Family tree

Artist's Statement: These suspended shipping floats symbolise the artist's grandfather's home on Keriri (Hammond Island), where the trees are decorated with floats of all colours that have washed up on the beach. Across the entire Torres Strait, these floats, often from Asia, wash ashore and become decorative objects, strung from trees and hung from island shacks. Their vivid colours, and sometimes reflective glass surfaces, play against the lush tropical setting, while their re-use reflects the innovative character of island life. This arrangement of the floats represents the artist's family tree, which he has traced back six generations to Mer (Murray Island) and Keriri. The strings of orange floats represent his immediate family and direct lineage, each member of which is named on a float, with the totem of the family painted on the base. The remaining floats trace additional ancestry and spread further back through time and space, spanning the Torres Strait from west to east.

Learning from Eames : six lessons

"Eventually everything connects—people, ideas, objects. The quality of the connections is the key toquality per se.” (Charles Eames) On 8 November, 2007, in a moment charged with serendipity, an Exhibition titled ‘The Gifted Eye of Charles Eames—A Portfolio of 100 images’ was opened exclusively to Brisbane. The Artisan Gallery in Fortitude Valley became the launch point for an international orbit of Fringe locations hosting one of 18 sets of 100 images each...

We need to talk : feminism and food (GOMA Harvest Picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Gallery of Modern Art (GOMA) as part of the official program of activities surrounding the exhibition 'Harvest', 2014. It took the form of a public picnic, where women and their friends were invited to share cooking recipes while also discussing the possible recipe for a gender revolution. Groups discussed their ideas, before a public reading of potential 'ingredients' and 'methods' outside the museum on the Maiwar Green.

Silver palace

Silver palace is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The exhibition examines the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context.

across the sea

'Across the sea' is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The work is informed by new wave cinema, feminist film theory and emergent ideas of a female gaze. across the sea considers both the role of the artist, as well as the auteur in cinema, to question how the outcomes differ when a female rather than a male gaze is writing, directing and filming the imagery. The screen-based installation of 'across the sea' seeks to further examine the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context. across the sea investigates the spaces that exist between the gallery and the cinema, in an effort to consider notions of femininity that exist between and throughout the varied spaces of film and art.

Actor 1 (Icecream Coles Polygon)

A sculpture made of polyurethane, epoxy resin, pigment and lacquer depicting a ice-cream melting into the form of a nine sided geometric figure.

Future perfect

"Future Perfect" is a solo artist exhibition featuring a 9 channel video installation, which is comprised of looped computer animation projections. In the first room, the big one, there are nine projections of looped computer animations. Many of these look like representations of gallery spaces containing sculptures, including rotating interpenetrating discs, bouncing coloured coffins, and jostling cardboard cubes (the cubes are blank, then covered in drawings, then covered in photographic imagery). In one video, a man and a woman walk towards one another but never get together. In the second room, an animated video on a flatscreen suggests an origin story. The subtitles tell how, in Russia, my great-grandfather made a joke about Stalin's child bride that cost him his life. That one isn’t a loop; it has a beginning, middle, and end. Lying on the floor, in front of the video, are two slightly crumpled mural prints of photographs of the ocean. There's also a clear Perspex cloud shape on a wall. Viewers will see themselves reflected in it, as if it were a distant hovering mirage. The first room of the exhibition, where objects are set in perpetual motion, is about departure. The second room registers some sense of arrival. The future perfect implies looking back on something that hasn't happened yet; future and past are conflated and the present is somehow deferred. The future perfect combines anticipation and reflection, and it relates to my interest in combining 3-D animation with other mediums like drawing, painting, and shot video. In my work, the virtual and actual coexist in tension, just like experience and expectation in the future perfect.

The declaration of resemblance and fluid insurgents

A large scale installation over three gallery spaces that addresses Wymans ongoing in exploring feminist strategies for negotiating individual and collective identities, equality, and social activism.

An analysis of the timeliness and nature of profit warnings in the aftermath of the Global Financial Crisis

The global financial crisis (GFC) has severely impacted the financial position and performance of many companies internationally. Because of its severity and associated increase in uncertainty it challenges the effectiveness of existing disclosure regulation. Australia provides a unique environment in which to test the effects of the GFC on corporate disclosure because statutory rules mandate the timely disclosure of ‘price-sensitive’ information (ASX Rule 3.1) by listed entities. Exploiting this institutional setting we investigate the determinants and timeliness of profit warnings issued by the top 500 ASX-listed firms with profit declines in the 2009 fiscal year. Our findings show that firms behave differently with regard to the issuance of profit warnings: larger and more indebted firms are more likely to issue a profit warning and tend to be timelier; surprisingly, poorer performing firms tend to release the news more quickly and this might be attributed to an increasing threat of litigation. Our analysis of profit warning determinants shows interesting results with the presence of asset impairments hindering the early disclosure of profit warnings. Our findings are novel for two main reasons: first, we provide insights into the impact of global financial crisis on profit warning behaviour; second, we are the first to examine the differential impact of alternative features of profit warnings on disclosure timeliness. The findings have implications for regulators in determining compliance with continuous disclosure rules and more broadly, for market participants in interpreting profit warnings.

On the efficacy of key corporate governance recommendations in mid-tier companies : window-dressing or value-adding?

This paper examins the relationship between firm performance and key board and audit committee variables in a sample of mid-tier listed Australian firms. Unlike the UK where the corporate governance Code specifically outlines special arrangements for companies outside the FTSE 350 index, the ASX Corporate Governance recommendations make no special provisions for mid-tier companies. Consequently, mid-tier Australian companies may be expending scarce resources in conforming with recommendations that are not value-creating.

Analysis of risk management disclosures by Australian publicly listed companies

In the aftermath of the global financial crisis, effective risk management (RM) and its communication to stakeholders are now considered essential components in corporate governance. However, despite the importance of RM communication, it is still unclear how and to what extent disclosures in financial reports can achieve effective communication of RM activities. The situation is hampered by the paucity of international RM Research that captures institution differences in corporate governance standards. The Australian setting provides an ideal environment in which to examine RM communication because the Australian Securities Exchange (ASX) has since 2007 recommended RM disclosures under its principle-based governance rules. The recommendations are contained in Principle 7 of the Corporate Governance Principles and recommendations (ASX CGPR). Accordingly, to assess the effectiveness of the AXS's RM governance principle, this study examines the nature and extent of RM disclosures reported by major ASX-listed firms. Using a mixed method approach (thematic content analysis and a series of regression analysis) we find widespread divergence in disclosure practices and low conformance with the Principle 7 recommendations. Certain corporate governance mechanisms appear to influence some categories of RM dislcosure but equity risk has surprisingly little explanatory power. These results suggest that the RM disclosures practices observed in the Australian setting may not be meeting the objectives of regulators and the needs of stakeholders.

Flood inquiry : Grantham victims’ patience wears thin

"Grief and loss are giving way to anger and frustration among flood survivors of the rural towns in the Lockyer Valley as the Queensland Flood Commission hears from senior police, disaster management staff and flood survivors. For bereaved families in the public gallery waiting for answers to why 22 people died in the catastrophic flash flooding in the Lockyer Valley on January 10, patience is wearing thin."