Year 12 Visual Arts HSC Body of Works

Nathan Capulong
Drawing

'The Silence' An emotional state of muteness, visually conveying the personal experiences of discrimination. It symbolises the confronting effects of social anxiety, depression and loneliness as well as my own struggles with social anxiety and issues around communicating with those around me. It demonstrates a similar reflection of the Japanese animation known as 'A Silent Voice', where the character quickly finds herself bullied, discriminated and isolated by society due to her hearing disability, representing the struggles and challenges of adolescents living in the world as an outsider. I drew inspiration from the traditional comic 'manga' style, storytelling an individual living in isolation and victim to racial discrimination in Japan. It explores the alienation conveyed as a young, half-blooded, African-Japanese human. This concept provokes an emotional response, as the black and white figure contrasts against fantastical views of the colourful Tokyo vividness encapsulated by tall buildings and busy signage. The dull and lifeless tones, signify the ghost-like foreigner's mistreatment and loneliness of being disabled from the 'normal' Japanese society. This racial isolation still exists today and this is evident through the lives of celebrities including, Rui Hashirama, Naomi Osaka, Louis Okoye and Ariana Moyamoto as they have experienced racism in Japan first-hand. My artmaking practice has been influenced by the study and interpretation of the following artists: Kiyohiko Azuman, Liam Wong, Kiyoko Yamaguchi, Hokusai Katsushika .

Juliyanah Guerrero
Collection of Works

Reformasi Dikorupsi (Reforms Corrupted) 'Reformasi Dikorupsi' explores the tragic event of students rebelling and fighting against the government in Indonesia. Each object represents the protest and how future generations protected their civil liberties and individual liberties. By re-contextualising objects that represent Indonesia's culture, I have combined them with Indonesian symbols and patterns that reflect each legislation made by the government. Each piece plays a part in the protest as both men and women participated in the riot, especially those who were Muslim. However, each piece is replicated to look as if they have been through trauma. My work expresses the rich culture of Indonesia, including aspects of religion and traditional art, whilst also bringing awareness to the conflict between minority and majority. My art making practice has been influenced by the study and interpretation of the following artists: Camille Henrot, Ai Weiwei and Debbie Smyth.

Kirsten Henderson
Painting

Metanoia (change in one's way of life) 'Metanoia' portrays the profound portraits of four influential woman in their distinctive place of heritage, emphasising their individual transformation and tremendous growth. These individual women bear contrasting traumatic events which are illustrated within the background of each work. The overall piece retains depiction of their most successful self, a symbolism of truth, growth and success - these individuals have risen from their traumatic personal experiences, growing into a greater person of strength and inspiration to others; as a way as using the experience as a dramatic change in life. Using foam board, impasto and acrylic paint, I wanted to challenge the traditional artmaking methods to create a meaningful and unique piece. Moreover, the immense use of colours, articles and depth further adheres to the concept. My artmaking practice has been influenced by the study and interpretation of the following artists: Claude Monet, Salvador Dali, Vincent Van Gogh and Frida Kahlo

Maheka Karunaratne
Drawing

What Do You See? My artwork accentuates the notions evident within our contemporary society which feed and manifest the harsh and harmful events affecting and influencing individuals. My pieces which encompass my BOW not only portray these disturbing issues but subtly hint at the notions which such events stem from. Through the delicate symbiosis of charcoal and red and blue ink, I have created 4 pieces which simultaneously illuminates issues plaguing our world, and the walls, barriers and stereotypes which allows affairs such as Islamophobia, Child Marriage, Animal Cruelty and Sexism to manifest and expand, engrossing not only the current generation but imprinting on the new to create a continuous cycle which cannot be destroyed. The purpose of my pieces is to highlight the walls, barriers and stereotypes such as generalisation of religion and race, culture and gender norms and, in turn, educate the audience about the world around them. But also to show them different perspectives that other individuals might hold on the issues displayed. I do this through the implementation of cellophane as lenses which symbolise two different perspectives, looking through them allow the audience to experience such issues through a new light, this then allows the audience to decipher for themselves which perspective ensures growth and acceptance and which endorses harm and should not be used within society. Allowing the audience to formulate their own opinions on such issues through stimulation creates an interactive agency within my work, heightening its appeal, and also encourages them to learn and grow as individual persons. My artmaking practice has been influenced by the study and interpretation of the following artists: J. Howard Miller, Carine Brancowitz, Banksy, Pawel Kuczynski and Oleg Shuplyak

Oliver Kozak
Photomedia

A Nighttime Blur Our eyes lack perfect vision at night creating a blurred and darkened vision, however our camera can make up for our eyes lack of vision at night. 'A Nighttime Blur' provides an insight into what the night would look like if our eyes replicated a camera lens, painting a light trail using shutter speed manipulation to unveil a new perspective of the night as we know it. The photographs taken are from well known areas within the Sydney area and show the nightlife of Sydney showcasing light, movement and a blur. My artmaking practice has been influenced by the study and interpretation of the following artists: Michael Sidofsky, Gareth Hayman and Edward Hopper. 

