Sonia PAYES (1956- ) Born Melbourne, Victoria Sonia Page is a conceptually-based artist Australian artist working with photography, multi-media, animation and sculpture. She continually pushes the boundaries between photography, sculptural work and new media, with a strong environmental narrative permeating her work. A large photographic tryptich depicting the studio of prominent Australian artist Jeffrey Smart. Sonia Payes art practice is grounded in her training as a photographer. In 2005 Sonia Payes started a large project involving photographing artist's portraits, art works and surrounds. Depicting the idiosyncratic, and often private, lives of artists the project resulted in a visual book titled ‘Untitled. Portraits of Australian Artists', published by McMillan Art Publishing in 2007. studio, eisel, geoffrey smart, sonia page

Ronald EDWARDS PEPPER Gunai Ronald Edwards Pepper is the grandson of Dulcie (Dolly) Mullet and Watson Pepper, Ronald’s family moved to Morwell in the 1960s from Lake Tyers Mission. He graduated from Federation University with a Bachelor of Visual and Media Arts in 2017, and has completed several commissions and participated in numerous exhibitions, in Australia and overseas. Artist Ronald Edwards-Pepper is keen to express himself through painting and telling stories of his Gunai/Kurnai ancestors. "My nanna and her stories have been part of my life, and who I have become today, and this influences my artworks. My grand-parents are Dolly Mullet & Watson Pepper. They came from Lake Tyers Mission and moved to Morwell in the 1960s with their mob of kids. Now this is the family home." EDUCATION: 2013-2017 - Bachelor of Visual & Media Arts/Federation University. 2010 - Trainee Mentor in Education (Latrobe Regional Gallery, Morwell) 2008 - Certificate III in Aboriginal Torres Strait Islander in Languages 2007 - Traineeships, Young Ambassador at the Latrobe Regional Gallery, Morwell 2006 - Completed & Graduated - Awarded 'Student of the Year’ 2005 - Certificate IV ATSI Cultural Arts, TAFE Mid-valley Campus Gippsland 2003 - Certificate 4 in Aboriginal and Torres Strait lslander Art & Design, TAFE Mid-valley Campus, Gippsland 2002 - Certificate 3 in Aboriginal and Torres Strait Islander Art & Design, TAFE Mid-valley Campus, Gippsland AboriginalSigned verso "R.Edwards"ronald edwards, aboriginal, gunai kurnai

Anthea WILLIAMS The sculptural practice of Gippsland-based artist Anthea Williams includes welded metals, moulds and assemblages. She has lectured Visual Arts at Federation University, Churchill and has many years experience as a technician at Latrobe Regional Gallery. Large steel sculptureanthea williams, gippsland art collection, sculpture

Adrian MAURIKS (1942-2020) Born Holland Arrived Australia 1957 Adrian Mauriks completed Undergraduate and Post Graduate at the Victorian College Of The Arts, Melbourne, Victoria between 1972 and 1978. In 1978 Adrian Mauriks was appointed to the School of Visual Arts at the Gippsland Institute of Education in Churchill (now Federation University). He lectured in a number of univeristies before retiring in 1996, including the University of Ballarat (now Federation University)Timber made of painted cypress pineadrian mauriks, sculpture

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, portrait, photography, digital, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, digital, portrait, photography, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, digital, portrait, photography, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, portrait, photography, digital, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, portrait, photography, digital, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, portrait, photography, digital, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, photography, digital, portrait, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling.african diaspora, portrait, digital, photography, australian first nations art, first nations photography

This work was created during a program called Flipping the Script, funded via Wyndham City Council and Creative Victoria, August - September 2018. The project was aimed at young women from the African diaspora, to provide an opportunity to learn methods of digital and visual storytelling. african diaspora, portrait, photography, digital, australian first nations art, first nations photography

Margaret SULUKOWSKI (1963-1994) Born Victoria, Australia Margaret Sulikowski was a Visual Arts student at Ballarat University College (later Federation University). In 1989 Magaret Sulikowski won the Goldfields Print Award, and in 1997 Margaret Sulikowski she was co-winner of the Fremantle Print Award. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Black and white monoprint. art, artwork

