William Court

Will Court is a photographer, visual artist, and Swinbune photomedia student currently completing a Bachelor of Design. Through a passion for travel, Will has amassed a large folio in landscape photography, but has also gained professional experience in shooting portraiture, motorsport, product photography and events through his time as a freelance photographer. Through the completion of his degree, he has also gained skills in 3D art, graphic design and film.

Will has a strong interest in storytelling, whether it be through film, image or design, and strives to seek deeper meaning in any given topic. In our media-saturated world, Will intends to create pieces that will evoke emotion in audiences and generate more memorable experiences.

Will has a passion for solving design problems with creative solutions. He stretches his creative ability to its far reaches to create unique outcomes for each of his projects, with the intention to create genuine and passionate work that accurately reflects the brief that he has been given.

Will hopes to pursue a career in design and media, using his skills gained throughout his university experience to tell stories from all across the world. He strives to improve his skills through practice, and is excited to enter the field with the knowledge gained through Swinburne.

The Theory of the Whole

'The Theory of the Whole' is a photographic exploration of the current state of modern environmentalism. The project explores the need to change humanity’s outlook on environmentalism – from one that only serves to
protect what is useful to humans, to one that protects nature simply because it exists.

Treasures: Cathy

This project's outcome was to showcase a person and an object they treasure, which for this example, was Cathy Court's coffee van. When shooting and editing the imagery for this project, it was necessary to coordinate the images to appear soft and warm, helping to emphasise Cathy's kind and genuine nature. A light and spacious design allowed this outcome to flow whilst keeping the structure contained.

75 Olinda-Monbulk

'75 Olinda-Monbulk' is a short film depicting the value of community. The film explores a day in the life of coffee van owner Cathy Court, as she describes what life is like in her corner of the Dandenong Ranges.

Pattern Recognition Cover Design

This book cover design for the William Gibson novel 'Pattern Recognition' intends to subtly introduce the unusual nature of the main character, Cayce Pollard, and her psychological sensitivity to corporate symbols. Through her internal struggles being an advertising consultant sensitive to the content she assesses, The stark design is intended to reflect the bleak and bizarre nature of her condition.

State

'State' is a photography exhibition intended to represent the theory of the 'Sixth Sense'. The designs following this exhibition are mysterious and bizarre in nature, provoking passersby to stop and think about what is being advertised.

Acknowledgement of Country

The School of Design and Architecture respectfully acknowledges the Wurundjeri peoples of the Kulin Nation as the Traditional Owners and knowledge-keepers of the lands, waters and sky that surround us, where we work, learn, create, communicate and make place. We recognise that sovereignty has never been ceded and this always was and will always be Wurundjeri Country. We pay our respects to Elders past, present and to all Aboriginal and Torres Strait Islander people who continue to make a better world through design.

We extend our acknowledgement to the Aboriginal and Torres Strait Islander staff, students, alumni, real-life clients, and knowledge keepers, who have contributed to our own education diversity and growth. We will continue to ensure that staff and students respectfully honour ancestral connection to Country and Place in everything that they do.

We are dedicated to the notion of design to make a better world and we acknowledge that making tools, shaping place, sharing stories, making meaning, wayfinding and collaborating have long been and continue to be both central and integral to First Peoples' cultures. We recognize that Aboriginal and Torres Strait Islander Peoples’ cultural contributions have continued relevance to design practice and commit to: reconciling ancestries of design and contemporary practice as well as pursuing culturally and professionally appropriate ways to engage with a diverse population of colleagues, industries and clients. In a time of treaty-making and voice we understand that there are overlaps between caring for Country and the sustainable production of goods, services, experiences, products and buildings.

Guided by the principles of respect, reconciliation, and reciprocity we undertake to indigenising and decolonising design practice by dismantling colonial structures and challenging biases that have marginalised Indigenous voices and design.

As students of SoDA you will be given opportunities to both engage with and educate yourself in Indigenous creative practices and cultural protocols through a lens of inclusivity, diversity, respect, mutual understanding, inter-cultural dialogue in all aspects of design practice. Indigenous people have been telling stories, making tools, and connecting to Country through visual media, placemaking and place marking for more than 60,000 years and these practices are part of an ongoing, evolving and live tradition.