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Artist's roll through queer history inspiration for win

Artist's roll through queer history inspiration for win

West Australian30-05-2025
Jack Ball has won the nation's richest prize for young artists for an immersive photographic and sculptural installation, inspired by a scrapbook collection in the Australian Queer Archives.
Ball, 39, was announced as the winner of the Ramsay Art Prize at a ceremony at the Art Gallery of South Australia on Friday.
The trans man was among 22 finalists selected from a record field of more than 500 entries for the $100,000 biennial prize, awarded to a contemporary Australian artist aged under 40.
Ball, who worked on Heavy Grit intensively for more than a year, said they had a "huge emotional response" to scrapbooks held by the Australian Queer Archives.
"I had so many dilemmas, so many curiosities, so many things to grapple with," they said.
"In the 1950s-60s, seeing different references to trans experiences was incredibly meaningful and complex and I had a lot of big feelings to process through the experience of engaging with that content."
The work includes fragments and glimpses of queer histories, layering archival materials with personal images and soft form sculptures, and creating an interplay between the past and the present.
Ball would make a "really thorough plan" for the prize money, because "I know just how precious every opportunity is … for example, getting to travel, whether it's in Australia or overseas, meeting new people, new relationships, new communities".
In a prize with no material boundaries, the winning work comprises diverse mediums including inkjet prints, textured stained glass, beeswax, charcoal, copper pipe, fabric, paint, sand and rope.
The judges were unanimous in their decision and described the winning work as "sensual, experimental and sophisticated".
Co-judge and 2025 Archibald Prize winner Julie Fragar said the work evoked "a really good feeling of restlessness".
She said the prize was unique in its flexibility to reflect contemporary art trends, unlike other prizes with rigid criteria, and its role as a barometer for the art scene was increasingly important as resources dwindled.
"Art prizes are a great way, not just to give artists money to survive and boost their careers, but also to raise their profile and to grow in a long term way," she said.
"The Ramsay prize will be a huge boost to Jack Ball's career and set Jack up for the future."
Sydney-born Ball grew up in Perth and moved to Sydney two years ago. The winning work featured in a major solo exhibition at Perth Institute of Contemporary Arts in 2024.
Ball's work becomes part of the Art Gallery South Australia's collection, joining works by past winners Sarah Contos (2017), Vincent Namatjira (2019), Kate Bohunnis (2021) and Ida Sophia (2023).
The prize was established in the name of SA cultural philanthropists James and Diana Ramsay.
Works by the winner and other finalists are being exhibited at the gallery from May 31-August 31.
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A couple visiting Ho Jiak looked around in confusion. I can see why
A couple visiting Ho Jiak looked around in confusion. I can see why

Sydney Morning Herald

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  • Sydney Morning Herald

A couple visiting Ho Jiak looked around in confusion. I can see why

Previous SlideNext Slide On a recent weeknight, a young couple was ushered into the spacious dining room at Ho Jiak Junda's Playground, Sydney chef Junda Khoo's Malaysian fine-diner. The restaurant sits in the middle of his ambitious three-storey complex − his first foray into Melbourne − in a laneway off Bourke Street in the CBD. Jaunty piano jazz played a little too loudly in a room that was brighter than you might expect for an upscale venue. The space is encircled by windows covered in drapes made of gold netting, set against light wood tables and brown banquettes. Female waitstaff wear black brocade cheongsam dresses. The young couple looked around, quizzically. 'This is the main restaurant?' the man asked his waitress. She explained that there were three: fast casual Da Bao on the ground floor, Ho Jiak in the middle, and beer hall Ho Liao upstairs. 'I think we meant to book that,' the man said. 'We were expecting something a little more lively.' They took a minute to peruse the menu, then decided to move the party upstairs. Which is a shame, because there's some truly delicious food to be had at Ho Jiak. But at the same time, I get it. There's something a little stiff about the feel of the place, of the nervous-seeming servers trying to find the wine you've ordered on their iPads, of the bright lighting and gold netting and tiled flooring. The menu is organised in familiar brackets – bites, entrees, mains, sides – and there are currently a bunch of truffle additions to the main offering. The most fun to be had is with the dishes where Khoo takes a Malaysian staple and throws a spanner in the works: warm, comforting curry puffs with a slurry of Stilton cheese for dipping or smearing (yes, it works). Rendang with stretchy roti, accompanied by two fat bones full of quivering marrow. The laksa bombs – chicken and prawn dumplings in a rich laksa broth with fistfuls of bean sprouts – are a signature at his Sydney CBD restaurant for a reason, delicate and bold, perfectly balanced. Some dishes are more creative, like a lovely slice of silken raw kingfish draped across a shiso leaf, then topped with pineapple salsa and a tamarind-heavy granita that mimics assam laksa. And some are traditional dishes with luxe ingredients thrown in, like a sticky rice with foie gras that accompanies rock lobster, or char kwai teow with a smattering of hand-picked mud crab that adds a sweet pop to the familiar noodles. Vegemite has long been known to Australian cooks as a vector for umami, and Khoo cleverly thinks to use it as a sauce for Angus beef short-ribs. But the result is a little too glossy, a little too much like the stuff you get at fast-food restaurants, not quite elegant enough to justify the $58 price tag. Other things felt wonky, too. I had two cocktails, both very pretty and very sweet (which I expected, given ingredients like lychee), that arrived almost warm – room temperature at best. On the other hand, white wine is served extremely cold, which is a pity because the selection is great. Of course, you can ask to keep it off ice; of course, this is a small quibble. But details matter in a setting like this. It's an easy (and insidious) trap to fall into, to profess that Asian food works best in more casual venues, or that Australian diners don't understand or want upscale Asian cooking. (It's also just not true, as a little spot you may have heard of called Flower Drum exists to prove, among others.) But any restaurant with luxury aspirations has multiple hurdles to clear, food being only one of them. A huge part of the fine-dining experience is being immersed in a space that feels magical, with service that's smooth. Vibe is not everything, but it certainly is important at the higher end of dining. As it stands, the vibe and service at Ho Jiak are a bit too reminiscent of an '80s hotel restaurant. I can't tell if that's intentional or not, but it doesn't come across as nostalgic, just weirdly out of date. Khoo ought to be commended for putting this kind of thought, investment and care into a temple for Malaysian food, and it is absolutely time that we had a restaurant that spoke to the higher ambitions of this cuisine. Unfortunately, being the first often means that you're the practice pancake, one that others learn from. My gut tells me that Ho Jiak needs to be more fun, more slick, a little darker, a little sexier, a little less corporate feeling – or at least a few of those things – to truly hit its mark.

