Digital art Photography Print making

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Mixed media

Painting Drawing Textiles

To purchase artwork, contact the Law Society on 02 9926 0161 or email



Just Art, now in its second year, fuses the world of law and expression to produce perhaps the most powerful collection of art in NSW exploring the concept of justice.

These unique works traverse a breadth of political, social and philosophical ideas to reveal the impact of justice and injustice on people, families and communities. Each artist brings a unique perspective of the human condition and penetrates the way we interpret our social fabric in different ways. This year’s exhibition also celebrates the creativity of the legal profession and the common motivation of legal and artistic professionals to subvert injustice, champion truth and remedy wrongs. These ideals are crystallised in the Law Society’s overarching premise, to defend the rights of all.

Just Art also aims to help address pressing problems facing our society and profession. This year’s exhibition raises funds for The Butterfly Foundation - the leading voice for those affected by eating disorders and negative body image. These complex mental illnesses touch the lives of many people around us including our family, friends and colleagues. We must be open about confronting mental illness and disordered eating habits rife throughout the legal profession. We can do this by raising awareness, reducing stigma and encouraging people to seek help.

Doug Humphreys OAM 2018 Law Society President



TAXFREE TAMPONS Jennifer Luo Digital illustration using Adobe Illustrator | 84.1 x 38.26cm | $1500 | Exhibition ref: 20

health products, such as condoms, lubricants, sunscreen and nicotine. I was shocked that this list excluded tampons and sanitary pads, because it meant Australian women have been paying tax on a basic health necessity since 1999. Inspired by Andy Warhol, the repetition of “Taxfree” questions our views on applying tax to a basic health product or consumables. To show my support for the tampon tax reform, I have also used different Australian slogans on the tampon packaging.

My artwork is a digital illustration of the recent tampon tax debate. The recent proposal aims to stop the tax on sanitary items by replacing it with 12 natural therapies. After hearing about this shocking proposal, I created “Taxfree tampons”. Since A New Tax System (Goods and Services Tax) Act began in 1999, Australians have paid 10% more on everyday consumables such as cakes and clothes. Thankfully, tax is not applied to everything. For example, we enjoy tax-free



#33 - NATHALIE: CHANGE THE DATE Spectator Jonze Digital painting printed on cotton rag | 63 x 47 x 3cm | $450 | Exhibition ref: 26

taken captive. Australians are lacking a positive, national culture. Large portions of the public do not know or understand how they can benefit from indigenous cultures. Changing the date is only the beginning for the healing, but it is a decision of inclusiveness the whole nation can support. It means the healing can begin for all the people who call Australia home .” – Nat McLean @natopia_ (Gubbi Gubbi, Wakka Wakka, Kullali woman from Queensland)

I interviewed each of my subjects about their mental health before drawing, and used these mind-provoking words from Nat to create her portrait. “ Why we need to #changethedate ... Aboriginal and Torres Strait Islander people were expected to be seen as servants after our land was invaded. Expected to be slaves to white Australians. To live on the fringes, out of sight out of mind. Massacred and taken to missions and reserves. Our languages stolen. 60,000 years of knowledge and spirituality



THE CRUCIBLE, MONOCHROME 2018 Kenneth Lambert Video  | HD: 1080 px x 1920 px Duration: 60 min loop Edition 5 + 1 AP $6000 per edition (excluding monitor) | Exhibition ref: 36

severe trial or situation. More importantly the outcome is usually something new and valued. The perpetual energy of the dark crystalline forms creates a mediative space. The movement draws you in while the sonic frequencies create a sense of unease, encouraging self-reflection. I am a contemporary artist who explores the human psyche and its relationship to technology. Utilising generative algorithms and sound frequencies I create experiences that evoke a sense of time and space.

Justice implies a process where all facts are weighed against each together without prejudice to determine an outcome using the principles of the law. This can be quite harrowing for those on the outside. The Crucible reflects this by suggesting that justice or the perception is not always easily achieved, but through unyielding perseverance it can be reached. My original intent was to reflect the psychological struggle of those experiencing a



HESTIA; GODDESS OF THE HOME Veronica Morcos Digital photographs | 10 x 20 cm approx. each | $50 each | Exhibition ref: 2

for these women but there is still a lot of room for improvement. I mainly wanted to create this series because I felt that it was unjust to not confront the intense emotional anguish experienced by one in four Australian women. Having people engage with this work felt like a small step towards justice, and more importantly awareness.

