Artwork · Resurfacing: VISA 4F06 Honours Exhibition

(From Left to Right) Cherilynn Tilley, Shallow, 2022. Acrylic on canvas. Decompose, 2022. Acrylic on canvas. Untilted, 2022. Acrylic on canvas.

Cherilynn Tilley, Untitled, 2022. Acrylic on canvas.

Cherilynn Tilley, Decompose, 2022. Acrylic on canvas.

Cherilynn Tilley, Shallow, 2022. Acrylic on canvas.

Julie Luth, Nothing Can Kill 100% of Germs, Infecting the Everyday, 2022. Interavtive sculpture (thrifted slide viewer, 2x2 slides with dirt, dust, hair, watercolour).

(From Left to Right) Charelle St-Aubin, Grand-maman, 2022. Print. The Candy Factory Across the Street, 2022. Print. Over the Tracks, 2022. Print. The Bridge by Grandma's House, 2022. Print.

Charelle St-Aubin, Grand-maman, 2022. Print.

Charelle St-Aubin, The Candy Factory Across the Street, 2022. Print.

Charelle St-Aubin, Over the Tracks, 2022. Print.

Charelle St-Aubin, The Bridge by Grandma's House, 2022. Print.

(From Left to Right) Naomi Egbunike, Endless journey, 2022. Oil on canvas. Head of Roses, 2022. Oil on canvas.

Naomi Egbunike, Head of Roses, 2022. Oil on canvas.

Naomi Egbunike, Endless journey, 2022. Oil on canvas.

Charelle St-Aubin, Bon Appétite, Love Mom, 2022. Wood chairs with embroidered cyanotypes.

(From Left to Right) Kimberley Rogers, Allow me to explain (Because she said so), 2022. Allow me to explain (Maybe it runs in the family), 2021. Allow me to explain (My quarter life crisis), 2022. Zines.

(From Left to Right) Sarah Formosa, After Tim Tadder's Nothing to See, 2022. Acrylic on canvas., An Apology Without Change is Called Manipulation, 2022. Looped text on box TV., Red Flag, 2021. Acrylic on cradled panel., Stressed, 2022. Acrylic on canvas. Done With This Shit, 2022. Acrylic and marker on cradled panel., Expensive Lessons, 2022. Acrylic on canvas.

Sarah Formosa, Expensive Lessons, 2022. Acrylic on canvas.

Sarah Formosa, After Tim Tadder's Nothing to See, 2022. Acrylic on canvas.

(From Left to Right) Sarah Formosa, Red Flag, 2021. Acrylic on cradled panel. Stressed, 2022. Acrylic on canvas. Done With This Shit, 2022. Acrylic and marker on cradled panel.

Sarah Formosa, An Apology Without Change is Called Manipulation, 2022. Looped text on box TV.

Sarah Formosa, Red Flag, 2021. Reliance Series. Acrylic on cradled panel.

Sarah Formosa, Stressed, 2022. Reliance Series. Acrylic on canvas.

Sarah Formosa, Done With This Shit, 2022. Reliance Series. Acrylic and marker on cradled panel.

(From Left to Right) Rabia Choudhary, انعام (Inam), سلمی (Salma), اقصی (Aqsa), اذکئ (Azka), اذکئ (Aisha), حسیب (Haseeb), فیضان (Faizan), رابعہ (Rabia), 2022. Cotton and kozo (Japanese Mulberry) pulps.

The whispers of our names are relevant only as long as they are spoken with love. The physicality of these handmade papers grants permanence of said love, and of our stories.

(From Left to Right) Rabia Choudhary, انعام (Inam), 2022. سلمی (Salma), 2022. Cotton and kozo (Japanese Mulberry) pulps.

(From Left to Right) Rabia Choudary, اقصی (Aqsa), 2022. اذکئ (Azka), 2022. Cotton and kozo (Japanese Mulberry) pulps.

(From Left to Right) Rabia Choudary, اذکئ (Aisha), 2022. حسیب (Haseeb), 2022. Cotton and kozo (Japanese Mulberry) pulps.

(From Left to Right) Rabia Choudhary, فیضان (Faizan), 2022. رابعہ (Rabia), 2022. Cotton and kozo (Japanese Mulberry) pulps.

(From Left to Right) Rabia Choudhary, سانس (Saans; Breathe), 2022. Acrylic on canvas, 91.44cm x 121.92cm, آکاش (Aakaash; The Heavens), 2022. Acrylic on canvas. Rabia Choudhary, ی الحال (Fil Hal; For Now), 2022. Acrylic on canvas.

Rabia Choudhary, سانس (Saans; Breathe), 2022. Acrylic on canvas, 91.44cm x 121.92cm.

Rabia Choudhary, ی الحال (Fil Hal; For Now), 2022. Acrylic on canvas.

