sos-2023

[sos-2023]

‘Fuck Education’

Brynn Elysia @brynn_elysia

‘Fuck Education’ is a computer game simulation, based in the UnHoly Cherry Universe; a fabricated reality in which virginity actually exists (in a physical form).

Fuck Education is a critique of our current sexual education system, and our broader social attitudes towards youth sexuality.

Fuck Education refocuses sex education on pleasure, questioning the social constructs that we have created around virginity, and how they inform our behaviours.

[sos-2023]

"Bloodtooth Fungus“, Jessica Thompson, 2023, gelatin, ceramics, foam, plastic pipes, resin 

For this project I am concerned with navigating repair - examining how the parameters of expected femininity and domestic power hierarchies mediate/shape my experience of gender and self-care. Filtering through a feminist and queer lens, “Bloodtooth Fungus“ draws imagery from the bleeding tooth fungus. Its red acrid sap forced to the surface through pressure draws parallels to the charged undercurrents beneath the surface of familial relations that lead to fracturing, disconnection and damage.

The process of releasing pressure through the clearing out of infected material before it spreads such as the eruption of a cyst or the cleaning out of the inside of a tooth is a step towards regeneration. Through this installation I am working through the root cause, investing attention, care and repair in navigating how the patriarchal expectations that filter through my home have negatively impacted my personal relationship to family.

[sos-2023]

Hattie Bidwell

Doom Prepping in your Rental, Bombe Alaskas, and Sleeping with the Fan on, 2023.

Screen print, spray paint and watercolor on paper, installation.

I am interested in representing the chaotic, nonsensical and intimate sides of myself. My housemates are my sole inspiration and I enjoy exploring the strange places that our brains go to when there are no time constraints limiting our trains of thought. This is a homage to those late night conversations we have on the kitchen floor over cold cups of tea, or in the bathroom whilst we are brushing our teeth. These unrefined, unprocessed and bizarre tangents that fill the rooms of my house, are the things that get me through.

THIS ARTWORK WAS MADE ON GADIGAL LAND, SOVEREIGNTY WAS NEVER CEDED.

instagram - @hattsie.b

[sos-2023]

Traces D’amours

Mod podge image transfer onto used bed sheets, 2 min audio.

We leave traces of ourselves, on each other, on a place, and it does the same to us.

Traces D’amours (traces of love) is an observation of fleeting traces of closeness, warmth, and intimacy. Embedding the skin and its temporary scars on the sheets to create a new body of its own preserving their ephemeral natures.

[sos-2023]

Jacqueline Jacky

Let’s Yarn Today, Over Cards, 2023. 

Installation, screen-print, watercolour monotype, textiles and sound. 

This installation explores the ideals of yarning to an individual about their stories, photographs and family history. In this case, it’s my mother’s stories and my family history. I am a proud Aboriginal person living/working on Gadigal and Bidigal land. I can find it hard connecting back to Gamilroi and Dunghutti countries and family history. In the past years I’ve gathered photographs, stories and archives of my family and culture. I have also had lots of yarns with my mother, who always ensures, I know where I’m from, through talking and showing. This body of work will showcase those archival forms to create an installation, through mixed mediums and sound. I would like to achieve, for myself and others, to see the importance of having a yarn with someone. It goes a long away when you listen. 

@jackywintersgreen

[sos-2023]

Exodus

Exodus, 2023, Ming Sun, Ink, mineral materials on rice paper.

"Exodus" is artwork that explores the relationship between sins and pleasure, using a traditional Taiwanese ritual of fulu writing with a contemporary approach. Sins are depicted as chaotic forms that transform into representations of pleasure and regrets, emphasizing the transformative nature of this relationship. The purpose of my artwork is to encourage viewers to reflect on their own relationship with sin and pleasure and consider how to transform these experiences. My artwork contributes to the ongoing dialogue about the relevance and potential of traditional practices in a contemporary setting. One can only exit the hell when they truly face and understand their desires, sins, pleasures and regrets.

[sos-2023]

Anna Nolan, Studies - Limitless in its Limits, 2023, oil on yup paper

To be human: reflections on the condition of incompletion, its ambivalence, ardency, anxiety and the sublime.

There was an artist once and there was a bear. And that artist that there was, once — once that artist was on the verge of a masterpiece and so with creative fervour locked himself in his studio, painting night and day and forgoing all else in pursuit of the sublime. He was so close to perfection, he said, so close to achieving the divine image that all of art history had been searching for but could never quite grasp. He was closer than anyone had ever been, and the taste of sublimity sent him mad and drove him to his death. He refused to get up from his little wooden stool, he refused to eat, he refused to drink, he refused all that would sustain him, saying that the perfect image would nourish him and all that he must now do is complete it. It was the culmination of all, a life-long dream, the unconscious aim of humanity and it was the taste of sublimity that drove him to his death. But upon his death, what was found in his studio were hundreds of empty canvases, or the pages of a novel that had been written with a pen without ink, or a few feeble lines scrawled across a page. The underpainting of something that could not be made out. Art on its own could not contain it. It was far too glorious for that. And yet. And yet, the sublimity that he had seen for a fleeting moment would always be limitless in its limits.

[sos-2023]

Yokai Jinja (2023)

Momoko Sato

Medium: Wire, nylon transparent fabric, 3D modeled drawing printed on paper

This work is installation of Torii gate as entrance to the holy territory and 3D modeled images of original Yokai. Torii is gate found in shinto shrine and it’s considered as a boundary between human territory and holy territory. Every time you enter and exit shrine you need to bow and go through the Torii gates. Heaping up salt also means the boundary in Shinto religion and it protects us from harm. When we pass Torii and enter the shrine, we need to bow so I made short Torii as viewer lower their head to pass can be unintentional bowing.

