The Ballarat Teacher's College is a predecessor of Federation University3 Photographs of artwork by Margaret MacDougall (Whittle) who completed them for the drawing teacher's secondary certificate 1941. - Study of a flowering plant with 2 designs based thereon. - Measured drawing - porch with doorway St Patricks Ballarat -Drawing from a cast of ornament.margaret macdougall, photograph, teacher training, artwork, st patrick's cathedral ballarat, margaret whittle

A chronicle of G.W.C.C. members who joined the Armed Forces for the 1914-1918 War (WW1) noting those who paid the ultimate sacrifice.This honour board signifies the high esteem in which the community held for those soldiers who joined the armed forces during WW1. The large list of names from this relatively small cycling club indicates the huge sacrifice all communities made during this time of war. It is a statement of patriotism, service and sacrifice.Large 3 piece hardwood dark stained timber Honour Board. Names of GWCC members who served in WW1 depicted in gold lettering. Those killed noted. Artwork includes national animal symbols of Emu and a Kangaroo and a Floral Emblem of Wattle Sprigs."Honor Roll/1914-1918 Geelong West Cycling Club/A Thomson/B Thomson/Kld GThomson/JA Smith/Joe Smith/K McCauley/F Cornish/P Lunnon/JW Grundell/H Foote/J McCann/H Toyne/Kld B Hargraves/Kld EA Simmons/Kld G Ross/J Clarke/L W Hansford/N Bowler/Kld J Love/B Lorimore/Kld J Black/C Smith/J Hobbs/Kld E Culliver/Kld G Brequet/Kld P Grundell/J Thomson/P Moir/T Pescud/H H Pescud/M Reynolds/M Foote/C Belperroud/E Cornish/F Fanning/H Mansell/F Hotchin/A Ives/C Grayland/Kld E Bartlett/Kld J Howlett/S Knight/W Shields"geelong cycling club; geelong west cycling club; g.w.c.c; ww1; honor roll; 1914-1918; a thomson; b thomson; g thomson; j a smith; joe smith; k mccauley; f cornish; p lunnon; jw grundell; h foote; j mccann; h toyne; b hargraves; e a simmons; g ross; j clarke; l w hansford; n bowler; j love; b lorimore; j black; c smith; j hobbs; e culliver; g brequet; p grundell; j thomson; p moir; t pescud; h h pescud; m reynolds; m foote; c belperroud; e cornish; f fanning; h mansell;; f hotchin; a ives; c grayland; e bartlett; j howlett; s knight; w shields;

My work is informed by a philosophical and spiritual engagement with Buddhist ideas, particularly in response to environmental concerns. In this work I wanted to challenge myself and explore the limits of clay material. Clay allowed me to express myself and free my mind. When I revisited Australia in 2010 form my residency, the natural environment here still was the best to me. Li-Feng LO (1967- ) Born Taiwan Ceramic artist Dr Li-Feng Lo completed a PhD at Monash University in 2008. She was a resident artist in the Federation University Arts Academy ceramics studio in 2010. Li-Feng worked with Southern Ice porcelain to create sculptural forms in response to environmental concerns. Her work is informed by a philosophical and spiritual engagement with Buddhist ideas. These works were exhibited in the exhibition 'AIRed' at the Post Office Gallery in 2011. This was a group exhibition showcasing the work of six artists who undertook residencies at the Arts Academy over a couple of years. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Handbuilt (pinched), coloured porcelain form. Artist's Statement: In the beginning I try to use clay to achieve a dream-like quality by providing a feeling of flexibility like paper and fragility like glass. I was my artwork to the one with nature. Gift of the artist, 2010art, artwork, li-feng lo, ceramics, artist in residence, available, available ceramics, chinese

This work was undertaken by a student at Horsham Campus.Light blue background with a black outline followed by a thicker pinkish brown outline with black details, artwork contains part of a tree outlined and detailed in black and coloured with the same pinkish brown colour, it has some green leaves, the tree resembles a gum tree.DER or DLR is written below the arthorsham student collection, printmaking, alumni, available, tree, gum tree, landscape

