DUALITY: explore the art

Download the exhibition booklet, or browse the artworks being showcased at DUALITY below.

Download the exhibition booklet

Natasha Johns-Messenger (winner)




In this artwork, Youturn, my exploration of quantum duality manifests through the deliberate use of identical structures and periscopic mirrors.  The repurposed hardwood frames, containing Red Gum cubed frames with Celery Top concentric circles, serve as a geometric framing device, creating a periscope illusion that challenges the boundaries of reality as if the artwork frames extend through the wall and back out again via the opposite corner.  The artwork’s essence resonates with quantum conundrums such as the changing behaviour of photons, wave or particle?  Are you there through the wall? ...an homage to the observer effect.

As participant-viewers engage, the installation prompts a range of possible positions until observed, reflecting the uncertainty inherent in quantum phenomena.  The dual perspectives echo the duality inherent in waves or particles, akin to the enigmatic double-slit experiment. Profound questions about what is real and the nature of reality in relation to perception are the core interest of my art practice and align with the complexities and paradoxes of quantum mechanics, inviting contemplation on the trustworthiness of our perceptions.  What is real in my perception?


With a primary interest in perception and site, Natasha Johns-Messenger creates installations that employ body-scaled architectural interventions and optical works. In 2000 she completed an MFA at RMIT University, in 2012 she completed an MFA at Columbia University, New York, and she is currently a PhD candidate in Architecture at RMIT University.

Recent commissions include: Building H Commission, Monash University Caulfield Campus, Victoria (2024); The Southern Way Freeway Commission, Peninsula Link, Melbourne through McClelland Gallery and Sculpture Park (2023); and an artistic collaboration with John Wardle Architects for the work Somewhere Other, La Biennale di Venezia, the 16th International Architecture Exhibition (2018).  Other exhibitions include: Sitelines, a solo show at Heide Museum of Modern Art (2016).  Notable public works include: Alterview (2013) in New York, commissioned by Percent For Art and NYC Department of Cultural Affairs; and ThisSideIn (2011), commissioned by the New York Public Art Fund in 2009.  In 2007 Natasha won the Den Haag Sculpture Prize in The Netherlands, presented by Queen Beatrix; in 2005 she won the Melbourne Prize for Urban Sculpture with OSW.

Minghua Xiang (runner-up)

Celestial realm

The concept of quantum originates from modern science’s deeper exploration of the microscopic world.  The spontaneous fusion of contemporary art and quantum enables this visualisation process to display quantum aesthetics in a way that breaks through disciplines.

The wave–particle duality of quantum mechanics describes the two existence forms of microscopic particles, namely particle state and wave state.  This duality of existence, under certain conditions, will produce a physical phenomenon called interference, and the visual presentation of the interference phenomenon is interference fringes.  This striped pattern is fully demonstrated in my work Celestial Realm.

Drawing inspiration from modern microscopic molecular aesthetics, I pour ink onto canvas and observe the shapes it decides to form.  It combines traditional Chinese splash-ink techniques with Western abstraction.  It is a portrait and paean to every molecular life inspired by molecular aesthetics.  It constructs a vivid visual world for the proposition of the relationship between the microscopic concept of human beings and the macroscopic concept of the universe—humans and non-human beings.  It depicts a concrete universe that is naturally disordered, chaotic and fantastic from the microscopic perspectives of the West and the East.

‘Becoming’ is the core concept and methodology of my artistic practice.  Its essence lies in Taoist and Zen aesthetics, queer theory and posthumanism philosophy, thereby challenging binaries such as gender, sexuality and race.  It transcends the Anthropocene, tolerates differences, advocates equality for all living beings, and paints a beautiful vision of harmonious coexistence for the current crisis-ridden international political relations.


Nearly 20 years of working experience as a graphic designer has taught me how to observe and perceive the world from different perspectives of commercial and art.  Minghua Xiang received a Master Degree of Fine Arts from National Art School last year.  During his studies, he received the East Sydney Doctors Scholarship 2022 and the Tweed Regional Gallery & Margaret Olley Art Centre Nancy Fairfax (AIR) Award 2023.

As an Australian born in China and now living in Sydney’s inner west on the Gadigal People’s land and an emerging visual artist, Minghua is interested in how to reflect and integrate multicultural influences.  His work is a finalist for the 12th GreenWay Art Award 2021 and a finalist for the Calleen Art Award 2023 in Australia.

Selina Decarlo (under-18 winner)


Push and pull.  Scattering and diffracting.  Observer and the observed.  A particle and a wave.  Growing up as an only child, I was always wishing for a sibling (much to the indignation of my peers), and still often marvel at the possibility of an entity or relationship so analogous to one’s own, yet conflicting, contradictory—dual in nature.  

My piece, ‘Triptych’, created for the 2023 EQUS Quantum Art Competition, explores the many appearances duality makes in our lives, in nature, and the tapestry of possibilities that unveil themselves from such interactions, fascinatingly modelled in the double-slit experiment and branched flow.

Twin panels surrounding the central panel represent complementary figures, overlayed by the double-slit interference pattern in which an emergence of electrons in the far left panel ripples out and across to the right.  A dialogue is had in this span.  The central panel fortifies this, depicting a tree-like branched flow which connects the triptych throughout.  Lotus flowers and leaves connect in tessellations inspired by M. C. Escher’s geometric abstractions of mathematical concepts.

In the words of Werner Heisenberg: ‘the atoms or elementary particles themselves are not real; they form a world of possibilities rather than one of things or facts.’  It is at times like these that I find science comforting, and that I feel less alone.  Humans, who are rooms waiting to be explored hold the extraordinary potential to kindle connections.  For relationships to branch out in every possibility.  And for every action to hold a dual nature.


Selina Decarlo is a high-school student and only child born and raised in Sydney, Australia.  She is an artist and writer at heart, having won the 2023 Be Well Youth Art Prize, as well as the 2023 BR4R Seeking Asylum Poetry Prize, placed as a top 10 finalist in the Young Authors Writing Competition for Columbia University, featured in the No Tokens Journal Issue 11 as editor’s choice, and more.

Beric Henderson (finalist)




Duality is a fundamental characteristic of our everyday world.  From the binary coding of the digital world to other dualisms inherent in gene-defined gender, biological symbiosis, philosophical debate, politics, relationships and culture.  We accept that things are black or white or somewhere in between.  But the yin-yang of the quantum world is described as a fuzzy grey zone.  A place of uncertainty where things beyond detection display wave-particle duality and whose existence can only be predicted in probabilities.

The artwork Synchrony was thus designed as an aesthetic visual representation of that quantum duality which cannot be seen. The work is an abstract three-dimensional painting created by the meticulous application of ink and acrylic paint onto 40 sequential sheets of clear acrylic Perspex.  Once assembled, encased and mounted on a custom-made lightbox, the illuminated artwork reveals a holographic image of a unique dualistic spiralling waveform in synchrony with a central particle at its core.  The wave–particle form is shrouded by a particulate and translucent radial cloud.

In keeping with the theme, Synchrony describes a self-contained complex system (or subsystem) and the artwork itself is dualistic in nature, being a 3D hybrid of painting and sculpture.  The piece reveals a nuanced symmetry and unexpected relationships of form when viewed from different angles and perspective.


Beric Henderson has a background in art and science (PhD in molecular biology, University of Sydney/CSIRO 1990).  His art explores physical and philosophical aspects of creation and how humans connect with the world(s) around us.
Beric’s art practice centres on painting, drawing, and 3D painting on multi-layered Perspex, and recent projects focus on scientific themes relating to cosmology and space-time, accelerated evolution, symbiosis, transformation and global warming.

He has contributed to more than 70 exhibitions throughout Australia, South Korea, Venice and Switzerland since 2003.  He has been shortlisted for many national art prizes, most recently the 2024 Waterhouse natural science art prize (Adelaide).

His work is held in collections including the New Norcia Museum religious art collection (WA) and the Figure1A science art collection in Lausanne, Switzerland. In 2019 he contributed to an art-science exhibition at Palazzo Albrizzi in Venice and in 2022 his 3D painting Emergent #2 won an exhibition award in Lausanne.

