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At the beginning of Dean, there are several interesting expressions, from 2+2=5 to montage as the accumulated sculpture, and the accumulated sculpture is montage. I think what he wants to express is how the collage series formed by the accumulation of sculptures will be presented to the world in a working way. For Dean's collages, a lot of the material was scrambled, and it was chaotic and crazy, as the artwork was taken apart and redeployed.

I’m very interested in his collage work. In his work, not only is the head portrait cut, but he uses the line as part of the montage. I think he is to express the diversity of collage methods.

I was very surprised that he was an interdisciplinary artist, who had been a contemporary dancer before, and now he was doing decorative sculpture and photography. I really admire him as someone who also uses his works to tell stories. He interrogates the concepts of long history, stolen land and indigenous sovereignty and national identity through the medium of ceramics. I found in his work for the Monument, he also studies the "national sense" created by ceramics, showing how media art can both commemorate and tell history.

Collages make up a large part of his selected works in Poly Australis. However, he not only has the montage effect of the work, but also the colonial narrative in Australia. He challenges Australian mythology with a critical eye, even with simple pictures of landscapes. Dean felt it was his responsibility to try to reconnect and remove some of the complexity of these stories.(Tsui,2020). Of course there are political issues here, and what he can do politically is to have a formal explanation of ideas, to give an answer to the political art of millions of aboriginal people.

Tsui,D.(n.d.).Breaking the Chains of Colonial Linearity: In the Studio with Dean Cross.cobosocial. https://www.cobosocial.com/dossiers/dean-cross-studio-visit/

Peta's lecture revolved around how the Australian Aborigines were once colonized. In her series of works, Undercurrent is more on-site documentary shooting. Compared with the installation of previous artists, Peta's works are more directly derived from life itself, allowing herself to integrate into the environment of the once aboriginal people. Her work resonated with me because of my family background, shooting works in a way that "cannot be forgotten".Peta magnifies the history associated with colonization and also focuses on the post-colonial landscape, colonial history and water as metaphors. In addition, her investigation of the history and massacres of indigenous peoples on Dja Dja Wurrung.(Ball,2019). I think that reveals the fragility of life, an appreciation of hidden wounds, and a meditation on insight.

Peta described scars as violence in her works. It represents an incision or an incision skin. What healed wasn't a real reduction, but a reminder of the violence of the incision. I explore the symbolic meaning of scars and cuts. In Dja Dja wurrung, these times are liked by many people all over Australia and have covered a lot, however, it is a pity that these places haven't received any memorial and facilitating genetic or inter-generational genetic trauma to the indigenous people.

In terms of how artists deal with the subject of trauma, I think that even people who exist in this context, as artists, have to express their work in a neutral way. Peta has used its most unadorned documentation to reveal the reality of the underwater slaughter of indigenous people. It is reflected from Peta's works that this is visual familiarization. For photography, this is an element with family background, and it is a process of visual splitting (Clark,2019). The work shows the viewer a kind of heavy health attribute as well as a kind of trauma reflection, a kind of disintegration. Undercurrent created a new art tradition of colonial terror, breaking the tradition of photography.

  Ball, T. (2019, March 8). Peta Clancy on massacre sites, memorialisation and memory. Art guide. https://artguide.com.au/peta-clancy-on-massacre-sites-memorialisation-and-memory/

For Kate Mitchell's lecture, I admire her ALL AURAS TOUCH work very much. In this collection, we take snapshots of contemporary Australia through the process of shooting the human energy field (Auras). "The aura photograph can articulate that we all exist in ways that we can't see or comprehend.(Kale,2020).I’m very interested in the fact that all portraits use colours, but each colour of aura can be regarded as a way of expression of mood. I think she uses colour metaphor to convey information to the viewer. She regards this aura as the energy field that sends a person. This is your aura, the energy that is emitted. These energies are composed of different colours, and these colors represent different emotional states. Mitchell believes that to go beyond the superficial level of what people do and show them literally from another angle. This is a duality, because we are our job and we are not our job.(Miekus,2020).

I think she challenges the diversity of photography, enlarging the effect of the photos, but lightening the subject of the characters and maximizing the effect of colour, and only up close can you find the portrait of the characters. Wilson believes that visually, they range from pastel hues to sometimes transparent to the opaque colour gamut that surrounds each person's portrait - they're very ethereal. The participant's face stands out from the colour, and the colour stands out, not dominates the person. There was a good relationship between the participants' faces and their surrounding gamut.(Wilson,2019).

 Watching Mitchell in her documentary, we all live in an ecosystem of networks, yet we still unknowingly influence others in the way we continue to live. It is true that people in every different profession are changing others in their lives. I think that's why she needs to show the faces of more than 1,000 people from different professions, and maybe learn about their backgrounds in the process of taking pictures of them without even talking.

