Using the medium of stone sculpture, Reclining Figure represents the human figure in an abstract, distorted form. Properties of natural forms – shells, bones, eroding rocks – influenced its shape, and contrast with sharp contemporary lines in reference to modern architectural landscapes. My body of work comments on abstraction itself: beauty is found in the ‘randomness’ of natural structures and daily existence. It represents attributes of the human form literally and figuratively, exploring ideas of the ‘internal landscape’ of the human mind and the contortion of the psyche. This work uses the human figure as an organic, sculptural expression of the mind.

All fragile beginnings brim with potential to be perfectly equipped for survival. My body of work is a compilation of drawings and prints exploring birds – their feathers, beaks and claws – examining how this potential can be fulfilled and how transformations and mutations may lead to the death of nature.

When we reach the end of our lives, what is it that we leave behind that shows we were really once here? When we are gone, were all the years poured into our education really worth it? The Silent Cry of the Educated Dead represents the endless cycle of productivity over individuality, created as a result of the institutionalised education system. Is the value of a human life the sum of their achievements, or have we missed something crucial?

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.

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.

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.

In my body of work, Proof of life, I explored the effect of the repetitive nature of everyday activities on the human experience. The work was influenced by the time spent in isolation during COVID-19, when we carried out the same activities every day. Each piece represents two sides of the same activity: the left side is before it has happened, and the right side is the aftermath. This work was shot on medium format film on my Mamiya rz67 in my dad’s house. I chose film because it produces better quality images, and to create a timeless feel.

The concept for my body of work was to explore how individuals live within a family. Using the framing of a triptych I represent separate personalities coexisting as a collective. I have integrated my personal understanding of Australian households and the roles that accentuate the dissonance between each character’s personality. The representation of my family incorporates elements of Christian iconography, using the symbolism of the power of ‘three’ to express a collective identity through individuality. I used printmaking to explore the negative and positive space within a composition and to tell a story which is unique yet familiar.

The concept for my body of work stemmed from the Australian bushfires and their effect on nature. I find interest in the natural world and how industrialised societies destroy their environment. My work represents the effect human structures have on their environment, where the natural surroundings are pillaged by the development of industrial and domestic architecture. The ceramic pots create the organic shapes and textures of the natural environment while the wood, rope and metal components represent industrial structures. My work comments on the effect of modern society’s inventions and how they mould and reshape the earth.

My body of work is about finding my cultural identity. Travelling to central Australia was a major inspiration for my work and the elements embedded in it. Aunties and uncles, especially teacher Maree Warford, introduced me to this medium and it quickly became a focus for my cultural identity. This encouraged me to venture deeper into the various forms of Indigenous art.

The Final Act explores the life cycle through ballet: life as a continuous dance. Ballet shoes and ribbon reference delicacy and femininity and the ephemeral nature of humanity, while jewels represent the ever-lasting legacy each individual leaves to the world and future generations. I express continuity between the past and the present by contrasting the use of biro, a contemporary medium, with the traditional hand embroideries, and through the black and white colour palette to represent reminiscence and fading memories. My intent is to suggest that everyone we meet has lived a life we know nothing about.