Espial

bachelor of digital media studio art and

Bachelor of Digital Media with Honours

contents

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Espial

Jenna baker

jennifer Harries

Elizabeth hudson

Dr Laini Burton

evelyn eden

18

20

suzette macgregor tahira mccloy bio accumulations

hello?

taboo tableau

take a moment

22

24

Cherie noble

dan pollard

consumed

glass mountain

26

28

30

32

tyler russelL

Chan Su & Chen YANG Zhao

Jason haggerty

monique montfroy

beyond gallery walls

perlin emanation

the wave

bois to men: performing contemporary masculinities

34

36

38

42

Jack packshaw

Rachel Spencer

melissa Spratt

acknowledgements

stimulation simulation

enthral no. 3

sub-dermal

discover a new

generation of art practitioners

E S P I a l G r a d u at e E x h i b i t i o n 2015 5 |  5

espial dr Laini Burton Espial showcases the 2015 Studio Art Major and Honours graduates from the Gold Coast Queensland College of Art.

In the true spirit of observation and discovery, the artists in this exhibition take the viewer on an expansive journey motivated by the exigencies of our time. Encompassing issues such as the legitimisation of ‘illegal’ art, identity politics hinged on religious, personal, social and technological connectedness, and the challenges being brought forth in this age of the Anthropocene, what is revealed serves as a poignant reminder of the potential for art to draw innovative conclusions while inviting open dialogue. Artists Cherie Noble, Suzette Macgregor, Chen Yang Zhao and Chan Su all share significant ecological concerns, visible and invisible. Indeed, it is the microscopic world of pollutants that is writ large in Macgregor’s ethereal, floating sculptures that take the form of molecular accumulations of plastics found in the ocean. Casting deep shadows from their position above the ground, they hint at the menace hanging over us all should we ignore the very real possibility of an irreversibly contaminated biosphere.

In Noble’s large-scale video installations, the viewer is seduced into a lyrical, aquatic world accompanied by a watery soundscape and glit tering detritus. Floating in and out of vision, Noble captures indistinct images which are revealed as sea pollution rather than any encounter with sea life. As a long time committed environmental steward, Noble beseeches us to take action through conscientious choices made in the service of a healthy ecosystem.

A gentler homage to flora and fauna can be found in Elizabeth Hudson’s botanical watercolours. Growing up on the land and studying by the sea, Hudson’s hybrid specimens exhibit a kind of biophilia that makes sense of these two interconnected but vastly different worlds. Their subtle contours and quiet reserve draws upon the rich tradition of botanical art, which for Hudson also becomes a call to preserve the vulnerability of plant life in exponentially changing climatic conditions. In all of these works, the artists demonstrate profound transformations in our environment that lead us closer to a fully realised Anthropocene.

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Working collaboratively, Chan Su and Chen Yang Zhao literally tackle the depths of ocean pollution in their art installation. The fate of this sea life, bleached by the sun or drowned in oil, is ironically rendered using petrochemical based materials that contribute to environmental destruction. Like Macgregor and Noble, Chan Su and Chen Yang Zhao’s work operates as an entreaty for environmental activism.

And, if their warnings ring true, the consequences of our excess will necessitate radical rethinking of our very way of life. It is the complex territory of identity politics that drives the practice of Jenna Evelyn Baker, Jennifer Harries, and Monique Montfroy. Baker’s fictional world invokes theorist Jean-Paul Sartre’s concept of ‘bad faith’ to adopt false values constructed through celebrity culture. Establishing for herself a fantasy path to fame, Baker toys with our value system to question our sense of authenticity in the construction of self-identity. Her mise-en-scène however is not entirely meant to deceive viewers, but rather have us consider who we are and who we would have others believe we really are. Harries too seeks escape from the world she occupied for a majority of her life, challenging head on the sexually repressive atmosphere of a Christadelphian upbringing. Using her own body as a template for reclamation, Harries assertively prods at taboos of the naked body, its pleasures and its censorship both in religion and more broadly in society. With Montfroy, the fluidity and boundaries of sexuality that are currently in a state of dissolution form the core matter of her Honours degree video project. Profiling the perceived masculinity of a range of subjects, Montfroy attempts to locate the inscrutable concept of ‘masculinity’ within Australian culture in individuals who lay bare their personal experiences via gestures and interview. In doing so, Montfroy succeeds in demonstrating the apparent subjectivity that gives rise to such a construct, and urges on broader cultural dialogues surrounding gender politics. Exploring forms of embodiment through technology can be found in the work of artists Jason Haggerty, Jack Packshaw and Tahira McCloy. In Haggerty’s Perlin Emanation, the artist signals a consilience between nature and science, exploring the natural waves of the Gold Coast shoreline, which are configured as the waves of the computer generated Perlin Noise algorithm. The work serves as a meditation on hypnotic oscillating bass frequencies that Haggerty

“Of course, the phenomenon of digital media is that it remains intangible, ephemeral and weightless, yet it is capable of conveying some of the heaviest human experiences.”

has drawn into his Honours research as well as his extended practice where he uses generative video and projection mapping to produce interactive, proprioceptive installations.

