ART CATEGORY

Kirsten Beccaris
Chasm of Existence
2025

Artist Statement

You find yourself trapped in the gaze of another individual. Your presence reflected back in their eyes as an object of observation. Chasm of Existence captures a moment between intimacy and apprehension. It is underpinned by stillness and silence, where the mirrored void lures you in, exposing you to an acute awareness of your own being and existence. 

Bio

Kirsten Beccaris is a 3rd year SCA student who immerses herself in the practical elements of creation. She has a love of making and uses this time to contemplate her connection to material. Primarily focused in glass, she finds herself exploring human perception and our relationship to the world around us. 

Ariel Berger
Internal Reflection
2024

Chloe Burton
My Carabiner
2024

Myles Donnelly
Untitled (No Stopping)
2025

Keziah Duguid
Sweetbitter (I didn't know desire could feel like this)
2024

Keziah Duguid, Sweetbitter (I didn't know desire could feel like this), 2024. Blown glass, timber, poetry leaflet, 1135 x 650 x 550mm.

Artist Statement

Drawing on the theory of Queer Temporality, Sweetbitter (I didn’t know desire could feel like this) reckons with the emotional impact of having authentic experiences later in life. The work celebrates queer joy, and personal experiences freed from past discomfort, while also acknowledging the grief of missing out on these formative experiences earlier on.

Bio

Keziah Duguid is an emerging artist based on Gadigal land. Working primarily in glass and textiles, they are currently focused on learning glass blowing, investigating the emotive qualities of the material existing in between molten and solid states, and finding twists on traditional techniques. Her practice explores queer experiences, personal narratives, community, gesture and emotions through process and materiality.

Bonnie Huang
lost and found crucifix
2024

Artist Statement

This artwork is a panel that sits within a larger collection of lost and found latex posters installed in the shape of a floating crucifix. The series of tattooed latex skins draw from the design and visual language of found stock images and suburban missing pet posters. Exclamations of a yearning, these non-specific images speak to an ambiguous search for preciousness and meaning in our lives. The hollowed empty skins become a meditation on the meaning we attach to people and objects, the universal experience of grief and the processing of bodily pain.

Bio

Bonnie Huang is an artist playing and creating with textures and dreams on Dharug land. Through image-making, sculptural installation, community workshops and performance, they aim to create intimate yet subversive spaces for reflection on desire and belonging. Huang references symbols and images of both personal and public spheres to interrogate how we construct both identity and community. Manipulating space, bodies and objects, Huang highlights the overlooked everyday moments of our lives to uncover a shared language of intimacy and collective desire for transcendence or salvation.

Imogen Kerr
Remains
2025

Xanthe Kibble
Sunset Diary (April to May)
2025

Rosie Lagan
Corpus Venus
2025

Artist Statement

Corpus Venus dances upon the thin line of acceptability in the portrayal of the feminine within the artistic canon. At what point does the body become too human, too grotesque? Through ceramic sculptures echoing forms of the flesh, skin, and vulva, Corpus Venus alludes to the animalistic side of the human body — each piece challenges the boundaries of the acceptable and does not seek to capitalise solely on the conventional beauty of the female form; rather, the very fibres of the body — the graphic, the grotesque, the uncomfortable — are presented as worthy of value and awe.

Bio

Rosie Lagan is a third-year student at Sydney College of the Arts, specialising in oil paint but passionately broadening her skills to ceramics, printmaking, and jewellery. Her practice builds upon those of the feminist artists before her, and her inspiration leads her to create works centred around humanising the female form, the beautiful and the grotesque, and moving away from hollow objectification seen so often in the artistic canon and towards a confronting and compelling portrayal of the animal that is the human body.

Liv Laverty
Welcome Home
2024

Artist Statement

The first thing I listen for when I open the door; the first thing I’ll miss when it’s no longer there. Inspired by William Kentridge’s work with charcoal palimpsests, Welcome Home is a hand drawn animation in which movement is a product of assiduous, frame by frame addition and erasure. The work pays homage to the unwavering loyalty my beloved family dog, Poppy, whose welcome I have grown to expect and cherish over her thirteen years. While age nips at her heals, her movements, and the sounds that announce her whereabouts, have been forever imprinted in our home. Her trace will linger long after her presence is erased.

