Alyssa Freitas is a transdisciplinary artist born in Cape Elizabeth, Maine, who currently lives in Portland, Maine. She has earned a Bachelor of Fine Art in Sculpture from Maine College of Art in 2016. Her construction of spaces explores the influx of digital culture in contemporary life.
This unique outlook at hybridized form was explored while she was a studio assistant for professional artist Rollin Leonard in 2015. Alyssa plans on earning a Master of Fine Art in interdisciplinary studies in California.
Henry Mills is a cross-disciplinary artist exploring the task of observation as an isomorphic juncture of perceiving and becoming. Utilizing systems of material belonging to technology, sound and language, Mills develops work attempting to extend impressions of a medium beyond cycles of familiarity.
Selected group exhibitions include New Primitive [SPEC, 2011], What Is Music?
[Brisbane, 2011], Time Machine Festival [Serial Space, 2012], Native [The Box, 2013],
ArtBar [MCA, 2014], Ghost Index [Brisbane, 2017]
Isabel is a digital designer and artist based in Brisbane. She is currently a masters student at the Queensland College of Art in the Interactive Media program.
Her work is committed to maintaining both a speculative and real analysis of our relationship with technology, modelling these ideas through various mediums.
With a background in visual communication, Isabel is also interested in integrating this experience to construct alternate visual languages through digital experimentations.
Jen Mathews is an artist based in Melbourne. Her work investigates the intersection of desire, architecture and technology in late capitalist society. Through use of sculpture, assemblage and video, her work seeks to further distort existing architectural and aesthetic structures in order to assert new communicative visual forms. In 2016, she completed a Bachelor of Fine Arts (Honours) at the Victorian College of the Arts. In 2015, she graduated from the University of South Australia with a Bachelor of Visual Arts, and was the recipient of the Constance Gordon-Johnson Sculpture and Installation Prize. Recent exhibitions include ‘Optimism & Futility’ (2017) at Irene Rose; ‘skyscraper, school, shrine, slaughterhouse' (2017) at Seventh Gallery; and ‘City of Future Excess’ (2016) at FELTspace.
Lachlan Airey is an artist and musician exploring the liminal spaces in reflective humour in the creative disciplines.
Max AthansMax Athans is a current Undergraduate Fine arts student at Queensland College of Art. Their sculptural, sound and writing work centres around the implications and possibilities of unorthodox relations to new culture, post-produced realities, performative behaviours and emotional relations to objects. Producing work through industrial material, digital rendering and synthesised and repurposed sound.
Montana PurdyMontana, based in Brisbane, Australia, is an emerging artsits working with interdisiplinary collage. “I am inclined toward confronting my audience with both uncomfortable imagery and humorous undertones to express an idea.”
Nicholas Brocchi practices within a post-natural matrix wherein no element of the cognitive or material realm is fixed or permanent. Their experiments with video and installation highlight the inherent plasticity of sex and gender identity by forcing the artist and the viewer to undergo processes of conceptual and physical transformation. Recent installations attempt to expose the private sphere as a heterosexual privilege and a site of Queer oppression. Demanding the right to speak as no one in particular, their intimate and vulnerable explorations of identity transcend the limits of the personal and the particular in an effort to establish an intrinsically diverse or differentiated universal.
Brocchi is co-founder of the Queer College of Art, a collective that conducts lectures, presentations and seminars on critical Queer theory in Brisbane. One of the founding aims of the Queer College of Art is to provide a safe space for Brisbane’s Queer communities to engage in critical discourse.
Siena HartUtilising the language of subversion, Hart explores simple interventions of the everyday through digitally mediated performance and installation. With a focus on outward manifestations of embodied experience, vulnerability, anxiety, and the dialogue between the real and the imagined, Hart invites audiences to challenge the architecture of their own identities, perception, and memory.
Tristan EylesEyles’ cross-disciplinary practice involves experiential engagement and documentation of landscapes, where their mediation frames urban and exurban ecologies as places with lingering sublime and romantic qualities. Divergent experiences of site are established through object-based installations, often utilizing degraded imagery, ‘noise-sound’, and multiplicity of images to consider the value of subjective, individual experiences.
Previous work has involved point of view video, long-distance walks, recursive interventions in remnant bushland, and investigations into the phenomenology of piled railway ballast and other materials. Such sculptural and installation responses can be considered either etic or emic, describing the subject of landscape in objective, non-structural terms, or utilizing the language of an internal schema such as art-history.