Page explores the relationship between the digital manipulation of images and the traditional practice of painting. The use of Photoshop has seen the simplification of form, flattening of colour and deletion of image detail. Information is lost as it is processed from subject to digital photograph. Page is interested in these gaps of information created by this simplification and processing of the image.
Nichols deals with how we inhabit both domestic and public constructed spaces. It is in our nature to manipulate our environment. Negative spaces, and the areas of nothing between things allow structures to exist, such as corridors and verandahs, and blur the notion of inside and outside.
Nichols is attracted to the materials utilised to layer the surface of our spaces, such as wallpaper, tiles and textile patterns, rust, aged wood, old carpets and bricks which contain subtle variations of colour. Recently her work has become more influenced by the idea of interior spaces and surfaces juxtaposed with the outside.
Bryan’s current body of work investigates the possibility of beauty in the so called mundane. Ordinary objects such as vegetables can be given meaning and beauty beyond their function. Bryan is influenced by the symbolic nature of still life, and how the genre and its’ themes have evolved throughout history. The still life object and subject can be a means of representing power or wealth, the abundance of objects, mass consumption and waste. The artist’s exploration began with waste and abundance, which has led to an investigation into the processes between life and death. Within this framework Bryan is particularly interested in how the process of decay can be a means of expressing life and beauty.
Yasmin Holm graduated from The University of Newcastle with a Bachelor of Arts (Communication Studies) degree in 2004, and is currently undertaking a Postgraduate Diploma in Visual Art at the Victorian College of the Arts.
Her practice consists of photographs, videos, objects, and installations inspired by her personal experiences. She deals with representations of women, everyday life, and is beginning to explore ways to document less tangible, more cerebral experiences like dreams and memories.
Gatland’s practice focuses on renegotiating the physical and cultural spaces of urban scapes. This negotiation is fuelled by the habitual consumption of her surroundings. Passing through the urban environment the artist absorbs and re-processes the influences encountered, and in turn records them as personal mind maps. These painted mind maps reference each other beyond the painted canvas. Few rules are applied and a formal juxtaposition of stripes is a familiar backdrop for the negotiation of fragments and compositions from the variety of stimuli.