For Tahira McCloy, it is the curious ways in which technology has affected our way of communicating that influence her practice. In her low-key video pieces, McCloy strips back the tech-aesthetic in order to restore faith in our intuitive readings of human interaction. In our trajectory toward a post-human age, McCloy’s subtle gestures become amplified in an effort to seek connection and meaning where virtual connections have become a stand-in for human contact and interactivity.

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Of course, the phenomenon of digital media is that it remains intangible, ephemeral and weightless, yet it is capable of conveying some of the heaviest human experiences. Packshaw’s Honours project centers on audio-video installation, incorporating these technologies to convey the journey of the unpredictable neurological effects generated by an epileptic seizure. Through first hand experience, Packshaw configures a personal response to the three stages of a tonic-clonic seizure. Because of this, he lends gravitas to an as-yet-incurable condition while positively raising a general awareness of epilepsy as a relatively misunderstood fact of life.

In the art of Dan Pollard, Rachel Spencer, Melissa Spratt and Tyler Russell, the rigorous experimentation with and resolution of material investigation is what yields results in their practice. Pollard’s deeply existential work explores our role as individuals amidst the collective and finds form in his sculpture Glass Mountain. Speaking to the precariousness of the human condition, his sculpture metaphorically operates as framework for the meaning of life, composed as it is between the toil of seeking and the fragility of achieving meaning in what can only be described as an enlightening yet dangerous journey. Seeking solace and meaning through material manipulation, Honours student Spratt explores its potential to express various aspects of becoming and selfhood. In her sculpture Sub-dermal, the artist offers the viewer a fractured glimpse into the methods that inform her studio practice which focuses on paper and wire manipulation. As she works through material properties that best communicate her passage through anxiety, depression and memory, Spratt delves into her own psyche to reveal what exists in us all — a delicate balance between order and chaos. Spencer’s relationship to the materiality of objects exists in their purposeful destruction. In her sculptural work, the artist’s Honours practice methodically de-mediates books in order to solicit renewed responses to their qualities as objects. For Spencer, book spines, fore edges and paper stock parallel the qualities of the narratives existing within. Thus, in a kind of Frankensteinian reconfiguration, Spencer gives new life to objects that may otherwise be left on the shelf. Not unlike Spencer, Russell’s approach to materiality is to provoke a reconsideration of the medium itself. For Russell however, his appreciation of Street Art becomes embroiled in longstanding critical arguments about Graffiti. Urging him toward action through legitimising processes that involve official mediation (that is, Council Permits), Russell raises significant questions about the creative expression of Street Art as stymied by institutionalisation. Consequently, Russell’s work provides a framework to view Street Art as creativity-in-action for those dissuaded by its communicative possibilities.

Dr Laini Burton Convenor - Studio Art, Honours Queensland College of Art, Griffith University, Gold Coast

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The exhibition Espial demonstrates a wide range of traditional and contemporary studio processes, and is deeply engaged with the potential of art to unravel both personal and collective narratives. It has been both a journey and a pleasure to bring these artists together, all the while encouraging disciplinary cross-pollination and multiplicity of forms through rigorous practice-led methods. Through critical making, critical inquiry and critical dialogue, the artists here exemplify the very best of a vital, creative economy emerging from the Gold Coast Queensland College of Art.