Bio

Liv Laverty is an Australian artist in her third year of university where, within a Bachelor of Arts, she is completing a double major of Sociology and Visual Arts. While flexible, her practice is largely contemporary and centres on capturing individual and societal experiences. Liv continues to pursue skills in, and experiment with, numerous disciplines.

Min Lian
Aroma of Memory
2025

Artist Statement

My work explores how scent evokes memory through four brooches that carry the aroma of jasmine, a smell tied to my childhood. Each brooch uses form and material to express personal memories. The woods stores the aroma for long period, and I deliberately design the wood to be removable, so that the wearer can change to different smell. These wearable pieces invite others to reflect on how fragrance can reconnect us with moments from the past.

Bio

I am a third-year Bachelor of Visual Arts student at the University of Sydney. As a contmeporary artist, I explore themes of identity, culture, and memory. My practice spans across materials such as paint, metal, and pastel, aiming to create emotionally resonant works that connect personal and shared experiences.

Linnea Jiawen Long
What Remains
2024

Artist Statement

Vague is a poetic expression of the suspended state of memory. Like a blurred photograph, memory exists in a fluid state between clarity and obscurity. What Remains explores the uncertainty of memory, reflecting the powerlessness humans feel in controlling how the past is remembered or forgotten. Forgetting is a double-edged sword; it brings both pain and healing. It can soften painful memories, making them more bearable and acceptable, and this duality of memory is the core of the work. Memories are buried beneath layers of time, and they may resurface at some point or fade away entirely. Freezing photographs in ice symbolises humanity's attempt to obscure and suppress painful memories, much like an intentional separation from trauma.

Bio

Born in 2004, Shenzhen, China, based in Sydney. Long is currently studying for a Bachelor of Visual Arts at the University of Sydney (SCA), specialising in image, moving image and installation arts. Motivated by Proteanism and the philosophy of Aesthetic Resonance, her work often focuses on gender experiences, memory, and the human/society symptoms, while also delving into the concept of opposites yet identical dualities. She strives to establish deep emotional connections and bodily experiences in her work, thereby revealing the inner nature of humanity, nature, and society.

Lauren Maccoll
Adam and Steve / The Apple Theory
2025

Artist Statement

Then God said, “Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground.” So God created mankind in his own image in the image of God he created them; male and female he created them?

/ There was adam and there was steve. And there was an apple.

Bio

Lauren Maccoll is an emerging artist currently studying at SCA, working on Gadigal Country. They are interested in stuff, things, bits, bops, this and that.

Jingru Mai (Moira)
The Monster in the House
2025

Xavier Marz
Quiet Violations
2025

Artist Statement

This work is a visceral response to the current political climate, the erasure of bodily autonomy and access to healthcare for women and trans folks, and the policing of gender. It speaks of medical misogyny, the quiet violations experienced behind closed doors, carried out by people in positions of power, often when we are at our most vulnerable. The body remembers.

Bio

Xavier Marz is a queer, trans, multi-disciplinary artist working on unceded Gadigal land. For over 20 years he has created work as a physical manifestation of inner turmoil, a process of exploring the intersections of identity, visibility and representation, equity, gender, sexuality, and mental health while surviving the climate crisis.

Isabella Flores Naranjo
Chausson de pointes
2024

Ryan Ouyang
Sanctuary
2025

Mana (Maro) Sugimoto
Ritual
2025

Artist Statement

The remains of a participatory installation attempted to replicate the emotional demands of the 'Fumi-e' practice used for Christian persecution in 17th century Japan. Interaction with each tile gives physical form to an internal reflection on the awareness of self and others.

Bio

Maro’s practice started on unceded Wallumattagal country. She is inspired by the things that remain unchanged in people, regardless of who they are. Artworks are usually concerned with dreams, hope, and prayer.

Charlie Tapper
Untitled (miscellaneous)
2024

Artist Statement

My work investigates the mechanics and heuristics of looking. Some objects we look at habitually, others we rarely see as we use them multiple times each day. This series reflects the way my eye flickers across, skips, and snags on objects in my peripheral view as I move through space.

