St. Edward's College HSC Visual Arts BODIES OF WORK sculpture ceramics drawing photomedia graphic design

Since 2020 began, the St Edward's HSC Visual Arts students of 2020 have had some battles to face. Fire, Flood, Storm and Covid. During Covid, particularly, the students lost an average of 8 weeks of face to face teaching time in which to work on their Practical. Working on their Practical from home - albeit with a teacher teaching them via the internet - was not ideal. There was no personal direction or assistance - certainly not the same as they would have had in class.

Yet, here we stand with 16 completed Visual Arts Bodies of Work. They've done it. Congratulations go to each and every one of the following boys who have overcome everything that life has thrown at them this year and who have produced a Body of Work that is personal, conceptual, inventive and of extremely high quality.

Luke Adrichem: Recycled Seafood Basket


My work aims to draw attention to the problem of rubbish along the foreshores of our beautiful coastline. This rubbish affects our Fisheries, waterways and pristine way of life. I have created multiple fish using recycled materials such as kitchen utensils, wire, beading and interspersed these fish with hand made ceramic glazed fish inside a wire - constructed fishing trap. This sculpture references the Indigenous traditional methods of fish catching also being greatly affected by the way we treat our waterways.

Samual Bron: Fading


My work aims to highlight the plight of dying Coral Reefs and the bleaching that occurs due to man. We are destroying a valuable and unique part of our environment and we need to do more to raise our awareness of the issue and regenerate the oceans' assets.

The coral reefs in northern Australia are known world - wide for their colour, size and delicacy. My work references the tiny, intricate details of sea anemones, fire coral and budding coral reefs. Each strand of coral has been hand - made using Raku white clay and attached using traditional methods to a flat base.

The squares are arranged in a pattern of six tiles that undulate with the movement of the ceramic pieces as if they are being pushed and pulled by the moving tides underwater. The tops of the ceramic pieces are treated with four different types of glazes to mirror the multiple colours and textures of coral. As your eyes move up the six tiles, the colours are stripped away, leaving only bare white clay to symbolise the bleaching of the coral itself.

Tom Campbell: Bless This House


Bless This House is a work devoted to the issue of Domestic Violence. One in seven women are victim to issues of domestic violence in their lifetime. This is a statistic that is unacceptable to me. I have created my first charcoal drawing as the main protagonist - the sadistic and narcissistic personality who controls and dictates the lives of women through verbal, emotional or financial abuse. The stitching on each charcoal drawing represents the blood and bruises of his victims. The stitching is also referenced through the traditional framed prints and cross stitch that hang on the "happy home" walls of domestic violence victims whom strive to present a functional facade to the outside world . The title, "Bless This House" therefore has a malicious overtone, as does the gaze and smirk of the perpetrator.

Jake Chaffer: I can't even describe the agony...


The aim of my artwork is to convey the shock and raw emotion in a face of despair.

The concept of a human face in fear or discomfort is a subject that I believe displays the most character of an individual. With the pairing of abstracted backgrounds with these portraits of fear and discomfort adds to the ambiguity of raw human emotion.

The abstracted backgrounds will be painted with acrylic paint and pallet knives to create the wave like emotions with juxtaposing colours to represent the discomfort of the individual. The base colour of white also displays the raw, intense fear of the individual.

Mackenzie Cook: Illamor Mulloman


The intent of my artwork is to interpret my own relationship with the surf and ocean in general. For me, the ocean represents a safe haven; a place where I can be myself without judgement, without thought, without fear. While I am out there, beyond the waves, I feel like the state of my world is flexible. There is freedom in my movements, my thoughts and my sense of expression. I am the one in control.

For my work, I wanted to show elements of the ocean from my perspective such as colour, shape, texture and even sound. For this, I have created a sculptural form that starts with a centre piece of driftwood mounted to the wall or ceiling. From the wood will hang many lengths of copper wire which can flex, symbolising how the waves form in and around my body. These will hold many resin casts pieces that have been hand tinted using alcohol inks to represent the myriad colours of the ocean. The entire range of copper wire and resin pieces will then be assembled to create a representation of a wave coming out or emerging from the timber. Artists I have studied that have influenced my design have been Ryan Pernofski “Salt and Light” and J.M.W Turner “Houses of Parliament” who both captured the essence of light and colour in their work.

