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Fake hater. I see the love in your eyes

@hatchets__

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🪓 Forged in the spirit of the North. Where ancient Norse artistry meets the raw character of a warrior’s axe. ⚔️ Intricate knotwork. Rich wood. A design made to command attention. Not just an axe — a piece of Viking-inspired craftsmanship. 📩 DM for price & availability. #VikingAxe #NorseDesign #VikingInspired #NorseArt #vikingcollector
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MADA Now 2025 — Bachelor of Fine Art (Honours) 2/2 The exhibition then shifts into an elemental register, where earth, ash, steel, bone, glass, foam, and stitched fabric resist certainty and feel mid-transformation, caught between growth and exhaustion. Paolo Acuña’s ‘EXTRAORDINARY POPULAR DELUSIONS AND THE MADNESS OF CROWDS’ unfolds as a quiet tragedy: a hyper-blue, weatherless sky framing a hydroponic-like stalk sprouting wilted tulips, an artificial garden promised vitality but delivering slow decay 🌷 
Aliza Nickle punctuates the space with two contrasting gestures: ‘rank opportunist’, a soft cursive insult rendered in dotted stoneware beads, and ‘Wonderfilled’, a layered mix of masonite, leather, dollar bills, and brass where value and memory refuse neat resolution. 
Grace Harré’s ‘Chalkboard Paintings’ stage a material standoff as chalkboard paint and PVA resist one another, swirling into storm-like forms that drift like smoke, echoing her incense-ash works and evoking the residue of something recently extinguished ✰ Joseph Doggett-Williams constructs hybrid creatures from furniture and swelling foam; in ‘Horse’, a timber stool and weathered yellow chair merge into a domestic object held together as much by memory as by structure. 
Tabitha Glanville builds an entire room — timber floor, deep blue curtains, red walls — where painted facial fragments surface. A green couch, pillows, and a rug anchor a reconstruction of her childhood bedroom, connecting memory and Country. Three single-channel videos run in sequence, the coloured centre flanked by black-and-white, time splitting and rejoining 🍃 
Eve Fairhall’s ‘Do Not Open the Door to a Predator’ sits between warning and witness: duplicated yellow-tinted footage plays upside-down on twin screens like broken CCTV, while pale blown-glass forms sag from the frame like tired lungs. Vigilance becomes bodily — a kind of breath held too long. Together, these works shape a cohort willing to dwell in uncertainty, revealing an emerging art practice defined by tension, curiosity, and fearless material inquiry ✧ @honours.fineart.monash @mada_fine_art #luminosa #luminosaartsscene #madanow
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MADA Now 2025 — Bachelor of Fine Art (Honours) 1/2 The works form a dense, energetic survey of artistic thought right at the moment it becomes public. Installation, sculpture, painting, text, sound, and experimental material studies spill across the building in ways that feel deliberately unruly. Floors, corners, industrial beams, alcoves, and pockets of negative space become active collaborators rather than neutral supports. Nothing sits politely; everything pushes ★ Material thinking is foregrounded as much as any final “statement” — a cohort testing the limits of what contemporary art can hold at the very moment they step into the field. 
Incidental objects amplify the show’s atmosphere: coloured keys sprinkled across concrete, cups of instant coffee, plastic-wrapped biscuits, childhood books, four-leaf clovers. Words drift between poetry and almost-poetry — phrases that feel overheard rather than authored. Every work occupies its own world, yet sounds bleed through walls, reshaping their meanings in real time 🍀 In Phoebe Haig’s ‘Open or Closed / Only Momentarily’, a face struck by sunlight, its eyes obliterated by brightness, becomes a portrait of fleeting recognition. 
Across the room, Justine Walsh’s ‘Listening, Singing, in the Half-Light’ moves at a slower pulse: carved limestone ripples sit beside a brass light fixture that hangs without lighting, while the artist’s voice sings An raibh tú ar an gclárach?—a call that drifts like a winter tide 🌊 
At the far end, Camille Ferguson’s ‘As I leave, I look back’ works like a detached stained-glass lens: kiln-fired enamel ripples through warped lead frames, cherry reds and warm tones pooling colour across the floor. 
Meg Kelso’s ‘Things That Were Light’ scatters collapsed blown-glass forms across cement sheeting—once spherical, now shrivelled and heat-struck, like fruit dried out or organs held past their time. 
On the floor, Janae Hunter’s ‘Ribs’ lays out water-stained wooden bed slats beside a close-up photograph of rumpled bedding, collapsing body and furniture into one quiet structure of fatigue ✶ @honours.fineart.monash @mada_fine_art #luminosa #luminosaartsscene madanow
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TOMORROW NITE @ 5.30 Please join us to celebrate the Graduate Exhibition class of 2025 Monash MADA Caulfield campus D building. Paolo Acuna Max Conley Joseph Doggett-Williams Camille Ferguson Tabitha Glanville Phoebe Haig Aisha Hara Grace Harre Francesca Havelock Janae J Hunter Meg Kelso Jordan Koudmani Eve Murray-Fairhall Casey Nicholls-Bull Aliza Nickle Ben Sendy-Smithers Justine Walsh Maddison Wandel
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Lucky proud tired :’) @honours.fineart.monash Grad show opens this Thursday 20/11 from 5:30 @mada_fine_art 🌟 come 🌟
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5.30 PM NEXT THURSDAY 20th NOV. Please join us to celebrate the Honours Graduate Exhibition class of 2025 alongside the 3rd year Bachelor of Fine Art and Curating (as part of MADANOW 2025) Paolo Acuna Max Conley Joseph Doggett-Williams Camille Ferguson Tabitha Glanville Phoebe Haig Aisha Hara Grace Harre Francesca Havelock Janae J Hunter Meg Kelso Jordan Koudmani Eve Murray-Fairhall Casey Nicholls-Bull Aliza Nickle Ben Sendy-Smithers Justine Walsh Maddison Wandel Supported by 2025 Honours staff Francis Barrett Tamsen Hopkinson Ruth Hoflich Alicia Frankovich Nicholas Mangan Fiona Macdonald Daniel von Sturmer Kristina Tsoulis-Reay Rosie Isaac Holly childs Mel Derson technical support team led by Dan Truscott with Marcus Dillon @marcusgdillon Nick Burridge @nicholas_burridge Ellie Singe , Sarah Carayiannis @sarah.k.carayiannis This year's Communication designs by Matt Hinkley @kochi_studio
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Many Thanks to Tina Stefanou ✨@_the_longest_hum for the generous tour of her exhibition, “You Can’t See Speed”, @acca_melbourne which is an intense, choreographed saturation of sound, vision, and the relationships of trust between bodies, both human and animal. Following Tina’s guided tour We talked about sustained engagement with communities, art within the flow of life, and grounded notions of co-creative collaborations both within the work and with the many collaborators that bring the work together. The power of voice, exhaust pipes and exhaustion, sustainable practices, and possible solutions to the pressures of creative output under late capitalism……
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