Latest news with #HodaAfshar
The Guardian
a day ago
- Entertainment
- The Guardian
Australian National photographic portrait prize 2025
'Code Black/Riot is a collaboration with a group of young First Nations people in far north Queensland that interrogates a system that targets and imprisons them from the age of 10. Participants were invited to have their portraits taken, using a means of their own choosing to conceal their identities. Many young people in this community prefer to conceal their faces in their photos to avoid being identified by the youth justice system. The result is that many families do not have photos of their children.' – Hoda Afshar Photograph: Hoda Afshar 'This photo captures the intimate chaos of a life lived in one space, my childhood bedroom, for 34 years. Surrounded by a tapestry of trinkets and the quiet clutter of everyday life, my self portrait reflects the intersection of nostalgia and the present … The room itself as much a part of my identity as the person within it.' – Tom Zust Photograph: Tom Zust 'When an artist creates a portrait, a question needs to be asked, who exactly is being captured? The idea of a single artwork somehow portraying a sitter's character or persona seems fraught to me. Grace Tame is extraordinary, living a life few could comprehend, let alone survive, devoting her life these days to advocating for survivors of CSA [child sexual assault].' – Stuart Spence Photograph: Stuart Spence 'This photo depicts Kayleb painting up his partner Britney in a design that speaks of love and loss. Britney and Kayleb are both incredible cultural dancers and would later that evening dance together to further display the depth of love and loss that they have experienced.' Culture is a powerful healer. Waagan Galga Corroboree, Wonnarua Country, November 2024.' – Marcus Rowsell Photograph: Marcus Rowsell 'This photograph captures a moment of quiet reflection as my mother rests on the couch with her cigarette. After six years in Australia away from Lebanon, I returned home to surprise her. She immediately prepared my favourite meals. Exhausted from cooking all day, she came to the salon, lit her cigarette, and lay down while pots simmered on the stove. My leaving home has strengthened our relationship in ways we never experienced when we lived under the same roof.' – Ayman Kaake Photograph: Ayman Kaake 'Seventeen-year resident John Patmore is one of 32 battlers living in four old boarding houses in Sydney's Paddington. 'I thought I'd be able to live here 'til the day I die after my super started to run out. But now … This place is going to close on 31 January, and we're all being kicked out. I've got nowhere to go.' It is a classic battle between a developer who wants to push residents out for profit and a vulnerable community who have called this boarding house home for many years. Where do they go now?' – Dion Georgopoulos Photograph: Dion Georgopoulos 'Lurking is a self-portrait created at the Leveld Kunstnartun art residency in rural Norway. The photograph features custom-made leather harnesses I made during the residency. Set against the rural backdrop, the urban leather contrasts with the weathered wood, symbolising the tension between isolation and resilience often present in queer experiences.' – Derek Sargent Photograph: Derek Sargent 'Amazine and her father, Amaziah Club, took part in a men's ceremony in Ampilatwatja, on the Alyawarre homelands, 325km north-east of Alice Springs. This image is from the series Tea and Sugar, which documents families involved in the landmark Stolen Wages class action against the commonwealth government in 2024. Amazine and Amaziah are descendants of Banjo Morton, who led the original protest for fair wages and recognition.' – Paul Blackmore Photograph: Paul Blackmore Winner of the First Time Finalist Award: 'Wrapped in a golden emergency blanket and resting on a tumbled stone, my mother represents strength and adaptability, finding hope through her migration story. The golden blanket, a symbol of safety and care, contrasts with the grounding presence of the stone. Together, they reflect the tension between aspiration, humility, fragility and resilience.' – Sherry Quiambao Photograph: Sherry Quiambao 'I took this self-portrait on 35mm film using Portra 400. I wanted to capture the fleeting moment of freedom felt within when untethered from responsibility. A chance to live life on my terms. The photograph depicts this feeling of longing, joy and excitement. It is natural, candid and captures the true feeling of the moment.' – Tiarni Majid-Loban Photograph: Tiarni Majid-Loban 'I am drawn in by the powers and potentials for in/visibility in portraiture, for playful evasion, for the performance of dis/appearing acts in which I pass before the camera un/seen. I am drawn toward portraiture that redistributes power toward the subject in interesting ways, allowing the subject to be the one who determines the ways, as well as the extent to which, they are seen by both camera and viewer.' – Gerwyn Davies Photograph: Gerwyn Davies 'Dame Stan Munro, aged 84, is arguably Australia's oldest performing drag queen. In 1963, Stan migrated to Australia as a 'Ten Pound Pom' where he discovered drag after joining the Sydney review show, Les Girls. He became their star performer and compere and in the 1970s continued with Melbourne Les Girls.' – Jodie Harris Photograph: Jodie Harris 'Rav, depicted here, is a proud Indian trans man, born in Singapore, who moved to Australia for love and queer community. 