#: locale=en
## Tour
### Title
tour.name = Domain
## Skin
### Button
Button_EE429613_CACB_96D3_41D4_454A16C9F6DD.label = Ground Floor
Button_EE8271F6_CACB_8D55_41DB_55E966756936.label = 1st Floor
Button_EFCADB24_CACA_BEF5_41E8_CC159D249914.label = 2nd Floor
### Dropdown
DropDown_56E4E838_4EA1_2526_41CA_8BF866D74C8B.prompt = Jump To Number
DropDown_8DB34699_A634_5568_41E4_34C078228217.prompt = Floor Number
### Tooltip
DropDown_56E4E838_4EA1_2526_41CA_8BF866D74C8B.toolTip = Floor Plan
DropDown_8DB34699_A634_5568_41E4_34C078228217.toolTip = Floor Plan
## Media
### Title
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video_B54AF66F_A64C_F5A8_41D7_138E695A6D16.label = Burns_Enemy of the People 2 (final cut)
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video_DC6EA5E8_CADA_F57D_41E1_97E36C6638D1.label = The Key To Her Heart FINAL EXPORT
video_DFAF2B9C_C4D6_5C1C_41E8_55BCD3F04BA9.label = 04 Doorway text scroll 4 (Converted)
video_E42A70D2_C4CB_AC64_41E4_0C4155A5949F.label = OneMoreStep5
video_E6B574B7_C4CA_B42C_41CD_6A95F0E44DD7.label = It's like I sensed i would be obliterated - Rotoscoped Animation -(with sound)
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## Popup
### Body
htmlText_6C2FE6F1_7D35_8728_4193_FCD09B0AB5D0.html = Praphatsorn Tunkas
Title: The White House Medium: Photograph (76.2 x 114.7cm, 114 x 76.2cm)
Description: Introvert, loneliness, isolated and lost came to my head after I developed the film. These photographs were taken in the Covid-19 period. The colour tone was a bit faded and dusty, it communicated my feeling in this situation.
Instagram: @praphat___/ @black_step
Duangthida Luemuang
Title: Always hope. Never expect.
Medium: Photograph (96.6 x 64.5cm)
Description: No matter what happens, expectation is dangerous. The only way I can
do is never lose infinite hope and hold on. Tomorrow will be better.
Instagram: @leftrightleftright123
Email: fineart_zenith@hotmail.com
Saichol Sintuboon
Title: The truth of human being
Medium:
Mixed media, digital art
(21 × 29.7cm)
Description: In the Corona Virus case, everyone has to stay at home to protect themselves from the disease. It is an errant and scary situation, on the other hand, it creates a new perspective itself. This case allows everyone to look back at themselves and think what they could do when they are being alone at home. Some people found that they could create new menus, some realise that they could draw and paint and some discovered that they are good at gardening. This case is showing the truth that human beings can adjust and be flexible to what they encounter in their everyday lives.
Instagram: @saichol.ssss Email: sisainamjai@gmail.com
Yarn Luemueang
Title: Baan Phae Medium: Black ink on paper (21 × 29.7 cm)
Description: Baan Phae in Thai means the wooden house on the water. While I was staying at home during the Corona Virus situation, I had time being with myself, to keep thinking and repeating my thoughts. One memory repeatedly appeared in my head, it was an image of my uncle’s raft house in Lamphun, Thailand which is my hometown. The wooden raft house is surrounded with fish, ducks and lotus flowers on a small river, the wind blows through the bamboo and the big trees are scratching each other creating noise and I can hear the echo of the birds singing along. It was a really good time and that memory allowed me to asked myself a question, what else do I need for my life? I was spending time drawing this picture rather than trying to answer myself. And I realised that I could not imagine anything other than peace and sufficiency.
Instagram: @yarn_luemueamg Email: yarnluemueang@gmail.com
Morgan Griffiths
Title: Spotlight on Carey Mulligan Series
Medium: Digital Line Illustrations made using Google Drawings and Photoshop (500 x500 px)
Description: This Digital Line Illustration Series was made during Covid-19 Isolationand features illustrations of the actress Carey Mulligan. I have created similar works
which feature other celebrities such as Phoebe Waller-Bridge and Florence Pugh. This pandemic for me and my family is obviously a bad thing because I’m one out of many that is unemployed but also somewhat of a good thing because I have all this free time to focus on studies and create works like this. These works are inspired by the people featured in Vogue Magazines.
Instagram: @morgan_lillie_
Email: morgangriffiths16@gmail.com
Thipanun Jaikaew
Title: Faculty of Arts, Chulalongkorn University
Medium: Photograph (left: 72.2 cm right 48.4 cm) Description: While I stayed at home in the Covid-19 period, I had a chance to clean the room and I found these pictures. They are reminding me of the peace and calm in life. This place is in Bangkok, which is the capital of Thailand. I went there with my friends when I was 21, at that time we were too young to think about the world where we belong. I missed my feeling when I went to this place, it looked beautiful and fascinating and also made me feel mysterious and lost in this space. I took these pictures ages ago but when I coincidentally look at them, they always remind me of the beautiful memory with friends.
