FRANCES BATTERSBY

KATY BOWMAN
KATHERINE BRUNACCI
HUA CUN CHEN
SAMUEL RUSH CONDON
HAN, YEE-SAK
DOUGAL HASLEM
SUE ELLIOTT JOHNSON
YENA JUNG
JODI KEET
CAROLINE KENNEDY-MCCRACKEN
CHARLENE KING
HELEN KOCIS EDWARDS
SIMONE KROK
JESS LAWRENCE
YINGHONG LI
RMIT UNIVERSITY NORMA MCGOWAN
CHRISTOPHER EARL MILBOURNE
MASTER MOON, HYUN-JUNG
OF LIANNE MOORE
SASKIA MOORE
FINE ART ARIELA NUCCI
GRADUATE SHOW CRISTINA PALACIOS
CORY PUGH
HANNAH XIAO JIA REN
ISHTIAQ SANDHU
NADJA SLOVAK
HAMISH TOCHER
PATRICIA TODARELLO
JAMES VOLLER
JADE WALSH
CHEE YEUNG WAN
LYNDA WILSON
JESSICA WONG
RMIT UNIVERSITY
School of art
MASTER OF FINE ART 2009

David Thomas essay “Taking Your Time” : 4

Patricia Todarello essay “Making An Artist” : 6

Coordinating Staff 2009 : 8

Artists works : 10

Acknowledgements : 78
 Taking Your Time.
Associate Professor David Thomas PhD
Program Director of the MFA Australia and NZ

4
The development of original art takes TIME.
Originality differs from novelty.
One of the privileges of being engaged with the people in the MFA
program is to participate with them in their journey in time.
At the end of each year I think of the time invested by these artists,
by their families by their lecturers, administrators, technicians and
by the surrounding associated arts industries and I am amazed.
We will never know how much time, effort has been spent… we
can never quantify it, but it is truly wonderful.
Art practice takes discipline and TIME, both to view and to make. It
cannot be rushed.
Each artist needs to understand their own rhythms of development
and how these change over the course of their LIFEtime.
Art practice is no mere folly or naive personal outpouring. Art does
not need to be easy, entertaining or quick although it can be, it
does not need to be tedious or elitist although it can be…but what
it does need to be is ethical and honest in its celebration, critique
and negotiation of meaning in the world.
And what a NECESSARY occupation it is for both artist and
audience. For Art generates knowledge and experience through
material realities in forms like no other discipline in the world.
It can make us think, laugh or weep; it can create wonder or
boredom. Its ideas can be blatantly asserted or sneak up on us.
It can raise questions, it can be rational or irrational. The artist
needs to understand their responsibilities in defining what art is
necessary to make and why. This takes TIME.
The Consul General of Germany to Australia recently asked in
speech celebrating the contribution of a well known contemporary
gallery to the cultural lives of Cologne and Sydney, this question:
what contributed more to the collapse of the Berlin wall and the
reunification of Germany… the military build up of the Cold War or
the freedoms and insights offered by contemporary art? There was
an element of humorous provocation in his answer that suggested
it was art not tanks, thinking and feeling not economics. We all
know that life and history is not as simple as one thing or another,
but art, culture, ideas are critical parts of the mix and should not be
underestimated.
The 2009 graduating candidates realise this and hopefully they will
use THE TIME OF THEIR LIVES towards this end, that is, of making
necessary and meaningful art.
They are part of a successful program that has continued to
produce innovative artists that make a difference in the world.
Each individual is different and as the current graduates become
part of a new generation of artists they will define their own issues
and pathways, and good luck to them.
On behalf of the School of Art at RMIT University, I would like
to thank each and every candidate, the academic, technical and
administrative staff for their enthusiasm, professionalism and for
their CARE about their work and each other.
We ALL wish each other well.
 As this Master of Fine Art program comes to an end, it’s
worthwhile to reflect on the experiences shared. As a coursework
program making artwork is a major part of ones time spent here,

Making an Artist. but there is also the likelihood of another kind of making occurring
along the way.

Patricia Todarello
2009 Graduating MFA student. The making of an artist.

The students in this program come from diverse backgrounds,

people of different ages, both International and Australian
students, from a variety of art disciplines and life experiences
mixed together with one common purpose to make art. Through
such diversities and the shared interest of art, connections are
made. With an emphasis on making this program generates a
process of art making through a studio based practice individual
and group tutorage.