'It took me a long time to come to terms with my queer and trans identity while shutting down the voices in my head that say Indians can't be queer or trans and that it's a whitewashed thing. It's innate for me. I was born this way and to be able to celebrate my identity along with my culture is my biggest achievement.'' – Prue Hazelgrove Photograph: Prue Hazelgrove 'The model Nakia is a proud Yuin and Gamilaroi woman, and also my partner. In tribute to Nakia's Aboriginal and Torres Strait Islander heritage, she wears a native floral head piece I made for the photoshoot and a raffia skirt made by her mother. Nakia and I are both proud of our Indigenous heritage and often find it difficult to find balance between our culture and the modern world. We are both health workers trying to make a difference for our people.' – Sean Kinchela Photograph: Sean Kinchela 'This work is a portrait of my partner, Brandon Mathis, inside our Los Angeles studio. I printed the work myself in the darkroom. Brandon's gaze, partially hidden by the fabric, along with the reaching hand and the rectangle of light that cuts right through him, creates a portrait that explores vulnerability, partnership dynamics and introspection.' – Luke Austin Photograph: Luke Austin 'Megan is my friend and neighbour. Her life blends the ordinary with the extraordinary. Against the backdrop of her traditional Australian weatherboard house, Megan stoically stands with one of her rescue camels while her daughter energetically bounces on the trampoline. I wanted to capture this moment and preserve the elements of both domesticity and adventure which encapsulate her life.' – Rebecca Polonski Photograph: Rebecca Polonski 'When I was younger, I used to feel that travel provided a temporary escape from life. I took this self-portrait when I spent a week in tropical Ubud, Bali. It captures how it felt to try, and fail, at outrunning problems from home. It is unnatural to force the body to relax, and to let that discomfort be seen.' – Georgia Wild Photograph: Georgia Wild 'This portrait features Tiwi artist Alfonso Puautjimi, a member of the Ngaruwanajirri Art Centre in Wurrumiyanga, Tiwi Islands. Alfonso has been painting with Ngaruwanajirri, which supports artists with lived experience of disability and fosters community and collaboration, since 1997. The art centre's name means 'helping one another'. The bicycle, featured in both his art and this portrait, serves as a personal inspiration to him.' – Tobias Titz Photograph: Tobias Titz 'Sharehouse living has long been a rite of passage for young Australians. Anna lives in a sharehouse in Meanjin/Brisbane, Queensland. 'You learn a lot about yourself and what you value living in a sharehouse,' Anna says. Anna's creative spirit inspired this mixed-media, collaborative portrait and she added the hand-colouring and embroidery. I knew any representation of her would need to be more than just a simple photo.' – (Nur) Aishah Kenton Photograph: (Nur) Aishah Kenton and Anna Jourdant 'A contagious smile to shine through these challenging times. Meet Gail Mabo, a brilliant Meriam artist from Mer Island, Torres Strait and daughter of the legendary Dr Edward Koiki Mabo. As Gail shared cultural and personal stories, her vibrant personality and playful energy as a natural storyteller came to life, reflected in each frame captured. A former dancer and choreographer, Gail shared her dreams of returning to the theatre. I believe this photo perfectly captures her charisma and unstoppable spirit.' – Enzo Frisini Photograph: Enzo Frisini 'As part of my series Deep Heat, I took this portrait 'with' Antony Sinni, a non-binary friend/artist/icon (they/them) on Larrakia Land, Garramilla. I highlight 'with' because making an image like this is both individual and deeply collaborative. Entangled as a singular organism, experiencing what it is to be within a moment of vulnerability, connected by the sand, sky and the lens.' – Matt Sav Photograph: Matt Sav 'Wet plate collodion was the pre-eminent photographic technology of the 1860s. The images exist as highlights of pure silver metal on a black background. The process is arcane, alchemical and potentially explosive. Fickle too, as a tiny deviation in the workflow may result in the complete absence of emulsion.' – Raoul Slater Photograph: Raoul Slater 'The pregnant belly, a symbol of new life and transformation, is here framed between structures that represent both protection and confinement. I wanted the work to speak to the universal experience of transition, the tension between security and uncertainty, and the beauty found in the in-between spaces of life's unfolding journey.' – Jennie Groom Photograph: Jennie Groom 'Sonny Jane is a queer, non-binary, disabled and neurodivergent advocate and writer, and defier of systems. 'Since I was young, I was in and out of the mental health system where I was labelled as defiant, naughty and stubborn. My 'defiant' tattoo is a commitment to resist systems that pathologise our minds, bodies and queerness. My rainbow freckle tattoos are about wearing my personality and queerness on my face. When people look at me, they're going to see who I am.' My work is often playful, but also aims to challenge in its own unexpected ways.' – Bri Hammond Photograph: Bri Hammond 'Zev and Nick met 15 years ago and have been together for eight years. Their relationship developed over time and they now share a home and often a bed. They have plans for the future. Zev is queer and seven months into their relationship began medically transitioning. Nick also has a girlfriend and they have been going out for three years. Zev was not in any other relationship at the time of the portrait. Zev and Nick's relationship is non monogamous and they love each other.' – Hilary Wardhaugh Photograph: Hilary Wardhaugh 'Black Swan Theory originates from Europeans believing only white swans existed until they 'visited' Western Australia in 1697, shocked to discover something