Hym(e)nals features six teenage female horse riders and their elderly equine companions from Cottles Bridge. The work mimics and challenges themes in religious paintings, speaking to local ecologies and communities as well as current global events of female solidarity and equality, and interspecies communication. Drawing on myths around coming-of-age, the girls hum, scream and whisper into unknown climactic futures and changes in both body and environment. Nillumbik Prize for Contemporary Art 2023 Local Winner video installation, soundfemale, horse riders, horses, sound, performance, hum, interspecies, body, environment, myths, coming-of-age, neurodiversity, ecology, religion

Digital copy of an artistic event catalogue 142 pages.non-fictionCatalogue for an artistic discovery Ttail during Open House 2022.open house melbourne, 2022, ying-lan dann, circular temporalities, norla dome, exhibitions, video installation, cultural events

On the 21st of July 2018, Clare McCracken boarded the ANL Wahroonga container ship to travel to China mirroring her great-great-grandmother's journey from Australia to Asia in 1874. Artist statement from the back of the flyer: "In 1874, my great-great-grandmother, Elizabeth Amy Cathcart Payne, sailed unaccompanied from Australia to Asia, writing a detailed journal of her experiences. This exhibition weaves together sections of her diary with my own voyage from Australia to the world's busiest port, Shanghai. In doing so, The Place Between, is a meditation upon the social and political nature of international trade, the mobility and the place between Australia and the rest of the world in the 19th and 21st century." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Postcard size flyer advertising for an exhibitionthe place between, clare mccracken, cultural events, sea voyage, andrew ferris, arun munoz, video installation

Raquel Ormella is an artist working at the intersections of art and activism, with a diverse practice that includes textiles, video, installation, drawings, and zines. Ormella explores how contemporary art can prompt viewers to reflect on their own beliefs and values regarding political consciousness and social action. Her art practice is also grounded in exploring the nature of the relationship between humans and the natural environment. This artwork, Workers Blues #2, reimagines the Australian National Flag, constructing a rough-hewn approximation of it from blue workers shirts. Flags are one of the most powerful uses of fabric; Ormella is echoing the flag design to explore tensions between aspirational nationhood and the personal effect of this has on individuals, marginalised social groups and the environment. Ormella’s choice of material – blue cotton workers shirts - also references gendered associations with cloth, with masculine nationalism symbolised by the workers shirts, including in the mining industry. The work is an example of the symbolic power of cloth as a marker of identity, including gender and class.

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

Working across installation, video and painting, Quandamooka artist Megan Cope investigates issues relating to colonial histories, the environment and mapping practices. Black Napoleon (Eulope) is part of a series of lithographs that highlights what Cope sees as ‘just one of the many stories of powerful and clever people defying Empire’ at the turn of the 19th century in Australia. The Black Napoleon series was produced as part of the Australian Print Workshop’s French Connections project. The project aimed to produce new work responding to the National Archive in Paris, with a focus on cultural materials relating to early exploration of Australia and the Pacific. It was important to Cope that she did not simply repeat the material of the archive, which was collected and conserved within a colonial framework. Instead, Cope’s work addresses Eulope’s sovereignty and role in resisting invasion. Eulope was a Quandamooka man named after Napoleon Buonaparte because of his leadership in battles against British forces, which invaded Stradbroke Island in the early 1800s.

'Collider' is a video site-response work that investigates the physical and conceptual notions of Bundoora Homestead Art Centre and surrounding Bundoora Parklands as matter, memory and phenomena. The project spanned three years of the artist’s life, visiting as both a local resident and an exhibiting artist at the Centre, involving a long-term process of “mapping” the site. The work looks to make visible, the hidden frequencies embedded within the buildings and parklands, including the social and geological. A complicated space, once a volcanic vent (Mt Cooper, 9.5 million years ago), home to over 60,000 years of continuous First Australian culture, long-term indigenous and (recent) settler land use, a place of respite for returned soldiers; visitors today generally experience the site as a place of leisure. Collider aims to disrupt this view, asking the viewer to look below the surface and experience a deeper sense of place. Using video sequences, this work places the Bundoora Homestead site within a shifting scale of material territories, molecular energies and entropic disorder. Collider includes both abstracted and live video sequences shot throughout the Homestead grounds and across the Bundoora Park and Mt Cooper area that appear to be capturing unknown, signalling phenomena. Time flowing and dissolving across the landscape."My practice sits within an expanded notion of landscape photography, combining video, photography, sound, installations and site responses. I’m interested in the idea of landscape as a transmutable zone where the unseen forces of the material world interact with embedded layers of time and history. Projects revolve around site research, science fiction/fact, the weirdness of ecologies and the realities of quantum matter. I try to represent what is sensed rather than understood, through both observational and uncanny visualisation. Using investigative material processes to make images (scanners, camera-less photography, digital/analogue manipulation, motion graphics) I attempt to question or disrupt the way others can view an image. This material approach is key to how and why I work. With 22 years experience in gallery-based exhibitions, art fairs and site specific/responsive projects, I have participated in over 50 exhibitions including projects for: Dark Mofo, Northern Centre of Contemporary Art, Testing Grounds, Charles Sturt University Gallery, Bargoonga Nganjin Library, c3 Contemporary Art Space, Centre Pompidou (FRA), Bus Projects, The Narrows, Peloton, 1st Floor, Linden, Seventh, Strange Neighbour, and many more. I have a BA (Fine Arts – Sculpture) RMIT, was the founder of seventh gallery and am the founder and current director of c3 Contemporary Art Space in Melbourne." - Jon Butt