Hestia; Goddess of the Home was created as a way to bring light to women experiencing domestic violence. The name Hestia, derived from the Greek goddess of domestic affairs and family. I wanted to capture the hardship, the emotional turmoil and even the fear that these women would be experiencing every day in their own home. Our legal system has attempted to do a lot



GUARDING THE GUARDS Simon Jeans Olympus E410 SLR camera and tripod | 32 x 45cm | $500 | Exhibition ref: 4

State. Here, the surveillance camera appears to be pointing at a symbol of the Chinese government, a one party State which does not tolerate dissenting opinions and oversees a sham rule of law.

Government surveillance can provide some level of public safety, such as street cameras detecting crime or traffic congestion. But it can also be used as a weapon to monitor and control activities perceived as a threat to the



LIFETIMES IN LAW SERIES David Field Photography | A3 each | $1000 each | Exhibition ref: 8

founder of McCabe’s Lawyers. Terry built his firm to be a community with shared, authentic values. Terry is photographed at Collin’s Flat, where he has lived and raised his family for decades. John Corker (right) is CEO of the Australian Pro Bono Centre. He has spent his career working in pro bono law, with a focus on justice and empowerment for indigenous Australians. John’s portrait is taken near Aboriginal rock carvings near his home at Stanwell Park.

Justice is not something that happens in a court or office. Justice is served over a lifetime of choices, conversations and actions. This series celebrates people who have spent their careers using the law to serve the community and foster a more just society. Alison Ryan (bottom left), is Senior Solicitor for the Refugee Advice & Casework Service, and assists refugees and migrants. She is pictured in Centennial Park on her daily riding route. Terry McCabe (top) is the



KIRBY David Field Photograph | A3 | $2000 | Exhibition ref: 9

leading me eventually to the High Court of Australia and the United Nations. I honour my teachers and classmates of Strathfield North Public School. ” Justice Kirby is always immaculately dressed, so it is noteworthy that, in addition to his crisp pinstriped suit, his expertly tied tie, his expensive wrist-watch and his highly- polished shoes, he is wearing a $2 plastic Gay Pride wrist-band. Justice is well-served by a healthy dose of subversion.

Justice Michael Kirby sits on the steps of the infants building at his first primary school, Strathfield North Public School. Apart from being himself a justice, Justice Kirby has dedicated his life to human rights and social justice issues, including indigenous rights, racial equality, access to education, LGBTI rights, and human rights in North Korea. A staunch supporter of public education, Justice Kirby wrote of the portrait “ I ran up these stairs in 1945 and 1946. They were



ACCESS DENIED Simon Jeans Olympus E-410, 18-180mm lens | 35 x 45cm | $500 | Exhibition ref: 13

This photo is perfect for any judge’s or barrister’s chambers, or solicitor’s office, as a reminder that access to justice for everyone is a cornerstone of the rule of law. Location: The Bund, Shanghai.

A Kafkaesque dilemma. How can anyone obtain justice if entry to the court is forbidden? Whether the gate is actually closed or effectively closed, except to the very rich or well-connected, the result is the same.



CITY AND COUNTRY AGAINST COAL AND CSG Bernadette Smith Documentary photography book | 20 x 25cm (64 pages) | $60 per book | Exhibition ref: 15

protests in towns and country areas such as Gloucester where people fought to save their environment from destructive mining.

This book of photographs documents part of the community campaign against coal and Coal Seam Gas in Sydney and other parts of New South Wales, Australia. It shows street



INSCRIPTION Carmelo Ragusa Photograph | 40 x 50cm  | $380 | Exhibition ref: 44

The original inhabitants of this country suffered the tremendous consequences of the new arrivals but very often did not enjoy these benefits. For example, Aboriginal Australians have lower voting enrolments than the rest of the community and often have restricted access to our justice system. If we are all able to share equally in the benefits of our precious institutions it may go some way to helping eliminate the tensions demonstrated by the damage to this inscription.

