Since 2011, Yarra has been presenting a projection program, formally at the Bob Rose Stand at the former home of the Collingwood Football club, then in 2016 relocting to Peel Street Park in Collingwood, for a very popular series of projections over the winter months.

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The Edinburgh Gardens Plinth Program has been showcasing the work of local artists since 2015. The plinth is located within a garden bed towards the centre of the iconic Edinburgh Gardens in Fitzroy North. 

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Situated at the intersection of three major arterial flows – a railway, a freeway and the Birrarung river, the Mary Rogers pavilion is a place where people are drawn together through movement. The artwork Momentum draws on the coalescing flows of traffic, sound, air, time, water, and human kinetic energy, mapped together into a horizon of oscillating lines.

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STUDIO is the collaborative practice of Tamsen Hopkinson and Woody McDonald, producing video interviews, live music events, contemporary art exhibitions, radio and print resources.

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 Lucy Beattie Hughes is an Art Curator and Artist. Hughes' creative practice engages with the intersections of photography, form, material, abstraction and space.

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Kyoko Imazu

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The romantic notion of the eucalyptus tree celebrates a sense of something that is uniquely Australian.  Its majestic and iconic image provides a sense of self-identity and connection to country for Narelle Cridland; an Australian expat with Indigenous heritage, now living in Hong Kong. The representation of the gum tree provides a cultural vessel that Cridland uses as a symbol to explore identity.  

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The Myth of Progress by Jeremy Blincoe

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Siri Hayes 'Loading' in the Carlton Library Light Boxes.

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Kirsten Lyttle in the Carlton Library Light Boxes.

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These four photographs by artist Mathilde Magnée are pictures which unfold in an organic way following a principal similar to that of isomer. The basic formula of this body of work resides in its artistic constraints, of which artificial light and the absence of context are the main points of departure.

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Malcolm McKinnon's Smith & Gertrude (Look Both Ways) is a simple but carefully crafted exercise in time-travel. The two minute, looping video work combines contemporary and historical film, juxtaposing similar locations and parallel patterns of movement. The work plays with conventions of old-fashioned film projection, employing various film and video textures and shifts of film speed and framing. In doing so, it presents multiple layers of history in perpetual motion. If there’s an implicit message in this work, it’s probably this: Look both ways. Smith & Gertrude (Look Both Ways) is part of the Yarra City Arts Peel Street Park Projection Program.

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OKHA/Windows is part of Elizaveta Maltseva’s research into migrant melancholia and cultural artefacts. Exploring themes of identity and performativity, she uses her own family’s migration from Russia in the 1990s as both a case study and point of departure for her visual material.

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Josh Muir is a proud Yorta Yorta/ Gunditjmara man who holds his culture strong and close to his heart; it gives him his voice and his identity. Muir’s artworks echo his culture in a contemporary setting, and his practice reflects his journey. Using bright colours and bold lines, he often draws together historical events and stories and presents them alongside current narratives in a distinctive graphic style.

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I’m Trying uses body language to explore the dynamics of relationships between close friends and queer couples, taking cues from a party game with sexual overtones.

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Reduction has become a contemporary imperative, a mantra for both our civic and personal well-being. To use less, to want less, to reject the superfluous. Speaking through the doctrines of Modernist abstraction, contemporary lifestyle minimalism and retirement advice, the reductive ethos is subliminally transmitted to the viewer using the flash frame technique – an efficient process developed for training WW2 fighter pilots. Since 1995 Martine has exhibited widely in individual and group exhibitions, locally, nationally and internationally including works such as Torrent exhibited at Contemporary Art Tasmania and Centre for Contemporary Photography, 2015 and Tide exhibited at West Space, 2012. Subjects such as the reductive representation of bodies of water and the natural and unnatural landscape contributed to the theme of her PhD research project titled: Cartoon and the Cult of Reduction completed at the Victorian College of the Arts, University of Melbourne in 2017. Martine is a senior lecturer in the School of Art RMIT in interdisciplinary art practices ranging from drawing, animation and expanded media installation.

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In Salote Tawale’s single-channel video work entitled Super, the artist uses her own body to portray all of the main characters within a super hero narrative―the gendered stereotypes of the hero, sidekick, villain and victim. Through this act the inequalities of gender within society are revealed. The artist’s Fijian features play off against expected Anglicised racial stereotypes of the hero and the victim. This discussion is still relevant in our society where the main narrative that exists within popular culture is still dominated by the Anglo/ Celtic body. By using her own body the artist is commenting on the perceived 'normal body' within Australian society. The video plays on in a never ending loop, the story is never resolved and the characters continue to be wrapped up in the same moment.

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Hibiscus Rosa Sinensis was filmed in Vaimaanga at the site of the Cook Islands' failed Sheraton Resort development. In this work Angela Tiatia creates a sense of suspense as the camera slowly leads us through a garden, where we are confronted with the intimate image of a woman with a flower in her mouth. Visually dramatic, the bright scarlet petals contrast the dark green vegetation as Tiatia slowly eats the hibiscus: a Pacific icon. Her penetrating gaze is both powerful and provocative. Tiatia is interested in the representation of Pacific women and this work was conceived as 'a simple gesture that would cross the language barrier' and represents displeasure over the historic and ongoing objectification and misrepresentation of Pacific women.

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Forced into Images is a video work by Destiny Deacon & Virginia Fraser. The two four-year olds in this video are cousins, Inyaka Saunders and Elia Harding, the children of two of Destiny’s siblings. They were like brother and sister themselves when the video was shot, and the artists minded them often from when they were babies.  

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Textual Analysis I is an exploration into communication through the moving image. It brings into focus how narrative, emotion and symbolism are affected by motion, colour and composition.

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