Part of that process is the studio environment that allows students

to have a home base, a space where to create and be creative,
and a place to communicate with other students and share
experiences, whether they are about art or about life in general.
The prospect of the studio is its potential to become a place for
the student to belong for the duration of this program and to
share in the studio environment, a place to meet people to belong
with. Having discussed the place to make art it is also important
to acknowledge the role that staff plays in this program. Through
6 individual and group tutorials their guidance, knowledge and
experience as professional artists is invaluable. It is rare that one in the first place, and as an artist I feel extremely privileged to have
would have the same degree of opportunity to individual guidance embraced that ability.
outside the university system. It has been a great experience shared with both students and staff
and I would like to wish all my fellow students and staff the very
As positive as this prospect of professional guidance through a best of opportunities in the future.
studio environment sounds this is not to say that everybody’s
journey or course runs smoothly. Candidates face what can feel like
a barrage of constant challenges throughout the program, whether
they are constraints of time and money or issues of self confidence.
These are common problems that students confront. One does not
have to be an international student to feel disconnected. What has
been my experience and I hope applies to the majority of students
also, is that through a supportive environment of students and
more importantly the guidance of staff, one is able to consider and
build on their prospects as an artist by developing a professional
attitude to art practice. This is where this MFA program can take
the individual if they choose or allow themselves to take that
journey.

What I have realised throughout the duration of this program is

that opportunity is always present even though one might not be
in right frame of mind to see it. Opportunity is not just about being
offered a great show it is about creating with a positive frame of
mind, and being confidant about the decisions you make. It is not
about wasting ones efforts on absolutes of right and wrong or
objectives to create art for some kind of reward. The reward I have
found is to celebrate the ability and creative inclination to make art
 Coordinating Staff 2009

8
Program Director of the MFA Australia and NZ MFA Advanced Seminar “Focus On Independent Practice”
ASSOCIATE PROFESSOR DAVID THOMAS PHD Seminar Coordinators
DR PETER HILL
MFA Academic Advisors ASSOCIATE PROFESSOR DAVID THOMAS PHD
PROFESSOR ROBERT BAINES PHD
GODWIN BRADBEER Contributors
SALLY CLEARY ASSOCIATE PROFESSOR DAVID THOMAS PHD
GREG CREEK DR PETER HILL
DON GORE GODWIN BRADBEER
MICHAEL GRAEVE DAVID SEQUIERA
SHANE HULBERT SHIAU- PENG CHEN
DR RUTH JOHNSTONE RHETT D’COSTA
LARESA KOSLOFF RENEE UGAZIO
DR KEELY MACAROW LISA SULLIVAN
SALLY MANNALL ROBERT OWEN
ASSOCIATE PROFESSOR DAVID THOMAS PHD KATHY TEMIN
DR LES WALKING ASSOCIATE PROFESSOR CLAUDIA TERSTAPPEN
ASSOCIATE PROFESSOR TERRY BATT
Postgraduate Administrative Officer PATRICK POUND
KATHRYN WARDILL KARRA REES
MAGGIE FINCH
Technicians ROSS WOLFE
ALAN ROBERTS DR KEVIN MURRAY
JASON WADE GARY CARSLEY
ROBERT DOTT DR ALEX BAKER
10

FRANCES BATTERSBY
Examining and recording the elusive and dynamic through photographic
constructions and sculpture. Contrasting or synthesising bodies of
knowledge, including traditional Japanese art, gold and silver-smithing,
and contemporary art practice. Playing with the disruption of the
perception of the order of a work by the audience, and examining the
concept of ‘Ma’/space-time/ and being within a work.

IMAGEs
Double Memorial-Seijaku, 2009
Digital Print on Paper
11474 x 1000 mm

The Pixilate Ceiling, 2008

Powdercoated Suspended Aluminium
1100 x 3 x 89 mm

Email: frances.battersby@hotmail.com
Tel: +64-27-228-7679
www.francesbattersby.co.nz
 Katy Bowman
My work activates and transforms space through the use of light, form and
colour in site responsive interventions and installations.
Temporality, transition and perception are explored in order to physically
engage the viewer in an experience and awareness of time and space.
Ideas of thresholds, membranes and veiling are considered in work that
references soft sculpture, minimalism and the monochrome.