Instagram: @opel_thipanun
Panitan Jaikrasen
Title: Back to nature Medium: Photograph (521 x 390 cm, 390 x 521 cm)
Description: The mountain, waterfall and bushwalking are popular in northern Chiangmai, Thailand. There is fresh air, cool weather and clear blue skies. No bushwalker, no backpacker and no one on the top of the mountain. It is time for nature to close the eye and breathe. It is time for humans to stop violence on the earth.
Instagram: @pj__compa
Xiaoyue Li
Title: Xiaoliu Medium: Marker pen on paper (21 x 29.7cm)
Description:
This drawing is a part of my quarantine comic series. It depicts a strange
habit of my cat’s. She favours a shelf in my bedroom, and if anyone comes near her
when she sits on the shelf, she attacks. I have only seen my cat a few times since I
moved out of home. With this drawing I hope to preserve my memory of her and also
showcase a snippet of her cuteness to the audience.
Instagram: @moontiger_art / @moontiger_journal Email: xenalee928@icloud.com
Sue Miller
Title: Road
Medium: Pencil, charcoal and ink (55 x 75cm)
Description: I was invited to do a picture of my thoughts during self-isolation so the
drawing slowly developed during that time. It is a picture of a landscaping project I have
been working on for about six months, clearing tracks through our property so we can
tow a trailer around it. I have only recently completed it. The ‘road building’ involved
several hours every day starting as soon as it was light, sawing down trees, cutting up
and moving the wood, removing stumps and rocks and shaping roads through often
quite difficult terrain. I enjoy challenges, love getting up and out early, welcome hard
work, planning and visualising and achieving goals so during self-isolation I never felt
restricted in anyway.
The process of drawing has been very reflective as I tried to convey the slow and
repetitive effort involved: just my pick and I, solitary, immersed in nature, time to think,
time to reflect on how lucky I was compared to those people confined to small suburban
houses or apartments.
My works these days are really conversations with myself about my thoughts,
observations, memories, experiences and imagination. They range from sometimes
capturing a moment in time to quiet contemplative scenes examining time and space,
with hints of drama, tension and ambiguity. The three figures in the bottom right hand
corner are a floating reference to Van Gogh’s 1890 painting, ‘Prisoners Exercising’.
Email: santo@southcom.com.au
Morgan Griffiths
Title: Spotlight on Carey Mulligan Series
Medium: Digital Line Illustrations made using Google Drawings and Photoshop (500 x 500 px)
Description: This Digital Line Illustration Series was made during Covid-19 Isolation and features illustrations of the actress Carey Mulligan. I have created similar works which feature other celebrities such as Phoebe Waller-Bridge and Florence Pugh. This pandemic for me and my family is obviously a bad thing because I’m one out of many that is unemployed but also somewhat of a good thing because I have all this free time to focus on studies and create works like this. These works are inspired by the people featured in Vogue Magazines.
Instagram: @morgan_lillie_
Email: morgangriffiths16@gmail.com
Adelaide Robinson
Title: Fishbowl Medium: Mixed media - Analog + Digital Collage (29.7 x 29.7cm)
Description: During this global crisis I have felt rather helpless, trapped and isolated whilst also feeling as though I am floating aimlessly in a vast open space with no intention or purpose. I have had more time than ever to self-reflect, feeling as though I am watching and observing my own life through a fishbowl. However, recent events have also forced me to slow down, take a breath and be grateful.
Instagram: @radelaide_robo/ @a.r.trading Email: asr3@utas.edu.au
Gavin Miller
Title: Early Pottery
Medium: Photograph (45 x 24cm)
Description:
During the time of social isolation I have been busy building a gas kiln,
making pottery, decorating pots and firing them. I hadn't made pots in a long time. I had
never fired a kiln! The pots are inspired by the very earliest potters of ancient Europe
and Asia. The pots should look as if they have been unearthed from some longabandoned
settlement. Early earthenware pots were not glazed, that hadn't been
discovered yet. Some however, were burnished with a river pebble. The decorative slips
and lines are made with local clays. It's valuable to be able to link into such an old, long
tradition. I have a lot to learn, a lot to explore. These are my early pots.
Email: santo@southcom.com.au
Tony Miller
Title: Confessions of an Introvert
Medium: Poetry (21 × 29.7 cm)
Description: Isolation due to Covid-19 has affected people in different, personal ways. For many it has been a difficult time due to loss of income, separation from loved ones, domestic violence and loneliness. But for others it has been a welcome escape from the pressures of modern living and a chance to reconnect the family unit. Japan, known for its workaholic, overtime culture saw suicide rates fall 20% in April 2020 as social isolation measures reduced pre-existing stress factors. The Covid-19 disruption will cause long-term changes to daily life, so let us take that opportunity to design the change we want, while aiming higher than the previous norm.