Baker is a Gold Coast artist who frequently works in varying forms of self-portraiture and enjoys exploring a wide variety of mediums including photography, peppers ghost works, murals, sculpture and installation, however she always returns to her roots in watercolor and traditional oil painting as her main form of expression. Moving forward Baker seeks to continue building her body of work and aims to contribute to the community in as both a practitioner and teacher. www.jennabaker.com

jenna baker evelyn eden

Jenna Baker’s work is an investigation of wish fulfillment consisting of auto fiction (mixture of real autobiography/ identity and fantasy) to question concepts of bad faith and personal authenticity. This she explores by using the socially constructed concept of ‘fame’ against the personal desire for celebrity. In doing so, Baker questions whether our dream notion of self is our truest form of self. This is pinned against the reality that our personal ideals are always based on the social constructs that we are born and institutionalized into.

oil painting / gouache on illustrator board / film / 27” x 41”

jennifer harries taboo tablEau

Jennifer harries’s studio practice is an exploration of the societal constructs surrounding the sexual female, the abject and how our society propagates shame culture. with a focus on taboos and sexual shame Jennifer investigates the disconnect caused by societies views of women, sexual gratification and expression.

photography - block mounted prints 1000 mm x 800mm - 320mm x 400mm

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Harries is a tasmanian born visual artist, whose work spans many different forms. from sculptural installation to performance, photography and video installation. with a diploma in Graphic design and a certificate Iv in visual arts. jennifer is extending her experience with a bachelor of digital Media, majoring in Studio arts at Griffith university, 2015. Pursing further studies in arts therapy and education, jennifer intends to work with disadvantaged and mentally ill youths. using the arts as a way of healing, self expression and deconstructing the stigma surrounding mental illness.

Watercolour and ink 40 pieces, varying sizes 50x50cm, 30x30cm, 20x20cm 15x15cm

elizabeth hudson take a moment

Growing up on a cattle farm, Hudson spent her childhood surrounded by nature which remains a source of connection and inspiration. Her practice revolves around capturing the beauty and vitality of nature through the tactility of pencil and paper and bright watercolours, finding their forms by shaping them with her hands.

Illustration has always been a passion for Elizabeth Hudson, who enjoys documenting the world around her with g raphite and ink, copying down all of the minute details she experiences. Hudson maintains that she always preferred to draw what she sees rather than taking photographs; to see the world through a more visceral lens to focus on the details around you.

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Bio Accumulations - 2mx1.2m, 5000 white straws, glue, fishing line

suzette macgregor bio accumulations

Born in Hong Kong, Suzette Macgregor’s visual arts background began in graphic design but has shifted towards explorations of more tactile processes including painting, mixed media, craft making, sculpture and installation. Deriving inspiration from personal experiences, cultural objects and the natural environment, Macgregor finds art-making a valuable contribution to self-realisation through inner contemplation and reflective practice. Her aim is to use art in an educative capacity through workshops, books and blogging and inspire the creation of mini museums and galleries in homes with her work. www.suzettemacgregor.com

Suzette Macgregor’s practice explores materiality, form and aesthetics imbued in pattern, order and symmetry. Her work centres on the medium of paper, using hand and laser cutting techniques and the re-contextualisation of cultural objects to create 3 dimensional sculptures that prompt dialogues about personal as well as collective experiences.

Suzette enjoys the quiet, minimalistic approach to producing work, choosing simple materials and objects to investigate their potential and to draw out their natural properties and essence. The simplicity of the material is carried through a transformational process to express and reveal paradoxically, complex ideas and situations on an analogical level. The materials and work often carry multiple layers of meaning and invite the viewer to experience a sensory perceptual shift through the objects to give them new cultural worth and value.

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Bio Accumulations is a response to our plastic culture and commodities of mass consumption, its affect being a sense of ‘viral colonisation’ on our external and biological landscapes. Suzette has used 5000 straws as symbolic of our ‘takeit-away then throw-it-away’ culture as a contributor to land and ocean waste focusing on how objects of convenience and seemingly inconsequence become catalysts for wider problems affecting marine and wildlife. As humans are part of the global food chain, she asks us to question our own consumptive habits.

tahira mccloy Hello?

Sci-fi and futurism are some of the leading aesthetic influences in Tahira’s work. The human experience and the inevitable transition into the posthumanist era are the leading concepts in her studio practice. Using warped characters and body art she forecasts a shocking, eerie future for humanity.

single channel video

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Tahira McCloy is a Gold Coast Tahira plans to pick up on based artist using body paint and her previous works , which human canvases to convey post- include traditional work, and humanism themes. Her works revolve its correlation with the human around the aspect of the human imagination. Her plans for the experience and what changes are to be future are to continue work as expected in this post-humanist world, an independent artist while where technology encompasses our pursuing a teaching career in secondary education. communication and experiences. www.facebook.com/tahiraspaintemporium - http://hira-bot.deviantart.com

cherie noble consumed Cherie Noble’s art practice explores the relationship humans have with the natural environment. Her work leans heavily on the premise that human existence and vitality is intertwined with the health and vitality of ecosystems, and she endorses the need for strong environmental stewardship. Primarily, Noble uses multi-channel, large format video installation combined with sound and object to provide an immersive experience for the audience. Her current investigation brings together her interest in environmental health, activism, as well as her fascination and concern for the ocean and marine environments. Noble aims to inform, initiate conversation, and inspire others to take positive steps towards a healthier ecosystem.