The extensive formal landscaped gardens of Rockingham had been created in the 1860s, and by the 1950s remained bordered to the south by the Barkers Road cutting, and to the north by Blytheswood, the neighbouring Syme family property, By 1940, the Syme family were no longer the occupiers of Rockingham. John Herbert Syme had died in October 1939, and by August the following year, his wife had made the house and garden available, rent free to the Red Cross as a convalescent home for Australian soldiers injured in the Second World War. At the time, the house was described as containing twenty rooms, including a ballroom and a billiards room, with a garden of eight acres overlooking the Yarra. The task of renovating the house to conform to its new function as a convalescent home took a year, finally opening in August 1941. Community support for Rockingham was widespread and included the decision by the National Gallery of Victoria to loan pictures from its collection to decorate the walls. Calls were made for women around Victoria to donate fruit and vegetables from their gardens, which the railways agreed to freight for free. Other local support included the work by a team of boys to establish a three-acre vegetable garden within the formal terraced gardens. From the beginning, occupational therapy formed a key component of the rehabilitation of psychologically injured soldiers. This is confirmed by contemporary newspaper accounts of weaving, ironwork, leatherwork, basketry and gardening by patients. Numerous photographs, held by the Australian War Memorial (AWM) and the State Library of Victoria (SLV), record the importance of these rehabilitation activities. The painting of the view across the river to Abbotsford may have been painted in one of these occupational therapy sessions. For many decades it hung in the occupational therapy room. It must have been on view following the sale of Rockingham by the Syme family to the Red Cross in 1955, and subsequently, until the house was demolished and its grounds finally subdivided in 1977.View of Abbotsford from the garden of Rockingham (1952) was created by V Maloney. The vantage point of the artist was the garden of Rockingham, one of two mansions overlooking the Yarra owned by the Syme family. The artwork depicts a number of sites - especially factories - that have since been demolished.Signed by the artist, lower right "V Maloney"rockingham red cross convalescent home, hospitals - kew (vic), rosemary lade, art therapy

"Town and Harbour Bathi. Ithaca" (Vathi) engraved by J. Tingle from artwork by C.Bentley, was published in The Shores and Islands of The Mediterranean ..., about 1840. A reproduction of a black and white etching of the Ithacan port of Vathi. A fishing boat is being brought in to the port and the crew are preparing to unload the catch. There are some buildings around the harbour's edge and smaller boats are also in the harbour.In Italian: Citta e porto di Bathi (Itaca)

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Colour digital print of a dead mouse. Image is a cropped detail of the animal's hind legs and tail.aneta bozic, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, photography, colour photography, animal photography, death in art, www.anetabozic.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Digital print. Series of panels featuring text. The text is printed over the image of radical Muslim cleric Abu Bakar Bashir.theo den brinker, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, sculpture

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Painted using acrylics, ink and charcoal on canvas. This abstract image features what looks like two figures merged into one against a red background with sprays of black paint. liza posar, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, graffiti

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Acrylic painting. Abstract image comprising twelve canvases. Colour scheme includes yellow, brown, aqua and green.julie harmsworth, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, abstract art, abstract painting, www.incarastudio.com.au

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Oil on cotton fabric. Image of two young boys standing beside each other looking out to sea. They are painted against a background of blue-green water and a clear blue sky. The pattern on the sand is repeated in the boys' swimming costumes. One of the boys has his head turned away from the water.leah mariani, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.leahmariani.com

This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Acrylic on canvas. Stylistic depiction of mountains in blue tones, set under a golden sky.amy mills, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, www.amymills.com.au

The joystick has been held by the Barber family since the crash in 1945. It had been kept as a momento to the witnessing of the incident involving an aeroplane from the Nhill Air Training School. In recent times the joystick has been mounted on a display base and loaned to the Nhill Aviation Heritage Centre to add to the awairness of this event. This is the only remains of this aircraft known to existSection of a wooden aircraft joystick, broken off at the base. Made of turned and polished wood with a turned handle section approx 100mm at the top. Mounted on a wooden display base with two brass retaining rings. Display base has information in text and description artwork of the aircraft. Inscription "MEMORABILIA from R.A.A.F. FLYING SCHOOL / NHILL AERODROME World War II"air crash, joy stick, propodollah, barber, tiger moth, a17 751, keith scholfield, lac john considine