IMAGE
Blue Passage, 2009
Sculpture/Spatial Intervention
L: 360cm H: 250cm W: 120cm

Email: kbowman@alphalink.com.au

12
 Katherine Brunacci
Designs sourced from Jewellers dating from 1850’s to mid 1900’s are
reviewed and revisited. The aim in referencing these designs is to reinterpret
the gem set jewel and position it into a modern context, creating a new
genre with a strong historical reference.

IMAGEs
The Prince of Hamlet, 2009
Gold and Silversmithing
250 x 450 x 20 cm

Cordelia, 2009
Gold and Silversmithing
Ring, 50 x 40 x 40 cm

Email: kbrunacci@gmail.com
Mobile: 0439393053

14
 Hua Cun Chen
Drift with the uncertainty
In my work, I present real and unreal aspects of familiar imagery suggesting
relationships between the revealed and concealed subject.
I endeavor to construct a regular rhythm that might convey multi–sensory thinking
between worldly and spiritual states.

The presentation as a floor installation is an invitation to the viewer to read this

interplay between conscious and unconscious experience.

IMAGE
Drift With The Uncertainty, 2009
Gouache, print on paper
336cm x 267.3cm

Email: hccart66@yahoo.com.au
Website: huacunchen.com

16
 Samuel Rush Condon
I create landscapes from imaginary and dream like spaces. The nostalgia
of houses I have seen and fragments of memories of these structures.
Working with slippages between the possible and impossible in these
somewhat iconic buildings. A quietly shifting utopic world that aligns to its
own purpose and rules.

IMAGE
Chimney, 2009
Watercolour on Paper
13cm x 15cm

Email: samuelcondon@hotmail.com

18
 Han, Yee-Sak
This project explores feelings of alienation, doubt, suspicion, and displacement.
The sculptural works investigate how scale, materiality, and placement
can affect the reading of the work in an installation context. My research
investigates How the placement and installation of these works can be used to
create surprising encounters that reflect my psychological subject matter.

IMAGE
Self-portrait in a space, 2009
Cast plaster
approx 45 x 55 mm (wall installation)

Email: hanisak@gmail.com
Tel: 0405 903 656

20
22

DOUGAL HASLEM
In this body of work, Dougal Haslem creates miniature whimsical characters
that indicate movement through their mechanistic form. He uses traditional
jewellery making techniques and materials along with the re-interpretation
of collected objects to create anthropomorphic and zoomorphic forms.
The result is a menagerie of absurd robotic creatures, a kind of exhausted
automata inviting re-animation by the wearer or viewer.

IMAGEs
Pants and Drongo, 2009
Copper, sterling silver, collected object
75 x 70 x 30 mm

The Elephant and the Umbrella, 2008

Sterling silver, collected object
90 x 40 x 20 mm

Email: mail@dougalhaslem.com
Tel: 0417 382 117
www.dougalhaslem.com
24

Sue Elliott Johnson

Working with familiar and domestic imagery and lists I am interested in how
to successfully translate the personal into a wider context using seriality,
repetition and everyday domestic spaces and objects to elevate them to a
status and significance that they do not possess in real time

IMAGEs
kitchen sink series, 2009
Photography
6” x 4”

list, 2009
typing on index cards
1000 of 6”x 4”

Email: suz-johnson@bigpond.com
Tel: 0403192089
26

Yena Jung
“My research investigates how intangible sensations such as the
passing of time can be represented through drawing and painting. It is
informed by free-form jazz improvisation, and explores experiences of
control, energy, and spontaneity that I associate with this genre. I
use intuitive mark making, colour, materiality, composition, layering,
chance and gesture to explore energy, harmony, improvisation, and flow.”

IMAGE
dream of paper rose, 2009
Gouache and inkjet print on paper
40 x 28 cm

Email: jung.yena@gmail.com
28

Jodi Ruth Keet

This project utilises photography as a medium to examine identity through
family relationships in order to explore the notion of an accumulative
identity (an identity that is builds up characteristics and/or thinking with
those that we associate with).

IMAGEs
grandmother and granddaughter, 2009
photography
27 x 38 cm (image supplied is a crop of original)

husband and wife, 2008

photography
27 x 38 cm (image supplied is a crop of original)

Email: jodi.keet@gmail.com
Tel: +64-27-228-7679
www.jodikeet.blogspot.com
30

Caroline Kennedy-McCracken
I am interested in pattern, colour and scale, and how these devices
relate to individual and historical narratives.
In much of my work, the concerns of minimalism and formalism are
taken into a dialogue around contemporary life.

