MASS MEMO | 2023

The exhibition commences under the warmth of an orange canopy suspended above a line of foldable tables.” — Rachel Soebekti.

Pearls, ribbons and bows.” — Camille Hassan.

Whispers in the audio are like mist, floating and spreading out along the spiral track on the floor.” — Sirui Yang.

Many readers may be familiar with the term “sonder”, a neologism that made rounds on the internet some years ago.” — Leah Shyra.

After weaving through the stairs of RMIT’s art school, I sensed a significant shift of perspective had been captured across all levels of this year’s photography cohort.” — Juliet Phraser.

University graduate shows, by their very nature, are always contradictory.” — Bradley Visaka David.

Naarm, late November.” — Fern Cook.

You don’t often get to kick things in galleries.” — Lucy Taylor Schmitzer.

The sculpture department at the VCA was chronically online.” — Seraphina Nicholls.

Picture Sisyphus pushing his boulder up the hill, fearing that its weight could make it fall back down and crush him.” — Louise Frith.

We could engage in the mental gymnastics of contemplating how the following works provoke the ‘what is a chair?’ conundrum.” — Sen Vanderzalm.

Late nights in the studio, hand-rolled ciggies, shoplifting art supplies.” — Carla Abate.

As a student architect, it’s unlikely that any building you design will be constructed anytime soon, if at all.” — Madeline Lo-Booth.

In a moment of turbulence beneath the water’s surface, the world above is transformed into a series of fractured spaces and undulating lines.” — Ruby Benjamin.

Through the window, I have a fine view of the empty oval across the road.” — Loqui Paatsch.

Body + _____ = Collective Memory.” — Amber Stephens.

Australians live by the “go big or go home” mantra: The Big Banana, The Big Prawn, The Big Potato, The Big (little) Hotel.” — Tarquin Charlesworth.

As often as we’re asked not to analyse a work of art through a biographical lens, it is difficult to avoid this when artists cite personal experience as their starting point.” — Emily Prater.

There is something gag-worthy about a gloryhole situated within refurbished police stables.” — Michael Gentle.

Descending into RMIT’s Design Hub Gallery, my first impression was, “is that it?” The gallery, shrouded in dim lighting, was lined with rows of uniformly sized panels, each approximately 900 by 1800 millimetres, evenly spaced across every wall.” — Safa El Samad.

One human clone, one fur bear, two brass candlesticks, four pencil drawings and seven clay teeth.” — Stella Corby.

As you enter the Bachelor of Fine Art exhibition spaces at MADA Now 2023, you will see two video installations by culturally diverse artists: Miracle Mak and Shaked Gozlan.” — Dianne Erlichman.

Consider gifting Memo this holiday season.” — Memo.

Sculpture, Victorian College of the Arts by Seraphina Nicholls

Bachelor of Fine Art, MADA by Lucy Taylor Schmitzer

Drawing and Printmaking, Victorian College of the Arts by Louise Frith

Bachelor of Fine Art (Honours), MADA by Ruby Benjamin

Bachelor of Fine Art, MADA by Carla Abate

Photography, RMIT by Leah Shyra

Bachelor of Fine Art (Honours), MADA by Fern Cook

Honours, Victorian College of the Arts by Stella Corby

Master of Fine Art, RMIT by Bradley Visaka David

Painting, Victorian College of the Arts by Tarquin Charlesworth

Master of Architecture Design Studios, Monash Architecture by Rachel Soebekti

Bachelor of Fine Art, MADA by Loqui Paatsch

Painting, Victorian College of the Arts by Camille Hassan

Master of Architecture Design Studios, Melbourne School of Design by Madeline Lo-Booth

Master of Architecture, RMIT by Safa El Samad

Honours, Victorian College of the Arts by Michael Gentle

Bachelor of Fine Art (Honours), MADA by Sen Vanderzalm

Photography, RMIT by Juliet Phraser

Bachelor of Fine Art (Honours), MADA by Amber Stephens

Master of Fine Art, RMIT by Emily Prater

Bachelor of Fine Art, MADA by Dianne Erlichman

Memo Magazine, Issue 1, by Memo

Master of Contemporary Art, Victorian College of the Arts by Sirui Yang

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