Danyal de Gruchy (finalist)

We are all particles

“We Are All Particles” delves into the intricate concept of duality, drawing parallels between the enigmatic nature of quantum particle and wave functions, and human beings themselves.  I believe we are in physical human bodies to have an experience of duality.  We are the one becoming many to have the pleasure and joy of the experiencing the one again.  Wave to particle to wave to particle.  Like a cosmic dance of contraction and expansion.  A universal breath in and out.  To know, we have to experience not knowing.  For light to exist, it must be paired with the dark, to cast a shadow.  For Life to exist, there must be death.  Duality is such a fundamental part of being human.  And curiosity is the driving force of all action. We are the universe contemplating itself.  We are but mirrors of the divine.

Each coloured particle within this piece represents a spark of that divine energy.  Popping in and out of entangled existence, viewing the world from our own individuated perspective.  Each painstakingly painted particle is a thought, a thread, an epiphany.  Each particle is an observation of the world.  Each particle is a version of life.  Each particle is an experience.


Danyal de Gruchy is a self-taught mixed media artist living in Camden NSW, Australia.

She marries a multitude of mark-making mediums with collage techniques, creating layered, detailed works that spark the viewer’s curiosity, prompting them to reflect on their own beliefs and connection to Spirit.

She contemplates her own connection to consciousness, and through the lens of her own introspective journey, physically manifests the messages and visions that unfold during meditative practices.

Embracing the infinite potential of mixed media, she weaves a tapestry of references and symbology, colours and forms to mirror and echo the intricate, energetic layers of life force energy.  She creates in both conscious and subconscious flow states, making marks in which each piece created then becomes an intricate piece of a much larger universal jigsaw puzzle.

Eunjoo Jang (finalist)

Accumulated time-space

My desire for space is not limited to physical dimensions.  It encompasses the imagined and dreamed realms that nurture my soul.  True living transcends physical spaces. Inner landscapes of dreams and imagination fuel our sense of aliveness, offering shelter and connection beyond location.  This resonates with our digital world, where we forge diverse spaces, shaping and being shaped by them in a seamless dance.  It is intertwined in a poetic sense in our consciousness and unconsciousness in the realm of blended reality. The reflection of our inhabited space where the non-I (virtual) protects the I (physical).  Memories can also feel fragmented or incomplete, similar to how a damaged scratch hologram might produce distorted or partial images.  This duality reflects the complex nature of how we store and retrieve memories.  Therefore, I create aerial views using line drawings and painting on aluminium for the physical or ‘real’ representation.  Scratch holograms are then superimposed to represent ‘virtual’ reality.


Eunjoo Jang completed a Bachelor of Fine Arts (Hons. Class 1) in 2013 and a Master of Fine Arts (Research) from the University of New South Wales Art & Design School.  She was a recipient of the Australian Postgraduate Award (2014–2016). 

Eunjoo began exploring scratch holography in her Honours year (2013) and has since developed a series of works in this medium that have great potential for engaging with new technologies.  Incorporating scratch holography, mobile tech, and walking, she creates immersive experiences addressing contemporary issues of migration, memory and identity.  Her work is award-winning (GreenWay 2019), has been shortlisted for several distinguished awards, and has featured in several collections, including the Macquarie Group Collection, Art incubator and the Council of the City of Sydney.  She has a solo exhibition planned for 2024 at Chrissie Cotter Gallery.

Gözde Üstün (People’s Choice Prize)

Antimony machine gun

The artwork before your eyes has been my life for over eight months, and as I write this text from my office well past 10 pm, it becomes a testament to dedication.  What captivates your gaze is the Antimony Machine Gun, my PhD project.  Antimony is an element with a high-spin nucleus.  With its 16 levels in a charged neutral state, it transforms the Hilbert space, where all two-dimensional vectors reside, into a 16-level wonder.  This creation, both magnetically and electrically controllable, features eight distinct frequencies, illustrated by the arrow-like lines emanating from the core at the center—the antimony atom.  The square-like shape encapsulates the essence of antimony, symbolising our silicon chip where we artfully embed this precious element.

Within these eight frequencies, photons are emitted in such a way that they are encoded into these frequencies.  The mystery lies in not knowing which frequency the photon occupies, making it a valuable entangled state for quantum computation.  Is it the first frequency or not?  The second frequency or not?  Each frequency is a dance between photon and vacuum, a suspenseful revelation upon observation.

The excitement—and occasional frustration for me—lies in the continuous emission until the electron dephases.  The dimensions of entanglement multiply themselves with each cycle a photon is emitted: 8 in the first cycle, 64 in the second, 512 in the third, and a staggering 4,096 in the fourth.  At the fourth cycle, a vast 4,096 × 4,096 matrix emerges.  This artwork, born from the mindset of “if you can't understand, make it art”, stemmed from days spent delving into the complexities of this colossal matrix.  What I initially deemed an error turned out to be the inherent nature of antimony when fashioned into a machine gun.  Until I figured that out, I was closing my eyes and trying to imagine antimony.  This artwork is exactly what I was imagining when I closed my eyes and tried to understand what was going on.  To make this artwork as exactly as I imagined, I drew a draft which included all the detailed science and then I used an AI application and trained it with my draft image for hours.

Through countless sleepless nights, sometimes haunted by antimony matrices in my dreams, I finally grasped the intricacies.  Now, relieved, I move forward to the next phase of my project with this artwork.  The term “machine gun” transcends its conventional meaning; it signifies the creation of useful, continuous entangled states.  In a world weary of traditional machine guns that sow pain and misery, this piece stands as a unique testament, striving to elucidate the intricate nature rather than exacerbating the world's woes.

PS.  I am immensely grateful to Simon, my beloved, amazing supervisor, who conceived the idea of the Machine Gun, guiding my passion for this project and leading to moments of inspiration day or night.  I also extend my heartfelt appreciation to Andrea, my other cherished supervisor, who always pushes me to achieve excellence.


Gözde Üstün hails from Türkiye, specifically from the charming town of Şarköy near Gelibolu, where her grandmother’s roots are deeply embedded.  She journeyed to Australia to pursue her PhD studies at UNSW, specialising in error correction for quantum computers.  The fascination with art has been a constant thread throughout Gözde’s life, woven into the fabric of her childhood.

Her artistic journey commenced at the age of 15, on the stages of Istanbul City Theatre, where she first explored the world of acting.  After graduating from the physics department, her quest for knowledge led her to Paris, where she immersed myself in research for nearly three enriching years, culminating in the completion of her master’s degree.  Paris, with countless art museums, became the canvas upon which Gözde pondered the dichotomy of modern versus classical art.  For her, the answer was unequivocally classical.

Subsequently, Gözde ventured to Australia, a place that had always lingered in her childhood daydreams because, every April, the presence of Australians in Gelibolu delighted her as a child and sparked her curiosity to one day experience Australia.  Now, in a beautiful twist of fate, she finds herself pursuing her PhD in this captivating land, with Sydney—affectionately becoming her second home—also the place she started creating graphical art.

Jonathan Fae (finalist)

Between worlds

The multimedia piece, “Between Worlds” is inspired by the concept of wave–particle duality and the simultaneous existence of human awareness in multiple states relating to how humans in one moment may appear to be a “wave”, and yet within another moment, acts like a “particle”.  This artwork delves into the juxtaposition of constant motion and absolute stillness, reflecting the human experience of navigating through life amidst chaotic thoughts that often leave us suspended between different realms, different points of time and states of being.

Through this piece, viewers are encouraged to reflect on the intricate dance between chaos and order, motion and stillness, ultimately inviting them to embrace the inherent dualities that shape our perception of the world around us.  The materials used for this piece include old photographs found at the tip used to weave a collage, painted over with acrylic.


Jonathan Fae, a classically trained musician, is a versatile multi-instrumentalist and multimedia artist.  With a background in classical training, Fae seamlessly blends his musical expertise with his passion for visual arts, creating a unique and captivating artistic style.  His work reflects a harmonious fusion of different art forms, showcasing his ability to transcend traditional boundaries and explore the interconnectedness of music and visual expression.  Through his innovative approach and dedication to artistic exploration, Jonathan continues to captivate audiences with his multidimensional creations that push the boundaries of conventional artistry.