so rare and beautiful as a black swan. The denial of the Maali/black swan serves as a greater metaphor for the failure of Europeans to acknowledge the beauty and sovereignty of First Nations peoples and their connection to this land, and the denial of queer people throughout history. This portrait is a tribute to WA, where Will [Huxley] grew up, and honours Garrett's [Huxley] First Nations heritage.' – The Huxleys Photograph: The Huxleys 'Persona places my face amid a cityscape also featuring my friend, artistic collaborator Joey Gala. In this portrait, my face is reflected in Gala's 'mask', noting our shared Aboriginality and place. We were both raised in Badtjala Country; I was adopted into a white family (with subsequent confusion about my identity), and Gala raised in community (grounded in culture). I ponder our lives – and potential parallels – in this personal exploration that probes the materialistic conditioning and emptiness of Western society .' – Michael Cook Photograph: Michael Cook Winner Art Handler's Award 2024 'In the evenings when I drove up a small laneway off Norton Street, Leichhardt I used to often see Antonio Intili at work through his shop window. Born in Capizzi, Sicily in 1935 and a tailor in Leichhardt for close to 60 years, he appeared an elfin figure sitting on his work benchtop late into the evening. He was truly one of the very last of the original Italian immigrants to still be working, however sadly passed away in July this year.' – George Fetting Photograph: George Fetting 'When I visited Aida while she was living in Manila, Philippines, I made a portrait using a box camera built by local photographers Krystine Antonio, Jessed Moreno and Marion. Aida and I decorated the paper negative with her stickers, and then I rephotographed it. In November, Aida moved to Tarntanya/Adelaide to be with family, especially her sister who was about to have a baby. During this time I reshot the print, adding a Baby Taz sticker Aida sent me years ago, and a jelly centipede on the paper as a photogram.' – Emmaline Zanelli Photograph: Emmaline Zanelli 'Kodjdjan, Mary Kolkkiwara Nadjamerrek, aged 93, of the Wakmarranj clan, is one of the last surviving speakers of the critically endangered Dalabon language. Mary holds a Waddan (frill neck lizard) that her grandchildren caught while camping on her father's country, Momob, in Central Arnhem Land.' – Renae Saxby Photograph: Renae Saxby
The Advertiser
2 days ago
- Entertainment
- The Advertiser
Portrait of hidden faces declared a hands-down winner
A shot of three girls hiding their faces with hand gestures has won the National Photographic Portrait Prize. It's the second win for artist Hoda Afshar, who couldn't hold back tears when she discovered she had won on the morning of her birthday, 10 years since first winning the prestigious award in 2015. Afshar submitted the photo hoping to draw attention to Indigenous children who have been incarcerated in youth detention across Australia. "The children I've worked with are among the most vulnerable in this country. They experience disadvantage, discrimination and incarceration from an early age," said Afshar. "They need love, care, and community, but instead, they're criminalised and punished." The artwork is part of a series titled Code Black/Riot, named for the code used in youth detention to communicate that a riot is taking place. It was taken with a group of First Nations children, who were invited to choose a way of concealing their identities while making a personal statement. Their gestures represented an act of resistance, both to the camera and to authority, said Afshar. First Nations children aged 10 to 17 make up 6.6 per cent of their age group, but are 27 times more likely than non-indigenous children to be imprisoned, according to the Australian Institute of Health and Welfare. Many young people in the far north Queensland community where the image was taken prefer not to show their faces in photos, so they can't be identified by the youth justice system, Afshar explained. "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," the judges said. The winner receives $30,000 as well as photography equipment worth $20,000. Four-time finalist George Fetting has won the $3000 Art Handlers' Award for his portrait Antonio Intili – Sartoria (Tailor Shop) #1 2024. The walls of the shop are covered in patterns, postcards and drawings, while Antonio Intili, who passed away in July 2025, stands with scissors in hand. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with her artwork titled Mother dreams on a stone, 2024. Photographs from 48 finalists will go on display at the National Portrait Gallery in Canberra. The National Photographic Portrait Prize 2025 will be on show from Saturday until October 12. A shot of three girls hiding their faces with hand gestures has won the National Photographic Portrait Prize. It's the second win for artist Hoda Afshar, who couldn't hold back tears when she discovered she had won on the morning of her birthday, 10 years since first winning the prestigious award in 2015. Afshar submitted the photo hoping to draw attention to Indigenous children who have been incarcerated in youth detention across Australia. "The children I've worked with are among the most vulnerable in this country. They experience disadvantage, discrimination and incarceration from an early age," said Afshar. "They need love, care, and community, but instead, they're criminalised and punished." The artwork is part of a series titled Code Black/Riot, named for the code used in youth detention to communicate that a riot is taking place. It was taken with a group of First Nations children, who were invited to choose a way of concealing their identities while