Cooper Ebrington: Who We Are


My work strives to connect the carefree attitudes of my age with the greater good in life. Symbols of love, freedom, peace, happiness and joy are interspersed with text and backgrounds to form a series of works that celebrate what it means to be alive and to be grateful for what we have.

This year has truly been a test and this work sends a message of exultation at a time when we most need it. This is my response to my world as it is right now - not to be downtrodden by life but to celebrate it and rise above consequence.

I have created five panels that read as a story or message about joi d'vivre - the measure of WHO WE ARE is what we do with WHAT WE HAVE. We have everything going for us. I have used Photoshop to digitally paint over the top of people from every walk of life and enhance layers of visual storytelling over the top of each facade. Bright colours pop and explode off the surface of each work, making our eyes sing with excitement and remind us yet again that it's good to be alive.

Declan Finn: Four Olds


In my art I wish to bridge the gap between the modern emergence of masked rebellion and the artworks of early Asia, namely Katsushika Hokusai’s woodblock prints. I am interested in the incorporation of traditional Asian ceremonies in my display. My work contains 7 facemasks and several photographs. The use of Sashiko fabrics in the production of the masks pays homage to the centuries old practice of their use in traditional Japanese clothing. The use of Sashiko stitching also directly influenced the choice of Hokusai’s work, due to his major influence on the practice with his publishing of “New Forms for Design” in 1824.

The concept of the facemasks was initially inspired by the privacy masks used by urban explorers and the protesters during the Hong Kong protests and was enforced by the societal aspects of medical face masks in Asian countries. The concept of face masks grew relevance in the unexpected emergence of the COVID-19 virus, due to new safety and health regulations that require their use. The face masks are embroidered with Japanese characters that I believe reflect the feelings of those currently enduring the COVID-19 pandemic.

The title of the works “The Four Olds” is a term used during the Cultural Revolution by the red guards in the People’s Republic of China, it references the pre-communist elements of Chinese culture that they attempted to be destroyed. A key example of this would be the customs that used to take place, including tea ceremonies that were used to signify important events such as marriage.

Jamie Hanna: Toshik - a


Japanese Urbanisation espouses the integration of housing with rapid transit in a commercial like manner. However, does this achieve urbanisation or does it pave over the top of traditional Japanese architecture and culture?

My work is a series of watercolours that focuses on both the modern and natural worlds. I draw from the traditional techniques of watercolours and Ukiyo – e to create a softer version of urban architecture. In order to layer the work with social comment, I have overlaid it with traditional Japanese woodcut prints that have been transferred into transparent layers using Photoshop. These were then overlaid over the scanned watercolour, referencing modern technology and its’ hold over society.

Urbanization in the future represents an important determinant of the world in the future. The reason is that urbanization means the transition from agrarian society, characterized by the cultivation of land and self-supporting, to industrial society, characterized by dominant people living in urban sector with employment in non-agrarian work sectors. Urbanization, accompanied by modernization of labour pattern and life· styles, has a significant impact on human behaviour and consciousness, and results in the transition to an extremely urbanized society never before experienced in the past. My work aims to soften this transition and celebrate the culture of the past – not allowing it to be overrun with either urbanisation or transit.

Printing my watercolours onto fabric – cotton and silk – references traditional Japanese national dress and modes of industry and the lanterns reference immersion in the culture – for the audience to follow the lights from the canvas printed works to the natural fabric.

Joseph Healy: #Hashtag Blessed


Matteo Krumm: Schemata


This work of mine was created through the frustration of life and the disappointment of societies recurring ethical mistakes. We strive to progress even past our point of no return, no correction just progression with no hope for a positive future. There are methods for redemption which are still available for us but only if we act now. This conveyance of meaning for myself is released through art and provided as a passive outlet.

With this piece I was able to reflect on this negative pattern, expose the true situation, enforce difference all while expressing myself. After searching through a large mass of art pieces, works, artists, mediums and inspiration I created multiple body of work ideas and more. With this vast selection I eventually strained my ideas down to those similar to my main influencing artist, Kwang Young Chun. Chun’s chosen media is to wrap objects in dyed paper with writing and form a sculpture. The sculptural form is created using many of these wrapped pieces enabling a discrete image to be shown. I mirrored this idea with some of my own traits conveying my meaning regarding our living crisis.