Karalyn Shaw (finalist)


Quantum yin yang

This work was inspired by a 2023 article in Nature Photonics regarding biphoton digital holography—imaging of amplitude and phase of spatial biphoton states.

Coincidence imaging of superposition of an unknown state with a reference state enabled quantum state tomography.  A coincidence image of interference between a reference spontaneous parametric down-conversion state and a state obtained by a pump beam with the shape of a yin-yang symbol, together with a reconstructed amplitude and phase structure of this image imprinted on the unknown pump, were presented in the article.  However, these images were misrepresented in the wider press, essentially, as ‘quantum entanglement is evidenced by a yin yang symbol’: duality (truth and fiction; fact and misrepresentation).

The duality is further encapsulated by: the yin yang symbol itself representing the interdependence of opposing forces in nature or the cyclical nature of life; the two, base large clear acrylic circular forms incorporating smaller mirrored, central, black and white (also, fundamentally, dual opposites) circular forms (enabling the viewer to contemplate their own ‘duality’ or reflection); and smaller red, yellow and blue semi-circular forms which, when overlapped with the second larger disc, create a red and green contrast akin to the reconstructed image in the aforementioned article (one of a primary colour with a secondary (duality again) on the colour wheel).  Viewing the discs together as a sculptural installation, also invites the viewer to distinguish between seeing particles or waves (a fundamental quantum duality)—the circular forms evidence particles but the diameter lines (reminiscent of slope fields) of the bi-coloured, smaller circles within the piece, connect to reveal wave forms. 

Overall, the work, created from translucent acrylic elements, depicts dualities within duality.


Karalyn Shaw is an interdisciplinary, intercultural and often conceptual contemporary artist from Brisbane, Australia whose work parallels and endeavours to reflect upon, her life’s multifaceted and interconnected experiences.

Evolving in an increasingly raw manner, she creates from her streams of consciousness, always seeking to better meaning-make and understand her thoughts and varied connections. She endeavours to utilise project-relevant materials and techniques and enjoys associated experimentation.

Karalyn has a love of pattern and light and is strongly influenced by the visual: symmetry and geometry; words via word-play, philosophy, literature, poetry and vibrant, varied languages and cultures; her zeal for nature and science; and her deep concern for humanity and our environment. She regularly sits at the nexus of science and art drawing upon both realmsto inspire her creations. 

Her creativity is often informed by her study in engineering, physics, art and design, presently; and previously in law, languages and psychology.

Lorry Wedding-Marchioro (finalist)

Nothing is, everything is becoming

There is a strange kind of reality which lies beneath our perception of the world.  A paradox which contains the potential for light and matter to present itself as either a wave or a particle in a complementary symbiosis.

Science tells us that it is the excited vibration of particles which create matter in the material form.  The sculpture Nothing is, everything is becoming, explores this concept, marking the moment when particles pop into existence and form into a solid state.

The sculpture acts as a metaphor to portray the invisible as visible, using material means to embody concepts of immaterial phenomenon in order to strive for a deeper understanding of scientific concepts whose meaning remains elusive to most.

Art and science exist at an intersection of inquiry into understanding the word we live in.  By investigating each other’s methods we are able to come to new understandings of our reality and enable the possibility of perceiving our surroundings in new ways.


Lorry Wedding-Marchioro lives and works on a property surrounded by nature in the Adelaide Hills.  As a sculptor she is interested in delving into the complexities of how we perceive and experience the reality around us.  For many years scientific theories and philosophical ponderings surrounding quantum mechanics have proven to be inspiration for her work, of particular is the observer effect and the way each viewer brings their own subjective experience into play to perceive their own unique view of the world.  Using this premise, Lorry creates sculpture which embraces ephemeral phenomenon, light, shadow, reflection and refraction as well as ambient air movement to make the sculpture kinetic.  Her intention is to encourage the viewer to become aware of all the subtle and interesting things which often go unnoticed so that they may bring that knowledge into a new perception of their surroundings in their everyday life.

Currently she is undertaking a PhD at the University of South Australia, exploring topics related to space, time and the fourth dimension.  Her practice encompasses public art, installation and exhibition pieces, and can be found in collections throughout Australia, Hong Kong and Singapore.

Sal Cooper (finalist)


This work is a hand-drawn charcoal on paper animation.  The process by which I make this work is analogous to the duality of the particle and wave—it is created from hundreds of charcoal drawings on paper that I then digitise into a sequence of smooth motion.  The magic of animation is an expression of the continuous transformation of a discrete single frame, filled with fragments of charcoal powder, to animated continuity.


Sal Cooper is an interdisciplinary artist who has been practising for fifteen years with a focus on screen-based works.  Her wide ranging cross-platform practice covers independent filmmaking, hand drawn and stop motion animation, installation and performance events.

Her work utilises an observational language that gives expression to deliberate misunderstandings, absurd irregularities and comic abstractions.  She employs complex and refined production techniques to project a lyrical depth and meaning onto objects and landscapes—fully exploring the imaginative possibilities of the ordinary world around us.


Alicia Sometimes & Andrew Watson (highly commended)

co / existance

‘co / existence’ is a poetic audio-visual narrative inspired by the paradoxical nature of light and the wave–particle duality.  As a wave propagates, where is the particle?  As we move through space, where are we?  Who are we? Exploring the rich and vital playground of quantum physics, we experiment with sound interference patterns, decay, ‘phases’ of repetition and visual oscillations, diffraction and points of reference.

you / me

we exist as multitudes
manifolds of decisions
everywhere and nowhere at once

every light is unfurling
every light is probability
every light retracing its own step

waves / particles
time / space
observer / participant
gone / here

how we stare at each other
how we can’t see what is there

we begin at interpretation
a vortex of interference

you / me

your light crashing into mine
amplitudes of displacement

photons / wavelengths
frequency / energy
momentum / possibility
distribution / harmonics


we are guided by waves
swarms of our archives

how you deliver all your 
thoughts in a garden
watching a sunset
crests and troughs of persistence

how we end up as oscillations
decisions left unsaid
entangled calculations

you / me

every electron
a fuzziness of flutter
combinations of everywhere it could be
until we observe

how we said hello in silence
why we don’t diffract into pieces
particles never at rest

we decide to move through this

me / you

waves / particles
time / space
inaction / action
later / now

engulfed in deflection

you are one thing here
you are another thing there

dismantling structures

wave / particle
you / me

we exist as two states at once

everywhere / nowhere
and undefined


Alicia Sometimes (words and vocals) is a writer, multi-media artist and broadcaster.  She has performed her spoken word and poetry at many venues, festivals and events around the world.  Her poems have been in Best Australian Science Writing, Best Australian Poems and many more.  She is director and co-writer of the science-poetry planetarium shows, Elemental and Particle/Wave.  Alicia’s TedxUQ talk was on combining art and science.  In 2023 she received ANAT’s Synapse Artist Residency and co-created an art installation for Science Gallery Melbourne’s exhibition, Dark Matters. 

Andrew Watson (video art and sound design) is a video artist, director, multi-instrumentalist and sound designer.  His video art practice involves manipulation of real-world filmed elements manipulated into visceral imagery representing both the artistic and scientific.  He was co-producer, video artist and composer for Particle/Wave and co-created the art installation for Science Gallery Melbourne’s exhibition, Dark Matters.  Andrew has performed in many venues around the world.

David Doull (highly commended)

Duality: one to another

The starting point for this work was the resulting pattern from the double-slit experiment.  As it is possible to see that experiment as a starting point for quantum mechanics, it felt like the place to begin an artistic exploration of wave and matter duality.

The interference pattern is treated as a material object and then duplicated thousands of times.  Each copy is moved and rotated to create wave like motion.  The resulting patterns are mirrored and overlaid creating further patterns of interference.  The work also mimics a property of quantum entanglement in as such that the pairs of coloured patterns have correlated but opposite rotations.


David Doull is a digital artist based in Adelaide/Tarntanya, South Australia.  He was a finalist in the 2023 All connections to Unley art prize and is the creator of the digital art coding tool “EndlessArt”.


