Celeste Larkins, Distorted Realities.
Deakin University
(nominated by Wendy Beatty)  

My series is a combination of individual series created over the years. The photographs both individually and collectively focus on the distortion of realities. The coloured leaves (Series: Photosynthesis), were created through the alteration of the environment. The black and white trees (Series: Death by Nature), were developed via adjustment of the camera itself whilst shooting. The vibrant landscape and people (Series: Nepal in Colour), have been created through post production editing on photoshop. All series represent different realities that have been drastically changed one way or another, although the beauty has not deteriorated, if anything it has strengthened.

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Miranda Everingham, 2016.
Victorian College of the Arts
(nominated by Sanja Pahoki)  

Stemming from an innate curiosity regarding her unknown family history, Miranda's work is concerned with global migrations and the histories of people and physical objects encountered in her movements through the world. Miranda uses photography in an attempt to reach out to her subjects and understand their own experiences with race, class and culture.  Her work is quintessentially a search for a tangible picture of how the world operates through the combining of people's stories.

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Ben Kelly, Recent Work, 2016.
Victorian College of the Arts
(nominated by Kiron Robinson)  

My work combines found images and environments with rephotography and darkroom processes to create prints that alter the reading/perception of the images initial state.

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Producing analogue photos that often mimic digital processes, a slippage occurs where the viewer becomes uncertain as to what they are looking at and how the photos have been produced.

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Kirsty Macafee, The length of a piece of string and other simple considerations, 2016.
RMIT
(curated by Kate Robertson)  

The thing about interdependent relationships is that each relies on the other to give meaning.  One cannot be a child without a mother and there can be no copy without an original. This practice based research project identifies and explores equivalences between a digitally networked space and a mothering space through a multi-disciplinary and process based practice.  Explorations centered around the notion of intersubjectivity and the systems that support and facilitate it. The project locates itself within post-photographic and feminist discourses and enters the conversation primarily through common ideas of abundance and loss evidenced in both maternal and photographic practice. Work and research has focused on linking these spaces, and extends the conversation into the emerging discourse surrounding feminist maternal ideas around representation in a digitally networked culture. 

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