VCA ART 2022

Marina Rolfe
(Master of Contemporary Art)
Stephanie Hicks
(Master of Contemporary Art)
Damien Melchiori
(Master of Fine Art)
Janice Wu
(Graduate Certificate in Visual Art)
Emily Norton
(BFA Honours)
Elena Misso
(BFA Honours)
Katie Paine
(Master of Fine Art)
Laure Seneque
Laurent Labourmène
(Graduate Certificate in Visual Art)
James Farrar
(Drawing and Print Media)
Linda Studena
(Master of Contemporary Art)
Dom Loughrey
(Drawing and Print Media)
Claire Price
George Manioudakis
Juliet Phraser
Hugh Crowley
Grace Stevenson
Shannon Toth

Introduction by Associate Professor Simone Slee, Head of VCA Art

<– Video walkthrough filmed and edited by Stephen McCallum

Welcome to the VCA Art 2022 Graduate Catalogue!

I am absolutely thrilled to be launching the third iteration of this online catalogue of over 170 graduating students and graduate researchers from the nine cohorts at VCA Art: Sculpture, Photography, Painting, and Drawing and Printmaking, Honours, Graduate Certificate of Visual Art, Master of Contemporary Art, Master of Fine Art and PhD programs.

This catalogue reflects the first year since 2019 that we fully returned to our beautiful campus. The achievements of our students and graduate researchers were celebrated at the 2022 Grad Show with a live opening – the first in three years. Being able to once again gather with friends, colleagues and supporters to appreciate these creative works in person was both exhilarating and moving, and a wonderful reminder of the power of art.

The artwork presented by every graduating year has a different tone and energy. This year, for nearly all our graduates, the long Melbourne lockdown featured profoundly in their experience of art school. In my view, this has forged a focus and unique perspective that carves out something quite specific for each artist’s practice represented here.

The artworks in this catalogue are a kaleidoscopic view of the world in which we live. Here you will see artworks that interrogate the socio-political within both local and global perspectives; you will see works that engage with the politics of war, grief, territory, the environment, ancestry and diasporic experiences; you will see works that engage with foundational notions of creation, of materials, of the earth bubbling into formation; you will see the ways technology engages and blurs the boundaries of bodies, the fusion of the poetic amongst the sanitisation of our contemporary life; you will see the tough questions and tough rebuke of systemic racism and binary thinking; and equally you will see the beauty and celebration of difference, of other stories and narratives, other epistemologies and ways of knowing, including the value of the small and overlooked, spiders under relentless scrutiny, whimsical, unexpected gestures of the body and critical takes on artistic tropes, questions about what it is to make a painting or a photograph or a video or a drawing or even to what it is to make a plinth.

Behind all the stunning work, presented in this catalogue is an extraordinary journey that each of our students and graduate researchers have taken. Making artwork and presenting it publicly requires our emerging artists to be courageous, to take conceptual and paradigmatic risks, to endure failure and get back up and try again. All this without ever fully knowing how the work may be received, realising that sometimes the investigation may be unpalatable, challenging and confronting, yet something that must be pursued.

Given all this, I thank every graduate in this catalogue, for your resolve, innovation, commitment, and trust in us as the art school through which you have progressed your art journey. You are a complete inspiration. Congratulations.

Behind any artwork and the journey of its production is huge amount of support, logistics extraordinary hard work, dedication and talent. Recognising this, I extend my thanks to our graduates’ loved ones, to the friends and family who have unfailingly supported them to arrive at this point. Making art takes a village and none of us who are artists ever underestimate the value of this support!

I also thank our deeply committed and talented VCA Art team. We are all artists, some of us academic and others professional and, because we are artists, we deeply understand the process of making art. A huge thanks to you all for your vision, your tireless work, extraordinary commitment and nuanced care and support of our graduating students.

While I cannot name everyone here, I would like to thank the Heads of the nine programs: Dr John Meade and Dr Lisa Radford, PhD Convenors; Vikki McInnes, MFA Research Coordinator; Dr Kim Donaldson, Head of the MCA; Jamie O’Connell, Head of the Graduate Certificate of Visual Art; Dr Cate Consandine, Honours Coordinator; Dr Alex Martinis Roe, Head of Drawing and Printmaking; Dr Sanja Pahoki, Head of Photography; Dr Mark Shorter, Head of Sculpture; and Dr Raafat Ishak, Head of Painting. Thanks also to your amazing teams.