Karri McPherson (highly commended)


Quantum physics is a realm of dualities, where seemingly contradictory principles coexist in a seamless dance.  This artwork delves into this dichotomy through the phenomenon of quantum entanglement, where particles become interconnected and lose individual identities.  “Entanglement” mirrors the unity in duality, where opposites converge to form a harmonious whole.  This painting portrays a dance of intersecting fractals, each point intricately woven with others to form a tapestry reflecting the dual nature of existence.  Much like the multidimensionality of quantum particles, the layers of form unravel a kaleidoscopic fusion of patterns, suggesting the complexity that lies within simplicity.  The blending of lines and shapes symbolises the fusion of opposing forces, akin to the dual nature of light—both wave and particle.

Entanglement transcends the boundaries of space and time, much like the fusion of dualities depicted in the painting.  It is a reminder that the universe, at its most fundamental level, is a delicate balance of opposing forces entwined in an eternal embrace.  Through this artwork, viewers are invited to contemplate the inherent unity in seemingly disparate elements, urging them to explore the interconnectedness of all things.  Just as particles in quantum entanglement communicate instantaneously, transcending spatial separation, this painting serves as a reminder of the unseen connections that bind us all.  Ultimately, this artwork is more than an exploration of opposites; it is a testament to the inherent unity that pervades our universe, where particles unite in a cosmic embrace, transcending the limitations of space and time.


Karri McPherson is a visual artist and painter based in Adelaide, Australia, who specialises in the form of geometric abstraction.  She graduated with a Bachelor of Creative Art (HONS) from the University of Southern Queensland in 2020 and has been pursuing a career as a full-time artist ever since.  Throughout her career, Karri has participated in more than 50 group exhibitions, and has artworks held in private and public collections globally.  She has been awarded three Emerging Artist Prizes, most notably winning the Brenda Clouten Memorial Travelling Scholarship at the Maitland Regional Art Gallery in 2020, where she subsequently attended a residency in rural Iceland in 2022.  Over the past six years, Karri has held four solo exhibitions, including shows at the Toowoomba Regional Art Gallery and the Broken Hill Regional Art Gallery.  Karri’s dynamic geometric artworks reflect her dedication to pushing the boundaries of her craft by consistently exploring the universal language of shape and form.

Klaus Major (highly commended)


An original unretouched silver gelatin photograph, with hand coated emulsion on torn watercolour paper.  Unique print (1/1).

The photograph ‘Paradox’ is a fragment, as if ripped from the quantum world, and represents particle–wave entities in an energy-rich quantum field.

A theoretical link between a property normally associated with particles—momentum—and a property normally associated with waves—wavelength, was developed by French physicist Louis de Broglie in 1923.  His equation p = h/λ (momentum = Plancks constant ÷ wavelength), established a particle–wave duality.

‘Double-slit’ experiments were one method used to confirm de Broglie’s hypothesis.  In one version, electrons were fired towards two thin vertical strips in a plate, and those that travelled through the slits had their position recorded when they hit a recording screen.  In the results, there were not just two vertical bands recorded (as might be expected in classical physics), but instead there were multiple stripey vertical bands in an interference pattern.  This pattern was still produced even if there was a real time separation between firing each electron.

A quantum explanation of this duality phenomenon draws on the concept of a ‘particle–wave entity’.  As reflected in Paradox, the entities have both momentum (to generate a ‘hit’) and waves (to produce interference).  A particle can be seen as equivalent to a wave packet, most of it actively ‘gathering’ around the particle.  Parts of the waves extend to infinity. The particle–wave entities can move in an infinite number of ways, in all possible paths at once.


Klaus Major is a multi-exhibited photographic artist who lives in Sydney, Australia.  His observational and conceptual photographs are drawn from natural, built or social environments.  Some of his work reflects the poetry of the everyday; others reflect more mysterious worlds, seen and unseen, particularly referencing cosmology, quantum physics, and other realities.  He is the author of six self-published photography books.  In 2022, he was a finalist in the Headon Landscape Awards.  He has had eight solo exhibitions and six group exhibitions in Sydney, Melbourne and Canberra.

From early beginnings using a self-made pinhole camera, he has built his skills to include large-format development and archival printing, and the use of alternative photographic techniques.  His qualifications include BSc and MLLR.  He has also completed various short programs in photography, and completed a unit at Curtin University on the History of Art. 

Email: klausmajor@outlook.com
Web: www.klausmajor.com.au 
Insta: @klausmajor

Alex Riske

Quantum eye

In this artwork, I am portraying a multi-dimensional view of an object.  The segments bounded by white represent symmetrically arranged lenses into dualistic states of being for both ‘the object’ and ‘the mind’.  In a world defined by polarity, everything is informed by its opposite.  ‘High’ needs ‘low’ to locate a position between the two, as does ‘near’ and ‘far’.  However, normal perspective doesn't seem to work with rendering the quantum state, because, once made visually whole and singularly separate, the object breaks from other dimensional versions of itself.  It seemed better to me to undo perspective and hold disparate views at once, using the mind to perceive simultaneous states together.

In fact, ‘entanglement’ seems to reverse the conventional viewpoint of what an object is, as the viewer becomes a key player in ‘noticing’ the object and thereby materialising it in one state and location or an other.  The view I am rendering here therefore is more about potential states where the possibilities for manifestation are held in mind before being materialised in a ‘separated location’.  I see the potential dual nature of the object as also being an existential mirror.  A mind cannot know it is a mind if it doesn't have something separate from itself to tell it so.  It also needs to split, forming two separately projected ideas of mind that can reflect on each other.  The idea of an object helps to achieve this.  The object and the mind seem equally ‘entangled’ in states of duality.


Most of Alex Riske’s artwork deals with concepts which arise when exploring mathematical and geometric principles in drawing: numbers, shapes, fractals and other meaningful patterns that he might come across.  Metaphysical realisations have often arisen in the execution of these kinds of works, because he finds many of the forms are expressing some kind of deep structural message which relates directly to the nature of our life in the universe.

Amanda Seedhouse

Electrons have feelings

In quantum mechanics, duality is a complex concept where particles display both wave-like and particle-like behaviours simultaneously, adding layers of uncertainty, as described by Heisenberg’s principle. 

“Electrons have feelings”, a captivating fibre artwork, blends the mystery of quantum duality with our tangible understanding of the world.  Inspired by mathematician Daina Taimiņa’s inventive crochet work illustrating abstract mathematical concepts, this piece bridges the gap between the elusive quantum realm and our graspable reality. 

In the controlled environment of a quantum laboratory, deciphering the quantum world requires translating it into classical terms, introducing uncertainty while seeking understanding.  Using meticulously collected real-life data from a single electron, the artwork transforms it into a visual narrative, capturing the dance of an electron’s behaviours and emotions. 

Each stitch represents a measurement, removing the wave-like behaviour and rendering particle-like information, encoded with the real-life data.  With repeated measurements, the statistical, wave-like nature can reveal itself to classical creatures such as us.  Through this intricate portrayal, viewers are invited to delve into the depths of duality, where the tangible and intangible merge in a captivating blend of art and science.


By day, Amanda Seedhouse is into quantum research, but by night, she enjoys crocheting.  Inspired by Daina Taimiņa’s work on hyperbolic planes, Amanda decided to blend her hobbies.  Using real lab data, she made a cool artwork, mixing quantum stuff with craftiness.  It's not just about showing off quantum complexity; she hopes it inspires others too.

Angela Novianty Tanesha


At school I remember how thrilling Einstein’s photoelectric effect was.  To me, there was a demarcation of a world before wave–particle duality, and after.  Physicists sometimes joke about the danger of diffracting through doors.  A side effect of approximating objects as point particles, I guess.  An average walking human’s de Broglie wavelength is of the order of 10−35 metres.  Zoom into empty space and you might see spacetime frothing at this magnitude (theoretically).  They’re also known as quantum foam.  Knowing how waves bend around objects the size of their wavelength, are we ever safe?

During the COVID-19 pandemic, I was living in Melbourne and had just started my masters.  When the city entered an abrupt lockdown, I felt genuine fear of these invisible viruses.  Suddenly they appear around you and it’s not safe.  The most mundane actions like opening a door could hurt you. 