My work is made from small wood pieces wrapped in philosophically scripted paper and held together with twine, coloured in natural pigments. The philosophy covered in this work is of similarity to the journals of Nietzsche, Freud, Jung, Piaget and Vygotsky. These philosophical blocks are then placed together in a flowing pattern and displayed in natural areas such as a beach or a forest etc, representing fluidity in thought. This is to symbolise peace, equilibrium within nature despite the effects of climate change.

My piece represents a flowing thought implemented within a primitive but peaceful setting giving more thought towards our environment. This flowing idea is also to awaken the idea of simplicity within a natural setting and enforce that within our present toxic surroundings. Applying the notion that if we grow with the environment the environment will grow with us a quid pro quo between us and mother nature, reconnecting our relationship to planet earth.

Samuel Norris: The Shroud


My passion has always been for photography and specifically still-life style.

My original concept was to show the natural world against the architectural world and how our world has changed over time. I started experimenting with low-key/low light and long exposure photography to hone my skills and apply them to a different form. My photographs are taken in a setting that would traditionally be used for still-life, but this has evolved into capturing a moving person or object in time. This idea has been changed to unveiling the human form, using different sheets of fabric to reveal the person and body behind it.

Photographers use fabric draped on the human form to symbolise ancient Greek and Roman sculpture. My photos aim to capture the essence of the draped form combined with contemporary settings and a sense of voyeurism – peeking through the shroud to reveal the true nature of human personalities and forms. My works nods towards the spirituality of The Shroud of Turin to connect with the symbolism of the draped form.

Caolan O'Dwyer: True Narratives


My work attempts to unveil the complex intricacies that exist underneath the exterior. Our minds are entrapped by our emotions, we are consumed by anxieties and depression, caused by our society. As Michel Foucault states: “What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life.” My work seeks to unveil true narratives, my work is the expression of the unseen. We are complex, we are trapped in the chamber of reflection, sinking under the weight of the past and pressures of the future, engulfed amongst false cyber realities and the breaking of the mind.

It is a deeply personal and important expression of the mind. “I think a lot of what we learn about others isn’t what they tell us. It’s what we observe. People can tell us anything they want.” (Iain Reid) This quote reflects my work, we must look further, and unveil the façade and understand the complex intricacies that exist underneath the exterior.

Gus O'Malley: Amorphous


Amorphous - to be without defined shape or form.

My passion for photography has stretched beyond what is inside the lens - it has now metamorphosed into a dream like depiction of my own world. This work started as a portrayal of my life as a surfer and has evolved into a double exposed, pushed and pulled film exploration into a life style. The amorphous state of this lifestyle constantly changes - as we move and shape ourselves along with the tides, the people, the dreams, the experiences, the culture - all roll into one nebulous and unstructured form.

My work is a series of Black and White film photos printed in the darkroom using HP5 development film and ILFORD papers. Each work was then digitised and printed onto silk, cotton and canvas, to represent the transparency of those moments and thoughts I endeavored to capture. The photos have then been pegged to the "clothesline" - referencing intangible pieces of washing as the flotsam of our lives. As these pieces of cloth blow in the wind, as do our memories and experiences and as you walk through my work, you get the feeling of shifting time and unformed thoughts and feelings - catching just a glimpse of a moment; a memory.

Logan Pugsley: Redemption


As an artist, I seek to explore a series of ideals that both challenge and persuade traditional and contemporary attitudes towards the passage to adulthood as well as the expectations and perceptions of what defines success within our society. My body of works hope to endure a new reasoning to the effects of death and redemption by presenting a series of poetry that I the artist wrote, this allows my audience to gain insight into my own personal perspective about depression and anxiety. These mental health factors can depict the behavioral choices of the individual leading to the idea of escaping these fears through suicide or in turn death. I hope to evaluate the influences that lead to the destruction of self-identity and lead the unfavorable or mentally conflicted towards the effective freedom in which the afterlife presents. The CD’s that form the basis of my work “Redemption” are in scripted with my personal voice expressing religious beliefs such as salvation, revelation and most importantly redemption to show that while the viewpoints of the world’s religions maybe seen as outdated they still provide comfort when dealing with adverse situations that plague the individual towards extremities.