Video 9 minutes; Found object Installation: size variable

www.cherie-noble.com.au

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As a Gold Coast resident, Noble’s life is inextricably linked with the ocean. She paddles, swims and plays in the water or on the waters edge, and is acutely aware of plastic pollution, and the impact it can have on marine environments.

fused chaotic glass shards. 1m diameter

glass mountain Pollard produces a broad range of artistic works using digital still and moving images, traditional mediums and sculpture. His current work is largely experimental and involves the use of chaotic glass shards. Glass encapsulates beauty, fragility, and danger. In its chaotic form, it invokes both fear and attraction. Glass Mountain opens us to both of these. It suggests bigger issues and confronts us with ourselves.

We are born, we live, and then we die. Who does that make us? This simple statement is what Dan Pollard is interested in examining as an artist. Do we go on this adventure as individuals or does community play a role? Are our lives orchestrated by something larger, or as Roland Barthes suggests in his influential essay regarding art interpretation, Death of the Author, do we interpret life in our own fashion? www.danpollardart.com.au

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dan pollard

tyler russell beyond gallery walls

Tyler Russell’s works explores the legitimisation of ‘illegal’ art through an examination of issues relating to ownership, aesthetics and hierarchies. By identifying how the audience perceives a certain art form, the emerging of various styles is played on to provoke thought into what we should consider as legitimate.

Tyler Russell is a visual artist whose works consist of primarily mixed media, acrylic, oil and aerosol, which are incorporated into larger scale works. His interest within the arts derives from graffiti and street art in the attempt to combine the sense of ‘traditional art forms’ with the scale of mural art.

Video installation: 50 seconds, timber wall 1x2m

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Chan Su & Chen Yang Zhao The Wave All persons should have an interest in the environmental problems we face today. The destruction of Australia’s beautiful ecology and reef systems affects the whole world, and is an issue that cannot be solved unless all of us work together with common goals. With this in mind, Chen Yang Zhao and Chan Su have produced this artwork as a team.

The sea wave is an emblem of the Australian lifestyle but we often forget what lies underneath. In this work hundreds of marine creatures replace the wave. It is wondrous to walk along the beach watching crabs scuttle in and out of the surf or to watch leaves flutter in the tropical winds—but the beauty of beaches belies the fact that the reefs are dying. Every marine system is unique and exquisite in this world; and all of them are essential to protect. We should all care because all ecosystems are interrelated. Whether our main concern is the bleaching of the Australian reefs or the dramatic overfishing and pollution of Chinese waters, we hope the audience think about the marine pollution problem again after visiting our work. Chen Yang Zhao is a Chinese artist from Shandong, China who is graduating from the Bachelor of Digital Media, Studio Art in 2015. Chen uses drawing painting and sculpture to produce realistic imagery of elements found in nature. Chan Su and Chen have collaborated to produce sculptural, sea creatures made from super sculpey, a material made from fossil fuels, to explore the problems of environmental pollution caused from oils.

Chan Su is an international student from China who grew up in a small city. Chan devoted herself to painting at a young age as she was inspired by her mother’s hobby of craftwork. Chan has a background of two years in graphic design at Shandong College of Art. She has a strong interest in sculpture and ceramics and her preferred material is clay. Currently, Chan is studying a Bachelor’s degree in Digital Media major in Studio Art. She passionately believes that our oceans and all marine life should be only admired and left undisturbed.

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polymer clay installation, dimensions variable

honours

single channel video - 2015 - 2.35mins

Currently completing his honours degree in Digital Media, Jason Haggerty has a multidisciplinary practice that spans sculpture and sound, generative and live video, interactive installation and performance. Based both on the Gold Coast, and frequently his second home of Melbourne, Haggerty has exhibited across Australia in galleries, festivals and events, while also moonlighting as a VJ. www.jason-haggerty.com

jason haggerty Perlin Emanation

Increasingly engaging with new technologies, he employs various methods such as visual programming, motion-tracking, and interactive video and audio, with the aim of inducing proprioceptive experiences. Additionally, Haggerty has a growing body of work that investigates the natural and synthetic beauty of the Gold Coast, focusing on its shoreline and iconic wave breaks, as seen in Perlin Emanation.