Email: tony.miller@eightyoptions.com
Shaleen Shajith
Title: THINGS v2.0
Medium: Digitally manipulated image collages.
Description: From an artist who has always been eager about technoculture comes THINGS
v2.0. This experiment focuses on the creation of elements from a futuristic world using various digital
image manipulation techniques. This solo piece is a collection of various cultural references set in a
surreal world. It stands out from previous experiments as it relies heavily on the Instagram user
interface layout for its composition and storytelling factors.
Instagram: @shaleenshajith
Email: shaleenshajith@gmail.com
Prasong Luemuang
Title: C-19
Medium: Acrylic on canvas (100 x 120cm)
Description: Although happiness is lost from everyday life because of the disease from Covid-19, it’s ok as long as our bodies are still warm, the blood still running and we are still breathing. Maintaining the meditation is very important, we will feel scared or anxious if we do not concentrate on ourselves, but if we are always being aware, the knowing and preparing will overcome the obstruction.
Email:
fineart_zenith@hotmail.com
Aboriginal and Torres Strait Islander viewers are advised that the following program may contain images and voices of people who have died.
Chloe Whitby
Time Enough at Last Redux
23
Time Enough at Last is an interactive installation video piece. Being that our exhibition space is in close proximity to the Waterworth Optical Collection gave me pause to reflect about eyewear, vision, our reliance on optical technologies and of course the current issues of the pandemic, lockdown and the intersecting ways it has affected our lives.
The glasses in this video are in fact what are known as ‘simulation glasses’ and they simulate various types of impairments and visual effects. They are primarily used in education when instructing people about various degenerative states of visual impartment. The work openly invites discourse about isolation, apocalypse, pandemic, literacy, solitude and what becomes of us when we finally have the very thing we want the most. It invites the viewer to look at these things in a unique and different way.
Bio
Chloe is a screenwriter, visual artist, comedian, DJ and broadcaster living in Hobart, Tasmania since 2010. She studied sculpture and photography at the North Adelaide School of Art, South Australia graduating with her Visual Arts Diploma in 1997.
Ville Karvonen
Enisled
50
My domain is where I am at any given moment. Then it might become someone else's domain for a while. Or remain uninhabited. Do we define our domain by the space we inhabit, or does the space we inhabit define us? Is everything temporary, or are we a part of something that we cannot yet define? I have been gifted my domain. Or maybe it was passed down to me. Either way I am grateful. I will try not to take my 1000 months for granted.
This work was collected from my domain, some of my friends domains, and the public domain. All music produced by Ville Karvonen, audio contributions from Dimitri Karagianis (burp), Penny Charlsworth (sigh), Emily Sheppard (violin), all other sounds recorded by Ville and Gulliver Karvonen, or gathered from the public DOMAIN. All pictures taken by Ville Karvonen, or gathered from the public domain (Courtesy NASA/JPL-Caltech)
Bio
Ville aka Elusive Moose is a producer/ singer songwriter. With 10 years experience performing his acoustic music, while also recording and producing for himself and others. He has spent his life rebelling against authority in the most civilised manner possible. “It's no good being a rebel if you’re going to get locked up or bashed by a cop.” This rebellion extends to rejecting the music industry and adopting a Do It Yourself approach to his production and music making, which has resulted in a vast array of original works and bootleg recordings.
Kiarna Haas
Reflection and Refraction
38
Reflection and Refraction is a room completely encased in mirrors, with a circle of mirrors in the centre of the room that surrounds a Waterworth Lens projector. The work can be found via the pathway of mirrors that are scattered around Domain House, that eventually leads into room 38. This project is to provoke the idea of reflecting on a time that once was, and to see Domain House in all its moments of being, from both then and now.
Bio
Kiarna is a Launceston Bachelor of Contemporary Arts student, who is currently in her third and final year at UTAS. She has studied both on stage performance and technical aspects. As of recently, Kiarna has also took on the roles of director and stage management.
Rhi Bloom
mouheneena domain
Front windows
In the beginning was an unsullied and unified world. A world that was devoid of artefacts and civilisation. There were no churches, houses or schools to be understood as culture. However the mountains, the bush, the seas and the rivers were our culture. trowenna, the heart shaped island we call Tasmania was very small, just a tiny sandbank in the Southern seas. Domain is our place, it is the place of our old people and ancestors. To understand the Domain is to understand the way everything in it works together. The sun, the earth, the water, the plants, and animals, all make the Domain an integral part of our heritage.
