We acknowledge and pay respect to the Traditional Owners of the lands upon which our campus is situated, the people of the Boon Wurrung and Woi Wurrung, who have created art, made music and told their stories here for thousands of generations. We also acknowledge and extend our respect to the Traditional Owners of all lands on which our work is viewed, shared and enjoyed, and to all Elders, past, present and emerging.

VCA Art 2025

Master of Contemporary Art


This exhibition manoeuvres between material and memory. In this context, found and readymade objects serve as words within a body of text. Just as a poet carefully chooses words, I de-contextualise found objects to construct a narrative of my own. Through processes of repair, refurbishment, or even remaking, I incorporate these objects into my personal narrative as a migrant artist. Exploring the potentials of seemingly random objects to ‘become’ mirrors a reconstruction of identity as it pertains to the immigrant experience; an inevitable evolution of cultural signifiers, and the expansion of memory. The body of works developed in this year-long project utilises discarded envelopes, found wood, wax, bronze, and objects of personal significance.

The installation engages directly with the architecture of the space. Just as environment can evoke specific memories, the installation space significantly influences the selection of the works presented.


Arjang Razzazian

Arjang Razzazian, Installation view, Fiona and Sydney Myer Gallery, 2025. Image courtesy of the University of Melbourne. Photography by Christo Crocker.

Arjang Razzazian, Walking off (Detail), Polystyrene, 2025.

Arjang Razzazian, Fragile Order of Power, Wax and steel wire, 2025.

Arjang Razzazian, Second Message, discarded envelopes, found wood, and light, 2025.

Arjang Razzazian, Diamond, Found wood and embroidery thread, 2025.