A couple visiting Ho Jiak looked around in confusion. I can see why
A couple visiting Ho Jiak looked around in confusion. I can see why

The Age

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  • The Age

A couple visiting Ho Jiak looked around in confusion. I can see why

Previous SlideNext Slide On a recent weeknight, a young couple was ushered into the spacious dining room at Ho Jiak Junda's Playground, Sydney chef Junda Khoo's Malaysian fine-diner. The restaurant sits in the middle of his ambitious three-storey complex − his first foray into Melbourne − in a laneway off Bourke Street in the CBD. Jaunty piano jazz played a little too loudly in a room that was brighter than you might expect for an upscale venue. The space is encircled by windows covered in drapes made of gold netting, set against light wood tables and brown banquettes. Female waitstaff wear black brocade cheongsam dresses. The young couple looked around, quizzically. 'This is the main restaurant?' the man asked his waitress. She explained that there were three: fast casual Da Bao on the ground floor, Ho Jiak in the middle, and beer hall Ho Liao upstairs. 'I think we meant to book that,' the man said. 'We were expecting something a little more lively.' They took a minute to peruse the menu, then decided to move the party upstairs. Which is a shame, because there's some truly delicious food to be had at Ho Jiak. But at the same time, I get it. There's something a little stiff about the feel of the place, of the nervous-seeming servers trying to find the wine you've ordered on their iPads, of the bright lighting and gold netting and tiled flooring. The menu is organised in familiar brackets – bites, entrees, mains, sides – and there are currently a bunch of truffle additions to the main offering. The most fun to be had is with the dishes where Khoo takes a Malaysian staple and throws a spanner in the works: warm, comforting curry puffs with a slurry of Stilton cheese for dipping or smearing (yes, it works). Rendang with stretchy roti, accompanied by two fat bones full of quivering marrow. The laksa bombs – chicken and prawn dumplings in a rich laksa broth with fistfuls of bean sprouts – are a signature at his Sydney CBD restaurant for a reason, delicate and bold, perfectly balanced. Some dishes are more creative, like a lovely slice of silken raw kingfish draped across a shiso leaf, then topped with pineapple salsa and a tamarind-heavy granita that mimics assam laksa. And some are traditional dishes with luxe ingredients thrown in, like a sticky rice with foie gras that accompanies rock lobster, or char kwai teow with a smattering of hand-picked mud crab that adds a sweet pop to the familiar noodles. Vegemite has long been known to Australian cooks as a vector for umami, and Khoo cleverly thinks to use it as a sauce for Angus beef short-ribs. But the result is a little too glossy, a little too much like the stuff you get at fast-food restaurants, not quite elegant enough to justify the $58 price tag. Other things felt wonky, too. I had two cocktails, both very pretty and very sweet (which I expected, given ingredients like lychee), that arrived almost warm – room temperature at best. On the other hand, white wine is served extremely cold, which is a pity because the selection is great. Of course, you can ask to keep it off ice; of course, this is a small quibble. But details matter in a setting like this. It's an easy (and insidious) trap to fall into, to profess that Asian food works best in more casual venues, or that Australian diners don't understand or want upscale Asian cooking. (It's also just not true, as a little spot you may have heard of called Flower Drum exists to prove, among others.) But any restaurant with luxury aspirations has multiple hurdles to clear, food being only one of them. A huge part of the fine-dining experience is being immersed in a space that feels magical, with service that's smooth. Vibe is not everything, but it certainly is important at the higher end of dining. As it stands, the vibe and service at Ho Jiak are a bit too reminiscent of an '80s hotel restaurant. I can't tell if that's intentional or not, but it doesn't come across as nostalgic, just weirdly out of date. Khoo ought to be commended for putting this kind of thought, investment and care into a temple for Malaysian food, and it is absolutely time that we had a restaurant that spoke to the higher ambitions of this cuisine. Unfortunately, being the first often means that you're the practice pancake, one that others learn from. My gut tells me that Ho Jiak needs to be more fun, more slick, a little darker, a little sexier, a little less corporate feeling – or at least a few of those things – to truly hit its mark.

Live review: Kita Alexander leaves her mark on Perth with intimate set
Live review: Kita Alexander leaves her mark on Perth with intimate set

Courier-Mail

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Live review: Kita Alexander leaves her mark on Perth with intimate set

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