing, China, and in 2019, Dean undertook the inaugural Canberra/Wellington Indigenous Artist exchange.
Dean’s work has been collected extensively and is held in significant public and private collections including the National Gallery of Victoria, The Art Gallery of South Australia, The Queensland University of technology Art Museum, and the Canberra Museum and Gallery.
Dean is represented by Yavuz Gallery, Sydney and Singapore.
Ebony Russell in an artist and educator with broad experience of teaching and arts administration in primary and secondary education throughout Australia. Her art practice is based within the ceramic tradition and engages with a range of issues specifically related to the ceramic medium and craft practices. Her expertise extends across tradition ceramic techniques into experimental ceramics and installation. Ebony has also worked as a project coordinator and workshop facilitator with indigenous art centres and art fairs including the Darwin Aboriginal Art Fair and The National Indigenous Art Fair, Sydney. In her administrative roles she has been appointed as Head of Department in multiple colleges and has held the role of regional coordinator – North Queensland Secondary Schools Creative Generation Excellence Awards. Ebony’s work has been exhibited in both commercial and public galleries throughout Australia, New Zealand and internationally. In 2019 was awarded the prestigious Franz Rising Star Award for Excellence in Porcelain.
Gina holds a Bachelor of Fine Arts majoring in Printmaking from the National Art School and a Bachelor of Design in Visual Communication with Honours from the University of Technology Sydney. She has been a finalist in numerous prizes including the Fremantle Print Arts Centre Awards, Lloyd Rees Memorial Youth Art Award, Ravenswood Women’s Art Prize and Australian Design Biennale Awards.
Gina engages with processes from printmaking, drawing, sculpture and photography to comment on the continual reformation and reconstruction of our urban environment. She explores the liminal space between activities of construction and deconstruction reflecting upon the condition of change which she considers an underlying, persistent and inevitable force in life.
Siena is an artist, teacher and curator. Her art practice stems from her background in traditional life drawing, and expands into sculptural installation. In addition to Lecturing in Drawing at the National Art School, Siena teaches drawing workshops at the Art Gallery of New South Wales. Her curatorial practice, is primarily group based exhibitions, seen at Lilac City Studio.
Socorro Cifuentes studied Bachelor of Visual Arts at the UNAM (National Autonomous University of Mexico). She makes remix videos that explore the relationship between media art practice and social movements in Latin America. She holds a Master of Philosophy from Western Sydney University. Her thesis “Rearguard Remix: a practice of political listening” explores the use of video remix as a process of creating relations among different knowledge systems.
Tango’s work explores the nature of representation and how processes of artmaking can embody the perceptual experience. Firmly based in life drawing her interests lie in the embedded theatricality and absurdity of staged life and the everyday. Tango’s drawing practice expands on traditional life drawing methods to explore new depictions of staged bodies.
Tango graduated from the National Art School in 2016, with a Bachelor of Fine Arts (Sculpture). In her graduating undergraduate year she received the Academic Achievement Award and was awarded the John Olsen Figure Drawing Prize and the Jocelyn Maughan Sketchbook Prize. Going on to focus on drawing at NAS as a part of a graduate diploma she was awarded the Robert Le Gay Brereton Memorial Prize by the Art Gallery of New South Wales
Tonee holds a Masters of Fine Art from UNSW Art & Design where she is a Sessional Lecturer, in addition to lecturing at the National Art School. Exhibiting with Gallery 9 since 2007, Messiah is represented in the collections of Monash University Museum of Art, Artbank, Allens Linklaters, Barker College and Campbelltown Hospital.
Tonee Messiah has held solo exhibitions in Sydney and Melbourne since 2004 and has been included in group exhibitions in Australia, New Zealand and the UK. She has Bachelor of Visual Arts (Honours) and Master of Fine Arts degrees from UNSW. She is a recipient of an Australian Postgraduate Award, UNSW (2015), ARP Artist Residency, Darlinghurst (2013), Zelda Stedman Young Artist Scholarship (2005), William Fletcher Trust Artist Grant (2005), NAVA Visual and Craft Artist’s Grant (2004) and Sir William Dobell Arts Foundation Scholarship (2003). Tonee has been a finalist in the Waverly Art Prize (2019), Hazelhurst Works on Paper Art Award (2017 & 2015), and the Paddington Art Prize (2016 & 2015). Her work is in the collections of ArtBank, Monash University Museum of Art, Melbourne as well as corporate and private collections in Australia and New Zealand.
Born in Japan and trained as a graphic design in the United States, Toshiko had a long design career in the States, Holland, Indonesia, Singapore and New Zealand before coming to Sydney in 2001. In Sydney she changed her direction and studied fine art, obtaining two masters degrees and a PhD from the University of New South Wales while developing her art practice.
Having lived in many countries and criss-crossed the fine and applied arts fields, she has a special interest in cultural interactions in visual arts. In her own art practice, she draws inspirations equally from the outback of Australia and the ancient pilgrimage trails of Japan, science, philosophy and poetry. She exhibits regularly, and has won prizes and grants including the Tim Olsen Drawing Prize and a residency in Paris. Currently Toshiko divides her time between her art practice and teaching at the UNSW Art and Design.