This inscription appears beneath the statue of Captain James Cook in Hyde Park, Sydney. It wears the battle scars of recent controversies. Faint black graffiti is visible and attempts to remove this have worn the gold lettering. One of the achievements of Captain James Cook, and those that came after him, was bringing some of our most precious institutions to Australia. Those include the rule of law, our parliamentary democracy and our freedoms.



IN MEMORY OF AYLAN KURDI Zorica Purlija 4 colour screen print on 300gsm cotton rag | 55 x 45 cm framed | $800 | Exhibition ref: 1

The horrific tragedy of the young boy drowned on Turkish shores circulating facebook was a disgusting reminder of our lack of respect and the lack of humanity of sensationalised news involving people without agency.

This work was made at UNSW School of Art and Design for my Masters by coursework in response to an assignment referring to media and the message. My artwork is a plea for our society to remember their humanity when confronted with the enormous amount of information flooding our devices.



CONTAINED CHAOS Jamie Parmaxidis Linoprint and acrylic paint | 90 x 104cm | $1000 | Exhibition ref: 39

On one side of the argument it has made Sydney streets safer and has created justice for those previously affected by ‘King Hits’. The other side of the argument involves the shut down of many music and club venues, resulting in musicians and artists facing the consequences. In turn, has the attempt to contain chaos and maintain justice now created another form of injustice within the community?

“ Invention, it must be humbly admitted, does not consist in creating out of a void, but out of chaos. ” – Mary Shelley My artwork represents the importance of law reform in containing chaos. Recently, lock out law reforms have been put in place to maintain justice on Sydney streets, however are these restrictions better or worse for the community?



TURQUOISE PARADOX Mojgan Habibi Thrown oxidation glazed earthen ware vessels, lights, wooden box | 120 x 80 x 30cm | $1430 Exhibition ref: 41

as a metaphor for the oppression. Each vessel has a hole in the base, preventing it from holding liquid. They are lit from below, becoming containers for light. An initial superficial and orientalist reading is welcome with this work because, paradoxically, it sets in place a critical position from which a non- oriental viewer can observe it objectively: to see the oppression of women and the denial of gender equality are wilful political injustices.

My work speaks about the oppression of women. It is critical of the ongoing use of traditional symbols and behaviours, which are demeaning or reinforce ideas of inequality. The arrangement spells a Farsi word. If read right to left, Roz translates as Day and left to right Zor , translates as Constrict. The vessels are in a tea cup shape with a constricted centre, on a wooden box. This shape reinforces a stereotypical view of an idealised female form and can be interpreted



GHOST NET Ann-Maree Ager Veg tanned cow hide, goat leather, snake skin, stingray, and plastic net | 15 x 15 x 28cm | $680 Exhibition ref: 22

We need governments and organisations to work globally to put in place systems to tag, track and collect these nets, to protect marine life and provide no escape from justice for those who continue to pollute our planet. It’s beautiful, natural, magical, incredible and unbelievable that we can’t protect it. “ Effort and courage are not enough without purpose and direction. ” – J.F. Kennedy.

Ghost Net is about saving sea turtles from a plague of silent killers. Sea turtles are being entangled in fishing nets that are lost or discarded at sea. These are called ‘ghost nets’. Nets will often be taken by oceanic currents and travel huge distances. Entanglement can lead to exhaustion, suffo- cation, starvation, amputations of limbs, and eventually, the death of a marine animal. Due to the durability of modern fishing nets, this circle of devastation can continue for decades.



MARRIAGE EQUALITY Nicolette Eisdell Ceramics | 14 x 16 x 12cm  | $1000 | Exhibition ref: 27

time, in which countless same sex couples and have continued to suffer stigmatization, marginalization and have been denied the legal rights and protections of marriage.