Owner and donor details - see Cat. No. 5836.3. The idea was to provide ex -service men and women in hospital with a form of occupational activity.Soft cover book. Cover - cardboard, pink colour, black print on front cover. Illustrated with square with geometric shapes. Facsimile document. 107 pages - cut, plain white paper. Illustrated - colour artwork, black and white posters. Binding - plastic binding comb.books, military history, veteran's affairs, story writing, art

This drawing was created by Dr Angus in 1932, most likely using pastels from a tin of pastels also in Flagstaff Hill's W.R. Angus Collection. The drawing was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Artwork; coloured pastel drawing in black frame, glass covered, with wide dark mat, part of the W.R. Angus Collection. Sunset scene, cottages by water, row boat in water. Signature “W.R.A. / 1932” . Picture has been framed by M.H. Bayly & Speirs of Adelaide. Signature in bottom right corner “W.R.A. / 1932”. Label on back “M.H. BAYLY & SPEIRS / 48 GRENFELL ST ADELAIDE / ART DEALERS / AND / PICTURE FRAMERS / PHONE 3258” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, pastel drawing by w.r. angus 1932, artwork w.r. angus 1932, hobby william roy angus, pastel picture william roy angus

Through the eyes of two cultures. A catalogue of an exhibition of paintings by artists Zhou Xiaoping & Jimmy Pike held at the National Gallery of China Beijing, created by the Golden Dragon Museum & sponsored by Arts Victoria, Australia Council for the arts & Foreign Affairs and trade. Coloured photographs of artworks.art, aboriginal, art, zhou xiaoping, jimmy pike, golden dragon museum, aboriginal artists.

March Excursion - Eltham Cemetery Artworks Newsletter No 236 October 2017 contained a report on the unveiling of a significant new art project at the Eltham Cemetery. Titled “Our Eltham – Artistic Recollections” it features 31 ceramic panels containing artwork with a local history theme. The work is the joint creation of artist Nerina Lascelles and ceramicist Linda Detoma, supported with stonework by Leigh Wykes and steelwork by Neil Carter, all skilled local Nillumbik artisans. The main purpose of our excursion on Saturday 3rd March 2018 at 2.00pm will be to view the panels and will include readings from the interpretive booklet published by the Cemetery Trust. There will also be the opportunity to inspect other artworks within the cemetery. - EDHS Newsletter No. 238 February 2018fay bridge collection, 2018-03-03, eltham cemetery, eltham district historical society, heritage excursion, our eltham artistic recollections, public art

March Excursion - Eltham Cemetery Artworks Newsletter No 236 October 2017 contained a report on the unveiling of a significant new art project at the Eltham Cemetery. Titled “Our Eltham – Artistic Recollections” it features 31 ceramic panels containing artwork with a local history theme. The work is the joint creation of artist Nerina Lascelles and ceramicist Linda Detoma, supported with stonework by Leigh Wykes and steelwork by Neil Carter, all skilled local Nillumbik artisans. The main purpose of our excursion on Saturday 3rd March 2018 at 2.00pm will be to view the panels and will include readings from the interpretive booklet published by the Cemetery Trust. There will also be the opportunity to inspect other artworks within the cemetery. - EDHS Newsletter No. 238 February 20182018-03-03, eltham cemetery, eltham district historical society, heritage excursion, our eltham artistic recollections, public art, peter & elizabeth pidgeon collection

"Asylum seekers in great desperation."This artwork was an entry for the Maritime Art Prize 2019. David Rowe, editorial Ccrtoonist of The Australian Financial Review, has won the Art Prize in 2010.Marine artOil on canvas depicting asylum seekers in great desperation as they are helping two men in the water to get on board.mission to seafarers victoria, artwork, mission to seafarers, seamen's mission, flinders street, artwork-paintings, maritime art prize, sea, ship, 2019, migrants, migration, diaspora, asylum, desperation, sinking, david rowe, cartoonist

A watercolour artwork of a soldier found in the archive. From the title it appears to be by Legatee Fred Holdsworth for an art show in 1965. He joined Legacy in 1957.A record of a Legatee.Watercolour on paper mounted on board of a soldier.Handwritten in green texta 'LEG AT EASE By RAAF No.54091 Holdsworth Fred C'. Handwritten in pencil on reverse 'Art Show 65'soldiers, fred holdsworth

A showcase of the best artists and their work in the Diamond Valley area will go on display in Montmorency this month. The Artists on Were Street event will showcase local artwork and music.News article 1 page, black text, colour image.diamond valley, montmorency, art show, artists on were street, were street montmorency