There is an element of beauty in the normality of the everyday person in their natural environment. I find that the raw spontaneous moments captured in photographs tell stories and give insight into who these people are. Through portraiture, I have created a body of work that depicts small narratives of individuals in their natural environment, capturing a sense of the everyday, while hinting at an aspect of love and passion. Abbey CODY (2001 - ) Born Ballarat, Victoria Abbey Cody graduated from the Federation University Arts Academy with a Bachelor of Visual Arts in 2022. After completing VCE Studio Arts in 2019 Abbey Cody was selected for exhibition in the 'NextGen' exhibition of VCE student work at the Art Gallery of Ballarat. This work was awarded an Deputy Vice Chancellor Art Acquisition Award in 2022.Painted self portrait with cats.self portrait, cat, fauna, dvc art acquisition award

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

'Home' is a symbol of hopes, dreams, comfort, love, family and future. It is both a place and an idea, nor does it remain in time and space. It can also represent a time of sadness , fear and loss. Through the roller-coaster of the past year, I have used a series of homes belonging to family and friends. Each artwork of home tells a different story about its occupants, their story, and what home mean to them. Sarah CANHAM Sarah has had a life-long love of creative arts and a passion for nature she has pursued in her career. She has a Bachelor Applied Science degree from Charles Sturt University, a Masters of Environment from University of Melbourne, and works in natural resource management and conservation. Studying part time Sarah Canham completed a Bachelor of Visual Arts at Federation University Arts Academy in 2021. Her art is an expression of the awe she has for the natural world, and concerns for the future, including for our indigenous culture, and native flora and fauna in Australia. She also reflects on the current and past women and mother artists who have experienced the challenge of juggling art, career and motherhood, and have been under-represented in the arts community for millennia.Three handbuilt, slab construction, stoneware formsceramics, sarah canham, dvc art award, alumni

Sally MILLER (1949-2015) Sally Miller completed undergraduate and postgraduate studies in Fine Art at the Sydney College of the Arts, and in 1995 a Master of Arts, Visual Arts by research at Deakin University. Miller lectured at the Ballarat University College (later Federation University) School of Arts in Printmaking and Drawing from 1994-1998, where her roles included Coordinator, Honours Program, Coordinator Printmaking, Lecturer in Printmaking and Honours Supervisor. In 2000 Sally Miller was an invited Artist-in-Residence and guest lecturer in Drawing and Printmaking at the School of Art, Australian National University, Canberra. She later became Art Director of Art Unlimited studio for adult artists with disabilities for St Laurence Community Services. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed monoprints showing various depictions of volcanos. art, artwork, sally miller, volcano, available, staffmember, printmaking, monoprint

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

My practice questions the definition of masculinity, from the position that there is more to the story than the mainstream narrative. My subjects consist of aesthetic beings seen through the lens of the classical principles of shape and form such as danseurs, youths, other ages and shapes. Sometiimes I have exculded faces to emphasize the interesting dynamic line unique to the male shape. Any symbols of sexual politics have been omitted, to concentrate on how the concept of maculinity pays alongside modern notions of beauty. Garth HORSFEILD (19 June 1970 - ) Born Ballarat, Victoria Returning to study after a partially completed degree and pursuing art and music, Garth Horsfield returned to the Federation University Arts Academy where he completed a Bachelor of Visual Arts in 2021. Painted clouds on a blue skydvc art award, alumni, garth horsfield, clouds, sky

My practice questions the definition of masculinity, from the position that there is more to the story than the mainstream narrative. My subjects consist of aesthetic beings seen through the lens of the classical principles of shape and form such as danseurs, youths, other ages and shapes. Sometiimes I have exculded faces to emphasize the interesting dynamic line unique to the male shape. Any symbols of sexual politics have been omitted, to concentrate on how the concept of maculinity pays alongside modern notions of beauty. Garth HORSFEILD (19 June 1970 - ) Born Ballarat, Victoria Returning to study after a partially completed degree and pursuing art and music, Garth Horsfield returned to the Federation University Arts Academy where he completed a Bachelor of Visual Arts in 2021. Portrait of a young man.dvc art award, alumni, garth horsfield, portrait, masculinity, male, men, available