This diorama depicts a domestic scene of a middle-aged/elderly same sex couple reading the paper. Finally justice has prevailed and same sex couples are legally free to marry. It has been a very long time coming, wasted



PERVERSE PRESERVES 2018 Karleena Mitchell Native flora, pigs testicles, coal, vinegar, water, salt and very dilute formalin | 40 x 23 x 23cm (each jar) $8000 | Exhibition ref: 29

The sunlight diffusing through Victorian jars created a spectrum of beautiful effects. By contrast, the murky opacity of my second jar generates a dark, moody uncertainty. Coal and pigs testicles form a toxic soup, reflecting the crudity of arguments justifying the continued mining of coal and criminal disregard for its disastrous environmental impacts. I have created an expression of the disgust inspired by the parlous state of the current world.

Victorian glass domes contained artful arrangements of flowers or stuffed birds to store items and the knowledge they represented. They preserved a particular moment in time. My jars however allude to the disasters, deceptions, and erosion of human values promulgated by media in the Post-Truth era. Cricket balls, gum leaves, and gumnuts are the ‘hero’ ingredients of the recent Australian cricket cheating scandal in the first jar.



KALEIDOSCOPE Renee Smith Mirror and resin  | 80cm round  | $300 | Exhibition ref: 37

Family Law in particular, also requires a range of different disciplines (from the Judiciary, legal practitioners, experts and parties themselves), working together. As the patterns of a kaleidoscope change, so does the law. It is a changing landscape, adjusting to ensure it reflects the values of society.

The application of family law, like a kaleidoscope, is not fixed. Although there is a legislative pathway; the application of judicial discretion enables the law to be applied in a way that is tailored to individual circumstances. Similarly, the kaleidoscope has the same transparent material secured in the base, but creates a beautiful unique pattern for each viewer. Just as the view down the lens shifts and changes, each party will view the outcome of a matter in an unique way.



A DEEPER LAW Antonia Miller The Weekly Notes, fabric, various goldthreads, faceted labradorite, agate, rhinestones and embossed metal | 22 x 15 x 5cm | $850 | Exhibition ref: 18

“heaven” and earth. The branches reach up to the sky finding words and concepts that illuminate us, while the roots reach down to make the words and concepts reality. The Tree of Life is a powerful symbol of growth and life throughout the centuries, and within a number of cultures. In the Bible, its fruit gave eternal life; in Buddhism, Buddha gained enlightenment under the Bodhi tree; in esoteric Jewish beliefs, its shape was a code for finding God.

My work is about finding the sacredness in the law, catching the depth and core of what inspires us to help and protect clients. Hidden in an old copy of The Weekly Notes (NSW), is a treasure that transforms the casebook into a window through which something far deeper and richer can be seen. Using semi-precious stones, various gold threads and chains, and gilded embossed metal, an image of a Tree of Life reminds us of the fundamental laws of nature that link



BLACK DAWG INSTITUTE Leith Kennedy Acrylic and oil pen | 90 x 90 x 2cm | $1000 | Exhibition ref: 5

This artwork is composed on the finest quality pure cotton stretched canvas (acid free), finished with a high gloss seal. The subject matter continues on all canvas sides which beautifully finishes this high quality canvas. This bright, bold and contemporary artwork is quite a collectible. This is an original painting, not a reproduction or print.

Inspired by my many pets, I have capturesd the moments “no one talks about” with their pets. This gal’ is ghost like and out at night... But does her mum or dad know? Just as well people don’t do this! Or do they? Black Dog is also a reference to mental health and the world of policing. Understanding what is really happening on our streets and the understanding of what police see, can perhaps prevent and/or help treat mental illness in the future.



DECAMP Tracy Dods Acrylic paint on canvas | 84 x 138cm | $3500 | Exhibition ref: 10

courts. This helps me create work of the most striking contrasts. These figures are usually alone – in many cases disoriented; gowns flying in the breeze, freedom just a few steps away and yet they offer enormous space for empathy. Underneath the vampiric gowns and the un-beach-like posture many of my subjects look either utterly lost, or perhaps completely disencumbered...

At first glance, you could mistake my work – with its recurring motifs of businessmen and barristers walking into, or being consumed by the sea – as bleak. Look a little bit closer and it’s anything but. If I was writing a letter to the world, its principal subjects are serious, but its tone is often whimsical, sometimes wryly comical. I live in The Blue Mountains and spend much of my time in Sydney, observing the people I paint in and around Martin Place, the barristers chambers and law



LADY JUSTICE AND HER FRIENDS Hugh Stowe Watercolour | 76 x 57cm | $200 | Exhibition ref: 16

Justice? What? By whom? For whom?