Perlin Emanation is an exploration into the natural waves of the Gold Coast shoreline and the waves of the computer generated Perlin Noise algorithm, serving as a meditation on hypnotic oscillating bass frequencies. Static and composited, the virtual emanation imposes itself into frame, compressed and distressed by the tension created by soundscape and landscape. Using the Gold Coast as a site to construct fiction, the monolith mimics the shadows cast down by high rises that stretch across the shore line. An angular crux between physical space and virtuality - a rift where media assumes a space within the natural terrain.

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Inspired by the ability of media to physically alter bodily sensation, Haggerty explores the overlapping of the body in virtual environments, hybridity, and spatiality.

honours

monique montfroy Bois To Men: Performing Contemporary Masculinities

Monique Montfroy explores masculine identity in contemporary Australia through the eyes of seven individuals. Using documentary storytelling techniques with video portraiture and interviews the participants are encouraged to analyse their socially constructed gender profiles.

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Exploring both sex and gender identifications, this work challenges the binary ideas of masculinity in contemporary Australian society. This work hopes to engage the audience in dialogue and discussion about the characteristics, values and codes of masculinity and how they are shaping and defining many men today.

Montfroy is a practicing documentary photographer, currently based on the Gold Coast, with aspirations to travel Australia. She aims currently based on the Gold Coast. With aspirations to travel Australia and the world, she aims to produce work that opens important dialogues locally, nationally and internationally, and shed light on concepts and issues that are not commonly spoken about. In 2014, she graduated with a Bachelor of Digital Media, majoring in Photo Media. Her graduate body of work ‘Bois to Men’ (2014) saw her awarded a scholarship to complete her Honours study by the Association of Australian Decorative and Fine Arts Societies (ADFAS). An image from this body of work was chosen as a finalist for the 2015 National Photographic Portrait Prize, exhibited at the National Portrait Gallery in Canberra and touring around regional galleries until mid 2016. www.moniquemontfroy.com

Dual-channel video installation: colour, sound, 2 x 55” Televisions, 2015.

HONOURS

jack packshaw Jack Packshaw’s artwork concepts surround mental illness with a focus on issues relating to epilepsy. As an epileptic himself, he has first-hand experience with these issues and embraces the disorder in his art. Packshaw always strives to generate awareness of epilepsy and educate the audience on the subject in his art. In this work, Packshaw aims to develop a new way of understanding the seizure experience. Using sound and video, he creates an atmosphere that attempts to replicate the feelings felt throughout the three stages of a tonic-clonic seizure (before, during, and after). The artwork takes the audience on a journey, purposely taking them out of their comfort zone by potentially inducing feelings of disorientation, worry, anxiety, confusion, and even fear.

Jack Packshaw is an artist currently based on the Gold Coast, Queensland. His artist practice lies very much in the digital realm, with most of his artwork created using technology. www.jumbledjack.com

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honours

rachel spencer Enthral no. 3

Dr Seuss books, resin, adhesive 66.5 cm x 1.5 cm

In 2011 Spencer relocated to the Gold Coast from Cairns to undertake studies at the Queensland College of Art. She graduated in July 2014 with a Bachelor of Digital Media, majoring in Studio Art and will graduate with Honours in 2015.

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Rachel Spencer’s studio practice explores the process of demediating the manuscript through various methods of paper manipulation. Books and magazines are reassembled into abstract sculptures and set in high gloss resin which enables the artist to glorify the overlooked aesthetic qualities of printed pages. These works are intended to motivate viewers to appreciate the codex for its aesthetic potentials as well as for its intended purpose; that is, to communicate, document and educate. Spencer’s most recent works focus on Dr Seuss’s children’s books. She is sponsored by HarperCollins Publishers Australia and Craftsmart.

honours

melissa spratt sub-dermal

Sub-dermal presents a delicate wire sculpture within a translucent paper outer skin. Locating the notion of ‘becoming’ internally and only allowing the viewer to experience selected segments through the pores of the surface, this work aims to intrigue and prompt questioning of the subjective self. Spratt describes Sub-dermal as an intuitive creative outcome achieved through a philosophical research approach conducted through a hermeneutic phenomenology methodology. Spratt analyses her practice as a reflection of herself, her most inner feelings and contemplations and as a subconscious recount of her passions and vulnerabilities. Her work seeks to express aspects of identity dealing with the act of becoming and notions of ‘selfhood’ from past experiences travelling through depression, anxiety and memory. In her honours research Melissa has anchored ‘selfhood’ as a central theme to investigate transformative personal growth brought out in her art making and material choices. She depicts self-portraiture in a non-literal manner through the medium of sculpture and using therapeutic repetitive action as a form of cathartic function unfolding these aspects into the piece through an abundance of emotional interrogation and intuitive creation.