Dystopian fiction strangely gave me solace.  Worlds are filled with rich descriptions of how people found a way.  As the lockdown dragged on I too found a new normal to an impossible world.  I’m amazed the world found time to bake and make aesthetically pleasing posters.  We couldn’t give up this creative nature even in times of danger.  Humans, as particles, are very complex indeed.  This inspired me to make these posters.  In a parallel universe experiencing a quantum foam spill, what would their posters look like?  Will they make them as if they’re art?  When diffracting, will they gain back their particle nature?


Angela Tanesha is a physics graduate currently working in nanotechnology.  Originally from Indonesia, she moved to Melbourne in 2017 to study physics and then to Sydney in 2022 to join the physics industry.  She is particularly interested in condensed matter physics where the properties of materials are fine-tuned from seemingly tiny changes.  Besides physics, she is fascinated with world-building.  She has been doing graphic design work since 2011 and in the last few years branched out to illustrations and video game development.  She loves learning new skills and creating worlds that make people smile.

Calden Ford


In this depection of duality I attempt to bring to life the rich world of quantum mechanics, often thought of as a vast and empty space I believe it is just as vibrant and collosal as any of the other universal enviroments.  Energy swirls and atoms flow through a connected highway of motion, all collaborating to create a synphony of colour.  In the midst of the chaos lyes a glowing orb.  It consumes and expresses, an exchange of quantum information which is spread into the abyss taking shape and form through all levels of matter eventually finding its place in the minds of men.  Perhaps we are internally connected to this ocean of information, perhaps there is more to us than meets the eye.


Calden Ford is 22 years old, originally from South Africa.  In his works he attempts to explore the furtherest reaches of his mind and express them through the medium of art.  To create things never seen before and pose questions never asked.  Typicallly Calden’s style revolves around graphite portraits yet abstract art has always allowed him to express himself further and contrubute in new ways.  Although he is still a new and upcoming artist he has great aspirations to create innovative and intellectually stimulating artworks. 

Calden is currentlly residing in Cairns QLD where he am persuing his passions of art, music, videography as well as literature.  He wishes to explore all artistic paths where he is able to create media that is orignal, creative yet remaining humane.  He believes art and science effect our lives greatly and are able to contribute furthermore when presented in a relatable and personal matter.

Erion Isufi


Introduction: The relationship between Earth and Sky encapsulates a profound duality, encompassing both tangible and ethereal realms.  This dichotomy reveals contrasting elements that evoke harmony and tension, offering insights into human perception and the cosmos.

Left: The Grounded Realm Earth symbolises stability, materiality, and nourishment, providing a tangible foundation for life.  From mountains to plains, it shapes our physical world, grounding humanity in familiarity and endurance.

Right: The Sky represents the infinite expanse above, where celestial bodies dance in cosmic harmony.  It transcends boundaries, inspiring wonder and contemplation, symbolising human potential and transcendence.

Middle: The empty chair is there to tell you to get out, sit down somewhere and enjoy the duality in which you are living.


Erion Isufi is a student in architecture (final year) from Kosovo.

Fayroze Lutta

Petals protea

Petals Protea Particle–Wave Duality showcases the petals’ ability to exist both as discrete particles and as wave-like patterns.  This duality reflects the fundamental principle of quantum mechanics that all entities, including particles like electrons and complex systems, exhibit characteristics of both particles and waves simultaneously.

Superposition: The arrangement of the petals in a scalloped shape, coupled with the use of inversion and mirroring, illustrates the concept of superposition.  Each petal represents a potential state, and the overall pattern demonstrates how these states can overlap and coexist, like how quantum particles can occupy multiple states simultaneously until observed.

Entanglement: The intricate interplay of the petals in the video symbolises entanglement, a phenomenon where quantum particles become correlated and share properties regardless of distance.  This mirrors the way the petals influence each other’s positions and movements within the visual composition, akin to how entangled particles affect each other instantaneously.

Complementarity: The video highlights the complementary aspects of the petals’ dual nature—as individual elements and as part of a unified pattern.  Similarly, particles and waves exhibit complementary behaviours, with their manifestations depending on the experimental context or observation method.  This emphasises the interconnectedness and coexistence of seemingly contradictory phenomena, echoing the EQUS description of duality as a fundamental principle of the quantum realm.

In summary, the artistic interpretation of the looping video of flower petals provides a visually engaging exploration of quantum duality, aligning with the theme of duality by illustrating key concepts such as particle–wave duality, superposition, entanglement, and complementarity.


Fayroze Lutta’s influence is felt far beyond the confines of her studio, through her workshops and collaborations with organisations such as the Northern Beaches Council Campbeltown Arts Centre, Museum of Contemporary Art, and the City of Sydney Council, inspiring the next generation of artists and creatives.  Her artistic practice is a true testament to the transformative power of art, its ability to inspire, uplift, and support individuals, and its capacity to effect real change in our communities and beyond.

Fayroze is a visionary artist who pushes the limits of contemporary art with each new piece.  Her works explore the intricate intersection between the built environment and the natural world, transcending traditional mediums and challenging norms.  Fayroze’s dedication to creating public art that inspires, uplifts, and supports her community showcases her unique and powerful perspective on the intersection of art and health.  She is a leader in the field of environmental and functional design, with numerous awards that attest to her artistic abilities and dedication to her craft. Fayroze’s recent exhibition DISSCONEX was featured in the Art Almanac, highlighting her innovative approach to artistic expression.  With a deep understanding of the transformative power of art, Fayroze is able to create works that transcend the limits of traditional artistic expression, inspiring us to explore new and innovative ways of engaging with the world around us.

Hana Mitchell

Behind the veil – duality

Dimensions with frame: 59.5 cm × 84.1 cm
Materials: digital illustration print, Procreate, artwork bordered in black velvet material

“He has lifted a corner of the great veil” – Albert Einstein. This quote inspired the artist’s work as it references Louis De Broglie hypothesis “any moving particle or object had an associated wave”.

The historical significance of the duality theory in this instance inspired a surreal interpretation, challenging further concepts and ideas of duality in which we know to be true.

This digital work illustrates both what we know and what could be—Behind The Veil.  Mirrored portraits of light and shadow express the external universe in contrast with the inner-universe.  Like the duality of light and darkness, one without the other is without itself.  Further exploring concepts of duality, the artist illustrates contrast between knowledge and wisdom and how each side is integral to each others existence.  This is expressed through archetypes of masculine and feminine either side of the veil.  Understanding duality as an integrated form like wave and particle, we can explore infinite possibility through curiosity in all aspects of ongoing evolution within science and society, ourselves and each other.


Hana Mitchell is a visual artist based in Melbourne living with a disability that identifies as Blind/Low vision.  With the medium of digital art and the remainder of her vision, Hana is able to collaborate with technology and surpass these limitations.

“Illustrated by the hand of intuition and inner vision, I always seems to find myself in a surreal and fantastical universe when translating ideas from mind through pencil to paper.  When I am drawing, painting and creating, I feel as though I am blind no more, in fact I feel that I can see clearer, sharper and brighter than ever before.”

With a background in fashion illustration and visual arts, Hana enjoys working with Adobe Illustrator and predominately Procreate.  As her eyesight deteriorates, technology has and will be her greatest ally and platform to bring her artworks to fruition.

Hayden Fletcher


As with my entry last year, I am not a quantum physicist however through the description given my personal interpretation was: “endless possibilities existing between waves and particles which are occurring at the same time”.

For my art piece, the core foundation was that I needed to make something that would connect yet contrast itself all on one page.  I took the concept of particles and waves literally and created a set of RGB (red, green, and blue) lines which split all in different directions.  Starting at a source these colours branch out in different ways and eventually leave the page to continue endlessly.

The reason for the use of RGB is that these colours are the foundation of how humans see colour through trichromacy.  As humans, there are certain colours that we cannot see yet we still try to understand much like the universe itself through the study of quantum physics.

The background depicts dark shapes flowing like a river horizontally with white empty backgrounds opposing the bright lucrative line work.  These represent the endless amount of possibilities available.  These two aspects working together is a visual metaphor for the concept of duality.  An abstract way to show one of the many theories surrounding the universe we live in.


Hayden Fletcher is from a small rural town in the New England region of Australia, and specialises in creating artwork through the Adobe Creative Suite (Photoshop, Illustrator).