JUSTICE TWINNED WITH ART Lucienne Curchod Watercolour, pencil, ink, wax, found object | 30mm x 41mm | $250 | Exhibition ref: 17

also speak of the contrast between the rule of English law brought to Australia and to the native Australians, and the injustice that this has brought. Strange bedfellows indeed, like justice and art.

Justice as a concept is difficult to grasp at the best of times. I chose to use Haiku to give a sense to that dichotomy. The words and the references to black letter law, the solicitors ribbon and the Australian native black boy



AN AUSTRALIAN LANDSCAPE Rex Turnbull Acrylic on canvas | 120 x 91cm | $6000 | Exhibition ref: 19

On average at least one woman a week is killed by a partner or former partner in Australia. We know that a woman is more likely to be killed in her home by her male partner than anywhere else or by anyone else. Also, most women do not report violence and they are even less likely to report when the perpetrator is a current partner. It is never going to be alright! Where is the justice in that?

“ When mum and her partner argued, I’ d take her phone outside, put on her headphones, go to her favourite play list, turn up the volume so I couldn’t hear the shouting, the plates breaking, the slapping or the screaming. When the fight was over mum would come out and get her phone. I could see she’ d been crying. She would always assure me, “It’ ll be alright.” It was never going to be alright. One day she didn’t come and get her phone. ”



WATER Lynne Podgorski Acrylics | 91 x 91cm | $3000 | Exhibition ref: 21

Dreaming Story of the Rainbow Serpent of the Wangan and Jagalingou people, who are the custodians and Traditional Owners of the lands that include most of the area of the Galilee Basin, the proposed Carmichael Mine and the Doogmabulla Springs. The Elders defend their rights as Traditional Owners and custodians to protect the environment and their ancestral and cultural inheritance.

Adani has been granted water permits to extract 4.5 billion litres annually for 60 years from underground aquifers in central western Queensland for its proposed Carmichael Mine in the Galilee Basin. Adani’s plans could permanently drain and destroy the ancient wetlands of the Doogmabulla Springs, an artesian springs complex that is situated in the Galilee Basin and fed by surrounding underground aquifers. The Doogmabulla Springs represents the



JOURNEY Keroshin Govender Oil on linen | 76 x 76cm | $1600 | Exhibition ref: 23

past years, even when her opinions have been unpopular. His raw honest views influenced the choice of textures and colours in this work. The subject seems to be born of the earth, with rock and minerals. The colours reflect the honestly of the materials and their strength.

I painted a portrait of my best friend, Tam, who is a refugee, having arrived by boat from Vietnam over 20 years ago. Her experiences on that journey to get to Australia, and the trauma that she and her family felt has shaped her value system, and has meant that she has always stood up for the downtrodden or vulnerable. Tam has campaigned for refugee rights and other important issues over the



VIEW FROM GREENWAY CHAMBERS Rocco Fazzari Acrylic on canvas | 121 x 91cm | $4500 | Exhibition ref: 24

throwing shadows and creating canyons of light and shade. A poetic analogy of the law’s ability to draw on the solid foundations of its past emerged. The Greenway buildings are a reminder that the law is steeped in tradition and history. It’s a visual reference point to the culmination of wisdom and guidance casting light onto the complex, as shadows flicker across sandstone and asphalt. Old and new co-existing. Perfect partners.

I was fortunate enough to be a guest of the Greenway Chambers in a light filled room overlooking the Greenway buildings. I observed the changing light over what would be deemed the heart of the legal precinct in Sydney. The near two century old Supreme Court with its cupola and sandstock brick structure seemed to be emitting its own light. In direct contrast to it was the contemporary structure of the Supreme Court as it towered over its older neighbour,



PLAY YOUR CARDS RIGHT Isabella Viney Acrylic on canvas | 90 x 70cm | $150 | Exhibition ref: 28

urinate? Where did you urinate? With whom did you urinate outside? Did you drink in college? You said you were a party animal? How many times did you black out? Are you serious with your boyfriend? Are you sexually active with him? When did you start dating? Would you ever cheat? Do you have a history of cheating? Do you remember any more from that night? No? Okay, well, we’ll let Brock fill it in. ” Excerpts from Emily Doe’s Victim Impact Statement in People v. Brock Turner (2015).

