Richard Stride

Untitled, 2011. Brisbane Emerging Art Festival

My art practice is driven by a curiosity into the oppositions and tensions I observe in the built environment. It seeks to question the role structures play in the human pursuit of order, and the manner in which they may succeed or fail in achieving this ambition. My work investigates structures and objects from the contemporary environment that are indicative of this role, such as those typical of standardisation or systematisation. Of particular concern are the persistent tendencies, often associated with modernism, for seriality and reductive or elementary geometry in these structures. Through my practice I aim to re-examine the nature of such structures, and explore complex alternatives.” Richard Stride


Maya Walker

Image : ‘Speculum’ series, untitled, oil on board, 90 x 120cm, 2011

Currently studying in Brisbane, Australia, and having just completed a BFA at the Queensland College of Art, my work seeks to investigate the ways in which figurative painting (notably the self-portrait) acts as a portal to explore the human body through its pathology.

I’m primarily concerned with the complexity of the self-portrait and works that examine the interrelated links between human diathesis, pathology and identity.

I see the interrogation of the female body as an opportunity to look inside, where fascia and connective tissue become metonym for connectivity and permeation.

Ellie Anderson

From the ‘Sheild Series’

Ellie Anderson is a Brisbane based freelance illustrator and fine artist. In 2012 Ellie graduated from the Queensland College of Art (Griffith University) with a Bachelor of Fine Arts. Ellie’s studio practice uses drawing and printmaking to explore patterning and the natural environment. Her works fuse intricate patterns with flora and fauna to make ornamental designs, and she resources ideas and imagery from a cross-section of cultural influences

Michael Zavros


Michael Zavros, a realist painter, drawer, sculptor and film-maker, was born in 1974 and graduated from Queensland College of Art with a Bachelor of Visual Arts in 1996.

Michael has taken part in numerous group and solo exhibitions at institutions such as the Museum of Contemporary Art Sydney, the Institute of Modern Art Brisbane, the Art Gallery of New South Wales, Artspace Auckland and Govett Brewster Gallery, New Plymouth.

Michael has been awarded three of the four prestigious prizes awarded for drawing in Australia: the 2002 Jacaranda Acquisitive Drawing Award, the 2005 Robert Jacks Drawing Prize and the 2007 Kedumba Drawing Prize. He was the recipient of the 2004 MCA Primavera Collex Art Award. In 2004, 2005, 2006 and 2009 he was a finalist in The Archibald Prize. In 2010 he was awarded the Doug Moran National Portrait Prize, the world’s richest prize for portraiture. In 2007 he was appointed to the Visual Arts Board of the Australia Council for the Arts.

His work is held in numerous private and public collections in Australia and Internationally.

Image: LS06 Charcoal on paper, 86 x 122cm, (2011)

Samuel Tupou

Fire Horse, Silkscreen on high density PVC, 2012

Samuel Tupou is a Cairns based artist with a specialty in screenprinting. Tupou’s practice reflects contemporary dilemmas of cultural identity, Westernization and immigration. Through the re-invention and repetition of found imagery from Western popular culture, and the use of industrial materials, Tupou creates new narratives which portray both personal and shared histories.

Having a part Togan, part Polynesian heritage, Tupou creates patterns derived from and inspired by traditional Pacific Island Tapa cloth design. His artwork utilizes printed imagery salvaged from mass media and utilitarian sources. Tupou’s work is a unique mix of old, new and re-used imagery set against vivid and seductive colours evocative of Northern Queensland.

Jasmin Coleman

Stabilisers (Installation view), Acrow Props, Scaffold Couplers, 2011 / Image by Sam Robert’s Photography

Stabilisers explores tensions between permanency and flux, stability and instability through the installation of large industrial structures. In the gallery space, a braced, industrial composition transitions from an inanimate structure to a physical, material, even anthropomorphic entity. In contrast, Transitioning (by Cara-Ann Simpson) explores movement, tension and the changing states of energy to build a state of unease. Using manipulated field recordings from urban, industrial locations, Transitioning reveals the constant fluctuating rhythms that society has invented and drawn around itself since the Industrial Revolution.

Dell Stewart

Oregon Hexagon Scarf

Dell Stewart is inspired by tools, patterns, nature, the home, mysterious objects, interactions and exchanges found and experienced in life.

Her work features recurring motifs and symbols in a broad range of media, creating a personal symbolism, suggestive of memory and elementary connections.

Stewart creates curious gatherings with ritualistic possibilities through an exploration into things and objects that she believes form a kind of bastard wunderkammer; a microcosm pursuing an obsession for objects with mystery and purpose – or least suggested purpose and potential mystery.

8Text* – SGAR

Jared Worthington

Self-Portrait (with Ralph Lauren) 2010

Jared Worthington has a Bachelor of Photography from Queensland College of Art (2010) and will continue into Honours in 2011. Born in the United Kingdom in 1989, he migrated to Australia in 2004 and currently resides in Brisbane.

Anastasia Booth

That Cold Sense Of, Leather, Ice, Freezer (2011) Photograph: Sam Cranstoun

Anastasia Booth is an Australian artist who uses sculpture and installation to re-evaluate the position of female desire in sexual fetish. Booth plays with the idea of fetish as an instrumental strategy, seeing it as a mode to work across different theoretical and material discourses. In her work the play between explicit and implicit depiction creates an ambiguity that has suggestive potency, where fragmentation and dysfunction initiate diverse readings. These dialogues in the work make apparent the anxiety and desire inherent in the viewer and question how the visual conventions of erotica and art history are mutually informative. Booth has previously shown in group exhibitions at Metro Arts, Inbetweenspaces and The Brisbane Powerhouse. Along with contributing to Melbourne’s 2010 Next Wave Festival No Risk Too Great, as a co-director of Brisbane based artist-run initiative Boxcopy.