Drawing Studio and Program Co-ordinator at Monash University Stephen Garrett examines the optically challenging artworks of Caroline Durré which blend patterns and perspectives.
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
Scholar and inaugural director of the new Godinymayin Yijard Rivers Arts and Culture Centre in Katherine Cath Bowdler discusses the work of two indigenous artists Brook Andrew and Gunybi Ganambarr and suggests that they are both operating at a conceptual level as bricoleurs in a globalised world, inventing new juxtapositions of materials and revealing new ways of seeing the world through the prism of local histories and traditions.
Head of Environmental Studies at the University of Tasmania and writer Peter Hay describes the recent paintings of Sue Lovegrove made from her experience of different islands off the coast of Tasmania - Maatsuyker Island, Egg Island and most recently Tasman Island. Lovegrove began with painting clouds but has moved on to paint the shape of the wind.
Adelaide writer and artist Peter Drew looks at various examples of recent street art and the many ways it is circulated and reproduced as a meme in a wired and globally connected world. "As it turns out," he says, "memetics can be very useful in understanding the patterns of street art."