“ How much do you weigh? What did you eat that day? Well what did you have for dinner? Did you drink with dinner? When did you drink? How much did you drink? What container did you drink out of? Who gave you the drink? How much do you usually drink? Who dropped you off at this party? What were you wearing? Why were you going to this party? What’ d you do when you got there? Are you sure you did that? But what time did you do that? What does this text mean? Who were you texting? When did you



QUIET RIVER Justine Wake Oil and acrylic on board | 42 x 58cm | $750 | Exhibition ref: 30

person’s story has been strongly impacted by childhood adversity. I think that an experience of fairness in relation to justice is not always present for people who have experienced this, and that we face a tremendous social challenge in understanding how we can best address this to create more just outcomes. It is also a painting about a kangaroo, a marotte and a strange creature inside a heart!

My art generally explores the relationship between our everyday experiences and the role of cultural, historical and subconscious factors in influencing them. In this particular artwork, I can see the story relating to the dilemmas we all face as individuals trying to navigate complex social systems while being influenced by our own stories. As a therapist, I am often struck by the tremendous difficulties our social systems can present when the river that runs through a



A STILL LIFE Shirley MacDonald Acrylic on board | 110 x 75cm | $600 | Exhibition ref: 31

The sea is depicted as a dark ferment – arbitrary and merciless. That must be how the world seems to them as they await an uncertain and frightening future.

Here is a painting of ‘still lives’. Despite being exposed to the turbulent and dangerous open sea, these asylum seekers are going nowhere. Their cry is for justice and to receive humane treatment.



THE PLIGHT OF THE VICTIMS Amani Haydar Mixed media on stretched cotton canvas | 90 x 90cm | $4000 | Exhibition ref: 32

another person, those left behind cling to the legal process as an opportunity for healing. For me, seeing a just legal outcome, represented in a small way, the restoration of a sense of order in my life. However, witnesses and victims rarely enjoy the relief that comes with justice because reality lies just beyond the Court. They go on to contend with re- traumatisation occasioned by the trail process, as well as victim-blaming, assumptions and the prying eyes of society and the media.

I gave myself three hours to spontaneously produce a painting that reflected on justice. My mind did not go to my experiences as a lawyer, but to my memories of being a witness. In early 2017 my father was convicted for the murder of my mother. Giving evidence at trial was emotional and intense, despite the Court room being familiar and my understanding of the proceedings. When a loved one has been harmed, in this case fatally, by the intentional criminal act of



KANGAROO COURT Sean D’almada-Remedios Acrylic on canvas  | 90 x 70cm approx. | $50 | Exhibition ref: 34

national icon is placed in a position of power, it evokes questions of the creeping role of nationalism in decision making.

Kangaroo Court: A hearing lacking procedural fairness, possibly due to decision makers having predetermined outcomes on the matter. The etymology of this term is vague, however when expressed literally, and our



THE WAIT Louise Jackson Oils on canvas | 40 x 53cm | $999 | Exhibition ref: 38

that there is a chance of a positive outcome. I wanted to convey in this piece, the fear, loneliness and anxiety that so many litigants feel when they enter our justice system. I also wanted to demonstrate the hope that they must have to push forward through the process.

So many people who are engaged with our legal system are waiting... waiting and hoping for justice. We see litigants on the steps of the Courts, in foyers, elevators, jails, offices, homes, hospitals... What thoughts must go through their minds? It is a long process that can only be driven and ameliorated by an idea



SPECTACLE Young Brennan Watercolour, ink | 50 x 40cm approx. | $400 | Exhibition ref: 40

We see the world through our glasses. To us, they are clear and colourless. As judicial officers step into parties’ shoes and wear their

multi-coloured lenses, they inch closer to the truth and eventually, a form of justice.



