Annabel Boyd, a 2025 BFA graduate from the National Art School, is a Sydney based contemporary painter working with synthetic polymer paint on board. Her practice focuses on hard-edge geometric abstraction playing with the continuous and discontinuous relation of space. Annabel’s love of colour is evident through her confident use of vibrant and bold colour palettes. With an Advanced Diploma in Fashion Design (2000) and a Certificate IV in Textile Design and Printing (2003), she brings a strong design element to her work. Annabel was selected and exhibited for the Drawing Intensive group show April 2025, at the stairwell gallery, National Art School.

Kate Hadley (b. 2001) is originally from the Wollondilly region of New South Wales, and is currently practicing in Sydney. Her practice is driven by a longing to retain a sense of wonder and curiosity that is central to childhood experiences. Drawing from her archive of family photos, she explores the presence and absence of memory, focusing on themes of identity, temporality and nostalgia using oil paint. Times of transition, such as weddings, birthdays, holidays and other forms of social gathering and celebration are common subjects of her paintings as she investigates how these secular rituals shape individual and collective identity. Tone and transparency are central to her process as she considers the tension between the clarity of these nostalgic rituals and milestones alongside the inadequacy of the memory itself. Her work is a melancholic reflection of times past, where transparency and ambiguity become a vehicle for memory and the transience of human experiences.

In 2025, Hadley completed her Bachelor of Fine Art degree at the National Art School, with an emphasis in painting. Her works have been shown in various selected group exhibitions highlighting emerging artists including Fresh and Found, Scratch Art Space (Sydney, 2025) and New Year Fresh Canvas, Goodspace Gallery (Sydney, 2025), as well as The Grad Show at The National Art School. In 2026, she will continue her studies at the National Art School completing her Bachelor of Fine Art (honours).

EDUCATION

2026- Bachelor of Fine Art (Honours), National Art School, Sydney
2023- 2025- Bachelor of Fine Art, National Art School, Sydney

GROUP EXHIBITIONS

2026- Harvey Galleries National Art School Graduate Exhibition, Harvey Galleries, Sydney
2025- The Grad Show, National Art School, Sydney
2025- Fresh and Found, Scratch Art Space, Sydney
2025- New Year Fresh Canvas, Goodspace Gallery, Sydney

AWARDS

2025- Harvey Galleries Exhibition Prize

ARTIST STATEMENT

Pigeons are everywhere. Truthfully, if you live in a major city, you cannot escape them. You notice the presence of them, and you also start to notice human interactions with them. The bird spikes above businesses, the traps and poison, the traces of feather behind a car wheel. As large as a part they play in a city, humans play the same size role. Pigeons did not just start existing in cities out of nowhere, it is human intervention that brought them here, and yet, it is the pigeons that are treated poorly. We bred them, abandoned them, and yet continued to breed them to acquire certain traits we deemed pleasing.

Olivia King aims to explore this relationship between humans and pigeons, specifically in the 21^st century western society, through her use of copper etching and oil painting. She depicts different aspects of the identity of the pigeon, from the individuality of each pigeon to their filthy reputation. Her works are meant to challenge the viewers perception of the pigeon, how they themselves interact with the pigeons around them.

BIOGRAPHY

Olivia King’s practice revolves around the relationship between humans and birds, and how their perceptions and interventions of nature have shaped how 21stcentury society treats different aspects of nature. King works across both digital and traditional mediums, often combining the techniques to add depth to her works in both theory and technique. Multiple of King’s works are held in private collections across Australia and the UK, and she has participated in several group shows across Sydney between 2023-2025. Having studied and completed a Cert IV and diploma in graphic design at TAFE, and recently completing a Bachelor of Fine Arts at the National Art School, King uses both experiences in the different

field to deepen her understanding of her practice.

EXHIBITION Synopsis

Pigeons are everywhere, and really, you can’t escape them if you live in a major city. You walk past them on the street, dead or alive, and you don’t bat an eye. This is what King explores in her works; our relationships with the feral rock pigeon, varying from the unappreciated beauty and our abandonment of them, to our involvement in their genetic coding for our entertainment. Consisting of copper etchings and oil paintings, King aims to challenge the viewer on their own relationship with the pigeons around them through these works.

Keely Clarke’s practice explores the systematic breakdown of visual information through neon CMY screen printing. Working with bitmap methodology and transparent ink layering, Clarke investigates how colour fragmentation becomes a creative condition rather than a technical limitation. Through systematic constraints, Clarke reveals the autonomous behaviour of materials, where neon pigments generate unexpected illusions and meaning emerges from the spaces between fragments. Her works don’t seek to restore wholeness, but rather to orchestrate the chaos of permanent incompleteness.

