 1 Anita Eddison Smokie breath in the Cave, (Katie’s Bower, Chifley Cave, Jenolan Caves) 2019 Photograph Samsung Phone: SM-G 950F The photo has been cropped Due to the bushfires of 2019 all Cave tours at Jenolan were suspended and this tour of the Chifley was one of the last cave tours I took before being evacuated on the 19th December. This photo was taken by chance in the lower chamber of Katie’s Bower. Having sent my visitors up the stairs to the next platform, I turned out all the lights bar one and the forward tracks capturing this shawl in the photo. I thought at the time it maybe an interesting picture but not realising what I had snapped. The Chifley cave has a natural connection to the Grand Ach and the passageway we follow on the tour has great airflow and can be at times quite severe particularly during extreme weather events. Because of this the smoke was able to enter the cave and be seen in the chamber. This was a unique experience for me, although I have been interpreting cave tours at Jenolan for over 23 years it was amazing to see the natural process of the cave breathing. |
 2 John Oxley Pluto Reflections (Lake Pluto in Wolf Hole, Southern Tasmania) , 2020 Photograph 2 second exposure with the subject (David Stuckey) using his headlamp to light the wall, plus an extra light from the side to light the formations above the lake. |
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 5 Sophie Hawke The ‘liquid Earth’ series: Cathedral flow; Spire; Passage. 2021 This is Cathedral flow. The three paintings are ink on paper, based on photos I took while visiting the caves. The ink is one I made myself out of tea. I named the series ‘liquid earth’ to allude to the formation processes behind the rock forms I painted. None of them could’ve been made without water interacting with rock, to either hollow away and carve it, as in ‘Passage’, or to move and re-deposit it as in ‘Cathedral Flow’ and ‘Spire’. I wanted to use a hand made, tea based ink, as I felt the pigment would fit the colours associated with limestone. I also liked the connection of it being made from a material that was also initially sourced from the earth/that needed to interact with the earth to be produced. The processes that shaped these rock formations served to make the surfaces curve smoothly, which I felt would be best emphasised by hand painting them with ink. The medium allowed me to exaggerate the smoothness of the rocks and the flow of their forms pleasantly. |
 6 Sophie Hawke The ‘liquid Earth’ series: Cathedral flow; Spire; Passage. 2021 This is Passage. The three paintings are ink on paper, based on photos I took while visiting the caves. The ink is one I made myself out of tea. I named the series ‘liquid earth’ to allude to the formation processes behind the rock forms I painted. None of them could’ve been made without water interacting with rock, to either hollow away and carve it, as in ‘Passage’, or to move and re-deposit it as in ‘Cathedral Flow’ and ‘Spire’. I wanted to use a hand made, tea based ink, as I felt the pigment would fit the colours associated with limestone. I also liked the connection of it being made from a material that was also initially sourced from the earth/that needed to interact with the earth to be produced. The processes that shaped these rock formations served to make the surfaces curve smoothly, which I felt would be best emphasised by hand painting them with ink. The medium allowed me to exaggerate the smoothness of the rocks and the flow of their forms pleasantly. |
 7 Sophie Hawke The ‘liquid Earth’ series: Cathedral flow; Spire; Passage. 2021 This is Spire. The three paintings are ink on paper, based on photos I took while visiting the caves. The ink is one I made myself out of tea. I named the series ‘liquid earth’ to allude to the formation processes behind the rock forms I painted. None of them could’ve been made without water interacting with rock, to either hollow away and carve it, as in ‘Passage’, or to move and re-deposit it as in ‘Cathedral Flow’ and ‘Spire’. I wanted to use a hand made, tea based ink, as I felt the pigment would fit the colours associated with limestone. I also liked the connection of it being made from a material that was also initially sourced from the earth/that needed to interact with the earth to be produced. The processes that shaped these rock formations served to make the surfaces curve smoothly, which I felt would be best emphasised by hand painting them with ink. The medium allowed me to exaggerate the smoothness of the rocks and the flow of their forms pleasantly. |
 8 Garry K. Smith David Stuckey & Marcia Kaye in Arch Cave - Abercrombie, 2021 Photograph |
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 14 Annabelle Woo, age 5 The Deep Dark Sea Cave, <.b>2021 Creative art. Poster paint on paper I like caves because of the colours and shadows and the different parts inside them like tunnels and stalactites and stalagmites. Sea caves are mysterious. I would like to explore them to find mermaids and treasure. |
 15 Mehwish Nisar Untitled drawing, 2021 Creative arts |
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 18 Deborah Henley The Timeless Cathedral, 2021 Creative art. Oil Pastels on paper. The artwork is inspired by the stunning cathedral structure in the Wellington Caves. In the darkness are the paw prints of native animals whose remains have been found in the cave. These include thylacine, goanna, emu, and kangaroo. Animal remains form the limestone caves and land formation. I hope the viewer both appreciates the beauty of the features of caves and the earth processes that have taken place. We stand to take part in such a small part of history, lets enjoy the world we are in. |
 19 John Oxley Croesus wandering, Croesus cave, Northern Tasmania, 2020 Photograph Model: Ciara Smart Camera: Canon 600D 2 second exposure lit by a single LED light directed at the camera. One of my favourite activities in caves is taking photos. Whether it be in large open passages and chambers or horrible muddy squeezes it's always pleasing to try to depict some of the character of the cave and people in it. I'm grateful for my companions' patience modelling or just hanging around getting cold while I unpack my camera gear then fiddle with tripod and camera then give instructions about where to stand and how to hold the light etc. Then I pack it all up, walk a few metres and start all over again. |
 20 Ayaan Jafery Caves and karst, 2021 Creative arts |
 21 Jenny McCarthy (assisted by Carl Pester) Cathy and the Guardsman , 2021 Creative arts. Cross stitch on 14 count Aida cloth using 3 strands of DMC cotton. I was inspired to do the work as a memory of the time I enjoyed caving with my daughter Cathy. The photo was taken in a cave called 10 Acre Tomo with Cathy admiring the formation known as the Guardsman. |
 22 Elaina Nathan Caves , 2021 Stories and poems This high school (Withheld) excursion (14 year olds) to Hastings cave Tasmania, inspired the teacher Adriene Eberhard, to ask the class to be creative and write and to submit for this competition. |