In my body of work, my intent was to explore my bittersweet childhood and identity, in particular my relationship with my family and home country. The porcelain represents my heritage and connection with Shanghai, which I consider ‘home’. The distorted shapes of the ceramics simultaneously represent my struggle growing up in a one-parent household and my disconnection from my father and his birthplace, Taiwan. The ceramic plates integrate the Japanese repair technique of kintsugi, representing the development of my own character. All of these influences have been extremely significant in my life, and have contributed to who I am today.

To many, the space of a home provides comfort and belonging – a sanctuary within the currents of our everyday life. So where do we seek refuge when our home is uncertain? My body of work represents the ephemeral sense of ‘home’ experienced by those residing on the streets. Employing the fragile canvas of cardboard boxes, my work challenges the concept of an abode of safety which we as fortunate audiences are accustomed to. My intent is to evoke a renewed appreciation for the walls that innately protect and reassure us.

The Shed represents the essence of mateship, shared purpose and contribution to the community in the lives of five men in their later years. Painted realistically to fully express their authenticity, my body of work is mounted using the very materials used by these men. Within the men’s shed they find belonging, friendship and an outlet for creativity with a practical purpose. Separate individuals, drawn together through their common goals and passion for working with wood, they skilfully shape this material and in turn shape their own wellbeing.

Taking a reductionist approach, my body of work, Distillations of Memory and Place, is a series of abstract landscapes representing the essential elements of line, colour, form and texture of the natural environment. I was inspired by the coastal environment that surrounds me. My intent was to express the organic lines and textures that occur naturally by identifying the crucial elements of the environment. In developing my work I realised that perhaps they are not abstract landscapes at all, as they represent the landscape as it truly is, just distilled.

Amar Kotha honours women who live at the edge of society and continue the fight for dignity and respect, yet are rarely ever placed within the world’s limelight. Society has failed to recognise the bravery and strength that women in the South Asian region maintain, despite the adversity they face. My body of work pays tribute to the mothers, sisters and daughters who continue to endure the many prescribed roles within their society, with the intent of defying the limited image of fragility that surrounds their femininity. Painting with oils represents the powerful yet nurturing presence that women have.

My body of work explores how even fragmentary memories can be valuable for shaping identity. The work represents the urban scenery of Beijing and my internalised perception of the city and its people. The tall wooden blocks represent skyscrapers on which I have superimposed, in contrast with their sharp rectilinear geometric outlines, images that represent my personal memories of the past, expressing my deep connection to place despite its change. The wooden blocks are also a reference to toy blocks for toddlers and past memories – which may be foreign and alienating for postmodern individuals occupied with personal concerns.

My body of work, Gugaa (Goanna), is a large work using traditional Aboriginal storytelling and Indigenous patterning. My family background is from western NSW so this work expresses ideas and concepts that link to the Dreamtime and connect to my cultural identity. For this work I used traditional techniques and colours of the earth and sky including black, white, grey, yellow and red. The goanna is a sacred Wiradjuri totem and is a direct link to my attachment to Country.

A billabong is a stationary body of backwater, frequently the heart and soul of nature for the surrounding area, enabling new life to start and old life to be sustained. It is part of the regenerative cycle where water is the epicentre of life. My body of work explores the clash of regenerative and self-destructive forces in Australian nature. Australian habitats are constantly alternating between destructive and regenerative cycles – one cannot function without the other, just like beginning cannot exist without end, light without dark and life without death. Prosperity and life flourish through a thick layer of ash.

Scent is the most complex, powerful and precise sense we have, always attached to emotion. One whiff of my mother's perfume brings dormant memories back to me. My body of work uses still life bottles of perfume to represent the intricate identity and nature of the intimacy I have with those closest to me. As the audience engages with my work, smelling the perfume strips, they are offered an intimate insight into my relationships while triggering their own associations and memories. The work also references COVID-19, an early symptom of which is loss of smell, depriving us of intimacy.

My body of work explores the complexities of identity which extend beyond a physical image to ask whether we can truly know others. Inspired by classical works of old masters, I united traditional realism and abstract oil painting techniques. My intent is to expose how individuals can manipulate how they present themselves to others. In expressing our innermost thoughts, opinions, needs and desires we can break the facade we hide behind which distorts how we are perceived. My work questions what we really know about others, and expresses the depth of a person behind what you see ‘at face value’.

My body of work explores my studio and artmaking processes. I focused on portraiture as a means of investigating the soul's, or the artist's, intimate relationship with the canvas, as well as referencing Renaissance artists such as Goya and Caravaggio whose influence and use of chiaroscuro greatly inspired me and my practice. Using mirrors and lighting to add greater depth and perspective, I invite the audience to place themselves in the studio, and to appreciate and explore the setting beyond what is seen on the canvas.

Memories, big or small, are kept and stored in the heart of our minds and can remain with us for eternity. My body of work was inspired by the memories I’ve created with my grandma, who has cared for me from a very early age. I associate many of my memories of my time with her with objects from her home. They may look ordinary to a stranger’s eye, but they hold a very personal meaning for me.

My body of work expresses a personal disillusionment with conservative Chinese values that are, in my own experience, too polarised to reconcile with my experience as a second-generation immigrant. I have explored the resultant profound anxiety and self-hatred through the appropriation of religious imagery, using the division between ‘heaven’ and ‘hell’, and the image of Confucius, whose teachings are engraved on the consciousness of every East-Asian person. The work represents how the traditional values that emphasise societal conformity and filial piety, resulting in the unambiguous distinction between ‘moral’ and ‘immoral’, become a condemnation of individual expression.