Ideas are one thing, but making is another. Can I thank our extraordinary professional teams, the “Techs” as we lovingly call them, for they are the ones who really make things happen, supporting our students and graduate researchers to create their work. Again, I cannot mention everyone here, but I’d like to particularly thank: Kylie White, Mark Friedlander, Nina Gilbert, Adrian Kellet, Darren Munce, Beth Arnold, and Emil Toole, Sam Murnane, Aaron Rees and Julien Comer-Kleine.

I also thank Dr David Sequeira, Director of the Fiona and Sidney Myer Gallery, and Joon Youn, Gallery Manager, for their support. Of course, I would also like to thank the unfailing support of VCA Director, Professor Emma Redding, and Dean of the Faculty of Fine Arts and Music, Professor Marie Sierra.

Many thanks go to my colleagues for their advice and curatorial eye on this catalogue, a particular thanks to our catalogue designers, Jack Loel and Jack Fowler for this most beautiful website and the University’s Marketing and Communications and Advancement teams. A huge thank you to our photographers for their beautiful work: Christo Crocker, Aaron Rees, Sam George, Kenny Suico, and Lucy Foster, and videographer Stephen McCallum.

We are delighted this year to have an esteemed group of artists and curators provide tours of this website. We are honoured to be associated with them and thank them for their generosity.

A very special thanks go to the VCA Foundation that supports this catalogue production, and to our donors and the industry professionals whose generous awards and artist opportunities have been more important than ever before.

My final tribute and very special thanks go to the wonderful Freya Pitt. Freya has been at the heart of the extraordinary logistics behind this catalogue. As ever, Freya has brought plenty of her renowned good humour, pleasure and passion for art and our students, her intelligence, calm and grace beyond measure. Thank you, Freya.

To all, please enjoy!


Diego Ramirez
Artsworker Run Space

Emily Cormack
Keep it moving.

Patrice Sharkey
Amorphous solids



The Doctor of Philosophy (PhD) involves completion of a substantial piece of original research, demonstrating ability to communicate research findings effectively in professional arenas and international contexts. In most cases the thesis includes a body of exceptional artwork and a substantial written paper. It is a rigorous and sustained piece of work showing a research 'apprenticeship' is complete and admitting the holder to the community of scholars in the discipline.

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Dr Lisa Radford (Head)

Master of Fine Art

The Master of Fine Arts (Visual Art) is a two-year masters program that extends an artist’s potential for academic research. This studio-based program facilitates and develops mastery in the chosen field of practice and contributes to a deeper understanding of contemporary artistic practice, cultural theory and discourse more broadly. The practice-led MFA culminates in a substantial piece of original research that generally comprises a body of creative work and a written dissertation.

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Vikki McInnes (Head)
Dr Lisa Radford
Dr Tessa Laird

Master of Contemporary Art

The Master of Contemporary Art program serves as a bridge between undergraduate study and independent art practice. This coursework program prepares students to develop a professional art practice, situate their practice within contemporary art contexts, and gain important networks in a supportive community of staff, artists and industry professionals. The course encourages experimentation, speculation and engaged dialogue with staff and students in an independent studio setting. In the second year, students identify an area of research to investigate and undertake a year-long studio project. Throughout the degree, students undertake a range of professional opportunities including graduate intensives, group and solo exhibitions, and local and international travel.

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Dr Kim Donaldson (Head)
Dr Kate Just
Dr Masato Takasaka
Dr Lucreccia Quintanilla
Lisa Waup
Eugenia Lim


The Bachelor of Fine Arts (Degree with Honours) is an esteemed program designed to support students wishing to develop research skills and deepen understandings of contemporary artistic practice and related theoretical discourse. With an emphasis on independent artistic research and devising and managing a major creative project, this dynamic program prepares candidates for advanced critical and creative thinking and problem solving. Honours is located in The Stables, a world class teaching and learning facility at the heart of Melbourne’s arts precinct and with strong connections to a diverse range of professional partnerships and networks. Academic staff within the program are leading artists, theorists and curators in their field.

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Dr Cate Consandine (Head)
Dr Lisa Radford
Archie Barry
Alicia Frankovich
Tina Stefanou
Ellen Sayers
Dr Renee Ugazio
Dr Sean Lowry
Dr Tessa Laird
Megan Cope
Lucina Lane
Sebastian Henry Jones

Graduate Certificate of Visual Art

The Graduate Certificate in Visual Art is a part-time course that facilitates practical and theoretical frameworks for studio workshops, complimented by studies in art history and theory. As it is graduate level, GCVA students can choose to work in painting, drawing, digital technologies, printmaking, sculpture, installation, performance or photography, and/or a combination of the above. Throughout the year formal group critiques and individual discussions encourage critical reflection on the works made. The Graduate Certificate in Visual Art is designed for students who have completed a degree and wish to further develop their skills in the visual arts.