making a personal statement. Their gestures represented an act of resistance, both to the camera and to authority, said Afshar. First Nations children aged 10 to 17 make up 6.6 per cent of their age group, but are 27 times more likely than non-indigenous children to be imprisoned, according to the Australian Institute of Health and Welfare. Many young people in the far north Queensland community where the image was taken prefer not to show their faces in photos, so they can't be identified by the youth justice system, Afshar explained. "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," the judges said. The winner receives $30,000 as well as photography equipment worth $20,000. Four-time finalist George Fetting has won the $3000 Art Handlers' Award for his portrait Antonio Intili – Sartoria (Tailor Shop) #1 2024. The walls of the shop are covered in patterns, postcards and drawings, while Antonio Intili, who passed away in July 2025, stands with scissors in hand. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with her artwork titled Mother dreams on a stone, 2024. Photographs from 48 finalists will go on display at the National Portrait Gallery in Canberra. The National Photographic Portrait Prize 2025 will be on show from Saturday until October 12. A shot of three girls hiding their faces with hand gestures has won the National Photographic Portrait Prize. It's the second win for artist Hoda Afshar, who couldn't hold back tears when she discovered she had won on the morning of her birthday, 10 years since first winning the prestigious award in 2015. Afshar submitted the photo hoping to draw attention to Indigenous children who have been incarcerated in youth detention across Australia. "The children I've worked with are among the most vulnerable in this country. They experience disadvantage, discrimination and incarceration from an early age," said Afshar. "They need love, care, and community, but instead, they're criminalised and punished." The artwork is part of a series titled Code Black/Riot, named for the code used in youth detention to communicate that a riot is taking place. It was taken with a group of First Nations children, who were invited to choose a way of concealing their identities while making a personal statement. Their gestures represented an act of resistance, both to the camera and to authority, said Afshar. First Nations children aged 10 to 17 make up 6.6 per cent of their age group, but are 27 times more likely than non-indigenous children to be imprisoned, according to the Australian Institute of Health and Welfare. Many young people in the far north Queensland community where the image was taken prefer not to show their faces in photos, so they can't be identified by the youth justice system, Afshar explained. "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," the judges said. The winner receives $30,000 as well as photography equipment worth $20,000. Four-time finalist George Fetting has won the $3000 Art Handlers' Award for his portrait Antonio Intili – Sartoria (Tailor Shop) #1 2024. The walls of the shop are covered in patterns, postcards and drawings, while Antonio Intili, who passed away in July 2025, stands with scissors in hand. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with her artwork titled Mother dreams on a stone, 2024. Photographs from 48 finalists will go on display at the National Portrait Gallery in Canberra. The National Photographic Portrait Prize 2025 will be on show from Saturday until October 12. A shot of three girls hiding their faces with hand gestures has won the National Photographic Portrait Prize. It's the second win for artist Hoda Afshar, who couldn't hold back tears when she discovered she had won on the morning of her birthday, 10 years since first winning the prestigious award in 2015. Afshar submitted the photo hoping to draw attention to Indigenous children who have been incarcerated in youth detention across Australia. "The children I've worked with are among the most vulnerable in this country. They experience disadvantage, discrimination and incarceration from an early age," said Afshar. "They need love, care, and community, but instead, they're criminalised and punished." The artwork is part of a series titled Code Black/Riot, named for the code used in youth detention to communicate that a riot is taking place. It was taken with a group of First Nations children, who were invited to choose a way of concealing their identities while making a personal statement. Their gestures represented an act of resistance, both to the camera and to authority, said Afshar. First Nations children aged 10 to 17 make up 6.6 per cent of their age group, but are 27 times more likely than non-indigenous children to be imprisoned, according to the Australian Institute of Health and Welfare. Many young people in the far north Queensland community where the image was taken prefer not to show their faces in photos, so they can't be identified by the youth justice system, Afshar explained. "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," the judges said. The winner receives $30,000 as well as photography equipment worth $20,000. Four-time finalist George Fetting has won the $3000 Art Handlers' Award for his portrait Antonio Intili – Sartoria (Tailor Shop) #1 2024. The walls of the shop are covered in patterns, postcards and drawings, while Antonio Intili, who passed away in July 2025, stands with scissors in hand. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with her artwork titled Mother dreams on a stone, 2024. Photographs from 48 finalists will go on display at the National Portrait Gallery in Canberra. The National Photographic Portrait Prize 2025 will be on show from Saturday until October 12.