Kale,N.(2020, January 7). Sydney artist Kate Mitchell uses New Age 'aura photography' to capture portraits of Australian workers. ABC news. https://www.abc.net.au/news/2019-12-28/sydney-artist-kate-mitchell-new-age-portraits-australian-workers/11822846

  Miekus,T.(2020, January 9).All Auras Touch.Art Guide. https://artguide.com.au/all-auras-touch/

   Wilson, E. (2019, November 29). Kate Mitchell: All Auras Touch. Art almanac.

https://www.art-almanac.com.au/kate-mitchell-all-auras-touch/

In Phuong’s lecture, he tells stories on different themes at different time periods. What impressed me was lost and found and Conflicted: Works from the Vietnam Archive Project. Here he talked about some history (when Vietnam was also colonized by France) At the time) the impact of the Vietnam War on his country and family.

In his work Works from the Vietnam Archive Project, there are many portraits and documentary photos. These photos are hung from the ceiling by red Chinese knots to form a strange habitat for animals and trees. This is a world colony, and all archives are complete over time. They are thought to be used by soldiers to record and discuss the political and social aspects of war on the battlefield (Liminal,2017).

In each portrait, Alexander Rhodes’s face is attached to the face of every Vietnamese. He was a French and had a profound influence on Christianity in Vietnam. This work focuses on how colonial history is. The formation of identity, how did the French influence the identity of the Vietnamese, France also has a colonial history of thousands of years in the Macau region of China. This is why the entire structure where these photos are hung is a very representative color of China-red, and all hanging are Chinese knots.(Thảo,2019).

I think the reason why he took these as his works, those photos not only represent the history of his country's colonization by France, because in his elders, both his thoughts and lifestyles were like being colonized. So I think that for the sake of commemoration and memory, his installation studio was originally a traditional memoir work, but he used montage in his portrait work, breaking the norms of traditional historical photography.

Thảo , N. (2019, February 14). On Photography As An Entry Point Into History. Matca. https://matca.vn/en/voi-phuong-ngo-nhiep-anh-nhu-mot-loi-vao-lich-su/

 LIMINAL. 2021. EVENT - Conflicted: Works from the Vietnam Archive Project — LIMINAL. https://www.liminalmag.com/blog/conflicted.

Week 5   Nat Randall                                      Hang Zhao  13727565

 In Week5, it is the lecture of Nat Randall. In her lecture, there are many interesting ideas that resonate with me. In the "stills" of the neon light effect at the beginning, she mentioned a concept, that is, "how do we express any specific concept of gender, this is not a starting point, but a creation we care about". Yes, in fact, there are even some political or sexism issues involved here. At this point, I don't think these issues can interfere with or hinder the creation of art. In fact, for example, courage or encouragement is the reason to promote the progress of art.(McGregor,2017). What I mean is the intimate relationship with strangers, how to make adjustments, and how do we strengthen strange relationships? How do we create embarrassing scenes, so it is not just two sentences that make people come out of their natural speaking rhythm or personality.

                                 https://www.themonthly.com.au/blog/fiona-mcgregor/2017/01/2017/1509493377/second-woman-triumph-endurance-theatre?cb=1617021675

  Another point I paid more attention to in lecture was the scene of shooting a car in the studio. At first, I thought that this scene had nothing to do with "photography", because in my opinion, photography was just an immovable picture displayed to the viewer, and That scene is far beyond my knowledge of photography, and during the three-and-a-half minutes of the film, the two women didn’t say a word, but were sitting in the car while one driving, and the other sitting in the co-pilot.However, after I found some articles on the Internet with #Photography is never dies topics at the back, I gradually realized that in fact, whether it is photography, the creation of the studio will never disappear. On the other hand, when explaining this video after Nat, she said: She realized that the quality of performing art is the belief in realizing time in reality. She combines performance and creative art together because of the reality and reality of performing art. Characterization may be the case. The resonance for me in this respect may be difficult to bring to me in any visual pictures.

  Reference

Week4  Liz Ham                     Hang Zhao  13727565

 The keynote speaker in week4 is Liz Ham, as a black and white portrait photographer. She has displayed many works in her lecture. For example, she wrote a book called Punk Girl. In the work, the shape of the characters and the viewers resonate with the photography. At the same time I also have some doubts.

I was curious at the time, shouldn't punk girls use colour to add to the picture? My starting point of thinking is to have a good sense of creative colour matching with punk itself, but since the photos are all black and white, the viewers can focus more on the characters themselves. The original purpose of finding ideas about punk girls on the Internet was to reflect the often controversial collisions between politics, fashion and music that are usually associated with punk sports. Punk girls urged against stereotyped influences to explain how Australian women can use their lives and bodies to guide and develop new situations through their original punk spirit and aesthetic concepts. It is also because of these factors that I dispel why punk photography is not. Colour obsessions are mostly derived from the portrayal of characters.

                https://www.amazon.com/Punk-Girls-artist-Price-introduction/dp/0648059812