Bio
My name is Rhi, and I am an artist, mural creator and a proud Tasmania palawa woman. My passion for flora is so profound that I’ve thought it often verges on addiction. I have an obsessive desire to be submerged in nature. I’m drawn to its colour, form and infinite possibilities that can be explored with its elements. Tasmanian bushland has been a reoccurring theme throughout its story and history, one of the few universal motifs that pulls us back to our earliest known culture and heritage. My Aboriginal bloodline runs back seven generations, to my grandmother Fanny Cochrane Smith. I am incredibly fortunate to be able to utilise my artistic ability to share my heritage and love for palawa country.
Rainer Curcio
Face in the Crowd
44, 45, 46
In 1894-95 an International Exhibition was held on the Domain site. An immense 11-acre building was temporarily constructed for the exhibition, today there is no trace of it. Face in the Crowd is a sound work that explores ephemerality and the glimpse of early globalisation that this exhibition represented for Hobart. The soundscape incorporates moments of silence and stillness, juxtaposed with a cacophony of incoherent chatter that builds to an unsettling crescendo. A wall of faces accompanies the soundscape; photographs of nearly 200 season pass holders. The exhibition welcomed close to 300,000 attendees, with a season pass costing as little as one guinea.
Bio
Rainer is a media student with broad interests across documentary and fiction filmmaking, broadcast journalism and radio. He enjoys working with sound in a variety of ways, from creating evocative soundscapes to producing podcasts and radio content. Originally from Melbourne, Rainer made the move to Hobart in 2018 to continue his studies in media and journalism.
Morgan Griffiths
Questions that Question
Back wall of the building
‘Questions that Question’ is a Neo-Conceptual artwork/installation that features a series of projected manifesto-like texts that are then overlaid onto an outside wall in Domain House. Some of the featured texts in the installation will ask questions like: Do you feel safe in your Domain? Where is the Trust in our Domain? In my Domain run by people who care?
The work is in response to the word Domain, and the chosen definition being:
An area of territory being owned or controlled by a particular ruler of government.
In my work, I primarily put my focus on the people who run these Domains, particularly Politicians, Prime Ministers, Presidents and Monarchs, these certain people who hold these titles are not mentioned by name in the texts for obvious reasons. This work is a response to the decisions and choices that these people in power make, these decisions make me question these questions that are featured in this projected installation.
Bio
Morgan Griffiths is a 20 year old visual artist, part-time video maker and photographer from Old Beach.
Rainer Curcio
Face in the Crowd
44, 45, 46
In 1894-95 an International Exhibition was held on the Domain site. An immense 11-acre building was temporarily constructed for the exhibition, today there is no trace of it. Face in the Crowd is a sound work that explores ephemerality and the glimpse of early globalisation that this exhibition represented for Hobart. The soundscape incorporates moments of silence and stillness, juxtaposed with a cacophony of incoherent chatter that builds to an unsettling crescendo. A wall of faces accompanies the soundscape; photographs of nearly 200 season pass holders. The exhibition welcomed close to 300,000 attendees, with a season pass costing as little as one guinea.
Bio
Rainer is a media student with broad interests across documentary and fiction filmmaking, broadcast journalism and radio. He enjoys working with sound in a variety of ways, from creating evocative soundscapes to producing podcasts and radio content. Originally from Melbourne, Rainer made the move to Hobart in 2018 to continue his studies in media and journalism.
Harrison Bowe and Evan Dixon
C351
Portal room, ground floor
C351 is an analogue photographic projection and audio recording of a performance painting installation. The work utilises a 35mm slide, projected through a Wentworth 300 slide and strip film projector, with audio digitally added prior.
The performance itself is a display of emotional expression through intense physical action, embodying catharsis. Taking Harrison’s own internal reality and rendering it into a tangible form. This form, an extension of private thought, is then projected into the public domain.
Bio
Harrison Bowe conducts an interdisciplinary practice focusing on emotional expression through physical actions. Utilising paint, photography and performance, resulting in a cathartic process embodying his own internal reality. Taking emotion and rendering it into a tangible form through physical action.
Evan Dixon is a visual artist specialising in video, audio and graphic design. His past works include immersive installation works utilising multi-channel video and audio works. Evan has also worked on multiple short film sets in Tasmania.
Bailey Burns and Graidy Schottmeier
Spiritual Odyssey
30a and 30b
Our performance is intended to show a glimpse into the historical domain around the original creation of the domain house with an added twist of spiritual domain to be used as a tool and to add another element to our performance.
Bio
Bailey has studied theatre and film for as long as he can remember, starting off at Helen O’Grady Drama Academy and performing in several productions throughout high school and college. He also studies film making in Media, making a short film titled Thicker Than Water which was inspired by the works of Nicholas Winding Refn. His main goal after UTAS is to get into teaching as an Ancient History and Drama teacher while also pursuing filmmaking and acting.
Graidy has been involved in theatre and performance for half of his life, through acting schools, regular school performances, competition performances and art festivals. He has chosen to study theatre and performance at UTAS to ultimately pursue a passion in teaching drama to the next generations.
