Graduate Exhibitions mounted by tertiary art schools are always interesting as they display the efforts of all concerned, both students and lecturers. They are often a tour-de-force for the viewer as the quantity of exhibits is often higher then the quality however finding the treasures makes for a worthwhile search. And there are quite a few treasures to be found in this collection.
In the Gallery we are confronted (literally) by Paula Cristoffanini's 2 metre high steel frock Sheath and matching accessories Handkerchief, Bag, and Earings. These wonderful works, along with the smaller porcelain, clay and bronze marquettes, make powerful statements about 'fashion' and the artist's own ability. Also very much appreciated are the excellent drawings, paintings and aluminium collages (Gold Fish and Guise of the Chameleon) by Christopher Maxwell. Each exhibit testifies to his keen skills, in both visual exploration and artistic practice. These talents will serve him long and well as a 'visual' artist and I look forward to seeing more of his work in the future.
The labyrinth of studios offer other wonders, along with a few worries. (The latter efforts are not worth writing about however they do present food for thought on the future of 'art'.) Among the 'wonders' are the stunning sculptures in wood and metal by Thomas Heidt. His plywood Seed 1 and the aluminium and jarrah Seed 2 capture the imagination as the fluid lines dance in concert with the perfection of his constructions. In the back studio, another, very different but equally exciting, collection of mixed media sculptures in unique conformations, provide delightful viewing. Melanie Maclou's well made works employ all manner of material from steel rod to tissue paper to produce 'fine line' objects. I was hoping one of them would follow me home ~ they looked like they could. With titles like Sirius, Carina and Grass Tree Dreaming, one can find their own interpretation for each of them.
Catherine Stuart's calico dolls offer a unique sculptural experience. Each is presented in an environment which, if the viewer is inclined to look for it, constitutes a narrative. For example Gravel Rash has the doll sitting in pebbles of quartz and iron ore while the doll of Bush Paper is covered in paper bark, almost invisible as it clings to the tree. Both could invite discussion on mining and the environment. Also appreciated are Rachael Ishidawa's glass fish bowls Miniature Phases and Phases. No room for fish in these round containers as they neatly encase layers of burnt plywood that encourage us to ask 'how?'. I don't really want to know, as I prefer to simply enjoy their sense of 'elegance'. There are other 3D works, some chunky wood, others brightly coloured plastic toys glued together, that may appeal to some but held little interest for me. However, I must commend Giovina D'alessandro for bravery, for weaving brightly painted pieces of barbed wire into a large Happy Ball. Intriguing.
As I travelled through the studios it was difficult to find sufficient 2D works that displayed a connection between inspiration and perspiration or provided much interest. The displays of pale paintings, chunky drawings and self indulgent photographs disappointed. Thankfully Natalie Davies seemed to cross the dimensional divide by producing Rust Recontextualised an excellent painting that reflects her intriguing work with rusty metal. I do appreciate how she recognizes the rich colour and delicate beauty to be found in the once useful material's disintegration. She certainly has the artist's eye.