The Advertiser
2 days ago
- Entertainment
- The Advertiser
The winner of this prize couldn't hold back her tears
Hoda Afshar hadn't planned on entering her work into Australia's largest photographic portrait prize this year - especially as she'd already won once. But enter she did, hoping only that her work be selected as a finalist - knowing she would be among thousands of similar hopefuls. On hearing her work had won the National Photographic Portrait Prize for a second time, she couldn't hold back her tears. "I submitted this work, hoping it might be selected as one of the finalists, in order to draw public attention to the ongoing crisis facing Indigenous children in youth detention across Australia," she said. Untitled #01 (from the series Code Black/Riot) 2024, is part of a collaboration with a group of First Nations young people in Far North Queensland that questions a system that targets and imprisons them from the age of 10. The project, facilitated by the Cairns-based Youth Empowered Towards Independence and Change the Record in Sydney, invited participants to have their portraits taken, using a means of their own choosing to conceal their identities while making a personal statement. "Some of them chose flowers or bubbles. Others a flag, mask or face paint. The three girls here chose this gesture," Afshar said. "As a photographer, I am always seeking to disrupt such ways of seeing, and this is why I chose to submit this portrait. For me, these girls' gestures symbolise an act of resistance both against authority and towards the camera - a refusal to be, or to be seen, as passive." For 18 years, the National Photographic Portrait Prize has celebrated photographic portraiture in Australia. Open to established and emerging artists, the prize is an opportunity for artists to have their work shown in a national gallery, where it will be seen by thousands of people. The judges this year, Benjamin Law, National Portrait Gallery senior curator Serena Bentley, and Art Gallery of South Australia curator of contemporary art Leigh Robb, described it as a portrait of "immense power, which creates an urgent conversation between the viewer and subjects". "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," they said. "As part of a group that are often discussed and depicted but rarely given a voice, these figures observe us in turn, giving an assessment of the nation right now. While seemingly incidental, the relationship between the haphazard staging, blurred background and focus points in the foreground make for a bracing, brilliant photograph taken by an artist who truly knows her craft." Hoda Afshar is a Melbourne-based visual artist and documentary maker, currently working in Berlin. This is the second time she has won the National Photographic Portrait Prize, the first in 2015 with the work Portrait of Ali, 2014. She wins $30,000 cash courtesy of the gallery and $20,000 worth of equipment courtesy of Canon Australia. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with Mother dreams on a stone, 2024. Quiambao is an Australian-Filipino multidisciplinary artist based in Perth. Mother dreams on a stone is a glittering portrait of her mother that explores themes of renewal, identity and belonging. "Wrapped in a golden emergency blanket and resting on a tumbled stone, my mother represents strength and adaptability, finding hope through her migration story," the artist writes. "The golden blanket, a symbol of safety and care, contrasts with the grounding presence of the stone. Together, they reflect the tension between aspiration, humility, fragility and resilience." National Portrait Gallery director Bree Pickering said the 2025 finalist portraits, 48 in all, represented artists and sitters from all states and territories. "The exhibition foregrounds the artist's voice," she says. "In each of the finalist works, subjects are revealed from the artist's point of view. The works are an invitation into the intimate world of a subject/artist relationship and a reflection of the people who make up the communities in which we all live." Sydney-based artist George Fetting received the 2025 Art Handlers' Award for his portrait Antonio Intili - Sartoria (Tailor Shop) #1, 2024. This intimate portrait of Antonio Intili in his tailor shop captures him in a moment of reflection. Fetting is a four-time National Photographic Portrait Prize finalist, and receives a $3000 cash prize. The National Photographic Portrait Prize 2025 will be on show from August 16 to October 12. All finalist works can be viewed, with tickets to the exhibition available on the gallery's website at The final prize, the People's Choice Award, decided by members of the public, will be announced in October, with the winner receiving $10,000 cash. All finalists receive artist, copyright and licencing fees as well as freight costs and travel allowances. Hoda Afshar hadn't planned on entering her work into Australia's largest photographic portrait prize this year - especially as she'd already won once. But enter she did, hoping only that her work be selected as a finalist - knowing she would be among thousands of similar hopefuls. On hearing her work had won the National Photographic Portrait Prize for a second time, she couldn't hold back her tears. "I submitted this work, hoping it might be selected as one of the finalists, in order to draw public attention to the ongoing crisis facing Indigenous children in youth detention across Australia," she said. Untitled #01 (from the series Code Black/Riot) 2024, is part of a collaboration with a group of First Nations young people in Far North Queensland that questions a system that targets and imprisons them from the age of 10. The project, facilitated by the Cairns-based Youth Empowered Towards Independence and Change the Record in Sydney, invited participants to have their portraits taken, using a means of their own choosing to conceal their identities while making a personal statement. "Some of them chose flowers or bubbles. Others a flag, mask or face paint. The three girls here chose this gesture," Afshar said. "As a photographer, I am always seeking to disrupt such ways of seeing, and this is why I chose to submit this portrait. For me, these girls' gestures symbolise an act of resistance both against authority and towards the camera - a refusal to be, or to be seen, as passive." For 18 years, the National Photographic Portrait Prize