Bio

Charlie Tapper is a former tattooer, and the 2024 recipient of the Robert Le Gay Brereton Memorial Prize for drawing. She works across painting, drawing, and photography, and explores ideas of perception, memory and the archive. Charlie lives on Gadigal and Birrabirrigal lands and acknowledges elders past, present, and emerging.

Lily Tucker
VITULA_SUITE
2025

Artist Statement

Tucker's sculptural series initiates an exploration into the spiral's enigmatic existence as both a universal constant and an act of reinvention. Each piece has been carved from wood in an appreciation for the material's inherent cyclical history of growth and decay, its cells always toeing the line between life and death.

Bio

Tucker (b. 2004) is an artist living and working on Gadigal land. As a third-year student at SCA, their practice is currently focused upon experimenting with metal, wood, and textiles. Tucker’s overall interest in temporal impressions and re-ordering a chaotic world is reflected in the vulnerable yet calculated nature of their works, attempting to deconstruct processes of scientification and alienation which delimit nature’s fluid existence.

Jemma Wickman
What remains
2024

Artist Statement

In my body of work I explore the hyper-realistic representation of discarded items to capture the reality of material waste. I seek to challenge the viewer to reconsider the often overlooked aftermath of our buying habits and invite contemplation on the larger narrative of environmental degradation and the unsustainable cycle of consumption.

Bio

Jemma Wickman is a young artist studying Design in Architecture at the University of Sydney. Primarily focused on pencil drawing, her work often explores themes of consumerism, environmental impact and broader social issues.

Lara-Marie Wilkinson
Dunja
2024-25

Artist Statement

Dunja is a digital animation consisting of images the artist has taken over the last two years, and is a narrative of the pain, suffering and catharsis experienced over the last ten years of her life.

Dunja is a story of surgeries, blood, community and release. It is an acceptance, a submission, a declaration of thanks. Dunja is a well to fill, an abyss to inhabit, a non-place where pain is transmuted into meaning.

Bio

Lara-Marie Wilkinson is a multimedia artist working to find clarity and catharsis in the midst of persisting pain. She moulds her pain to create works that respond to historical and contemporary, personal and collective, physical and emotional pain. She aims to manifest a holistic rendering of suffering in the hope of fostering community and understanding.

Lily Wroblewski
The Absolute
2025

Artist Statement

The Absolute is a mixed media sculpture and performance exploring femininity, rage, and healing under patriarchy. It transforms inner turmoil into aesthetic form, reclaiming femininity as innate rather than assigned. Delicacy and anger coexist, inviting viewers into a space of beauty, pain, and emotional reclamation through material language and presence.

Bio

I am a multidisciplinary artist living and working on Gadigal country, with a practice spanning sculpture and installation. Rooted in material exploration and personal narrative, my work navigates the emotional and psychological landscapes of femininity. Currently completing a Bachelor of Visual Arts, I explore lived experience through sustained, embodied engagement with materials.

Estelle Yoon
누구의 기억 (Second Exposure)
2025

Artist Statement

누구의 기억 (Second Exposure) examines the material and emotional residue of diasporic memory through rephotographed flood-damaged family images encased in glass. The work situates memory as a suspended intersection of truth and perception. Glass, acting as both barrier and lens, foregrounds the tension between archival preservation and irretrievable loss.

Bio

Estelle Yoon is a Korean-Australian visual artist based on Gadigal land. Working with photography, moving image, and glass, her practice explores the diasporic memory and cultural inheritance. Yoon embraces the philosophy of wabi-sabi, searching for beauty in imperfection, incompleteness, and transience, as vital to understanding identity, time, and memory,

Shenglin Xue
The Forgotten Lands
2025

Artist Statement

This series of works primarily focuses on Northeast China. It used to be the most important industrial base in China, but now it has become China's "Rust Belt". I want to shoot these ruins as a commemoration of my hometown - I don't want China's "eldest son" to be forgotten.

Bio

Shenglin Xue is a third-year student at SCA and a photographer from Northeast China. He likes wildlife photography and documentary photography, and also likes to shoot interesting things with film camera. He is currently working on rescuing the industrial heritage of his hometown.