Art students at Galen have the opportunity to try their hands at different forms and mediums. These photos show students in a ceramics class adding detail to their ceramic artworks.galen catholic college, galen college, art, ceramics, 2012, students

Under the doona investigates the creative potential of observing the domestic environment and connecting with the local landscape within the restrictions of COVID-19 in 2020. The global pandemic is explored from a personal domestic and local position on Wurundjeri Country in Nillumbik in my 5km radius.Universally recognisable as a symbol of hygiene, the Chux cloth was discovered discarded and coated in Nillumbik’s infamous clay on my daily walk. Local Indigofera Australis was used to extract ‘Chux blue’ to botanically dye hand spun silk and Polwarth yarn. Not a scratchy synthetic Chux, my handwoven natural fibre soft cloth positions soothing touch as an all-important sense within the physical constraints of social distancing. My masked daughter holds her pet rooster. My son learns new card tricks using crackers. Family and local surrounds provide close and reassuring comfort. The project values intimacy, touch and local connectedness. On a global scale.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it

My paintings reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of the human race regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalized, suspended, fragmented, perplexed and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post pandemic psyche. The lines and shapes delineate an space with new boundaries and depth, full of aching, longing, order less and distorted bodies forming an assemblage endlessly floating on the blue surface, gasping for air, emerging and submerging, shrinking and extending. COVID-19 is a wakeup call for us to rethink our relationship with technology and environment in order to create new control, purpose and identities, which we need to help future generations to survive. Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it

Isolation is something I am all too familiar with.In the middle of the last decade, for a period of three years, isolation became my way of living, as due to my health, I physically couldn’t leave the house, or even my bed very often. I would be so desperate to get out of the house at times that it was if I was a prisoner trying to escape the confines of Alcatraz. The isolation experience during the COVID-19 pandemic has brought back many emotions and memories of that time, some of which I would rather not remember.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

‘Relax, We’re Doing Great’ explores the mixed messages and lottery of language we have been exposed to during COVID19. Sourced from local and global leaders, warning signs and public messages, the text ranges from instructional to in-denial; to even epidemiologically dangerous rhetoric.These works connect into the hand-made, digital and 24/7 news cycles - key coping mechanisms for fears and uncertainty - of this pandemic period. The power and importance of language is highlighted when experienced en masse. The repetition of the layout of these works also allows for the creation of GIFs – mimicking the flickering of LED signage.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

Leaving Isolation is play on words; a pun. It is a joke shared with new imaginary friends found while living alone, in isolation. Processing emotions, sanitising theories, engaging in shadow play; these works show individual native leaves that resemble expressive faces collected on permitted daily walks. 30 small, 15 x 21 cm still life studies in ink and watercolour are hung to reference a calendar month during COVID-19. The work considers the nature of ecology in the anthropocene while confronting emergent psychological myth-scapes during Lockdown.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

Score for Multi-Species Partnerships is a participatory performance and moving image assemblage. The score offers a guided framework to become reacquainted with the everyday, queering notions of community and care through meditative movement practice. Inter-species collaborators partake in a series of propositions which facilitate a ‘becoming-with’, deepening their sense of place and comfort with one another and their environment.Seeking alternative forms of connection during isolation, this global project uses embodied praxis and visualisation to bring together artists and non-artists, humans and non-humans, to consider how we co-exist and affect one another through material and energetic transference. Initiated in April 2020 following the COVID-19 outbreak, participants chose whether to practise anonymously or document their experience and contribute to the visual archive. The private becomes public as intimate encounters in domestic settings are shared, speaking to cultures of performativity and voyeurism in the digital age. Artist/Director: Luigi Vescio. Performers: Adina Kraus, Anna McDermott, Claudia Lomoschitz, Josh Freedman, Luigi Vescio, Martin Lee, Maximilian Bishop, Melanie Cobham, Nathan Dubber, Niharika Senapati, Omar Felix Faber, Pia Lauritz, Rachel Jessie-Rae O’Connor, Shamira Stone, Will Hall, Yuiko Masukawa.Many thanks also to those who chose to participate in private.This project was also supported by Creative Victoria through the Sustaining Creative Workers initiative.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it. Video