Shared Stories 2022
Welcome to the Shared Stories Anthology 2022 Launch, the theme for this year is 'Imagine If...'
Once again this year we have celebrated the Shared Stories Anthology with a virtual launch event.
Once again this year we have celebrated the Shared Stories Anthology with a virtual launch event.
Face to Face
Florence
Year 12 · Star of the Sea College
Year 12 · Star of the Sea College
To conclude my studies on Settlement, my final work, Face to Face, depicts the striking and hopeful faces of two Indigenous girls. The tenancy of Indigenous Peoples, despite centuries of oppression, has maintained a profound richness of culture that is still heavily woven into society today. It is this culture, and the hope-filled nature of youth, that I have sought to celebrate in my work. Eyes gazing towards the audience, my piece evokes a call to action to preserve the cultures of First Nations Peoples and to come face to face with this deeply fascinating and integral part of Australian society for generations to come.
Urban Renewal
Bailey
Year 12 · St Kevin’s College, Toorak
Year 12 · St Kevin’s College, Toorak
The Eisenhower administration’s 1956 Federal Interstate Highway Act was driven by the maniacal capitalistic interests of the Automobile industry, and sought to assert the dominance of the automobile as the primary mode of transportation in all American cities. “Construction of an Urban Highway” depicts the apocalyptic scenes across the United States as massive swathes of historic cities were demolished, efficient public transport networks entirely dismantled and hundreds of thousands of (predominantly African American) citizens were displaced from their homes to make way for the new highway network, obliterating entire communities and destroying lives. Beyond simply being transport infrastructure, freeway planning has been used as a direct means to destroy communities in their paths, cementing racial segregation with literal walls of concrete and smog. The Automobile industry ruined American cities, and undoubtedly worsened the lives of American people - a legacy continuing to the present day.
The cars white paint represents the drivers - wealthy, middle class Caucasian suburbanites part of the “white flight”, the post war abandonment of American cities as most of the wealthy bought into the new suburban subdivision ideal, single family home, big car on the driveway, white picket fence “American Dream”. Subsequently, these highways were constructed to facilitate suburbia and the resulting exponential increase in motor traffic. The 1956 model year links to the date of the 1956 Federal Interstate Highway Act, and the vehicle itself, a Chevrolet, was produced by General Motors, who were the catalyst in lobbying efforts to construct these destructive highways, in the interest of selling more cars.
Each building is thoughtfully considered, with its own character, shopfront, and place in the composition. The detail draws the viewer in closer, to see the stories of the people and places about to be lost in the shadow of the highway. In a way, the humanisation and believability of the city allows the viewer to subconsciously link the scene to their own communities, their own local pub and their own barber, and thereby have greater respect for the loss and destruction unfolding before them.
The cars white paint represents the drivers - wealthy, middle class Caucasian suburbanites part of the “white flight”, the post war abandonment of American cities as most of the wealthy bought into the new suburban subdivision ideal, single family home, big car on the driveway, white picket fence “American Dream”. Subsequently, these highways were constructed to facilitate suburbia and the resulting exponential increase in motor traffic. The 1956 model year links to the date of the 1956 Federal Interstate Highway Act, and the vehicle itself, a Chevrolet, was produced by General Motors, who were the catalyst in lobbying efforts to construct these destructive highways, in the interest of selling more cars.
Each building is thoughtfully considered, with its own character, shopfront, and place in the composition. The detail draws the viewer in closer, to see the stories of the people and places about to be lost in the shadow of the highway. In a way, the humanisation and believability of the city allows the viewer to subconsciously link the scene to their own communities, their own local pub and their own barber, and thereby have greater respect for the loss and destruction unfolding before them.
Hidden in blue
Chloe
Year 12 · Nazareth College
Year 12 · Nazareth College
Subvert the dominant paradigm
Marli
Year 10 · Nazareth College
Year 10 · Nazareth College
We are all the same, for in original uniqueness we dwell.
Directionless and stranded in a bloody horror.
Mutiny devolving into a state of reckless abandonment.
What may be of adequate expectation lies between blurred lines unspoken.
For what may save you could detach you from your morals.
Raucous silence so strong it seeps deep into blocked ears.
Masking the blatant. A supercilious scheme.
Yet a revolt so cataclysmic stood on the rise, looming over the unexpectant.
The inevitable alterations were placed forth before the paradigm.
One being, aware of the corruption corroding the minds of the weak.
The one to save face.
Yet in his power was a reality so distant we are left to wonder of its authenticity.
A change of voice sparking a voice of change.
What may we be here to do?
At times we think we’ll never know.
Tap into the forgotten part of you, buried intrinsically in your brain.