Once you enter the holy territory, you will meet Yokai. Yokai is monsters from Japanese folklore. They’re the symbols of inexplainable event and supernatural phenomena. I created original Yokai considering that what if they existed today. 

[sos-2023]

Drew Nugent

The immersive microscopic world: Native Australian plants

2023, Semi-gloss photographic paper, embroidery threads, cotton fabric, and fabric filler

It is important to fuel our inner child that continuously conjures our wonder for the world around us. We don't appreciate the beauty of nature, big and small, so I invite you to wonder. Allow your selves to become curious and admire beauty at a microscopic layer.

(None of the colours were adjusted, this is the natural vibrancy of the specimens)

[sos-2023]

Boumnoss

2023, porcelain

Fiona

This work was created in memory of the artist’s grandfather, who planted a walnut tree in 1945. The tree provided nuts for three generations of the family, the broader community, and animals. It had a strong cultural significance to the artist and her family. The tree was cut down in 2010.

[sos-2023]

Eloise Griffiths Da Costa, Doodle, 2023

Film and installation display.

Doodle is a film that explores the complex and imaginative ways in which children inhabit and process the world around them. In my film, this takes the form of an imaginary friend with a face made of chalkboard and a dress spun from fairy floss. We, the viewer, are submerged into the liminal space, playing the over-imaginative child who observes and interacts with this imaginary creature over different locations.

I was a spaced out kid, and I'd often process real-life events and traumas by putting them into imaginary entities. This film aims to fully realise something that would've otherwise remained entirely in my head. It was a cathartic process for me, as the performer, to embody this creature born from my own experiences, and to inhabit the sanctuary my mind would often retreat to when the real world became all too overwhelming.

Assistant Director - Sally Ip

Cinematographer - Ellis Swinbourne

Lighting Technician - David Liu

[sos-2023]

Mei Lin Meyers, ARCHIVE-<3u_, 2023, panne velvet, faux fur, glazed ceramic, cardboard, acrylic, spray paint, polyester fill, found objects, sound and video.

A transmission comes through a model Q 2023 ARCHIVE-<3u_ console; placing reference within reference (interlink). What have our forefathers, ‘Bi’(Hetero)centennial man, ‘ally 2 all’ Scarlett Johansson and (my) 1st celebrity crush Mark Hamill - taught us about the conflation of humanity with innate sexuality and Western norms relating to desire, intimacy, Love!, and the hierarchy of relationships? 

ARCHIVE-<3u_ is engages with Sci-Fi through a queer asexual and post-orientalist lens; questioning the Hollywood genres prescription of heteronormativity and compulsory sexuality. Aligning with Asexual Resonances: Tracing a Queerly Asexual Archive, the work is an exploration of “a feeling, an instance, a trace”, the moments that are “tangled somewhere within us, in the personal archive that we carry”. Through the language of kitsch and prop making, I form an archive that is “multiple and contradictory” which documents the intersections between the personal and pop cultural. [1]

[1] Przybylo, E., & Cooper, D. (2014). Asexual Resonances: Tracing a Queerly Asexual Archive. A Journal of Lesbian and Gay Studies, 297–318

Instagram: @mei_yers

Living and working on stolen Gadigal and Bidjigal Land.

[sos-2023]

Ruihuan Liu

To the dead imagination, 2023, childhood artworks, old bathrobe, found fabrics, yarn, cardboard box, paint, pegs, clothesline.

This artwork was birthed from the childhood drawings of my sister and me. The washing machine monster chews up old clothes, spitting out fragments of our imagination. Things get lost in the monster’s mouth from time to time. I can never draw like this again.

[sos-2023]

Adrian Mok

After the Abandoned, 2023, LED lights, acrylic sheets, ceramics, Arduino, found objects, single channel audio

After the Abandoned is a continuation of my Taoist ‘neo-worship’ series. In this installation, I have created a speculative environment which imagines an abandoned Guan Yin shrine of the future. The state of disrepair has caused the shrine fixtures, statues and ornaments to deteriorate and unravel…

Instagram: @artrunningamok

[sos-2023]

Blueprints

Nikau Davis 2023, interactive digital space, written audience contributions, printed poster, bean bags

Blueprints is an interactive work that creates an archive of the collective utopia through play, encouraging the audience to allow their ideal future self to engage in a dialogue with the artists’ by giving a “house tour”, creating a space in which the audience can describe and explore their ideal future house. By doing so, the work creates an archive of submissions describing both the foundational physical and social architecture required for utopia, and becomes a blueprint for the future.

Instagram: @nikauuu

[sos-2023]

Lucinda Hackett

The Silence In Between, 2023, acrylic paint on canvas, (51cmx76cm) x3

“The Silence in Between” is a series of three acrylic paintings on canvas. This series discusses my personal experience of how trauma and broken relationships between a child and a parent can impact many relationships in unexpected ways, crating since and unspoken tension. In this series I convey how the relationship between my grandparents and myself has changed due to the broken relationship between my parent and me. Through this series I convey how this is dealt with through a Polish cultural lens through the setting of my grandparents apartment. 

[sos-2023]

From Here to There

Gosha Heldtz

2023

Acrylic on canvas, 130cm x 210cm  

@owiebuh

8 hours in a car. That’s how long the commute is from my rural hometown to the big smoke aka Sydney. Despite the length of the drive, I find it to be a very therapeutic experience as I pass through the soft, vibrant landscapes of rural NSW and eventually reach the stark, grey urban environment of Sydney. Here I aim to capture the contrasting colours and textures of these two worlds, offering a visual representation of the beauty and endurance of this journey.