In turn through the exploration of other artists style, I look to appropriate different structural and culture elements that enlighten the pre-existing individual expectations while providing resonances and dissonances that confront the status quo. The use of CD’s to form a series of lily pads and lotus flowers was to portray a metamorphosis by which the flowers blossom throughout an effective transition or transformation. The “Redemption” conveys the transition of the flora in order to produce a metaphor for the individual’s transformation through life forever changing by the influences of our world. The work is much more than just the individual’s transformation however it is reliant upon the conceptual idea of death as some kind of gateway a gift that can only be obtained through redemption. The effects or motives of redemption are the drive behind the metamorphosis as the flower progress and later decays so too does the individual as death is the ultimate decay, the end. Although death has forever been received as the ultimate end it is instead a transitionary to something better a bridge to the after life or heaven within Catholicism.

As the artist I wish to directly address the personified figure of Death, by further proceeding to mock, and ultimate declare that Death cannot kill me. The written poem seeks to ruminate on the nature of mortality while also offering the argument that there are so many ways to die that it is no source of pride to have dominion over death. The work “Redemption” aims to convey to its audience that humans are the masters of death, and that when we reach heaven and in turn the religious promise of immortality the effects of death forever cease to matter. The CD lily pads are a vessel of transitionary with the idea being that they are almost floating into the afterlife hence revealing an effective celebration or acceptance. The CD’s combined with the sense of metaphysical poetry attempts to touch upon similar existential questions surrounding the nature of death, the purpose of life, and what it means to be a person all while further offering the human need for salvation that is fundamentally obtainable only through the promises of “Redemption”.

Ethan Saul: 5 O'Clock Collins Street


In my artwork I aim, to depict the differences in society back in the 1950s compared to today as a modernized and advanced society. “Collins St 5:00pm” by John Brack is the main focus of my work and is included in the background of my three pieces.

Being distracted by a phone is the main subject and focal point of my artworks. I have tried to depict the impact technology has had on our society with phones being such a distraction in our everyday life. My first artwork is a recreation of “Collins St 5:00pm” where I have used someone on their phone in the middle of a crowd, demonstrating the differences of both modern day and old day society and how we can be oblivious to what is going on around us.

My second artwork includes “Collins St 5:00pm” in the background and Brack's painting, “The Car”. People being distracted by the phones in the car as well as people having earphones on depicts the impact technology has had on us and how it has become the new normal in modern society to be so "switched on and off" at the same time. My third artwork consists of “Collins St 5:00pm” and “The New House”. Brack showcases a husband and wife in each other’s arms. I have used a couple in each other’s arms, however they are distracted by their phone. This again shows the impact technology has had on our everyday lives and is having an impact on the things that we love and are important in life.

Samuel Wilson: Driven


What I am trying to represent in my artwork is the relationship between me and surfing itself and how I view it. To me, surfing represents a kind of life style and I feel very comfortable and confident while I’m out in the water at any time of the day, whether its early in the morning, middle of the day, late in the afternoon or at night once the sun has gone down.

In my work, I show a different perspective of surfing, a perspective that I feel that only I can see, and in doing so have done half of my artwork in a digital photo based format, taking photos using GoPro and Canon DSLR, capturing images in and out of the water at certain times of the day. Using photoshop I have blended all these images together, showing part of my perspective layered with elements such as colour, lighting, shape, contrast and texture.

The second part of my artwork includes a type of collage, showcasing all the photos I took around the places I frequently surf and spend a lot of my time. Other photos show certain objects like boards or people. Once these collages were put together, I proceed to paint and draw all over them, with names, places and statements that reference my surfing experience.

The artists that I have studied and have used for some of my inspiration include photographer and film makers like Jamie ‘O’Brian, Chris Burkard, Ryan Pernofski, and Andrew Kaineder. Each of these four people all have their own way of representing their perspective of the world.


Created with an image by Igor Miske - "war"