Rabia Choudhary, آکاش (Aakaash; The Heavens), 2022. Acrylic on canvas.

Rabia Choudhary, عاشِقْ نا مُرادْ (Aashiq na-muraad; An Unfortunate Lover), 2022. Acrylic on canvas.

(From Left to Right) Cherilynn Tilley, You're Mine, 2021. Acrylic on plywood. Breathe, 2021. Acrylic on canvas. S'il Vous Plaît, 2022. Acrylic multimedia on canvas. Mask, 2022. Acrylic multimedia on cradled panel. Motion Sickness, 2022. Acrylic multimedia on cradled panel.

Cherilynn Tilley, S'il Vous Plaît. 2022. Acrylic multimedia on canvas.

(From Up to Down) Cherilynn Tilley, Mask, 2022. Acrylic multimedia on cradled panel. Motion Sickness, 2022. Acyrlic multimedia on cradled panel.

(From Left to Right) Cherilynn Tilley, You're Mine, 2021. Acrylic on plywood. Breathe, 2021. Acrylic on canvas.

(From Left to Right) Kimberely Rogers, As good as gold, 2022. Acrylic paint and liquid gold leaf on plastic mannequin. A penny for your thoughts, 2021. Acrylic paint, hot glue and pennies on plastic mannequins.

Kimberley Rogers, Because she said so, 2022. Acyrlic paint, polymer medium, charcoal, liquid gold leaf and oil stick on canvas.

Kimberely Rogers, Maybe it runs in the family, 2021. Acrylic paint, polymer medium, charcoal, and oil stick on canvas.

Kimberely Rogers, Allow me to explain (My quarter life crisis), 2022. Acrylic paint, polymer medium, charcoal and oil stick on canvas.

Kimberley Rogers, Allow me to explain (Maybe it runs in the family), 2021. Zine.

Kimberley Rogers, Allow me to explain (My quarter life crisis), 2022. Zine.

Kimberley Rogers, Allow me to explain (Because she said so), 2022. Zine.

Sarah Formosa, Stripped and Remade, Reliance series, 2021. Encaustics and ink on cradled panel.

Sarah Formosa, Broken All Ties, 2022. Reliance series. Acrylic on canvas.

Sarah Formosa, Puddled Portraits (1-2), Reliance series, 2022. Acyrlic and marker on cradled panel.

Sarah Formosa, Exhuastion, 2021. Reliance series. Acrylic and marker on cradled panel.

Sarah Formosa, Dead Weight, Reliance series, 2021. Acrylic and marker on canvas.

Sarah Formosa, Over Protective, 2021. Reliance series. Acrylic and marker on canvas.

Naomi Egbunike, Horned River, 2022. Oil and acrylic on canvas.

Naomi Egbunike, Premortem blossoming, 2022. Oil and acrylic on canvas.

Naomi Egbunike, Stubboern solitude, 2022. Graphite on paper.

(From Left to Right) Charelle St-Aubin, My Favourite Place, 2022. The Candy Factory, 2022. Across the Street, 2022. Over the Tracks, 2022. The Industrial Route to Grandma's, 2022. Hide and Seek Spots, 2022. Barely Recognizable, 2022. Polaroid emulsion on mylar or paper.

(From Left to Right) Charelle St-Aubin, The Bridge to Grandma's House, 2022. Grand-maman, 2022. The Bridge, 2022. Escape From the City, 2022. Scenic Route to Grandmas's, 2022. The Trees behind Grandma's House, 2022. Polaroid emulsion on mylar or paper, framed.

(From Left to Right) Charelle St-Aubin, The Bridge to Grandma's House, 2022. Grand-maman, 2022. The Bridge, 2022. Polaroid emulsion on mylar or paper, framed.

Charelle St-Aubin, Escape From the City, 2022. Scenic Route to Grandmas's, 2022. The Trees behind Grandma's House, 2022. Polaroid emulsion on mylar or paper, framed.

Charelle St-Aubin, Soldat Cake, 2022. Old recipe on cyanotype fabric.

Charelle St-Aubin, A Place to Share Memories, 2022. Carved wood table.

(From Up to Down) Julie Luth, Infecting the Everyday, Infecting the Everyday, 2022. Before You Touch This Wash Your Hands, Infecting the Everyday, 2022. Interactive sculpture (found objects, spliced 8mm film, dirt, and dust).

Julie Luth, Before You Touch This Wash Your Hands, Infecting the Everyday, 2022. Interactive sculpture (found objects, spliced 8mm film, dirt, and dust).

Julie Luth, Infecting the Everyday, Infecting the Everyday, 2022.

A collection of approximately 150 unique analogue photographic prints, 10cm x 15.25cm.

Julie Luth, Infecting the Everyday, Infecting the Everyday, 2022.

A collection of approximately 150 unique analogue photographic prints, 10cm x 15.25cm.