Rainer Curcio
Face in the Crowd
44, 45, 46
In 1894-95 an International Exhibition was held on the Domain site. An immense 11-acre building was temporarily constructed for the exhibition, today there is no trace of it. Face in the Crowd is a sound work that explores ephemerality and the glimpse of early globalisation that this exhibition represented for Hobart. The soundscape incorporates moments of silence and stillness, juxtaposed with a cacophony of incoherent chatter that builds to an unsettling crescendo. A wall of faces accompanies the soundscape; photographs of nearly 200 season pass holders. The exhibition welcomed close to 300,000 attendees, with a season pass costing as little as one guinea.
Bio
Rainer is a media student with broad interests across documentary and fiction filmmaking, broadcast journalism and radio. He enjoys working with sound in a variety of ways, from creating evocative soundscapes to producing podcasts and radio content. Originally from Melbourne, Rainer made the move to Hobart in 2018 to continue his studies in media and journalism.
Hannah Foley & Gabrielle Eve
Outside In
Short film, QR code
9:08 mins, looped
Room 54
Outside In is an exploration into the internet as a liminal space, and its role in dissolving the distinction between public and private domains. The work plays with the idea of the frame itself as a type of domain; housing an image, a view, or an idea.
This work responds to the reversal of public and private in the current pandemic; the domestic space, formerly considered private, has become a public platform through communication technologies, while once public spaces are now largely inaccessible. Our devices are now our windows to the world.
While this reversal may cease with the easing of isolation measures, Outside In suggests that the influence of the internet will remain, as an active catalyst in the obfuscation of private and public realms.
Bio
Hannah Foley is a multidisciplinary artist, primarily working in performance art and sculpture. She has exhibited in multiple group shows in Hobart, and has performed works at The Tasmanian Museum and Art Gallery, Entrepot Gallery, and as part of Panopticon II (Dark MOFO). Hannah is also an active board member of Constance ARI.
Gabrielle Eve’s multidisciplinary practice includes fine art photography, film and installation. Gabrielle has exhibited at Perc Tucker Gallery (QLD), Pinnacles Gallery (QLD), Umbrella Studios (QLD), and Entrepot Gallery (TAS), as well as creating installation and film works for various festivals and city council projects in both Queensland and Tasmania.
As well as their individual practices, Hannah and Gabrielle have been collaborating for the past two years. Together they have created and exhibited works that incorporate installation, film, fine art photography and performance. Their works include Chastity Belt (2019), Eternal Womb (2019), and It’s Like I sensed I would be obliterated, still I took one more step (2019).
Christine Berryman
Hidden Hours
Rooms 52 & 53
Hidden Hours is a collaborative performance project presented here as a work-in-progress.
The project aims to explore, through experiential curation of music, the status and lived experiences of women during the societal development of Hobart Town in the mid 18th Century. The historical establishment of the Grammar School at Domain House will provide a context in which to reimagine the lives of women from that era.
The Domain Grammar School for Boys was the largest building in the Southern Hemisphere of its time. The institution was more than an impressively engineered edifice, it was an institution that claimed a place in the hearts and minds of the people of Hobart Town. Domain House represented the aspirations for a socially progressive future, and sought to create a human capital that would secure a profitable future for Tasmania. Yet this this brave dedication to learning ignored the potential contributions of the young women of Tasmania.
This project explores how women would have connected with, or experienced the societal domain created by the establishment of the Hobart Grammar school. These experiences could have spanned the duties and lives of indentured domestic workers, free servants, the mothers and sisters of the student, wives of the teachers, and societal leaders involved in committees. These different roles required the women to engage in the ideal of the school and play a role in its daily life, yet never reap the benefits of its learning and teaching. How did the school make these women feel? What emotions did it stir?
With music being the language of emotion this project researchers the lives of women connected to the Grammar School and recreates the music that would have given them solace or pleasure as they connected with the building, it’s purpose and then men for whom it was established.
Despite objectives of societal and economic progress the Domain House contributed to either the aspirations and status, or the denigration and oppression of women that entered that space.
Music performed by Llewellyn Negrin (recorder) and Chrissie Berryman (viola da gamba), Arranged by C Berryman, recorded by C Berryman.
Vince Tay Sai Kiat
Artist’s Bio
Vince is a Singaporean visual designer who is keen in exploring design’s role in mediating society’s relationship with the environment. His works traverse along a range from the sustainability impact of visual communication to ecological materiality and crafts.
As a passionate outdoor educator, Vince believes in the benefits of outdoor education in design as a way to influence a designer’s appreciation for the environment and ecological sustainability.
Laundry Lint Type Poster
Description of work 1
Synthetic fibres are by-product extracts from laundry, washed into sewage and ultimately ending up the water bodies where we procure our water supply from. The artist experiments with dryer lint to craft a handmade type design as an expression of the increasing consumption of unsustainable clothing and its ecological impact. Bits of coloured plastic fibres can be observed on the types. This work is accompanied with macro-photographs of the lint types and of the dryer lint material which it is made from.