has celebrated photographic portraiture in Australia. Open to established and emerging artists, the prize is an opportunity for artists to have their work shown in a national gallery, where it will be seen by thousands of people. The judges this year, Benjamin Law, National Portrait Gallery senior curator Serena Bentley, and Art Gallery of South Australia curator of contemporary art Leigh Robb, described it as a portrait of "immense power, which creates an urgent conversation between the viewer and subjects". "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," they said. "As part of a group that are often discussed and depicted but rarely given a voice, these figures observe us in turn, giving an assessment of the nation right now. While seemingly incidental, the relationship between the haphazard staging, blurred background and focus points in the foreground make for a bracing, brilliant photograph taken by an artist who truly knows her craft." Hoda Afshar is a Melbourne-based visual artist and documentary maker, currently working in Berlin. This is the second time she has won the National Photographic Portrait Prize, the first in 2015 with the work Portrait of Ali, 2014. She wins $30,000 cash courtesy of the gallery and $20,000 worth of equipment courtesy of Canon Australia. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with Mother dreams on a stone, 2024. Quiambao is an Australian-Filipino multidisciplinary artist based in Perth. Mother dreams on a stone is a glittering portrait of her mother that explores themes of renewal, identity and belonging. "Wrapped in a golden emergency blanket and resting on a tumbled stone, my mother represents strength and adaptability, finding hope through her migration story," the artist writes. "The golden blanket, a symbol of safety and care, contrasts with the grounding presence of the stone. Together, they reflect the tension between aspiration, humility, fragility and resilience." National Portrait Gallery director Bree Pickering said the 2025 finalist portraits, 48 in all, represented artists and sitters from all states and territories. "The exhibition foregrounds the artist's voice," she says. "In each of the finalist works, subjects are revealed from the artist's point of view. The works are an invitation into the intimate world of a subject/artist relationship and a reflection of the people who make up the communities in which we all live." Sydney-based artist George Fetting received the 2025 Art Handlers' Award for his portrait Antonio Intili - Sartoria (Tailor Shop) #1, 2024. This intimate portrait of Antonio Intili in his tailor shop captures him in a moment of reflection. Fetting is a four-time National Photographic Portrait Prize finalist, and receives a $3000 cash prize. The National Photographic Portrait Prize 2025 will be on show from August 16 to October 12. All finalist works can be viewed, with tickets to the exhibition available on the gallery's website at The final prize, the People's Choice Award, decided by members of the public, will be announced in October, with the winner receiving $10,000 cash. All finalists receive artist, copyright and licencing fees as well as freight costs and travel allowances. Hoda Afshar hadn't planned on entering her work into Australia's largest photographic portrait prize this year - especially as she'd already won once. But enter she did, hoping only that her work be selected as a finalist - knowing she would be among thousands of similar hopefuls. On hearing her work had won the National Photographic Portrait Prize for a second time, she couldn't hold back her tears. "I submitted this work, hoping it might be selected as one of the finalists, in order to draw public attention to the ongoing crisis facing Indigenous children in youth detention across Australia," she said. Untitled #01 (from the series Code Black/Riot) 2024, is part of a collaboration with a group of First Nations young people in Far North Queensland that questions a system that targets and imprisons them from the age of 10. The project, facilitated by the Cairns-based Youth Empowered Towards Independence and Change the Record in Sydney, invited participants to have their portraits taken, using a means of their own choosing to conceal their identities while making a personal statement. "Some of them chose flowers or bubbles. Others a flag, mask or face paint. The three girls here chose this gesture," Afshar said. "As a photographer, I am always seeking to disrupt such ways of seeing, and this is why I chose to submit this portrait. For me, these girls' gestures symbolise an act of resistance both against authority and towards the camera - a refusal to be, or to be seen, as passive." For 18 years, the National Photographic Portrait Prize has celebrated photographic portraiture in Australia. Open to established and emerging artists, the prize is an opportunity for artists to have their work shown in a national gallery, where it will be seen by thousands of people. The judges this year, Benjamin Law, National Portrait Gallery senior curator Serena Bentley, and Art Gallery of South Australia curator of contemporary art Leigh Robb, described it as a portrait of "immense power, which creates an urgent conversation between the viewer and subjects". "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," they said. "As part of a group that are often discussed and depicted but rarely given a voice, these figures observe us in turn, giving an assessment of the nation right now. While seemingly incidental, the relationship between the haphazard staging, blurred background and focus points in the foreground make for a bracing, brilliant photograph taken by an artist who truly knows her craft." Hoda Afshar is a Melbourne-based visual artist and documentary maker, currently working in Berlin. This is the second time she has won the National Photographic Portrait Prize, the first in 2015 with the work Portrait of Ali, 2014. She wins $30,000 cash courtesy of the gallery and $20,000 worth of equipment courtesy of Canon Australia. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with Mother dreams on a stone, 2024. Quiambao is an Australian-Filipino multidisciplinary artist based in Perth. Mother dreams on a stone is a glittering portrait of her mother that explores themes of renewal, identity and belonging. "Wrapped in a golden emergency blanket and resting on a tumbled stone, my mother represents strength and adaptability, finding hope through her migration story," the artist writes. "The golden blanket, a symbol of safety and care, contrasts with the grounding presence of the stone. Together, they reflect the tension between aspiration, humility, fragility and resilience." National Portrait Gallery director Bree Pickering said the 2025 finalist portraits, 48 in all, represented artists and sitters from all states and territories. "The exhibition foregrounds the artist's voice," she says. "In each of the finalist works, subjects are revealed from the artist's point of view. The works are an invitation into the intimate world of a subject/artist relationship and a reflection of the people who make up the communities in which we all live." Sydney-based artist George Fetting received the 2025 Art Handlers' Award for his portrait Antonio Intili - Sartoria (Tailor Shop) #1, 2024. This intimate portrait of Antonio Intili in his tailor shop captures him in a moment of reflection. Fetting is a four-time National Photographic Portrait Prize finalist, and receives a $3000 cash prize. The National Photographic Portrait Prize 2025 will be on show from August 16 to October 12. All finalist works can be viewed, with tickets to the exhibition available on the gallery's website at The final prize, the People's Choice Award, decided by members of the public, will be announced in October, with the winner receiving $10,000 cash. All finalists receive artist, copyright and licencing fees as well as freight costs and travel allowances. Hoda Afshar hadn't planned on entering her work into Australia's largest photographic portrait prize this year - especially as she'd already won once. But enter she did, hoping only that her work be selected as a finalist - knowing she would be among thousands of similar hopefuls. On hearing her work had won the National Photographic Portrait Prize for a second time, she couldn't hold back her tears. "I submitted this work, hoping it might be selected as one of the finalists, in order to draw public attention to the ongoing crisis facing Indigenous children in youth detention across Australia," she said. Untitled #01 (from the series Code Black/Riot) 2024, is part of a collaboration with a group of First Nations young people in Far North Queensland that questions a system that targets and imprisons them from the age of 10. The project, facilitated by the Cairns-based Youth Empowered Towards Independence and Change the Record in Sydney, invited participants to have their portraits taken, using a means of their own choosing to conceal their identities while making a personal statement. "Some of them chose flowers or bubbles. Others a flag, mask or face paint. The three girls here chose this gesture," Afshar said. "As a photographer, I am always seeking to disrupt such ways of seeing, and this is why I chose to submit this portrait. For me, these girls' gestures symbolise an act of resistance both against authority and towards the camera - a refusal to be, or to be seen, as passive." For 18 years, the National Photographic Portrait Prize has celebrated photographic portraiture in Australia. Open to established and emerging artists, the prize is an opportunity for artists to have their work shown in a national gallery, where it will be seen by thousands of people. The judges this year, Benjamin Law, National Portrait Gallery senior curator Serena Bentley, and Art Gallery of South Australia curator of contemporary art Leigh Robb, described it as a portrait of "immense power, which creates an urgent conversation between the viewer and subjects". "By handing agency over to her subjects, Hoda Afshar has given these First Nations young people the rare opportunity to frame themselves on their own terms," they said. "As part of a group that are often discussed and depicted but rarely given a voice, these figures observe us in turn, giving an assessment of the nation right now. While seemingly incidental, the relationship between the haphazard staging, blurred background and focus points in the foreground make for a bracing, brilliant photograph taken by an artist who truly knows her craft." Hoda Afshar is a Melbourne-based visual artist and documentary maker, currently working in Berlin. This is the second time she has won the National Photographic Portrait Prize, the first in 2015 with the work Portrait of Ali, 2014. She wins $30,000 cash courtesy of the gallery and $20,000 worth of equipment courtesy of Canon Australia. Sherry Quiambao is the inaugural winner of the First Time Finalist Award, with Mother dreams on a stone, 2024. Quiambao is an Australian-Filipino multidisciplinary artist based in Perth. Mother dreams on a stone is a glittering portrait of her mother that explores themes of renewal, identity and belonging. "Wrapped in a golden emergency blanket and resting on a tumbled stone, my mother represents strength and adaptability, finding hope through her migration story," the artist writes. "The golden blanket, a symbol of safety and care, contrasts with the grounding presence of the stone. Together, they reflect the tension between aspiration, humility, fragility and resilience." National Portrait Gallery director Bree Pickering said the 2025 finalist portraits, 48 in all, represented artists and sitters from all states and territories. "The exhibition foregrounds the artist's voice," she says. "In each of the finalist works, subjects are revealed from the artist's point of view. The works are an invitation into the intimate world of a subject/artist relationship and a reflection of the people who make up the communities in which we all live." Sydney-based artist George Fetting received the 2025 Art Handlers' Award for his portrait Antonio Intili - Sartoria (Tailor Shop) #1, 2024. This intimate portrait of Antonio Intili in his tailor shop captures him in a moment of reflection. Fetting is a four-time National Photographic Portrait Prize finalist, and receives a $3000 cash prize. The National Photographic Portrait Prize 2025 will be on show from August 16 to October 12. All finalist works can be viewed, with tickets to the exhibition available on the gallery's website at The final prize, the People's Choice Award, decided by members of the public, will be announced in October, with the winner receiving $10,000 cash. All finalists receive artist, copyright and licencing fees as well as freight costs and travel allowances.