ALL CREATURES GREAT AND SMALL Arezzo Varess Charcoal and watercolour | 84.1 x 59.4cm framed | $990 | Exhibition ref: 6

Painting with a minimal colour palette of watercolour, ink and charcoal, I hope to translate the tranquility of our connection to nature, of the justice that exists in its peaceful balance.

In the artistic expression of wildlife portraiture, I hope to capture the essence of diversity. All Creatures Great and Small is an expression of the justice that effortlessly endures in nature; of the necessity to honour and respect the essence of beings and of our connection to this natural state.



MARVEL’S FEAR Ramneet Ubbi Wood and acrylic | 30 x 23cm each | $1000 | Exhibition ref: 7

The hero is what I wish to be, fighting fearlessly for justice. Yet I am weak physically and can not resist anymore. The wickedness of the Villain has trapped me and so I live my life hiding from this fear. I am simply a comedic Villain.

For me, justice focuses on the idea of who should the individual become. At the end of the day, I become what I shouldn’t be, a Villain. It is my resolution to hide from the fear of the world’s judgment. I never want to give into this fear and so I pick the Villain so I can hide from society.



YOUTH CLIMATE ACTION SUCCESS - OUR CHILDRENS TRUST Aleta Lederwasch Archival prints on 100% cotton paper, printed with pigment inks | 38 x 32cm each $400 for the series of 4 or $100 each  | Exhibition ref: 25

awareness of legal avenues to create change toward a safe and just future, facilitate useful dialogue and inspire further actions globally. It also highlights the environmental damage we are knowingly causing which is in breach of constitutional, public trust and statutory obligations.

This work discusses the successful legal journey of youth climate activists, supported by ‘Our Children’s Trust’ in Foster v Washington Department of Ecology . Individually, these pieces highlight significant milestones from the four-year legal adventure, as well as the hope, enthusiasm, energy and perseverance of the youth plaintiffs. Collectively, they bring about



FOR ASIFA BANO Divya Lotliker Charcoal, watercolour and acrylic | 56 x 71.5cm | $250 | Exhibition ref: 33

It is a great disappointment that the conversation which followed became so politically focused, driven by the right-wing Hindu activists who defended the accused, rather than addressing the abhorrent violation of human rights. As the trial unfolds, the question remains whether justice will be served, or if Asifa will be failed by the legal system again.

Asifa Bano was an 8 year-old victim of rape, torture and murder in January 2018. Belonging to the Islamic faith but residing in the Hindu-populated region of Jammu, Asifa’s death was a result of the senseless power struggle between the two faiths. The investigation revealed the involvement of local police officers and their family members in planning the abduction of Asifa, torturing, raping and murdering her over five days.



THE HONOURABLE JUSTICE JAMES JOSEPH MACKEN Georgina Macken Pastel on paper | 30 x 40cm approx. | $6000 | Exhibition ref: 35

“ It is even worse that they are being held in these dangerous and inhospitable conditions in order to ensure no other asylum seekers and refugees attempt to come to Australia for protection. The Australian government is essentially treating refugees in these camps as human shields and this is utterly immoral. As this is being done in my name, I cannot remain silent. ”

“ I can’t believe that anybody would have run up the hill at Anzac Cove if they’ d known Australia was going to do things like this. I mean, we’ve abandoned the whole humanist character of Australia. ” My uncle Jim is a 90 year-old, a former justice of the industrial court of NSW, union official, and a member of the Order of Australia. He offered to swap places with a refugee held in offshore detention.



KYGIM Annaleigh Nash Graphite and charcoal on paper | 65 x 50cm  | $1200 | Exhibition ref: 41

model for young Aboriginal people and to aid in breaking the cycle of intergenerational disadvantage. She is deeply involved in pro bono legal work, volunteering and mentoring. Kygim hopes that her story will encourage young Aboriginal people to strive for success in the face of adversity and disadvantage.