IMAGE
Untitled
thirty boxes
H: 372 x W: 310 x D: 62 cm

Email: caroline.km@hotmail.com
www.myspace.com/carolinekennedymccracken
 Charlene King
What do the books you like, or are reading at the moment sayabout you?
This question is at the centre of my project, which uses drawings of books
spines arranged in various groups to express the associations of identity
and knowledge that are embedded within the readership and ownership
of books.

IMAGEs
Title/Book (What’s informing Sarah’s practice?) Detail, 2009
Pen on Paper
60 x 40 cm

Bookshelf/ PostPak, 2009

Acrylic on cardboard postpak
30 x 25 cm

Email: Charlene.king19@googlemail.com
Tel: 0416622128
www.charleneking.com

32
 Helen Kocis Edwards
Helen Kocis Edwards explores the body, through drawing to explore
emotional states, relationships and the individual’s sense of self.

The careful rendering of subjects representing the commonplace, attempts

to edify the ordinary and create a blurring of the distinction between
human and animal, masculine and feminine, naivety and sophistication.

IMAGE
Doglets, 2009
Ink and pencil on canvas
168 x 217 cm

Email: helen.k.e@ozemail.com.au
Tel: 0402 271 597
www.helenkocisedwards.com.au

34
36

Simone Krok
I was born in South Africa and have lived in many parts of the world. My
MFA reflects the diversity of cultures and religions. Using the Kaballah
as a base I create jewellery that incorporates the historical iconography
of various cultures and unify them in an idiosyncratic and eclectic way.

IMAGEs
GREENSeries 1, 2009
Dimensions
variable

RED &GOLD Series 1, 2009

Dimensions
variable

Email: simkrokster@gmail.com
Tel: 04242 86479
38

Jess Lawrence
My work seeks to explore the ways in which processes of representation
operate to inform notions of the self and body that are increasingly
abstracted from physical realities. Applying the techniques of collage,
appropriation and abstraction (duplication, enlarging) to found images,
signification is perverted raising issues of the instability/unreliability
embedded in all forms of representation.

IMAGEs
untitled II
digital print
841 x 841 mm

silver II
digital print
841 x 1189 mm
 Yinghong Li
My art practice translates elements of my everyday experiences into my
painting. Square serves as a symbol to describe the different gestures that
represent life’s rhythms and changeability. Colours refer to my emotions,
and the contrast between translucence and opaque colour creates depth
and space. Emptiness is important in my work as it represents life’s
energies and mysteries.

IMAGE
0809 , 2009
Acrylic on paper
78 x100 cm

Email: li.yinghong@hotmail.com
Tel: 0433419466
www.yinghongli.com

40
 Norma McGowan
This project utilizes a personal language in representational painting
and sculpture to explore paramnesia. An examination of the dichotomy
of actual memory and constructed memory where time and distance
obfuscates the clarity of memory making it unreliable and elusive.

IMAGEs
Translocation, 2009
90 x 70 cm
Oil on canvas

reverie
Resin on light box
67 x 50 x 40 cm

Email: mcgowan@aapt.net.au
Tel: 0400985703

42
 Christopher Earl Milbourne
Fusion is the phenomenon upon which my arts practice is built. The
process can be defined by the heating of objects constructed of sterling
silver until they join together. The individual pieces symbolise a microcosm
or microenvironment. They are not place- or time-specific, but more-so
future ruins of an empire that never existed.

IMAGEs
Trinity Gas Station, 2009
Sterling Silver
60mm x 130mm x 60mm

Fuzed Vessel withSTAND, 2009

Sterling Silver
80mm x 50mm x 60mm

Email: chris_earl@live.com

44
 Moon, Hyun-Jung
Simple techniques of cutting and folding to a vitality a plain image.
Pop- up cards focuses on visual dimension as my reference.
Use of pop-up card function mixing with contemporary jewellery statement
beyond limitation of material and wearable.It creates a surprise !