Design is a Banana visual essay.
Description of work 2
As the title suggests, banana is used as a metaphor to discuss the ethics and responsibilities of ood packaging design. This visual essay draws moralistic stands from historic design provocateur Victor Papanek and contemporary Norwegian design studio Olsson Barbieri. A poem from the artist himself concludes his personal position in this design sustainability issue. Printed and packaged in materials made from the banana plant further enhances the
importance of sustainable packaging design.
Ville Karvonen
Intro to Domain House Part 1
Ville Karvonen
Intro to Domain House Part 2
Ashley Eyles
Temporary Domain
Room 10
Ashley Eyles is a theatre student with a passion for all types of media and performance, Ashley has written and recorded a radio play that depicts a group of early teens venture into an unknown space where they are forced to fend for themselves, what causes this? What will happen and how does the story end?
Neve MacDonald
Dance in Domain
Room 12
This artwork is an exploration of human movement's relationship with nature, presented as a work in progress. This animation was inspired by the Domain House’s location on indigenous land. When the first fleet arrived in Australia colonialism and European "civility" was inflicted on the land and the people. I wanted to explore defiance through movement and images of nature. I created an artwork that challenges the imposing, civil, Neo-gothic architecture of the domain house and fills it with the floral and fauna it sits upon.
Bio
Neve MacDonald is a local Tasmanian filmmaker. She is currently studying her second year of a Bachelor of Media degree.
Frederick Brown
High School Mural and University Mural
Room 3a and 3b
I have responded to what I have learnt about Tasmanian history. Particularly the education progression that this state has had. This fascination started with learning the history of the High School of Hobart Town and learning why it began and how it managed to. It was an inspiring story of vision, acceptance of others and investing. Without this, the Domain House would not exist as a place or as a vehicle of education. That why it was saddening to learn that the starting point of this building was for a High School that ultimately failed.
I responded to this sadness by comparing this situation to that of the Tasmanian Tiger extinction. The inclusion of the dates of death of the school in black and the Tasmanian Tiger in red are included to signify the ending for them. The impression that I got from the history I read was that the school and the Tasmanian Tiger were failed due to money. That why I put a pound symbol into that mural to allude that funds directed at them was an issue. The High School relied on community investing in it, and the Tiger was hunted for a pound reward.
This mural reflects on the outcomes of three similar institutions that started in the same era. I juxtaposed in the two successful Anglican supported schools and their associated animal. This was done to show the disparity of outcome that favoured these two schools. The backing of a powerful Anglican church while the Highschool of Hobart Town did not have this. How I placed the drawings on this wall was to imply that High School of Hobart Town had been burnt as it is positioned in line with the chimney. It has gone up in flames through this chimney, never to return.
The University of Tasmania has a strong history at the Domain House. It started its existence here and is now returning to the Domain House as one of its sites of learning. This other mural responds to the changes that this institution has taken. It comments on the growth of the institution. Symbols are used to reflect on the past and present elements of the University logo design, as well as Imagined ones I have created.
I had a reaction that each region of the state should have its own university institution logo that relates to that area. For Burnie, I felt that a lighthouse would show that it is by the sea and its light be a fire flame as this could be associated with the University. For the Launceston campuses, I felt that I could tie its three campuses together with a castle design and apply that the city is a fortress of the north. For Hobart, the influence of past university logo of an upturned boat inspired me to go with a sailing dinghy to represent this region.
Why I have compared the starting point of this institution to where it is today, is show how the blank canvas of the state is now covered. Regions that previously did not have local access to this type of education do now have access. The use of text is placed within this work to indicate the components that make up this institution. Why I have done this is to show that the University is not one place but part of a network of sites.
In front of this wall mural are two traffic safety poles. I choose to not edit them out as I feel that they serve as a reminder to the future of the University as currently the University plans and is undertaking extensive developments for its campus. This construction phase is essential and should be acknowledged as it is a crucial step in facilitating access for more student to be educated.
Bio
Frederick Brown is a Launceston artist. He is currently studying a Contemporary Arts
degree. Theatre is his focus, but he has done Ceramic and Photography art recently. Themes
that the artist focus on in this installation was to do with tragedy and progress.
Kyle Enniss
Microscope
Room 11a
This work comprises of a collection of scenery collected while in self isolation due to COVID-19. At the centre you will notice a tree peering out at you and the world around it.
This piece calls to attention the idea that while we observe and respond to the world around us, so to does the world respond to us. The environment, culture, and the species of this planet are not stagnant things, all are subject to influence.