Organised tessellation of thought, accepting the humanness of the world.
Remember why you’re here. ν
Directionless and stranded in a bloody horror.
Mutiny devolving into a state of reckless abandonment.
What may be of adequate expectation lies between blurred lines unspoken.
For what may save you could detach you from your morals.
Raucous silence so strong it seeps deep into blocked ears.
Masking the blatant. A supercilious scheme.
Yet a revolt so cataclysmic stood on the rise, looming over the unexpectant.
The inevitable alterations were placed forth before the paradigm.
One being, aware of the corruption corroding the minds of the weak.
The one to save face.
Yet in his power was a reality so distant we are left to wonder of its authenticity.
A change of voice sparking a voice of change.
What may we be here to do?
At times we think we’ll never know.
Tap into the forgotten part of you, buried intrinsically in your brain.
Organised tessellation of thought, accepting the humanness of the world.
Remember why you’re here. ν
Transform
Taegan
Year 11 · Killester College
Year 11 · Killester College
“Transform” has been inspired by floral murals from the Golden Dragon Museum garden and from visiting lotus gardens. Designed around the symbolism surrounding a lotus, I have used this idea to show that like a lotus, we are able to heal and grow from difficult situations and circumstances. I also included a river, symbolising the passage of time and the descent out of difficulties. The stems of the lotus that wrap around the circular background signify strength. My artwork represents perseverance and being able to grow despite your surroundings and hardships. The lotus, being a flower that blooms in muddy, impure water, is a representation of how we are able to transform anew and rise from difficult times.
Fatal Deception
Angie
Year 12 · Killester College
Year 12 · Killester College
My artwork depicts three flower components that entertain the cycle of life, strategically and delicately sculpted with the intention of reaching a level of perfection; a direct symbolic reference to the alluring and artificial nature of social media. To reinforce artificiality, I chose the media of polymer clay to symbolise unnatural permanence of a living organism, with hopes of evoking feelings of confusion and awe. I have represented myself and the audience in the bee that perches on top of the cloche, peering into the glass but unable to reach the flowers. It’s a symbol of division and self-restraint, bees are pollinators, similar to how users pollinate the algorithm. Without pollinators, the flowers die, and along with it so does the toxic algorithm.
Imagine If We Could Shine Through Our Emotions
Alannah
Year 12 · Caroline Chisholm Catholic College
Year 12 · Caroline Chisholm Catholic College
My piece is about connecting people through emotions. The characters are represented in different colours to show the different emotions. I focused on pink and purple to represent love and blue to represent sadness. Imagine if the connection between our emotions and our true selves allowed us to shine together.
Animation stills
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Acrylic on paper
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Michelle
Year 12 · St. Peter’s College
Year 12 · St. Peter’s College
Self Portrait
Joseph
Year 11 · Mazenod College
Year 11 · Mazenod College
Imagine if
James
Year 3 · St Mary’s East St Kilda
Year 3 · St Mary’s East St Kilda
Imagine if
The world was one
Imagine if
Animals could talk
And all the wonderful
Conversations we could
Have with animals,
The wonders would never end.
Imagine if
Weekends were school days
And school days were school weekends.
Imagine if
Fish could fly and
Humans had infinite life.
Imagine if
Sicknesses were no more
And war was gone.
Imagine if
Anything was possible
What would be done? ν
The world was one
Imagine if
Animals could talk
And all the wonderful
Conversations we could
Have with animals,
The wonders would never end.
Imagine if
Weekends were school days
And school days were school weekends.
Imagine if
Fish could fly and
Humans had infinite life.
Imagine if
Sicknesses were no more
And war was gone.
Imagine if
Anything was possible
What would be done? ν
Sunflower Patch
Oriana
Year 3 · St Mary’s East St Kilda
Year 3 · St Mary’s East St Kilda
Imagine if the whole world was at peace... In response to the escalating tension in the Ukraine students took inspiration from the fact that the Sunflower has long been a beloved symbol of Ukrainian national identity. Students drew their own style of sunflowers using black oil pastel on black paper, added life to their flowers using artists’ chalk & explored complimentary colours to fill the background. The result is a dreamlike softness that captures the soul of the human spirit.
The Great Wave Off Kanagawa… Or Is It?
Leo
Year 5 · St Mary’s East St Kilda
Year 5 · St Mary’s East St Kilda
Imagine if the world looked like a Dr Seuss storybook... Inspired by the famous 1831 woodblock print by Japanese ukiyo-e artist Hokusai, students’ main focus was to explore the importance of foreground, middle ground & background while creating this striking composition. Making use of some cleverly drawn linework this seascape captures a strong sense of movement and playfulness that invites the viewer to dive right in!
