72 torn, overlapping individual 80 gsm A4 prints on recycled copier paper, starch-based water-soluble glue, pencil drawn grid, 200x150cm

This work marks the site where in 1815 Governor Macquarie disposed the Wiradyuri of their country. The mutilated image reveals that coloniality originates and continues as rentier capitalism, reliant on effacing intimate relationships to the land. Supplanting models of custodianship with ownership enables unsustainable environmental degradation.

Using modest, renewable materials and a simple alpha-numerical grid to patiently apply sheets of wet, fragile paper directly to the wall highlights the values of tenderness and the importance of the manual as strategies of resistance to the exploitation of people(s) and the natural world. We conceptualise our work as a poultice.

Prize: $20,000

Judges' comments

The judges found Wambuul (Proclamation Park Bathurst) Wambuul (Proclamation Park Bathurst) by The Arthitects – Gary Carsley & Renjie Teoh, to be a standout work, notable for its materiality, performativity and engagement with the layered histories of the Australian landscape.

It thoughtfully addresses urgent and pertinent themes of environmental custodianship and colonial extractivism. The materiality of the work, coupled with its evocative and deliberate tearing, introduces a performative element that prompts viewers to consider their relationship with the Australian landscape and the perhaps arbitrary value placed on artworks by our cultural institutions.

This reconsideration is further encouraged by the inclusion of the image of a gilded frame which imparts a camp sensibility to the work. The judges also valued the cross-disciplinary collaboration between the architect and the artist.

bio composite - comprised of paper pulp and wood shavings, unryu rice paper, 60x40x40cm

Inspired by 19th-century paper dome observatories, this piece echoes past design and reimagines materiality.

The piece is crafted from a biodegradable composite comprised of shredded paper, wood shavings and natural additives.

The concept aligns with Carl Elefante’s idea that “the greenest building is the one that’s already built.” In a world teeming with overlooked resources, it’s our duty as designers to harness the abundance of materials destined for waste in our pursuit of sustainable and thoughtful design.

This product advocates for a world where past and present harmonise, and where products are not just functional but responsible and environmentally considerate.

Prize: $20,000

Judges' comments

Joanne Odisho’s Lume impressed the judges with its considered use of a biodegradable composite made from paper pulp, wood shavings, and rice paper, materials that added depth and texture while revealing the history embedded within them.

The refined form, paired with its hand-built quality and unconventional scale, positions it both as a sculptural object and lamp. Lume casts a beautiful, ambient light and would sit comfortably in a range of interior settings.

Through both materiality and concept, Odisho has created a piece that speaks to sustainability and resourcefulness, offering potential for commercialisation and scalability. The piece illustrates how designers are reworking existing biodegradable materials rather than contributing to the production of waste, a message aligned with the theme of the Prize.

canvas and paint, 26x20cm

I wanted to do a Little Penguin because they are endangered and live at Manly. I really like penguins. In my picture it is waddling to its mum and dad.

Prize: $500

Judges' comments

Anahid Mezoghlian’s The Busy Penguin impressed the judges with its strong graphic qualities and expressive character. The work responds directly to the local environment and captures a delightful, animated quality that brings the subject to life.

marker, 30x42cm

This is my imaginary room where nature has come alive. The furniture, walls, desks, bed, curtains and even the ceiling fan are covered in leafy green plants and flowers. It represents my deep connection with the environment. 
Playful animal patterns and the tone of dark and light greens remind us of the importance of nature. and how we can care for nature and keep it close to us.

Prize: $500

Judges' comments

Angie Xu’s Nature’s Room is an imaginative work imbued with surrealist charm. Her use of colour reveals both maturity and restraint, contributing to a well-executed composition.

The artwork conveys a strong personal connection to the environment, demonstrating a sense of intimacy and depth in her response to the theme.
 

gouache paints, 15x20cm

In Nature’s Bounty, I present a still life that captures the vibrant abundance of tropical fruits not merely as objects of visual pleasure, but as symbols of ancestral knowledge and ecological interdependence.

Rendered with close attention to texture, colour and ripeness, the harvested fruits are positioned in varying states of fullness and impermanence to underscore both the richness and fragility of our relationship with the natural world. Ultimately in Nature’s Bounty I question the audience: in our pursuit of global abundance, what fruits of the earth, and what wisdom, are we willing to lose?

Prize: $2,000

Judges' comments

Meera Nirmalendran’s Nature’s Bounty demonstrated confidence through its refined scale and compelling composition. The intricate details invite closer viewing, while the thoughtful selection of fruits and vegetables, including chillis, mangosteens and rambutans, reflects a deep connection to ecology, culture, and the symbolic role of food in bringing people together across cultures and borders.

It is a sophisticated and layered response to the theme, exploring the pursuit of abundance and our relationship with the Earth.

acrylic paint and poscas on recycled corflute and cardboard, 200x120cm

My artwork has within it, dissonance to confront the devastating impact of human industrialisation from an animal’s perspective, and the theoretical future in which nature re-claims what was originally its own. Using neo- expressionism to define the animals abstract fear and primal defiance of humanity, I express how wildlife has come to perceive humans as a hostile force. Each surface created from recycled materials, emphasises the impact that human consumerism has on the environment.

Judges' comments

The judges found Banjo Evans’ Discarded World, Fading Creatures 01 to be joyous and spirited, clearly driven by a compelling urge to create. It was full of surprise, inviting viewers to look closely and to continue discovering the work’s references to the impacts of industry and the built environment. The subject matter - where wildlife perceives humans as a negative force - offers an important and timely commentary.