Primarily Hayden’s artwork is contemporary abstract art, distinguished through the use of bright colours with a black background, symmetry, and are based upon intangible subjects or themes.  Some of these works are animated to further enhance their uniqueness and quality.

Hayden’s goal is to create a new style using innovations in technology to create artwork for both the general public and the art world.  To make something new and exciting in a world of severe commercialism and safe ideas.  With technology, artwork can be elevated in terms of colour, shape, and the canvas itself.

Helen Walters

Big Bang: where it all began – or did it?

Mixed media including acrylic paint, soil, paper, foil and plant material.

The Big Bang is considered the beginning of the universe or is it a recurring phenomenon?  Expansion and contraction on an unimaginable time line. The ultimate duality—waves and particles, coalescing and division—to infinity and beyond.  Everything in this work is was formed in the universe including myself.


Helen Walters studied art and design at Brighton University in the UK before coming to Australia in the 1980s.  She has pursued various creative avenues, including textiles, cartooning and painting.  Helen has exhibited with a local art group, the Easter Show in Sydney and Ku Ring Gai Art Centre.

Helen has studied at Macquarie University and has a Masters of Arts (Research) from Sydney University.

Jana Christensen


My art work illustrates duality by showing two different cats as individuals operating within their own world.  Cats are very well known to be individual animals and tend to not operate as a pack.  Relating to Schrodinger’s cat we can see them as two or not, as one is bursting out of the box whilst the other is walking away unaware or unconcerned whether the other cat is real or not.  The larger cat has a tag indicating the Schrodinger S out of respect for his parable.  The division of the artwork into a black panel and a white panel proves that not all is not just black and white even in a duality.


Jana Christensen has enjoyed painting for a number of years which stems from their work as a graphic designer years ago.

They love working with a variety of subjects so do not tend to be catagorised into any one subject matter. Jana has a wide variety of works they have completed with a wide range of subjects.  Their main focus is working with acrylics on canvas but they have also completed some work in paper sculpture.  Jana hopes to continue painting for many years and take on new challenges to expand their ability.

Jefferson Vimana



This is an ultraviolet (UV) drawing that reacts with three-dimensional chroma-depth glasses and UV light.  It demonstrates light particles behaving like a wave during refraction passing through a prismatic raindrop.  The central spherical subject, positioned as the sun, is an illustration of the first ever hologram of a single photon made with ‘quantum holography’.  The light’s rainbow rippling outwards illustrates the first photograph of light behaving both like a particle and like a wave.  Waterfalls represent particles projected in the double-slit experiment, splashing into water with bubbles escaping, we are given the classic interference pattern.  Shimmering metallic paints are particle models seen at the bottom as slit ‘peaks’ next to gradients as ‘troughs’.  Metallics are also models of water droplets ascending through evaporation completing the water cycle.  Water comparisons are obvious when considering wave–particle duality.  The keyholes where waterfalls are gushing serve as electron beam guns firing particles, yet also question mysteries of water’s origins symbolising scientific hypothesis.  A correlating central keyhole where particle activity morphs symbolises a change through new visionary understanding.

Science seeks raw truths about nature, while art often disregards the literal being encouraged to explore beyond imposed boundaries.  In its own duality art employed by science communicates with representations such as colours or shapes chosen based on assisting people’s ability to perceive concepts introducing abstract elements.  A single theory or work can develop into a wave of change across consciousness and occasionally works its way into innate knowledge that we all collectively share.


Jefferson Vimana is a multidisciplinary artist and musician whose visual work focuses heavily on drawing, paint, video, print and installation work.  For over 20 years, Jefferson has experimented with making various 3D artworks that are activated through optical aid, and has developed their own unique methods of creating such works.  These and other pieces have been shown in galleries across several countries and as album art on the walls of record stores.  Much of the subject matter in Jefferson’s work is rooted in magic and mysticism, with a heavy interest in time travel and the interdimensional.  Jefferson studied art from a young age of 6 privately and on through several universities in the southeast of the United States, where they built their education around ideologies about mural art and gateways to parallel worlds. 

Kathryn Blumke

Kedron Brook quilt 7,8

With a background in physiotherapy, I am interested in conversations intersecting holistic healing, art and science.  Drawing from quantum physics wave, particle duality theories, I argue the notion that within processes of entanglements as I go walking along the Kedron Brook and paint, rhythms are created by waves.

I base my research upon Karen Barad’s posthuman, theoretical framework of agential realism.  In agential realism, Barad maintains that lively new ontologies of matter are generated through intra-action by diffraction of waves, overlapping and spreading out, in processes of entanglements.  In this way realism is not representational but performative, mapping where the effects of difference appear.  In this way, Kedron Brook Quilt 7,8 is not representation of form but is of my experience of walking in nature and painting.

I theorise through Bohr’s ideas of quantum physics, that elections can drop back in their orbits, releasing quantum particles. I argue that these surplus energies that are released in my joyful entanglements with nature including my art materials, allowing for personal transformation and restoration.

My provocation is that in affirming difference in these joyful rhythms with my positive entanglements with nature (including the sensations of the watercolour medium, and the sensations of rhythms of colour, I use), I experience transformation and ”healing“ via agential realism through diffraction of waves.


Kathryn Blumke is currently a Doctorate of Visual Arts Candidate at the Griffith University.  She holds a Master in Arts Visual Arts and a Bachelor of Physiotherapy.  Her painting research investigates embodied geometric abstraction on a post humanist framework in which she explores her entanglements with nature and her art materials.  She is interested conversations of art, holistic health and science.

She has over 20 solo exhibitions and been involved in over 50 group shows.  She has been a finalist in the Redland Art Awards, Moreton Bay Art awards, Churchie Art awards, Fleurieu Art Awards, Stanthorpe Art Award, National works on Paper,  Paddington art awards, Blacktown art awards, Sunshine Coast Art awards, Elaine Bermington Landscape Award and was part of the Quantum Physic Emergence Exhibition.

Kathryn Brimblecombe-Fox

Our cosmological history

‘Our Cosmological History’ is a painting that tries to envisage the universal history of the electromagnetic spectrum (EMS), and humankind’s increasing reliance upon EMS frequencies for accelerating civilian and military technological needs.

The red firecracker-like markings represent the Big Bang, and the ‘birth’ of photons within ten seconds.  The dotted wavy lines represent the dual particle–wave nature of photons.  I have painted seven wavy lines, from longer waves to shorter waves, to indicate EMS frequencies from radio to gamma waves, all travelling at lightspeed.  This visualisation of normally invisible EMS frequencies (except the light spectrum) is augmented by painted symbols for photons (γ) and lightspeed (c).  A swathe of stars provides a background for a universal cosmic-scape that reveals macro and micro forces.  The stars and the painted EMS frequencies appear to continue beyond the painting’s edges.  This is my way of visualising that the universe and the EMS are around us, and continue beyond us, including into future history.

Humankind’s sphere of influence, from Earth to orbiting satellites, is apparent.  The pale blue dot (after Sagan) is a focal point.  The sphere around the dot-Earth represents the commons where humankind harnesses the lightspeed forces of the EMS to enable connectivity, interconnectivity, operability, and interoperability of a bourgeoning array of civilian and military technological systems and devices.

‘Our Cosmological History’, painted for EQUS, expresses awe at the wonders of the universe.  At the same time, it questions how we harness powerful natural resources in an increasingly connected and volatile world.


Kathryn Brimblecombe-Fox is a Brisbane-based visual artist and researcher.  She has a creative practice-lead PhD from Curtin University, Western Australia.  Her PhD project was an examination of increasing military interest in the electromagnetic spectrum (EMS).  Kathryn’s PhD project was inspired by research into militarised and militarise-able technology undertaken as part of her M.Phil (Cultural Studies/Art History), University of Queensland.  Kathryn is an Honorary Research Fellow in the School of Communication and Arts, The University of Queensland. 

Kathryn has exhibited her paintings in Australia and overseas.  Her work has been a finalist or an award winner in many art prizes.  She has also presented about her research and creative practice at various Australian and international conferences.

Kathryn grew up on her parents’ grain farm in western Queensland.  Her father, while a farmer, was also a keen ham:amateur radio operator.  Her tertiary-educated mother is a teacher, writer, and historian.