Kygim King is a Dunghutti and Bundjalung woman. Kygim was raised by her foster mother, a single Aboriginal woman. Despite having no academic role model, Kygim became the first in her family to finish high school, and then tertiary education. Kygim was admitted as a lawyer in 2017 and now works for a large commercial law firm. Kygim’s passion for law and social justice derives from her desire to be a positive role



JUST A DOODLE Young Brennan Watercolour, ink | 40 x 30cm approx. each | $800 | Exhibition ref: 42

does one go to look behind a corporation? Isn’t achieving balance a walk in the garden? Ask a judicial officer...

To achieve justice, some unveiling is necessary. The question is, how tightly wrapped is the truth? Is physical force needed to pry apart the layers and unmask the monkey? How far



ROOM FOR ALL US IN THIS LAND – MY LAND, YOUR LAND, OUR LAND Athena Harris Ingall Handmade and hand eco dyed felt. Lino-printed cloth using synthetic dyes. Boro stitching in cotton. Cotton dyed clorophyll, wrapped in copper wire to create an incidental mordant. Leather border 88 x 53cm | $850 | Exhibition ref: 43

The work seeks to celebrate the depth and breadth of our land - its red centre, wind swept southern island, its tropical north, grasslands, waterways and undulating coast line. This is a big land on many levels of meaning. There should be sufficient room for all of us to live in peace together, respecting each other, upholding the rule of law and providing access to justice.

This work was made in contemplation of the 70th anniversary later this year of the adoption of The Universal Declaration on Human Rights by the United Nations General Assembly. Australia was one of eight nations involved in drafting the Declaration. The Declaration declares that human rights are universal and to be enjoyed by all people no matter who they are and where they live.



Butterfly Foundation is the national charity supporting Australians who are experiencing eating disorders and negative body image. It is estimated that over one million Australians are living with an eating disorder, however less than 25% are seeking treatment. Butterfly’s mission is to bring about change in the culture, policy and practice of prevention, treatment and support for eating disorders. They are committed to ensuring that any Australian with an eating disorder can access affordable, evidence based care irrespective of their postcode or economic status. Butterfly does this by providing a national support and counselling helpline – 1800 ED HOPE , prevention services for young people, recovery support services in the community and advocacy.



Yvonne East is currently a finalist in the 2018 Archibald Prize for her portrait of The Honourable Chief Justice Susan Kiefel AC. Prior to this recent achievement, Yvonne has won and been a finalist in numerous art prizes for her realistic portraits, and large scale drawing and digital projection installations. Yvonne’s practice focuses primarily on painting and drawing, but also extends to experimental new media. In addition to her studio work, Yvonne has participated in several research and exchange projects, and placed as Artist-in-Residence for a number of secondary schools and councils producing large murals. In addition to conducting workshops and mentorships, Yvonne was a presenter and producer for community radio arts shows in her native South Australia. Yvonne has had a number of solo shows in South Australia and NSW and has been involved in many group exhibitions. Yvonne moved to Sydney in 2014 and currently lectures in drawing and painting at the University of New South Wales Art and Design.

Jane Gillings has been involved with an eclectic range of work beginning with architectural model-making, taxidermy, museum preparatory work, prop- making, illustration and design, casting and mould-making and sculpture. Her sculpture practice has seen her represented in a number of outdoor sculpture exhibitions including Sculpture by the Sea, where she exhibited for the tenth year in 2016. Gillings’ work can be seen in festivals and events where she creates immersive, interactive artworks. Her work has been installed at Art and About, The Galeries Victoria, Parramatta Laneways Festival, Girrakool Music Festival, The Five Lands Walk, Taronga Zoo, Take 3 for the Sea, Mosman Festival, World Square, Beams Festival, Carriageworks,The BanffCentre, Canada and Macquarie University. Gillings is also an experienced educator with over 30 years experience working in schools and colleges. She is currently a casual artist-educator at the Art Gallery of NSW and runs workshops at the National Art School Sydney, The Australian Museum, various local councils and not for profit organisations.


Just Music song writing competition Entries close 15 July Just Music concert 31 August, City Recital Hall, Sydney


Proudly supporting the 2018 Law Society President’s charity

the law society of new south wales 170 Phillip Street, Sydney NSW 2000, DX 362 Sydney

ACN 000 000 699 • ABN 98 696 304 699 T +61 2 9926 0333 • F +61 2 9231 5809

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