Sydney Morning Herald
2 days ago
- Entertainment
- Sydney Morning Herald
‘Defiantly beautiful' image of First Nations youth challenges us all
Photographer and documentary-maker Hoda Afshar has won the National Photographic Portrait Prize for the second time with a powerful image that challenges Australia's treatment of First Nations children. The Melbourne-based artist took out the $50,000 prize on Friday with Untitled #01 from her 2024 series, Code Black/Riot. Created in collaboration with young people in Far North Queensland, the series highlights laws allowing children as young as 10 to be imprisoned – among the lowest ages for criminal responsibility in the world. Afshar worked with Cairns-based Youth Empowered Towards Independence and Sydney advocacy group Change the Record. Participants were invited to conceal their identities while making a personal statement. Some chose a flag, mask or face paint. The three girls in Afshar's winning image chose a simple, defiant gesture. 'The children refuse to be passive in front of the camera or be seen as broken or as victims,' Afshar says. 'They're being cheeky and playful and funny, and they want to be seen as tough. They know the camera that is pointed at them historically wanted to capture them, looking in a certain way. They refuse to be seen like that.' Iranian-born Afshar first won the prize in 2015 with Portrait of Ali (2014), cementing her place in the Australian contemporary art scene. 'Back then I was a migrant artist who was trying really hard to convince everyone I've got something to say that could be worth hearing,' she says. 'You have to justify your position in the new country to get people to take you seriously. That moment gave me the confidence to continue doing what I'm doing now.' The seeds of Code Black/Riot were planted years ago when Afshar met lawyer Sophie Trevitt, who was campaigning to raise the age of criminal responsibility for Indigenous children. Trevitt died in 2023, but her work left a lasting impact on Afshar.
The Age
2 days ago
- Entertainment
- The Age
‘Defiantly beautiful' image of First Nations youth challenges us all
Photographer and documentary-maker Hoda Afshar has won the National Photographic Portrait Prize for the second time with a powerful image that challenges Australia's treatment of First Nations children. The Melbourne-based artist took out the $50,000 prize on Friday with Untitled #01 from her 2024 series, Code Black/Riot. Created in collaboration with young people in Far North Queensland, the series highlights laws allowing children as young as 10 to be imprisoned – among the lowest ages for criminal responsibility in the world. Afshar worked with Cairns-based Youth Empowered Towards Independence and Sydney advocacy group Change the Record. Participants were invited to conceal their identities while making a personal statement. Some chose a flag, mask or face paint. The three girls in Afshar's winning image chose a simple, defiant gesture. 'The children refuse to be passive in front of the camera or be seen as broken or as victims,' Afshar says. 'They're being cheeky and playful and funny, and they want to be seen as tough. They know the camera that is pointed at them historically wanted to capture them, looking in a certain way. They refuse to be seen like that.' Iranian-born Afshar first won the prize in 2015 with Portrait of Ali (2014), cementing her place in the Australian contemporary art scene. 'Back then I was a migrant artist who was trying really hard to convince everyone I've got something to say that could be worth hearing,' she says. 'You have to justify your position in the new country to get people to take you seriously. That moment gave me the confidence to continue doing what I'm doing now.' The seeds of Code Black/Riot were planted years ago when Afshar met lawyer Sophie Trevitt, who was campaigning to raise the age of criminal responsibility for Indigenous children. Trevitt died in 2023, but her work left a lasting impact on Afshar.