Kevin Foo

Is a process a thing?

Single-channel video: 5 minutes, looped, monochrome, no sound (2024).

This work is an experiment exploring whether a work of art can be like light in its duality: both a process that enfolds in time, but also a determinate thing.

Beginning with experiments of moiré patterns, the footage was processed using techniques such as overlay, multiplication, translation and cuts, processes which parallel observed or theorised properties of light such as superposition and interference, probability of position in space, and particle motion without continuous trajectories.

After many iterations of these processes, some of the footage even began to resemble the photographs from historical light experiments, such as interference patterns from the double-slit experiment.


Kevin Foo studied visual art at the Queensland College of Art (graduating 2010).  He is interested in algorithmic art, and 20th-century avant-garde art movements that questioned the nature of art and the process of making itself.

Kim Hamilton

Figure 2. Dual nature

In my self-portrait, I merge my passion for plant science with my artistic expression to capture the elusive photon, that dual entity—particle and wave—in a single frame.  My eyes mirror the dual nature—observer and observed—while the background blurs the boundary between real and imagined.  Do we collapse realities with our gaze?  Perhaps, like the photon, we are both wave and particle, dancing between certainty and wonder.


Dr Kim Hamilton is an interdisciplinary artist based on the NSW Mid North Coast.

Her passion for art and scientific background seamlessly blend in her creative practice using a  range of mediums, including photography, collage, video, electron microscopy and digital technologies.  Kim explores the extraordinary, often bizarre, and hidden dimensions of our natural world.  Beyond the visible, delving into the hidden complexities of life, finding inspiration from the tiniest particles and processes that shape our existence.  Her fascination with the microscopic and subatomic natural world is evident in her artworks that have been exhibited in over 40 international, national, and local art exhibitions and festivals.

Lily Mitchell

Hello my moon

Dimensions: circumference of work 192 cm
Materials: acrylic paint on Pine wood, Cork, Aquadhere wood glue, recycled metal LED Lighting

Hello My Moon explores the relationship between light and shadows and more broadly the concept of night and day.  For our world there is a natural fascination with both the sun and the moon.  Even though the moon’s shape appears to change throughout its cycle, in reality the moon remains whole.  This can also be said for the human experience.  We are both the light and dark of our psyche and the deeper we explore, accept and integrate all parts, the more as human beings we can lead lives with love, prese compassion

As the work is interactive, participants are able to use the theme of play as a gateway to exploration.  The tactile elements of the [original] work also create an inclusive space for those who are blind or have low vision inviting them to experience the work.

Eight metal rings are attached to a spinning circular wood base, evenly spaced to obstruct a light source, and abstractly illustrating the duality of light and shadow.  On top of the wooden base are smaller, circular tactile pieces evenly placed in front of the metal rings.  These represent eight main moon phases that the sighted eye can see.  Finally there is a textured inner disk, an abstract representation of what a night sky might feel like.


A Brisbane-based artist, Lily Mitchell is inspired by concepts, film, animation, texture and interactive works.  Lily began her study journey at the Queensland College of Art completing a year of a Fine Arts Degree before transferring to and graduating from a degree in Film and Screen Media Productions in 2020.  After moving to Brisbane for university Lily took part in the annual Epic Asist art exhibition which showcases and championed art by disabled creators.  Art and creating have been a source of grounding and expression for Lily through her life and journey with cone-rod dystrophy.  This retina condition is inherently affected by light and shadow due to the degeneration of cones and rod cells.  The perception of light and duo nature of the relationship between sun and moon has been a fascination, and has served as inspiration for the project.

Malcolm Koch

In this piece, the interconnected drill holes and staining create a textured landscape.  Each sculptural mark may appear as individual expressions however, they are connected.  Through the interplay of shadows and puncture marks—energy is inferred as reciprocated expressions from one to the other in a wave-like pattern.  The expressions can be seen as having a dual nature—existing simultaneously as both a mark on its own, or part of a wave of expressions.

Malcolm’s curved canvases are worked on as three dimensional objects.  However, rather than considering the interplay between solid and space—as a sculptor does, his process returns to the ‘flat two-dimensional picture plane’ (the switch from 3D to 2D).  When ‘expressions’ are multiplied in this way, they intertwine on the same plane (and the reverse side) with varying degrees of value.  However, it is only when the results are unraveled and revealed on the two-dimensional flat plane that co-dependent relationships become apparent.  Thus generating the human visual experience—a metaphor for how we observe a world that is so much greater than ourselves.



Malcolm Koch’s abstract expressionist work is in a style that he calls “Membrane Art”.  A working practice that is characterised by the use of mark makings on curved structures rather than on a flat picture plane.  The surface geometry underpins the aesthetic of each piece.  So whether he adopts paint pourings, cracking, peeling, drilling, cutting or a staining process—it is the practice of allowing the curved surface geometry to play a part in creating distinctive expressions before the transformation of flattening the profile.  An aesthetic thought that he has been evolving since 2004. 

Malcolm’s work has had numerous solo and group exhibitions including the RiAus FutureSpace Gallery which had two exhibitions: Visual Entanglement in 2016 and Under the Surface in 2014.  His work is in numerous private and corporate collections in Australia and overseas.  He has been a three-time finalist in the Waterhouse Natural Science Art Prize.

Pash Tzaikos

The superposition of freedom

My work builds a new-age mythology around the concepts of freedom and captivity as informed by tenets of quantum mechanics. 

Across history, thinkers have re-expressed metaphysics in human stories in an attempt to understand the nature of reality and our place in it.  From the supernaturalism evident in Homer’s epic poems to the dimension-jumping in recent magical realism, art can make assertions about humanity based on knowledge uncovered by the natural sciences of the era.  In the same vein and in reference to duality, my project aims to tell a story about what it feels like to be both one thing and another, with your existence crystallised in the eyes of observers.

In The Superposition of Freedom, Jordan could be considered liberated or captive across two different scenarios of physical bondage.  In one instance, he has broken free from a ball and chain, yet is drawn back to his captor.  In the other, he is bound by his hands, but frolicking with glee. Whether Jordan is free, oppressed, or both, is ruminated on by those commenting through a social media live stream—testament to the observational subjectivity of a superposited object.


Pash Tzaikos is a part-time lifeguard and land consultant based in Boorloo Perth.  They have no formal artistic training; however, they have a background in design and philosophy, which has driven them to creative pursuits.  These include paintings, murals, album/event art and collage.

Pash is deeply inspired by magical realism—the genre which expresses divine ideas through everyday scenarios.  Pash’s goal is to build richness in the world we’re living in and advance ideas like solidarity, humour, empathy and justice. 

While Pash has technical experience with oil painting, they have recently branched out into video art and poetry.  Branching out into different mediums, they hope to meet the new patterns of media consumption as they emerge.

Paul Ledington


The work explores duality through shape, colour, position, opacity and background.  Is it a fluctuation or an object?  Is it different moments in time forming a duality?  Are the forms entangled?  Is it black on white or vice versa?

The work is digital which implies that the size and form of  its presentation can vary.  In fact the presented work is one choice out of a cluster of images , and could even be presented at different sizes and forms in different places simultaneously.  The choice of medium intrinsically incorporates ideas of duality.  The idea of a singular artwork is misleading.  The work presented is but one of the many, the one finally enacted by the artist.  Therefore the artwork itself embodies dualities of existence and meaning.  The ultimate duality of artist and audience!


Dr Paul Ledington: early-career artist, living and working in the Redlands (Brisbane) (Quandamooka country); Master of Visual Arts from Queensland College of Art (2022).  Paul’s practice is varied, developing both still and moving-image artworks on computer.  ‘Abstraction’ and things combining to create unexpected meanings and emotions is his happy place.