Sculpture: Tracing paper, beading wire, binder mediums - 75cm diameter

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Melissa Spratt is a young emerging artist living on the Gold Coast. Interested in artistic practices from an early age, Melissa completed her Bachelor of Digital Media degree with a major in Fine Art at Griffith University, Queensland College of Art in 2014 and has now capped that off with her final year of Honours. Melissa has worked in various mediums including paint, photography and drawing but has discovered a talent in the realm of installation and sculpture. Being very meticulous about each aspect of her work, she creates subtle abstracted and interactive pieces. Seeking advice, wisdom and knowledge about the creative industry is also at the forefront of Melissa’s ambitions. Fabricating artwork is only one of Melissa’s passions as she also interested in the area of gallery function and curation. She works both as an Administrative Assistant at Gallery One and Manager at Lmtdspace Art Gallery, an artist run initiative. She is continually creating and looking to broaden her skills and is open to all new opportunities. www.melissaspratt.com.au

acknowledgements

SPECIAL THANKS IS EXTENDED TO DR LAINI BURTON, CONVENOR OF STUDIO ART, HONOURS GOLD COAST QUEENSLAND COLLEGE OF ART FOR HER LEADERSHIP AND MENTORING FOR ALL THIRD YEAR AND HONOURS’ STUDENTS. THANK YOU TO QCA DESIGNER MARTINE SAGHEIM WHO DEVOTED HER TIME DESIGNING THE ESPIAL CATALOGUE. ALSO, WE THANK MONIQUE MONTFROY FOR HER ASSISTANCE WITH PHOTOGRAPHY. THE ARTISTS IN ESPIAL ALSO WISH TO GRATEFULLY ACKNOWLEDGE THE SUPPORT OF THE FOLLOWING PEOPLE: PROFESSOR DERRICK CHERRIE, DIRECTOR QUEENSLAND COLLEGE OF ART DR DOMINIQUE FALLA, DEPUTY DIRECTOR QUEENSLAND COLLEGE OF ART GOLD COAST ASSOCIATE PROFESSOR DONAL FITZPATRICK, DEPUTY DIRECTOR DEVELOPMENT AND INTERNATIONAL MR DANIEL DELLA-BOSCA DR HEATHER FAULKNER MS RAE COOPER MS LORRAINE MARSHALSEY MS ANNE-MAREE GARCIA MR VINCE MCKILLOP MR JASON URECH MS TRUDY JENSEN MS NATASHA KERSHAW MS CATHERINE FRASER MS CASEY STEWART MS JESSICA WILKINS GOLD COAST CITY GALLERY STAFF: GALLERY MANAGER MR JOHN WALSH SENIOR CURATOR MS VIRGINIA RIGNEY ASSISTANT CURATOR MS EMMA COLLERTON PUBLIC PROGRAMS COORDINATOR MS JODI FERRARI COLLECTIONS AND EXHIBITION COORDINATOR MR STEPHEN BAXTER QUEENSLAND COLLEGE OF ART GRIFFITH UNIVERSITY VISUAL ARTS BUILDING (G14) 2.28 PARKLANDS DRIVE SOUTHPORT QLD 4222 PUBLISHED BY GRIFFITH UNIVERSITY ISBN 978-19-2221685-4 AUTHOR DR LAINI BURTON TITLE ESPIAL WWW.GRIFFITH.EDU.AU/DIGITAL-MEDIA PRINTED BY HEANEYS PERFORMERS IN PRINT WWW.HPIP.COM.AU © THIS WORK IS COPYRIGHT. APART FORM ANY USE PERMITTED UNDER THE COPYRIGHT ACT 1968, NO PART MAY BE REPRODUCED WITHOUT PRIOR WRITTEN PERMISSION OF THE COPYRIGHT HOLDER AND PUBLISHER. TEXT COPYRIGHT THE AUTHORS. ALL IMAGES COPYRIGHT THE ARTIST.

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ISBN: 978-19-2221685-4