Bio
I am a 3rd year Contemporary Arts student at UTAS majoring in theatre. I am also in my final year of Social Science majoring in psychology and sociology. While my primary interest is acting I’ve also taken the opportunity to try different forms of artistic expression. I created and performed in my own art piece, “Bound” at Dark MOFO – Panopticon II 2018, and was part of the UTAS Ensemble for MONA FOMA – Faux Mo 2019 performing in the works of multiple artists and groups. For this project I decided to try something else new to me, combining photography with visual editing.
Christine Berryman
Hidden Hours
Rooms 52 & 53
Hidden Hours is a collaborative performance project presented here as a work-in-progress.
The project aims to explore, through experiential curation of music, the status and lived experiences of women during the societal development of Hobart Town in the mid 18th Century. The historical establishment of the Grammar School at Domain House will provide a context in which to reimagine the lives of women from that era.
The Domain Grammar School for Boys was the largest building in the Southern Hemisphere of its time. The institution was more than an impressively engineered edifice, it was an institution that claimed a place in the hearts and minds of the people of Hobart Town. Domain House represented the aspirations for a socially progressive future, and sought to create a human capital that would secure a profitable future for Tasmania. Yet this this brave dedication to learning ignored the potential contributions of the young women of Tasmania.
This project explores how women would have connected with, or experienced the societal domain created by the establishment of the Hobart Grammar school. These experiences could have spanned the duties and lives of indentured domestic workers, free servants, the mothers and sisters of the student, wives of the teachers, and societal leaders involved in committees. These different roles required the women to engage in the ideal of the school and play a role in its daily life, yet never reap the benefits of its learning and teaching. How did the school make these women feel? What emotions did it stir?
With music being the language of emotion this project researchers the lives of women connected to the Grammar School and recreates the music that would have given them solace or pleasure as they connected with the building, it’s purpose and then men for whom it was established.
Despite objectives of societal and economic progress the Domain House contributed to either the aspirations and status, or the denigration and oppression of women that entered that space.
Music performed by Llewellyn Negrin (recorder) and Chrissie Berryman (viola da gamba), Arranged by C Berryman, recorded by C Berryman.
Bio
As a mature age student, I bring a wealth of life experience to my studies in musicology. In particular I’m interested in the way the canon of western art music is accepted by contemporary audiences despite the intrinsic inequity that it perpetuates. Women, through the ages, have created and performed music, of equal quality, beauty and meaning to their male peers - yet historically it has been judged through the lens of bias. My works aims to explore music creation and performance from the perspective of women.
These images are taken from the University’s Waterworth Collection, which provided a source of inspiration for students working with refraction, light, reflections and lenses. The wartime efforts by approximately 200 women also provided inspiration for working under crisis.
The Waterworth Optical Collection:
1. houses an important collection of images and objects that reveal an amazing story of Tasmanian character and ingenuity, of a call to serve the country in a time of dire need, of intellectual brilliance combined with a can-do spirit and, above all, bears witness to an important piece of social history. All set against the backdrop of World War Two and its aftermath.
2. story has it all – an eccentric professor in leather-patched tweed jackets who worked with Ernest Rutherford and was one of Tasmania’s earliest conservationists; a mild-mannered inventor with an inquisitive mind who at 21 invented the world’s first automatic record changer, with a hypno-dentist father and a mother who successfully advocated for the needs of Tasmanian women and children; lives bathed in music; a call to arms and; an industry pulling itself up by its boot straps; lives saved and a war won.
3. ... and beside these movie-like elements, lie the stories of nearly 200 women, housewives and young school-leavers, learning new skills, working together in teams, making, fixing and designing thousands of finely honed glass and metal objects – precision instruments for defence and attack. This experience profoundly changed and empowered the lives of these women – providing skills and independence which persisted long after the war had ended.
4. the tens of thousands of objects produced during and after the war in Hobart’s Optical Annexe and the Waterworth factory are merely sampled in this digital archive. They represent, however, an important link between the Tasmanian community and its University, between amateur and professional science and industry, and a key stage in the changing role of women in Australian society.
Find out more https://waterworth.omeka.net/about
Atak Ngor
The Wall of Words
Room 8
The Wall of Words is a project aimed at covering my apartment with papers from history books; exploring both history and time—meanwhile examining the importance of knowledge and education in society.
Bio
Atak is an emerging local filmmaker who has made a few projects including directing a 1 minute short drama for SBS. The short was produced by SBS and the Foundation for Young Australians (FYA) as part of the SBS National Youth Week 2016. He also makes content on TikTok.
Russell Petterwood
Hobart as a Domain
Room 6
Decade by decade, this film looks back to explore Hobart Town’s rich history of expansion as the city grows from a small town to a bustling city.
This short film reflects back on the changes Hobart has undergone as a domain.
Anne Toner
Breathe
Room 24
Bio
Anne likes to write songs that remind us of our innate connection to nature in an attempt to encourage the listener to be more involved with the natural world and what it means to them.
Charlotte Ragus
The Pleistocene Project
Room 1
Take a step back in time and tread in the footsteps of Hobart’s past with ‘the Pleistocene’ project.