IMAGE
Trolley pusher man , 2009
Sterling silver, postcard
170 X 60 X 360 mm

Email: J_swarovski@hotmail.com
Tel: 0413 682 675

46
48

Lianne Moore
In this project I have investigated the elusive process of personal
remembrance, the boundaries between remembering and forgetting
and family dynamics using family photographs as a starting point and
representational / figurative and narrative based painting and drawing
techniques. My work utilises colour as a psychological and emotive element

IMAGEs
The end of the Visit, 2009
Acrylic and pen on canvas
240 x 160 cm

In the Hay Barn, 2009

Watercolour, acrylic and pen on paper
14.5 x 10.5 cm

Email: liannemoore@slingshot.co.nz
Tel: +64-021 1344565
50

Ariela Nucci
My current work explores the beauty and frailty of fragments from
the natural world. I am also interested in the relationship between
ceramics and drawing, in particular how texture and form can bring
a three-dimensional quality to drawings, and how the space a vessel
inhabits can be defined by a drawing.

IMAGEs
Specimen Box A, 2009
Porcelain, Mix Media
H:12 x W: 40 x D: 40 cm

Feather Collection, 2009

Porcelain, ceramic stain
H:10 x W: 40 x D:30 cm

Email: ariela.nucci@hotmail.com
Tel: 0439 426 356
52

Cristina Palacios
“She who dreams in the dark hours of the night with far away
worlds comes upon, in the abstract language of the mind, the path
to unknown mysterious universes, finding herself traveling into the
mesmerizing luminosity of the cosmic womb”....

IMAGEs
PACHAMAMA’S PONCHO, 2009
Mixed media - Installation
850 x140 cm

NUCLEO, 2009
Installation
dimensions variable

Email: crisarg23@hotmail.com
Tel: 04314 25927
54

Cory Pugh
Dreamscapes is a video work and installation that explores aspects
of my subconscious, through the re-creation/performance of
remembered dreams, nightmares and fantasies. Nothing is sacred. The
work is about living as a trans male and dealing with the limitations of
socially constructed gender norms.

IMAGE
Dreamscapes, 2009
Dimensions variable installation
56

Hannah Xiao Jia Ren

My work is a play with colour, material and illusion, I like the mystery
some materials are able to provide when made into a wearable object.
Thus adding as little mystic into the world of craft.

IMAGE
Brooch - Untitled, 2009
Sterling silver, gilding metal, glass, steel
110mm x 115mm x 19mm

Email: hannahren@hotmail.com
Tel: 0422819501
 Ishtiaq Sandhu
In these works I am investigating into the phenomenon of suicide bombing
in contemporary political and social conflicts. It is a form of meditation on
contemporary martyrdom.
The handling of the paint is as important to me as the subject matter.
These works contribute to the tradition of painting figuration in an
abstract format, i.e. A vertical figure painted in a square within a
horizontal plane.

IMAGEs
The Reluctant Martyrs 1, 2008
Oil on Canvas
137 x 122 cm

The Reluctant Martyrs 2, 2009

Oil on Canvas
137 x 122 cm

Email: Ishtiaq_s@hotmail.com
Tel: 0432606748

58
 Nadja Slovak
“There is only nervousness and death.” 1

I live in “the three moments of expectation, attention, memory” 2, of

which stillness is the embodiment.
I seek stillness.

Surprised by the unexpected appearance of light moving in time, I want to

hold the moment still - listening for the story that is not-a-story; told by the
light and the space – I want to look at it, unhurriedly.

And wonder.

1
Fran Lebowitz 1978 2
Umberto Eco 1997

IMAGE
blindlight, 2009
single-channel black & white video projection [interior wall] + audio
approx 300 X 225cm

Email: nadja22@iprimus.com.au
Tel: 04 3305 5550
60
 Robert Scholten
Robert Scholten’s art encompasses a world of realism tinged with the
fantastic; a desire to integrate the extremes of human experience: the sublime
and the profane, the reality and the immaterial, the inner and the outer.
Inspired by sources such as ukiyo-e, typography, printed ephemera and
everyday life, Robert plays with the fragments of existence, sewn together by
the experience of the individual.

IMAGEs
Hunger, 2009
Acrylic and oil on canvas
Diptych, 50 x 50 cm each

She Sat In Her Room And Watched The Sun Fade, 2009
Acrylic on paper
100 x 70 cm

Email: hello@robobop.com
Tel: 0433 992 988
www.robobop.com
www.robowhat.blogspot.com
62
 Hamish Tocher
My work uses photography and projection to examine artwork from Classical
antiquity, in order to create spaces where viewers can reflect upon history.
By reworking Classical sources with contemporary methods, I generate new
knowledge about the past. The authenticity of this knowledge is undermined
by the ad hoc nature of the projection devices I employ.

