HSC Visual Arts Exhibition

The Irish playwright, poet and prose writer, John Millington Synge, wrote in his book The Aran Islands (1907) that “A translation of life into a spiritual and intellectual domain is essential for the creation of great art”, suggesting that the artist must strive to elevate reality to a higher, more thoughtful realm. It is this premise we constantly encourage our HSC candidates to adopt; that whilst art should be rooted in the truth of human experience, it should also transcend mere representation to capture the spiritual and intellectual essence of life.

The 2024 HSC Visual Arts Exhibition proved that the twenty-two members of this year’s cohort were able to underscore the importance of that poetic imagination with the works produced transversing a dozen different materials and methodologies.

It is a privilege to explore each pupil’s Body of Work, offering insights into their creative processes and the thematic concerns they explored through their mastery of technical skills using a diverse range of media.

Ben Andronos

Ben Andronos adopted a strong command of visual storytelling in filmmaking, with his creative composition, skilful editing and sound design combining to create an engaging and meaningful narrative entitled Found. Questioning the boundaries between reality, illusion, and digital culture, Found demonstrated Ben’s deep understanding of the relationship between music and narrative, with an original score enhancing the emotional impact and pacing of this excellent film.

Elliot Au Yeung

Elliot Au Yeung’s thoughtful investigation of his cultural heritage explored themes of tradition and modernity, with three drawings that offered a personal reflection on identity and diaspora. His use of intricate details and varied textures effectively conveyed depth and complexity, reflecting the multi-faceted nature of identity. The dialogue between past and present resonates in the work, entitled Vanitas with Daruma Doll (The Beginning and End of All Things), and his rendering of light and shadow enhances the emotional weight of the work.

James Brew

James Brew used paint and print to thoughtfully investigate the relationship between beauty and gender. As part of his series titled, And every person I see is told they’re beautiful, his exquisite use of oil paint employed symbolism and metaphor to express the fluidity and fragility of personal and collective histories and notions of beauty. This work challenged viewers to reflect on the resilience of those who are marginalised. The audience was drawn into the interplay between self-perception and external expectation and the work demonstrated James’ outstanding artistic maturity and deep understanding of the subject matter.

Jake Burgess

Jake Burgess created a series of evocative place-based works which responded to his local neighbourhood of Manly. Entitled Seven Miles from Sydney the monochromatic copper plate prints eloquently speak to the geographical and cultural separation, and sense of pleasure and nostalgia so often experienced when docking on one of the iconic Manly ferries. Ambitiously printed as one large work, the different plates capture the shifting moods of this coastal region, skilfully rendered in exquisite detail.

Rupert Carl

Rupert Carl’s ceramic ‘painting’ which he titled An Indiscriminate Fact of Life, was exhibited in a traditional frame with the subject matter made from wheel-thrown and glazed pieces forming a heart shape that evoked introspection and empathy. Poetically, Rupert brought visibility to personal struggles, celebrating the fragility, strength, and marks left by emotional trauma. It is a beautiful and unique work that holds within it a powerful message.

Luka Damodaran

Luka Damodaran raised audience awareness by provoking critical discussion regarding our role in endangering certain animal species. His work, entitled A Conversation: All Natural Selection, used relatable imagery to draw attention to the subject matter, with typography enhancing readability and impact. Luka presented a striking conceptual commentary on environmental degradation and human responsibility.

Darcy Clift

Darcy Clift aptly titled his body of work Ephemeral Shores and demonstrated strongly refined technical skill in creating landscape paintings on copper plates, using the smooth surface to enhance the luminosity and fine detail in his work. Using precise brushwork, the metallic sheen adds an unexpected dimension of light and movement to the seascapes Darcy has painted making his chosen title more pertinent.

Sam Davis

Sam Davis used a bold and expressive approach to portraiture, developing a unique personal voice. He blended realism with a strong influence from Lucien Freud to emphasise the key features and emotions he saw in his subjects. He included a quote by Robert Rauschenberg as his title, “If I declare it to be so, then, this is a portrait” to allow us better understanding of his stylistic approach. His three oil on canvas works were accompanied by three copper plate etchings, all equally visually dynamic and original.

Sean Denmeade

Sean Denmeade’s welded metal sculpture, Updrift, revealed a strong command of three-dimensional space, effectively manipulating steel to challenge traditional concepts of space and form. His work interacted beautifully with space, both in its physical form and how it related to the audience, with an almost tangible invitation to walk around the work and enjoy its every aspect.

Oliver Dudley-Smith

Oliver Dudley-Smith titled his series of three large oil paintings, The Voyage of Life. Oliver applied a sophisticated use of layering and colour blending to convey a convincing mood and atmosphere in his seascapes, resulting in a clear evolution of his technical and conceptual skills. The influence of JMW Turner is evident in Oliver’s work, especially one of his famous quotes: “It is only when we are no longer fearful that we begin to create”.

Zein Ech

Zein Ech’s film, titled SAMSARA, creates a visually stunning and imaginative world, where his subject matter takes on monumental significance in the narrative. The film transfixes the audience, inviting them into a world that feels limitless, beautiful and magical. Zein’s innovative cinematography combined with his musical score has produced a film of professional standard allowing those who view it to have a cinematic experience well beyond the ordinary.

