MASS MEMO | 2023

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

Naarm, late November.” — Fern Cook.

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.

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

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

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

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

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

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.

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.

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

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

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

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

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.

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.

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

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

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

Consider gifting Memo this holiday season.” — Memo.

Pearls, ribbons and bows.” — Camille Hassan.

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.

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

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

Photography, RMIT by Leah Shyra

Bachelor of Fine Art, MADA by Carla Abate

Sculpture, Victorian College of the Arts by Seraphina Nicholls

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

Painting, Victorian College of the Arts by Tarquin Charlesworth

Bachelor of Fine Art, MADA by Dianne Erlichman

Bachelor of Fine Art, MADA by Lucy Taylor Schmitzer

Master of Fine Art, RMIT by Emily Prater

Master of Architecture Design Studios, Monash Architecture by Rachel Soebekti

Memo Magazine, Issue 1, by Memo

Master of Architecture, RMIT by Safa El Samad

Photography, RMIT by Juliet Phraser

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

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

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

Bachelor of Fine Art, MADA by Loqui Paatsch

Honours, Victorian College of the Arts by Stella Corby

Honours, Victorian College of the Arts by Michael Gentle

Painting, Victorian College of the Arts by Camille Hassan

Master of Fine Art, RMIT by Bradley Visaka David

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

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