IMAGE
Overhead Project (Catacombs) Room of Mirrors , 2009
Perspex mirror, lights

www.hamishtocher.co.nz

64
 Patricia Todarello
Focusing on the qualities of form, surface, colour and light, my art
practice converses both mediums of photography and painting to extend
the reading of actual and pictorial space through time. Sequentially in
repetition I review the multiple , not as a beginning or an end but as a
moment in time, an unfolding structure.

IMAGE
Open Space Constructions: white series
(Installation and detailed views) , 2009
Acrylic on acetate, photographic paper, paper, adhesive tape.
Dimensions variable

Email: patricia.tod@bigpond.com

66
68

James Voller
My practice is concerned with photographic superimposition and
public interventions. The works shifts the perception of urban and
gallery spaces through the insertion of photographic representations
of New Zealand residential dwellings. Which generates areas where
illusion and actuality exist simultaneously, one sees the impression of
a house where one does not actually exist. These public interventions
create illusions of housing which echo New Zealanders’ desire of
having their own house in a climate where there are more social and
economic barriers than previous generations to doing so.

IMAGEs
Raycroft Intervention, Christchurch , 2009
L.E.D Photographic Print
70 x 60 cm

Happy Valley Intervention, 2009

L.E.D Photographic Print
70 x 60 cm

Email: Vollerphotography@gmail.com
www.jamesvoller.co.nz
 Jade Walsh
I am interested in intimate dialogue in the private and public domain to
emphasize personal content and concerns. All works relate to the theme
of ‘The Difficult Search For Love’.

IMAGEs
from My Single People Project, Couples Anon; Bin, Darwin
Colour Photograph
25cm x 18cm

My Joke Fabric (The One), 2009

Screen-print and Thread on Fabric
60cm x 135cm

Email: jade@jadewalsh.com.au
Tel: 0409 804 672
www.jadewalsh.com.au

70
 Chee Yeung Wan
My work is informed by Zen Buddhist philosophy, as well as my Hong
Kong/Chinese heritage. I use everyday objects and natural materials such
as wood and paper to explore Zen teachings, in particular concepts of
‘emptiness’ and ‘unity’.

IMAGEs
Erhu, 2009
Wood, rock dust, moss
1.3m x 1.3m x 1.5m

Kasāka, 2008
Brick, acrylic
7.5 x 10 x 23.5 cm

Email: rabbitwcy@hotmail.com

72
74

Lynda Wilson
This project centers on miniature environments constructed from an
assemblage of domestic and landscape motifs to create the sense of
an enchanted yet absurd world that explores the tension between
comfort and unease in the home.

IMAGEs
Primetime, 2009
Mixed Media Installation

Matt’s Place, 2009

digital print
W: 60 x H: 40 cm

Email: lynda@encaustic.co.nz
 Jessica Wong
I wish to explore human strengths and create awareness about our
cultural creations using sardonic humour. I deconstruct and analyse social
inequalities through cartography and doodling while embedding it with a
personal journey from a feminist viewpoint. I hope to promote change by
highlighting the fragility of our social constructions.

IMAGE
New world, same history , 2009
multi-plate woodcut and pen on hosho paper
approx. 46cm (h) x 200cm (w) x 40cm (d)

Email:
jyf.wong13@gmail.com
jessi@jessiwong.com
Tel: 0409 264 356
www.jessiwong.com

76
 Acknowledgements

78
MFA 2009
RMIT UNIVERSITY
MASTER OF FINE ART
GRADUATE EXHIBITION
2009 CATALOGUE

© Rmit University 2009, Copyright in the individual essays and artwork

remains vested with the individual authors and artists. Except as
permitted under the Copyright Act 1968, no part of this publication may be
reproduced by any process, electronic or otherwise without the permission
in writing from the publishers and authors. Neither may information be
stored electronically in any form whatsoever without such permission. All
opinions expressed in the material contained in this publication are those
of the authors and not necessary of the publisher.

Graphic design: Rushdi Anwar

SCHOOL OF ART
RMIT UNIVERSITY
Printed in Australia: Big Print
Po Box 2476V
Melbourne Victoria 3001 acknowledgements
Australia Thanks to all who have contributed to the success of the Postgraduate
t. +61 3 9925 1947 MFA Program in the School of Art: Program Coordinators, supervisors,
f. +61 3 9925 9776 examiners, visiting lecturers, administrators, technicians, students and
www.rmit.edu.au sponsors.