Terrance Kong

Terrance Kong, through a sensitive and reflective lens, captured the complexities of identity, belonging, and cultural integration, presenting a moving depiction of life as an Asian-Australian family. Unseasoned uses cooking as a powerful metaphor, representing the comfort of cultural roots and the challenge of adapting to new flavours. It is deeply moving film which stars his beloved grandmother.

Josh Mavrakis

Josh Mavrakis’ stunning ceramic work, titled, When the machine grinds to a halt, the cogs themselves begin wondering about their function, evokes a sense of nostalgia for a time when craftsmanship and precision were essential in engineering, reminding us of the intricate mechanisms that powered technology. The interlocking nature of old wheel cogs cannot fail to remind us of cooperation and interdependence, illustrating how different (and essential) parts work together to drive a larger system, much like society or teamwork.

Attlee Nguyen

Attlee Nguyen built an imaginative world through animation, and he’s titled his body of work Open Minded, which explored notions of the unconscious, what we desire in our relationships and whether we should seek to change those closest to us. Rendered in Blender, Attlee’s narrative has deep resonance and was complimented by his choice in musical score.

Cian Stoermer

Cian Stoermer’s low relief carved wooden sculpture successfully merges Matisse’s aesthetic, with his own independent perspective. Cian’s skill is evident, coupled with a rich concept that was driven by his on-going research into the work of Modigliani, Matisse and others and his quest to create work with simplicity, rhythm and energy. Cian’s title, from Baudelaire’s Invitation to the Voyage, “There, all is but order and beauty, luxury, calm and pleasure” also refers to a 1904 work by Matisse.

Lachlan Strothers

Lachlan Strothers’ large scale graphite drawing, Lamentation, allowed us all to enjoy his refined shading ability and sophisticated draughtsmanship. Superbly balanced, his composition invites viewers to examine every detail, while his careful rendering highlighting his attention to anatomical realism. It is an excellent drawing, and Lachlan’s nuanced understanding of intricate textures; the subtleties and drama of light and shadow underscore his remarkable mastery of his chosen medium.

Freddy Thawley

Freddy Thawley’s work, Veiled Faith, uses carefully staged compositions to draw parallels between the historical symbolism associated with the Crucifixion and Lamentation and contemporary forms of grief. Freddy has successfully evoked a sense of universal loss and redemption revealing his keen eye for lighting to enhance his sophistication in capturing a strong sense of narrative and visual storytelling.

Angus Thompson

Angus Thompson’s thematic exploration of one of Sydney’s oldest architectural areas in and around the Rocks, Views from Lower Fort Street, highlighted his ability to work across both copper plate etching and lino print. Capturing an atmospheric sense of place in both relief and intaglio printmaking, the works reflect Angus’ close observation of this historic area as well as his commitment to experimenting with the printmaking processes to ensure successful resolution of these monochromatic studies. That the works are imbued with a real sense of the richness of this unique urban landscape is testament to Angus’ skill as a printmaker.

Sebastian Uricoechea-Pereanez

Sebastian Uricoechea-Pereanez’s series of self-portraits, What is this you have done? successfully honour Caravaggio’s legacy while incorporating his own unique viewpoint and context. His compositions reflected a deep understanding of the emotional intensity that Caravaggio captured, with figures that convey strong narratives and rich character expressions drawn from universal experiences of temptation and regret overlayed with resonant biblical imagery. The thematic exploration of human emotion and experience resonates powerfully, making his body of work thought-provoking and impactful.

Rory Wall

Rory Wall has a deep appreciation for the materiality of clay, and its versatility. He approached his still life composition with a refined sense of craftsmanship, skilfully manipulating the medium to produce forms that are as much functional as they are sculptural. They reflect Rory’s keen understanding of form, surface treatment and the history of traditional ceramics. His delightful title, Breakfast set for the sharing of eggs and coffee, subtly explored themes of identity and belonging, and a deep engagement with personal and cultural narratives.

Jasper Weight

Jasper Weight’s ambitious sculpture titled Icarus & Daedalus provided significant challenges in its scale and materiality, and the final work reflects the sophistication and skill involved in rendering the sculpture into its final form. Jasper has a strong understanding of the materiality of clay and paired with his knowledge of anatomy this has resulted in a successfully compelling work that captures (and holds!) the audience.

Flynn Whitby

Flynn Whitby’s carved wooden sculpture titled, Every great story begins with a snake, shows a deep understanding of the natural properties of wood. His knowledge of wood-carving is reflected in the multitude of textures he has been able to imitate and in his careful manipulation, and transcription, of the grain. Flynn’s work engages the audience and raises notions of containment, threat and beauty-seeking to redefine an age-old tale in a contemporary context.

The following video provides a deeper look at this stunning range of artworks.

I wish our 2024 cohort a brilliant and bright future and encourage each of them to stay connected with the world of visual arts – including art history – so they may continue their engagement with the enduring power of art and its ability to communicate universal themes across time and cultures.

As I opened with Synge, I will close with him because teaching you all through your time at Grammar allows me to borrow his determination that: “The future is a bright place, and I have great faith in it”.

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