Raised as a Jehovah’s Witness and growing up queer, Jordan Azcune’s practice is influenced by biblical theology and filtered by personal experience. Azcune uses this knowledge as a device to reveal understandings on architecture, body, and space with layered historic, and contemporary readings. Azcune is currently investigating the ideas of spirituality, offering and memory through materials of beeswax, pigment, glass and gold as interventions that take on design and architectural features that speak to a post-Christian campiness.

'Most of the work I do starts with drawing,' says the artist about his wide-ranging practice. The drawings are then fragmented and redrawn, and the new compositions incorporated into cyanotypes, hand-etched de-silvered mirrors, mobiles and installations. 'There's a balance between concept and formalism, and where those two meet,' explains Tom.

Thea Anamara Perkins is an Arrernte and Kalkadoon artist whose practice incorporates portraiture and landscape to depict authentic representations of First Nations peoples and Country. With a delicate hand, Thea answers heavy questions about what it means to be Indigenous in contemporary Australia, and how Aboriginal people can and should be portrayed.

Since the late 1980s, Joan has exhibited across a range of mediums, from drawing, painting, photography and sculpture to installation, video, and virtual reality. Her experimental works combine colonial iconography and landscape painting with collaged elements of western commodity culture connected to land tenure and Aboriginal peoples' active presence on the land.

Selleck uses her practice to reciprocally investigate and challenge her own perceptions within a culture of conflicting truths. Her work overlays time and place to express the need for human accountability and the painful complexity of animal and environmental ethics in Australia.

James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.

Natasha Walsh's practice is informed by an understanding of the artist as an alchemist. Known for her transformation of pigments on copper surfaces, Walsh's work acutely observes delicately-painted figures that emerge from the surface. ‘From the moment that I prepare the surface, it begins to naturally oxidise. I experiment with applying different ground pigments which change colour in response to this process. These paintings visibly age as I work on them. As such, my attempt to transfix time is inherently impossible and this interests me.’