MASS MEMO | 2022

Eat, shit.” — Gemma Topliss.

Sarcastic softness and the unconventional domestic fill MADA Now 2022.” — Hannah Searing.

Many students tackle difficult, emotionally confronting issues at this year’s RMIT grad show.” — Joanne Reidy.

In the aftermath of the opening of the VCA graduate exhibition, I found myself aware of my voyeuristic navigation of the galleries.” — Scott Mclatchie.

Artists Milly James and Liz Bird’s canvases entwine across the gallery space, sharing aesthetic and sensorial compatibility.” — Georgia Puiatti.

“Yeah, this is the drawing show, even though it doesn’t look like it.” — Devin Hunt.

How do we prepare ourselves for the market? We become the market.” — Audrey Merton.

Human connection is the string that binds us tightly to each other—but like any string, there is a risk of relationships fraying and splitting apart.” — Ella Carney Fisher.

Chaos is a cosmos and identity our universe.” — Vicki Nguyen.

It’s a Wednesday, so I wish to stop existing in this corporeal form.” — Cam Wu.

There’s nothing that quite breaks up the abundance of abstract paintings and found object art like an unapologetic display of queer fuckery.” — Luce Nguyen-Hunt.

Our memories aren’t reflections of our realities.” — Teagan Ramsay.

Creature comforts and comfort creatures.” — Grace Sandles.

How can you make tangible the deeply personal feeling of otherness? VCA sculpture graduates Hugh Crowley and Jingxuan Chen articulate these points of difference in their graduate works, which embody their individual experience in the space of the “other”.” — Lily Beamish.

Sometimes I can’t tell if I am an art viewer or an art viewee.” — Bonnie Yue Qi.

Time is but a stubborn illusion.” — Cat Eyre.

Maybe it’s just me.” — Agnes Delany.

When I see cocktail frankfurts, Felicia’s iconic line from Pricilla Queen of the Desert irrevocably comes to mind: “how do you like your little boys, girls?” The association was provoked by VCA honour’s graduate Nyssa Levings’s constellation of sculptural works.” — Emily Kostos.

As if pulled from the mind of Ursula Le Guin, Richard Monger’s glass-ceramic hybrids locate an abstracted ecological utopia.” — Mia Palmer-Verevis.

Can a pink plastic hair dryer be a work of art? What about a tablecloth or a golf ball? Since Marcel Duchamp presented a men’s urinal as a work of art in 1917, the question of what constitutes “art” has pre-occupied the art world.” — Sophie Lodge.

The boundaries of materiality are blurred in room D211 of MADA Now.” — Kayla Flett.

Bachelor of Fine Art, MADA by Ella Carney Fisher

Painting, Victorian College of the Arts by Gemma Topliss

Fine Art, RMIT by Sophie Lodge

Fine Art, RMIT by Joanne Reidy

Bachelor of Fine Art, MADA by Vicki Nguyen

Photography, Victorian College of the Arts by Audrey Merton

Honours, Victorian College of the Arts by Emily Kostos

Masters, Victorian College of the Arts by Bonnie Yue Qi

Fine Art, RMIT by Grace Sandles

Sculpture, Victorian College of the Arts by Lily Beamish

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Bachelor of Fine Art, MADA by Cat Eyre

Bachelor of Fine Art, MADA by Kayla Flett

Bachelor of Fine Art (Honours), MADA by Agnes Delany

Masters, Victorian College of the Arts by Scott Mclatchie

Bachelor of Fine Art, MADA by Teagan Ramsay

Drawing and Printmaking, Victorian College of the Arts by Devin Hunt

Bachelor of Fine Art, MADA by Hannah Searing

Bachelor of Fine Art (Honours), MADA by Luce Nguyen-Hunt

Fine Art, RMIT by Cam Wu

Bachelor of Fine Art, MADA by Mia Palmer-Verevis

Bachelor of Fine Art (Honours), MADA by Georgia Puiatti

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