Beginning around 2.6 million years ago, the Pleistocene was a period in time where giant beasts known as megafauna roamed the earth, also termed the ‘Great Ice Age’. It was the time when humans were believed to have first arrived in Australia.
‘the Pleistocene’ project is an illusory experience where the audience is invited to immerse themselves inside a snapshot of Tasmania and the Domain site’s past. The use of the selected images demonstrate the envisioned video scene that would display from a projector on the ceiling.
Bio
Charlotte Ragus is a Bachelor of Media student.
These images are taken from the University’s Waterworth Collection, which provided a source of inspiration for students working with refraction, light, reflections and lenses. The wartime efforts by approximately 200 women also provided inspiration for working under crisis.
The Waterworth Optical Collection:
1. houses an important collection of images and objects that reveal an amazing story of Tasmanian character and ingenuity, of a call to serve the country in a time of dire need, of intellectual brilliance combined with a can-do spirit and, above all, bears witness to an important piece of social history. All set against the backdrop of World War Two and its aftermath.
2. story has it all – an eccentric professor in leather-patched tweed jackets who worked with Ernest Rutherford and was one of Tasmania’s earliest conservationists; a mild-mannered inventor with an inquisitive mind who at 21 invented the world’s first automatic record changer, with a hypno-dentist father and a mother who successfully advocated for the needs of Tasmanian women and children; lives bathed in music; a call to arms and; an industry pulling itself up by its boot straps; lives saved and a war won.
3. ... and beside these movie-like elements, lie the stories of nearly 200 women, housewives and young school-leavers, learning new skills, working together in teams, making, fixing and designing thousands of finely honed glass and metal objects – precision instruments for defence and attack. This experience profoundly changed and empowered the lives of these women – providing skills and independence which persisted long after the war had ended.
4. the tens of thousands of objects produced during and after the war in Hobart’s Optical Annexe and the Waterworth factory are merely sampled in this digital archive. They represent, however, an important link between the Tasmanian community and its University, between amateur and professional science and industry, and a key stage in the changing role of women in Australian society.
Find out more https://waterworth.omeka.net/about
These images are taken from the University’s Waterworth Collection, which provided a source of inspiration for students working with refraction, light, reflections and lenses. The wartime efforts by approximately 200 women also provided inspiration for working under crisis.
The Waterworth Optical Collection:
1. houses an important collection of images and objects that reveal an amazing story of Tasmanian character and ingenuity, of a call to serve the country in a time of dire need, of intellectual brilliance combined with a can-do spirit and, above all, bears witness to an important piece of social history. All set against the backdrop of World War Two and its aftermath.
2. story has it all – an eccentric professor in leather-patched tweed jackets who worked with Ernest Rutherford and was one of Tasmania’s earliest conservationists; a mild-mannered inventor with an inquisitive mind who at 21 invented the world’s first automatic record changer, with a hypno-dentist father and a mother who successfully advocated for the needs of Tasmanian women and children; lives bathed in music; a call to arms and; an industry pulling itself up by its boot straps; lives saved and a war won.
3. ... and beside these movie-like elements, lie the stories of nearly 200 women, housewives and young school-leavers, learning new skills, working together in teams, making, fixing and designing thousands of finely honed glass and metal objects – precision instruments for defence and attack. This experience profoundly changed and empowered the lives of these women – providing skills and independence which persisted long after the war had ended.
4. the tens of thousands of objects produced during and after the war in Hobart’s Optical Annexe and the Waterworth factory are merely sampled in this digital archive. They represent, however, an important link between the Tasmanian community and its University, between amateur and professional science and industry, and a key stage in the changing role of women in Australian society.
Find out more https://waterworth.omeka.net/about
Chelsea Wilde and Ryan Midson
The Key to Her Heart
The Key to Her Heart is a take on the classic high school love story with a twist. The story follows teenaged Jason who wants to win the heart of his peer Olivia. As he begins the cliched approach to convincing an uninterested Olivia that he’s worth her attention, we learn that nothing is as it seems, and he’s trading in more than he can bargain for.
Aboriginal and Torres Strait Islander audiences are advised that the recording contains the voices of people who have died.
It's like I sensed I would be obliterated, still I took one more step
Gabrielle Bohl
It's like I sensed I would be obliterated
2019
Video
0:38 mins, looped
Hannah Foley
still I took one more step
2019
Video element of performance work
2:30 mins, looped
Ryan Midson
Incoming
An apocalyptic short thriller that gains resonance after a period of isolation. A pregnant woman is on her way home when she learns, through the radio, that a nuclear strike is imminent on Australia. A literal threatening of domains, Incoming explores desperation, isolation and emergency through an unexpectedly restrained tempo.
Bio
Ryan Midson is an emerging screenwriter and director, whose work commonly sits in the edges of the horror and crime genres. This work showcases Ryan’s previous filmmaking.