Artist Statement

My creative credentials were founded on a career in advertising that spanned four decades, where working alongside the most creative and inventive minds some of Australia’s most iconic ads were made. I currently reside and work in Eora/Sydney Australia.

My painting and drawing practice are grounded in a fascination with memory, place, and the traces left behind in the natural world. To have inhabited a landscape is to have left behind some form of trace. Working within an abstract expressionist framework, I use gestural mark-making, layering, and constructive erasure to evoke both the fleeting and enduring imprints of lived experience – human and non-human – on the landscape.

Memory operates in my work in dual ways: as an archive of personal encounters with landscape and as a process embedded in the physical act of painting. Each mark, scrape, and wash on the canvas is a residue of thought and feeling, a record of gesture and observation. Walking is central to my practice – it is how I gather sensory impressions and bear witness to the ephemeral: the shifting path of a flock of birds, the imprint of a well-travelled footpath, or the brief impression of waves on sand or to the more enduring trace such as a fossilised rock that has survived the millennia.

 It is these sorts of images that find their slippery way into my paintings.

These observations, both intimate and universal, are translated into visual language through colour, rhythm, and form. My paintings do not depict place, but rather evoke its emotional resonance.

In this way, the work becomes an archive of my experience of the land I draw inspiration from, shaped by past movement and open to new interpretation – traces not just seen, but felt.

Education
2026 Currently enrolled in Doctor of Fine Art at National Art School
2024- 2025 Master of Fine Arts at National Art School
2020- 2022 Bachelor of Fine Arts at National Art School

Solo Exhibitions
2025 “scintilla” Michael Reid Southern Highlands
2025 “traces” Exhibition at Tiliqua Tiliqua Gallery Enmore
2023 “about” Exhibition at Sheffer Gallery Darlington

Group Exhibitions
2026 On Shared Ground at Tiliqua Tiliqua Enmore
2025 Post Grad Show National Art School
2025 “On Shared Ground” Drawing Gallery NAS, Darlinghurst (+curated)
2025 “Yellow” Exhibition, Tiliqua Tiliqua Gallery, Enmore
2025 Library Stairwell Gallery NAS, Darlinghurst
2024 “Nine” Exhibition, aMBUSH Gallery, Waterloo
2024 Raglan Gallery, Cooma
2024 Clyde and Co Art Awards Exhibition Sydney
2024 ‘Shared Table “ aMBUSH Gallery , Waterloo
2024 “This Must be the Place” 25b Gallery, Darlinghurst
2024 Taralga Art Show Taralga NSW
2024 Drawing Exhibition Library Stairwell Gallery NAS Darlinghurst
2024 “ Lesperon” aMBUSH Gallery Waterloo
2023 ”A Shared Table “ aMBUSH Gallery Waterloo
2023 “NEXUS” Exhibition Sheffer Gallery Darlington (also Curated )
2023 Clyde and Co Art Awards Exhibition Sydney
2022 Grad Show National Art School
2021 “Harvest” Exhibition M2 Gallery Sydney
2016 Wunderman Photographic Exhibition

Exploring moments when time and space feel unsettled, recursive and open-ended, Lisa Stonham investigates how photography might suspend, fracture, or reconfigure temporal experience.

Through installation and sculpture, she challenges the boundaries of photography into physical space, blurring the parameters between viewer, artwork, and environment. Examining light, space, perception, and time as active materials to rethink the photograph as continuous and unfolding.

Reconfiguring photography as a spatial and durational practice, her work considers the materiality of light, the plasticity of time, and the invisible presences that shape experience. Artworks become fields—where perception becomes elastic, and the viewer is implicated in a fragile perceptual offering.

In 2025, Lisa completed her MFA at the National Art School, where she was awarded the Standish & Co. Scholarship, Prix Yves Hernot Award of Merit, and the Harvey Galleries National Art School (group) Exhibition Prize.

Solo exhibitions include Everyday Wonder (2024), Looking Forward, Looking Through … Future Perfect (2023) at Five Walls Gallery and Project Space, Melbourne; and Conversations with My-Self and Others (2022) at M16 Artspace, Canberra. In 2026, she will be exhibiting “Inside the Empty Interval” at Photo-Access in Canberra.

In 2024, she won the Perth Centre for Photography’s Contemporary Landscape in Photography Prize. Additional finalist selections include: the Mullins Conceptual Photography Prize, Canberra Contemporary Photographic Prize, Sunshine Coast Art Prize, Fisher’s Ghost Art Award, Ravenswood Australian Women’s Art Prize, Hurford Portrait Award, and the PCP Iris Award.