Finalist, the-47th-rio-tinto-qal-martin-hanson-memorial-art-awards, 22/10/2022–28/1/2023.  Postgraduate Graduation exhibition 2022, 17–25/11/2022, Webb Gallery, QCA.  ‘Emerging’ Eco-Abstract Art , Paul Ledington and Bev Shields, Dunn Exhibition Gallery, Redland Museum, 26/2/2023–10/4/2023.  Finalist, Harold and Agnes Richardson Drawing Prize, Royal Queensland Art Society, 2023.  Finalist, EQUS Quantum Art Competition, 2023.  Finalist, Brisbane: Landmarks, Landscapes and Personalities, Royal Queensland Art Society, 12/5/2023–4/6/2023.  Group exhibitions: RQAS 2022 and 2023, ‘In Focus’ Redland Art Gallery 2022 and 2023, Creative Alliance 2021, 2022, 2023, ‘Perception’, Florence Contemporary Gallery, Florence, Italy, on-line exhibition 2023.  Other: Paper reviewer for International Symposium on Electronic Art, ISEA 24, Brisbane, 6/2024.

Email: ledingtonpaul@gmail.com
Website:  https://vimeo.com/858289684
Phone: +61 478639105

Rachael Hegh


Embodied virtual reality drawing

‘Aetherial’ is an embodied virtual reality (VR) drawing event which explores the duality of material and immaterial perception at a junction of physical and virtual realities.  It emerged from a daily drawing practice within both the physical and virtual realms, with each state shaping and influencing the other in their lively materialities.  These physical drawings underwent a process of recognition and interpretation of their immaterial form by drawing directly within a virtual environment, creating an infinite speculative landscape, which is accessible via a VR headset and allows independent perceptual exploration by a viewer.  Virtual reality acts as a diffractive device, offering seismic perceptual shifts into immaterial spaces and the relationships between the visible and invisible worlds.  Aetherial seeks collaboration with both material and non-material universal forces at the convergence of physical and virtual reality, recognising and traversing the paradoxical states betwixt and between objective reality.


Rachael Hegh is a Sydney-based emerging artist whose multidisciplinary practice includes expanded drawing, the virtual and installation.  Her practice delves into the relationships between affect, perception, speculative worlding and virtuality.  She reflects on material and immaterial forces and dualities to create immersive drawing experiences at an intersection of physical and virtual reality.

A 2023 graduate from UNSW Art & Design with a Bachelor of Fine Arts (Honours), Rachael was selected for the UNSW International Exchange 2023 at the University of Warwick, UK/Italy.  She also completed a studio residency at The Scuola in Venice, Italy, in July 2023.  In addition, she received the Deans Award for Academic Achievement at UNSW Art & Design in 2022 and Highly Commended at the Tim Olsen Drawing Prize 22.

Rachael has participated in solo and group exhibitions and has been a selected finalist for various prizes and awards.  Her work is included in Australian and international private collections.

Sandy Benkimoun

Creative destruction

The world, despite its natural dual equilibrium, is a testament to the resilience of life.  Wars may ravage, apocalyptic weather may threaten, yet a sprout, symbol of hope, always emerges from the chaos and destruction.  This is the essence I sought to capture in my piece, named Creative Destruction.  I represented the delicate balance of opposition:

Creation out of Destruction: I gave new life to an old glass bottle, reshaping it and giving it a second chance by breaking many others; hence, destruction becomes a catalyst for creation.  The galss base, though it may seem shattered at first glance, symbolises the potential for the world to transform, remaining fertile for the tree on top, a symbol of life, to flourish.

Strength in Fragility: Revealing vulnerability and fragility in life demands immense strength.  Glass, inherently delicate, becomes a symbol of resilience in my art, holding everything together.  It is robust enough to support life and creation, as demonstrated by the vegetal section.

Balance out of, sometimes thanks to, Chaos: The green glass part shows how nature’s roots—the socle—always find a path even in a chaotic environment, the vortex of life—the spiky white glass—to bloom again—with the flora section.  They reach together a natural and intricate harmony, as illustrated in the appearance of chaos yet sturdy and source of life of the sculpture.  You might notice four to six glass arms, which accentuate the chaotic side of the structure; it is in honour of the apt Hindu God of Creation and Destruction, Shiva.


Sandy Benkimoun used to think she ought to be a journalist, until she discovered a wider and more beautiful, outer and inner, world in art and creative writing.

Sarah Wolf

What lies beneath

Oil & acrylic on canvas, 120 cm × 90 cm.

I am absolutely fascinated by quantum mechanics and the concept of duality not only as it relates to our existence but also to my art practice.  If all things exist on two planes— matter and non-matter—then my work exists originally as energy in my imagination and intellect as l form my ideas, and then as material objects as l create the pieces in the physical world.

This piece, titled ‘What lies beneath’, is a work that again addresses the concept of duality in the natural world, in the sense of what lies above and below the ground, and the connection between the two.  What is seen above the ground—eg, plants and fungi—could not exist without the ‘unseen’ below—roots, earth, and minerals—feeding the growth above.


Sarah Wolf is an award-winning artist and a graduate of the Victorian College of the Arts, Melbourne University.

Her work is influenced by historical botanical art, natural science, fairytales, Victoriana, and the natural world.

Her work is concerned not only with beauty, but also with humans’ inherent connection to our environment, and the need for us to cherish and protect it. 

With sly references to popular culture scattered throughout her work (such as a tongue protruding from a flower), Sarah’s work bridges classical and contemporary art.

Sean Botha

Singular waves

“Singular Waves” was created using the piano.  Two piano sound files were created with the intention of placing focus not only on the duality of particles and waves but also on where each element originates from, “silence” or stillness.  The piece was created using the mode D major, the root note D and the fifth note A was used to create the soundscape.  The first sound of the piece, the D note and A note on the piano was used to represent the wave.  Both sounds were manipulated to repeat itself, creating echoes in space.  These echoes represent the wave and together explores the relationship between particle and wave.

The piece immerses the listener in the vacuum of space, plunging them into the stillness which is wrapped around each particle and wave.  “Singular Waves” is a is thought-provoking, minimalist and captivating sound installation.


Sean Botha is a South African-born music composer, storyteller and researcher, based in Sydney, Australia.  Sean has a deep love for the arts, music, sound and all forms of storytelling.  He builds music and sound experiences for his listeners through improvisation and profound in-depth listening.  His music compositions are a fusion of classical, contemporary, avant-garde and sound design elements which leaves the listener immersed in breathtaking sound worlds.  Sean loves to push the boundaries between his passion for music, sound and self-directed research into quantum physics.  He is currently working on multiple projects which include his research into the beginning of the universe, “silence” and God.  Sean offers innovative, original and thought provoking creative work to a world-wide audience.

Shiyin Zhong

Quantum entanglement: Australian blue tears

“Quantum Entanglement: Australian Blue Tears” delves into the theme of duality within quantum mechanics, inspired by the EQUS Quantum Art Competition.  This artwork explores the phenomenon of “Australian Blue Tears”, bioluminescent marine organisms, through the lens of wave–particle duality.

Using vibrant colours and intricate brushstrokes, I depict the Blue Tears suspended in the night sky, embodying their dual nature as both tangible droplets and intangible waves of light.  The piece also symbolises quantum entanglement, where particles become interconnected regardless of distance, influencing each other instantaneously.

Through overlapping layers and intertwining patterns, I illustrate the intricate connections that underlie the quantum world, mirroring the entangled nature of the Blue Tears as they traverse the cosmos.  By combining scientific concepts with artistic expression, this artwork invites viewers to contemplate the interconnectedness of the universe and the mysteries of quantum mechanics.  ”Quantum Entanglement: Australian Blue Tears” serves as a visual exploration of the boundless possibilities inherent in the quantum realm, sparking curiosity and wonder in its audience.


As an artist, Shiyin Zhong has been passionate about painting since childhood, a passion that has persisted throughout their life’s journey.  They find inspiration in dreaming and travelling, exploring the colours of the world and seeking to capture scenes that evade the lens of a camera.  Art, to Shiyin, is the perfect medium for encapsulating the fleeting emotions and landscapes encountered in dreams and journeys.  Through their artwork, Shiyin aims to immortalise these ethereal visions and share them with others, offering a glimpse into their unique perspective on the world and deep appreciation for the mysteries and wonders of quantum physics.

Last updated 4 June 2024
Last reviewed 21 June 2023

Major funding support

Australian Research Council

The Australian Research Council Centre of Excellence for Engineered Quantum Systems (EQUS) acknowledges the Traditional Owners of Country throughout Australia and their continuing connection to lands, waters and communities. We pay our respects to Aboriginal and Torres Strait Islander cultures and to Elders past and present.