Ashlyn Philip
Drawing

"RUNNING OUT OF TIME" 'RUNNING OUT OF TIME' symbolises the detrimental impact humans have upon the world. The pieces explore human ambition and the repercussions of pollution. The trifecta artworks come together to form a reflective Body of Work in which challenges the audiences views on global warming, urbanisation, deforestation , and human ambition. The theme of space exploration and planet urbanisation can be seen as an escape from our issues and destruction here on earth. Utilising vibrant chalk pastel contrasting against the black paper enhances the audiences experience through emphasising the visual quality of the work. The surrealistic symbolism and variation in tone engages the audience in each piece as it reminisces and personally connects with authentic and relevant issues on contemporary living. This allows the intentional message to be clearly conveyed juxtaposing the idea of surrealistic and realistic perspectives on this issue as it questions the audience on whether or not we are truly "running out of time." My artmaking practice has been influenced by the study and interpretation of the following artists: Robert McCall, Salvador Dali, Ruben Belloso. 

Auvishek Rahman
Drawing

Explorita Explorita is a narrative that seeks to question the very nature of human existence, within our greater universe. The narrative piece, consisting of a series of individual comic panels, takes the form of a manga—by which the situations and roles the characters (in the narrative) are subjected to, displays the pursuit of mankind to cement its existence within the universe. This is all to display the scale and relativism between mankind and reality; questioning the nature of our laws, beliefs, and the common good—arguing that such is a notion pertaining only to mankind’s existence, which is mathematically insignificant to the greater universe. This is all in favour of Objective-Neutrality. My artistry was greatly inspired by manga artist, Hirohiko Araki, as well as the photograph taken by Voyager 1 named, ‘Pale Blue Dot’.

Hushiti Raikar
Collection of Works 

ATTACK OF THE NEURAL NETWORK Attack of the neural network displays the physical effects of stroke in the brain. Looking at how the brain reacts, creates blood clots causing haemorrhages which results in the neurons becoming damaged and no longer working. The first piece replicates a brain scan showing an overview of the brain. Some of the clotted ink and bleeding of the ink spreading throughout the plywood depicts the horrific process of blood clots slowly spreading across the damaged areas.The second piece is a second layer, conveying the delicacy and fragility of the brain structure, the infestation knotted up feeling of uncertainty. The third piece is the final layer, regeneration and regrowth displaying the damaged brain recovering and conveying new pathways and neurons being created. The use of plastic for the etching symbolises the brain's neuroplasticity as it is able to change and regenerate. My artmaking practice has been influenced by the study and interpretation of the following artists: Chuck close, Chiharu Shitoa, Salvador Dali and Greg Dunn. 

Harrison Rossetto
Drawing

"Codifying The Life-Cycle of Art" “Codifying The Life-Cycle of Art” is a reflection on my hyper-lexical thinking. Lexicality is a need for ideas to be codified to be comfortable in one’s understanding. The goal of this piece is to represent that train of thought as representative of myself. The medium through which this is accomplished is a reflection on the body of work; the creation process or the life-cycle of artwork. Each piece represents a step in this process. “Big Generator”, brainstorming in its system of grayscale pipes representing the uncertainty in the tangles of the mind and the flooding of unsorted, bright, colourful ideas representing the flow of creativity that can come from within. “Playing A God” represents actively creating a piece. The rippling rings are a more focused evolution of the messy flooding of ideas, consolidating ideas and coming together, focused into a central point; the upward pointing finger taking center stage. “Eye of The Beholder” represents audience consumption. The elements from the prior pieces are separated in a tower into their own segments in a tower, behind the eye, in the mind of the audience. The nonsensicality of the structure represents the gamble that is putting one’s work, and the stained-glass window of a halo adorned woman holding her child representing this being something of a sacred act. My artmaking practice has been influenced by the study and interpretation of the following artists; Hirohiko Araki, M.C. Escher, Atsushi Okubo, Patrick Spaziante, Kentaro Miura and Yuji Uekawa.

Shanay Yeo
Graphic Design

“ONE LAST SIP WON’T HURT” “One last sip won’t hurt” explores the accelerating psychological and physical effects of alcoholism on individuals and families. Each re-contextualised piece endeavours on a different trail of the dark depths of alcoholism. The progression of the crushed cans depicts the journey and stacking devastations that result from alcohol abuse. The symbolic use of long, claw-like hands represents a monstrous figure; the one behind the alcohol. Each quote illustrated in the background identifies the verbal entails of an alcoholic persona. My artmaking practice has been influenced by the study and interpretation of the following artists: Kevin Grass, Valeria Patterson and Lei Xue.

Shandel Mamuk
Year 12 Visual Arts Teacher