Modern times has shown that plastic bags are detrimental to the environment and may often be mistaken for jellyfish, which are a food source for marine predators such as the Waru (Green-Sea Turtle). The Waru can be found throughout the waters of Zenadh Kes (Torres Strait Islands) and has been a part of our peoples diet for thousands of years and it is important why we should look after our environment, for the sustainability of our people and our future generations.
This artwork also serves as an analogy for us to be mindful of what we consume both physically and mentally but importantly in a spiritual state if we are to live a fruitful and productive life.

Photographer: Solomon Booth

My piece captures a woman’s surreal journey in the fathomless depths of the ocean, engulfed by an ethereal congregation of vibrant pink, deadly jellyfish. The juxtaposition of delicate ink dots against the stark contrast of the deep, dark expanse invites viewers to plunge into a contemplative realm where ‘perspective’ becomes the enigmatic crux. Is the woman descending into the abyss, embraced by its watery embrace, or defying the depths, ascending towards the surface? This uncertainty mirrors the intricacies of discovery learning. Just as students navigate uncharted waters of knowledge independently, here the audience navigates the enigma of her circumstances. Much like the intricate dance between floating and sinking, the process of grasping abstract concepts resonates. The illusory nature of density’s influence on buoyancy parallels the challenge of connecting abstract notions to tangible existence. My artwork beckons viewers to question not only the woman’s perspective but also the vastness of discovery itself.

Photographer: Emma Read

“Arcadian Apertures” is a geometric ceramic vessel, bearing a small incised aperture that serve as portals into the realm of Arcadia. The opening is a deliberate invitation to explore the balance between architecture and nature, as the textured surface and subtle washes of colour, echo abstract landscapes.
This artwork embodies a mindful exploration of the coexistence between human-made structures, and natural spaces through the metaphor of Arcadia. Through the tactile textures and inviting apertures, this artwork seeks to engage viewers in a reflection on the delicate interplay of geometry and the earth in the context of the Arcadian ideal.

Photographer: Tony Webdale

The Perspective of life as I know it has both positive and negative happenings and as the saying goes, it is our reaction to the experience of each happening that becomes important in the environmental challenges we face during life. However, the understanding and helplessness through the cause of destruction often defies comprehension although the affects and memories become part of life. This artwork, therefore, represents the calm of acceptance that eventually arises after a storm of destruction when the difficult experience of seeing the forest environment you grew up in and loved destroyed into a Portal of Nothingness.

Photographer: Barbara Cheshire

Night Body is a video performance work, combining spoken word, costume design, sound, and
movement. The title makes reference to the fruiting body of the luminous Mycena Chlorophos, a species of agaric fungus, only visible at night.
Flipping the perspective of the familiar, the artist, as performer, is seen as a free-floating figure edited in multiple configurations; upside-down, sideways, layered, and reversed.
Requiring darkness to glow, the hand-constructed, mushroom-shaped costume (made from 660 hand-rolled ceramic beads, and a cap painted in layers of glow-in-the-dark paint) leaves the work void of a horizon line, to further remove the familiar.
An otherworldly soundscape, by Elijah Huckel, disrupts the ordinary, whilst the luminosity of the mushroom becomes an emblem of the inherent magic within our more-than-human world.

Photographer: Fiona Harding

Self #3 – moving self portrait featuring body collaged with self portraits taken from 2018 to 2023.
Self#3 is an attempt by the artist to rebuild a version of self, incorporating various aspects of their identity, both public and private, from over a five year period. The assembled pieces of self inherently make up a whole person and in particular reflect a version of self censoring, especially from the perspective of being in a conservative regional setting. Each iteration of this performative work is dictated by how the collaged pieces fall from the artists body, with the work ending just before their identity is revealed.

Photographer: Warwick Gow

“Homes in Perspective” is a watercolour painting that captures the essence of home amidst a socio-economic crisis. The aerial view of Queensland homes, rendered in monochrome, reflects the stark reality of high inflation and scarce supplies. Yet, the homes stand resilient, symbolizing happiness and sanctuary for all. The yellow ochre sunlight piercing through the black and white landscape signifies hope amidst adversity. This painting is not merely an artistic representation but a commentary on our times. It urges viewers to appreciate the importance of home and the strength it provides during challenging times. “Homes in Perspective” is a tribute to our collective resilience and the comforting embrace of home.

Photographer: The Phuong Ly

This composition is a powerful metaphor for the duality of human existence. Depending on our perspective, we can either be the kingfisher, seizing opportunities and taking control of our lives, or the fish, navigating through the currents of existence with vigilance and resilience. The composition reminds us that life’s circumstances may change, but our perspective determines whether we are the hunter or the hunted.

Photographer: Lex West