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

Hannah Gartside works across sculpture, installation and video. Her artworks transform found fabrics and clothing to articulate experiences and sensations of longing, tenderness, care and desire. The artist writes: “Waiting is a large-scale, found textile assemblage. This artwork continues my use of found, second-hand women’s clothing and accessories to tell transformation stories. Twenty-seven sleeves have been carefully unpicked from variously patterned black, silver and grey sequinned party dresses and blouses, and applied onto a silvery sequinned base fabric arc (the arc was once the skirt component of a party dress). These are celebratory fabrics worn for special events. I have stitched circles of firm millinery wire into the hem at the wrist of each sleeve, and added soft shoulder pads at the head to suggest an invisible arm in each sleeve. Viewed through my metamorphosis short story ‘Frances, the moth’ (which describes a lonely woman who transforms into a moth after cutting herself out a cape using a pair of magical scissors), the sleeves in Waiting refer loosely in shape and form to a group of moth or butterfly cocoons suspended in time. They hang winking and sparkling, waiting patiently for change.”

Dr Lisa ANDERSON (1958- ) Dr Anderson’s research questions environmental issues that impact on the social structures of communities and their mapped or metaphysical borders. She develops projects around ways of understanding the effects of climate change. These include work with folklore, legends and religions that tell stories of coping with weather, forced migration of animals and people and coping with difference. She has undertaken international residency programs and exhibitions in the Arctic, Iceland, Paris, Norway, London and China, and she was the first Artist in Residence at the Australian Museum. These unique opportunities continue an extensive art practice of installation work, video, photography and sculpture. Anderson has an extensive record of exhibitions in Australia and overseas with work included in both private and corporate collections. Her exhibitions include Journeys: Due North, a large installation work that includes work created over a 10-year period of engagement in expedition and science work North of the Arctic Circle. Beneath the Beauty of Architecture, an exhibition at her London Gallery, Bicha, used images created in China, Nunuvut Territory in Canada and the Antarctic while working with the migration stories of survival. Dr Anderson has created many large scale artworks that challenge notions of occupation of the City, including Writing the City, a three-year program of installation works to shift the use of Sydney to being a city of public space in its pre-Olympic development. Singing up Stones celebrated the people who created and use the Opera House and the Quay for performance and ideas. This included the first image projection onto the Sydney Opera House, a projection onto the Sydney Harbour Bridge and a ballet of cruise liners with the sound simulcast on the local radio station. Two digital prints with acrylic on metal and bullet holes. This work is the result of research on the hidden voice of landscape undertaken by Dr Lisa Anderson while an Honorary Professor at Federation University Australia. lisa anderson, available

In 2001 RBS and RVIB worked on a joint project to assist sighted people to learn Grade 1 Braille. This CD-ROM was produced to enable people to be able to learn and practice at home.1 CD-ROM with text and BrailleNot all keyboards are suitable for use with this program. To gauge usability launch Notepad or Wordpad and press the s, d, f and j, k, l keys simultaneously. If all six letters appear your keyboard can be used as a virtual brailler. Minimum system requirements: 32MB of Ram; Pentium 166mhz; Microsoft Internet Explorer 4.0; Quicktime Browser plugin and Macromedia Flash plugin (included in installation). NB: Video may take one minute to load. Display: At least 800 x 600, high colour (16 bit). Installation: The CD-ROM will automatically run the setup procedure. For best results run the program from your hard drive. If the setup fails to start automatically, double click My Computer or Windows Explorer, double click the CD-ROM drive icon, then double click the setup icon. This CD-ROM is a joint project by the Royal Blind Society and Royal Victorian Institute for the Blind.royal blind society of new south wales, education, royal victorian institute for the blind

Mary MODEEN (1953- ) Born United States of America Lives Scotland Mary Modeen is an artist/printmaker and interdisciplinary academic who also works in artist books, installations, and recently, in video and sound. She is also an academic of nearly 30 years full-time experience in higher education, residing in Scotland where she convenes the Art, Philosophy and Contemporary Practices at the Duncan of Jordanstone College of Art and Design, University of Dundee. Modeen’s research has several threads: perception as a cognitive and interpretive process, and place-based research, which tends to connect cultural values, history and embodied experience. In 2000, while a Visiting Research Fellow at the University of Ballarat (later Federation University Australia), Mary Modeen was commissioned to create a sculpture in a Public Art context for the campus. 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.An external sculpture commissioned in a Public Art context for the Mt Helen campus Business Building (B Building) by Scottish Artist and Visiting Research Fellow, Mary Modeen. Mary Modeen's three dimensional sculptures and installations draw on her interest in "light" relating to artworks and conceptual art. The 'plugs' in the sculpture represent students, while the blue acrylic disk represents alumni, and the spread and impact of our students throughout the community. art, artwork, sculpture, mary modeen, business school art collection