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John Meade
André Piguet
Corinna Berndt
Eugenia Lim
Dr Hoda Afshar
Sharon Goodwin
Kellie Wells
Hayden Stuart

Bachelor of Fine Arts (Drawing & Printmaking)

This program is taught by leading contemporary artists in immersive studio- and workshop-based environments, and it enables students to develop their own professional art practice. Students experiment with a wide range of approaches, including traditional drawing and print media as well as digital media, video, installation, performance and socially-engaged art. Students develop their material and conceptual methods in response to their interests, contextualised in relation to relevant historical and contemporary art practices and theory. Through their work, students address broader concerns, such as social and political issues, often drawing from other fields of knowledge. As genealogies of artistic practice, the fields of drawing and printmaking provide a foundation upon which students can invent the art practices of tomorrow.

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Dr Alex Martinis Roe (Head)
Dr Mark Dustin
Lisa Waup
Irene Hanenbergh
Stieg Persson
Tony Garifalakis
Lauren Burrow
Rosie Isaac
Tristen Harwood
Briony Galligan
Roberta Rich
Ihab Balla
Katerina Teaiwa
Eugenia Lim
Olivia Koh
Prudence Flint
Deborah Williams
Adrian Kellett

Bachelor of Fine Arts (Painting)

Painting is taught in an immersive, studio-based environment. Reflecting the diversity of contemporary art practice, it supports independent and conceptually innovative practice. By developing technical and conceptual methodologies students gain a sound knowledge of traditional and contemporary painting skills, techniques and concepts.

With the practice of critical analysis, students become more confident in the expression of their own visual ideas and observations. Students learn about the historical, contemporary and theoretical context in which they work.

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Dr Raafat Ishak (Head)
Dr Lisa Radford
Dr Stephen Haley
Yhonnie Scarce
Nick Selenitsch
Darren Sylvester
Chris Hill
Georgina Cue
Simon McGlinn
Noriko Nakamura
Nadien Christensen
Moonis Shah
Ann De Bono

Bachelor of Fine Arts (Photography)

These days, everyone seems to be taking photos. But what exactly is a photo, and what is the photographic? How can we use the practice of photography to create artistic works, and how can we apply photographic thinking to develop art even without a camera?

At the VCA, our photography program will encourage you to think about these questions and more as you engage in a comprehensive exploration of contemporary photographic practice and theory. You will have the opportunity to learn about the history of photography and apply your own unique perspective and ideas as you work on your own artistic projects. In our studio-based learning environment, you will be able to experiment with a variety of techniques, including black and white darkroom photography, colour darkroom printing, digital and video imaging, and projected installations. By using these and other methods, you will discover the full potential of photography and the kind of artist you can become.

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Dr Sanja Pahoki (Head)
Dr Kiron Robinson
Dr Lou Hubbard
Christo Crocker
Janina Green
Dr Lani Seligman
Linda Tegg
Norbert Loeffler
Simon Zoric
Siri Hayes
Dr Sophie Knezic
Ash Perry
Nina Gilbert

Aaron Rees
Adam Stone
Ali McCann
Dr Alicia Frankovich
Bill Hawkins
Clare Rae
Grace Wood
Kate Meakin
Dr Izabela Pluta
Dr Martina Copley
Mikala Dwyer
Vivian Cooper-Smith

Bachelor of Fine Arts (Sculpture)

Sculpture is where we test material, any material, your material.

Material comes from our body; our place and our time, from a history, from a cultural memory, or the all to present future. Material suggests, reflects, cascades, shatters, lingers, transforms, protrudes and disappears. It pulls you in and pushes you away. We circle material, develop new techniques, strategies and languages that challenge established knowledge. Material is supported, physically politically and intellectually by space, place and context, but let’s not go there right now, let’s stay with material and the impossibility of pinning it down.

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Dr Mark Shorter (Head)
Claire Lambe
Archie Barry
Spencer Lai
Aleks Danko
George Egerton-Warburton
Debris Facility
Brooke Stampe
Rosie Isaac
Daniel Jenatsch
Elizabeth Presa

We acknowledge and pay respect to the Traditional Owners of the lands upon which our campus is situated, the people of the Boon Wurrung and Woi Wurrung, who have created art, made music and told their stories here for thousands of generations. We also acknowledge and extend our respect to the Traditional Owners of all lands on which our work is viewed, shared and enjoyed, and to all Elders, past, present and emerging.

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