Maria Antonietta Sergi, insieme, 2016. 
University of South Australia
(curated by Mark Kimber)  

A nostalgic narrative created from a series of still images. Storytelling through the representation of silence, between my four children who are perhaps searching for a voice. These black and white photographs transform a dialogue into an artistry of photographic magic, in the form of digital medium. Connecting the past to the present;being influenced by my personal childhood. My inspiration deriving from the love for my children and photography. Watching their playful nature and memories being echoed from what I have embedded within me. Thus transforming these into significant childhood stories of their own. The beauty of their pure innocence, engaging themselves to protect and understand the importance of being there for one another.

Ayman Kaake, EXULANSIS, 2015- 2016. 
Melbourne Polytechnic
(curated by Maurizio Salvati)  

Exulansis: when there’s not an actual word for what you’re trying to explain. We feel more than we have the language to articulate and express, which is in itself profoundly frustrating. People work through emotions by being able to identify them and use them as signals. A lot of the time, we’re left in the dark.


My work is self-portraits, I use my imagination to create a dreamlike world documenting feelings and emotions, inspired by my move to Australia, stories I’ve been told and people I have lost.


At the heart of creativity there should be one underlying question:” what makes us happy?”

Micaela Bumpstead, Print Disruption, 2016. 
(curated by Hanna Tai)  

Print Disruption is a series of printed photographs created by disrupting the printing process of an inkjet printer. The alteration of the paper surface reveals the material process of an image that is hidden within the calculated form of a digital photograph. Print Disruption considers the stability of an image and questions its final representation of reality. 

Bianca Hoffrichter, untitled, 2016. 
University of South Australia
(curated by Mark Kimber)  

These works interrogate the hidden narrative embedded within the landscapes around us, which exist just below the surface of reality, and concurrently our interaction with these places. They seek to evoke a world of inner contemplation, of the past to present constrictions or expectations placed on women, as well as the darker history of the colonisation of Australia by viewing the world through infrared. Seeking to uncover a hidden 'truth' within a world of 'crafted reality', I invite viewers to bring their own experiences and interpretations to the work.

Maria Colaidis, Fragments, 2013-2015. 
Melbourne Polytechnic
(curated by Maurizio Salvati)  

This is a select few images from a series titled Fragments. 

Fragments represents a personal journey taken over a number of years, exploring my thoughts, feelings, turning points and realisations.

Images are all taken instinctively in the moment and are driven by my need to take them. They are not repeated or recreated; the authenticity of the moment is critical. The process is also used as a means to get through challenging times.

I explore themes around memory, dissociation, loss, longing and change. While the work remains honest, it is only a fragment of more complex matters of the monkey mind.

Clare Steele, J.W, 2015. 
Photography Studies College
(curated by Daniel Boetker-Smith)  

J.W. is a documentation of the life of John. These works are a collaboration between the subject and photographer, focusing on how ageing affects routine, interests, what’s prioritised, and how one offers oneself to be captured in an image. Turning the camera towards such themes as nostalgia, ritual, and ageing, the subject, John, reflects upon his own image archive, objects he’s collected, and the stories attached to such things. Accessing the day-to-day life of a retiree in his home, in the places he chooses to visit and effects he surrounds himself by,  J.W. traces a life that would otherwise go unseen. In doing so, it delves into an intimate visual story depicting a mateship between two people, previously strangers now friends and collaborators.

Ellen Portell, Estrangement of Mind, 2016. 
University of South Australia
(curated by Mark Kimber)  

My mother’s love for the garden meant growing up nature could not only be found flourishing outside but within the home, influencing my art practices to connect humanity and nature. The full bloom of a flower encapsulates the totality of life, from birth to death. Flowers and plants are sensitive to the smallest of environmental changes, much like humans we both react to an alternation in the environment that can lead to the extinction or change of a species or the physical and emotional state of humankind. I felt it’s essential to express this by personifying mental illness through flowers.

Emma Wright, Yearning, 2015. 
Griffith University 
(curated by Amy Carkeek)  

'Yearning' (2015) explores the notion of deep longing - for someone or someplace.

Olivia Mroz, 11.48, 2015. 
Photography Studies College
(nominated by Daniel Boetker-Smith)  

’11:48’ is a self-reflexive series of photographs examining a link between the emotional state of chronic anxiety and childhood trauma. It focuses on sexual and emotional abuse and the overall effects of this later in life in regard to memory recall and disorders such as OCD, depersonalisation, post-traumatic stress and depression. The work is a process of scrutiny of the links between anxiety and the circumstances that contribute to it. 


This work continues my long investigation into the themes of anxiety, memory, trauma and identity, and operates as an outward manifestation of what are inner subjective states.

Thomas Oliver, To Vanish, 2016. 
Griffith University 
(nominated by Bruce Reynolds)  

'To Vanish' explores the collision between the extraction and construction of photographic narratives. As a series, it centres around a photograph I took whilst in Paris. I knew nothing of the gentleman photographed, and the only tangible trace from our interaction became the 6x9cm negative. 

Fascinated by his demeanour and curious of his past, I made a series of prints using experimental techniques to draw out–extract–as much narrative as I could. Yet by doing so, I inadvertently began constructing my own narrative at the same time. Simultaneously isolating whilst constructing; creating whilst destroying.