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Dr Harrison Waed See (b. 1990) is an artist, researcher and emerging curator interested in allegorical landscapes as means to explore cultural divergence and plurality—juxtaposing historical symbolisms with videogame tropes. See has undertaken 7 solo shows, 5 artist residencies, 3 curatorial projects and 8 collaborative exhibitions in Perth and Asia, as well as participated in multiple group exhibitions. Originally an industrial designer, See completed his Bachelor of Visual Arts at Edith Cowan University (ECU) in 2015 after receiving the Louise Macfie Painting Prize. In 2016, he was awarded a New Colombo Plan (NPC) scholarship that funded his honours research in Shanghai, after receiving 1st class honours, See extended his NPC funding and returned to China for a 3-month artist’s residency in Xiamen. In 2019, See returned to ECU after being awarded a Research Training Program Scholarship and completed his practice-led PhD on dialogic cross-cultural collaboration. See is currently a researcher and tutor at ECU, while working from his studio at the artist run initiative Holmes Studio Collective.

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Education

2022      PhD (Visual Arts), Edith Cowan University (ECU), WA.
2017      Bachelor of Arts Honours (First Class), ECU; 
exchange hosted by the University of Shanghai for Science and Technology, Shanghai. 

2016      Bachelor of Arts (Visual Arts), ECU, WA.

2011      Bachelor of Arts (Design), Majoring in Industrial Design, Curtin University, WA.

Solo Exhibitions

2022      Far-Away Island, Spectrum Project Space (ECU Galleries), Mount Lawley, WA.

2019      Hollow Flight, Spectrum Project Space (ECU Galleries), Mount Lawley, WA.

2018      Weightless, Kent Street Gallery, Victoria Park, WA.

2018      Urban Tree, The Lobby, Swanbourne, WA.

2018      Physical Mindfulness of Painting, Mundaring Arts Centre (Gallery 2), Mundaring, WA.

2017      Tower of Modern | 当潮之塔, Chinese European Art Centre | 中国欧洲艺术中心, Xiamen.

2016      The Nature of Wanting, Studio 281, Maylands, WA.

Curation

2024      Paper Trails Between Lion and Swan [Phase 2] (See, H. W., Mah, D, & Yeo, C. K.), Old Customs House (Artsource WA), Fremantle

2024      Paper Trails Between Lion and Swan [Phase 1] (See, H. W., Mah, D, & Yeo, C. K.), Singapore Art Week (SAW), SCULPTURE2052, Singapore

2023     Crossroads and Convergences (H. W. See), Nyisztor Studio, Melville/Palmyra, WA.

2023      HERENOW23: In-Between-ness (H. W. See), Fringe World Festival, Spectrum Project Space (ECU Galleries), Mount Lawley, WA.

Artist Residencies

2021      Perth College, Mount Lawley, WA – 1 week(s)

2020      Fringe World Festival, Spectrum Project Space, Mount Lawley, WA – 4 week(s)

2018      Victoria Park Centre for the Arts, Victoria Park, WA – 10 week(s)

2018      Mundaring Arts Centre, Mundaring, WA – 6 week(s)

2017      Chinese European Art Centre | 中国欧洲艺术中心, Xiamen – 3 month(s)

Collaborative Exhibitions

2021       A Place We Call Home, Stala Contemporary, West Perth, WA

2021       Polyphony: CERAH Exchange Showcase, Fringe World Festival, Gallery 25, Mount Lawley, WA

2020       Intermission, Yagan Square Digital Tower, Perth, WA

2020       Nexus: A Group Show, Perth Fringe Festival, Spectrum Project Space, Mount Lawley, WA

2018       Paradise’s Parasite III | 寄生者 III, Spectrum Project Space, ECU, Mount Lawley, WA

2017       Passage Self Strange, Turner Galleries (Engine Room 2), Northbridge, WA

2017       Paradise’s Parasite II | 寄生者II, The Sino-British College | 英皇茶室, Shanghai

2017       Paradise’s Parasite | 寄生者, Hujiang Gallery | 沪江画廊, Shanghai

Selected Exhibitions

2024      Paper Trails Between Lion and Swan [Phase 2] (curated by H. W. See, D. Mah, & Yeo C. K.), Old Customs House (Artsource WA),
              Fremantle.

2024      Paper Trails Between Lion and Swan [Phase 1] (curated by H. W. See, D. Mah, & Yeo C. K.), Singapore Art Week (SAW), SCULPTURE2052,                  Singapore

2022      Divergent Terrain (curated by K. Ashe), Old Customs House (Artsource WA), Fremantle, WA

2022      City of Joondalup IAP | Invitation Art Prize (curated by J. Robinson-White), Whitford City, Joondalup

2021      Nexus: A Group Show (curated by L. Adams & N. Kaye), Gallery 25 (ECU Galleries), Mount Lawley, WA

2021      Industrial Mythos (curated by G. Molloy), INTOO Studios, Northbridge, WA

2021      ION II | In Our Nature (curated by M. Tippet), Lost Eden Creative ARI, Dwellingup, WA

2021      The Mandorla Art Award (curated by L. Di Ciero), Stala Contemporary, West Perth, WA

2020      Tenth International Exhibition of Traditional Fine Arts | 第十届国际传统艺术邀请展,  Shanghai Art Collection Museum, Shanghai

2020      Tied Up With String (curated by C. Stroud), Mundaring Arts Centre, Mundaring, WA

2019      Nexus: A Group Show (curated by L. Adams & N. Kaye), Gallery 25, ECU, Mount Lawley, WA

2018      Sculptures on the Scarp (curated by A. Pepper), Darlington Arts Festival, Darlington, WA

2017      Stations of the Cross (curated by C. Bushby), Wesley Church, Perth, WA / Geraldton Regional Art Gallery, Geraldton, WA

2017      Extended Focus (curated by G. Pryor), Spectrum Project Space, ECU, Mount Lawley, WA

2017      34th Annual Sculpture Survey Exhibition (curated by R. M. Gomboc), Gomboc Gallery & Sculpture Park, Middle Swan, WA

2016      Third Space Project (curated by C. Barstow), Hujiang Gallery | 沪江画廊, Shanghai

2015      IMPACT 9 International Printmaking Conference (curated by artists from Royal College of Art), China Academy of Art, Hangzhou
2015      32nd Sculpture Survey (curated by R. M. Gomboc), Gomboc Gallery and Sculpture Park, Middle Swan, WA             

2014      31st Sculpture Survey (curated by R. M. Gomboc), Gomboc Gallery and Sculpture Park, Middle Swan, WA

Awards & Grants

2024      Arts Short Notice Activity grant, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $5,000 (co-curated project)

2024      Future leaders Funding Award, ARC Centre of Excellence for the Digital Child – $2,300 (co-recipient)

2023      Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $15,000 (co-curated project)

2023      Innovative Application of Research Methods Award (co-recipient), DCAM, ARC Centre of Excellence for the Digital Child

2023      SAH Research Support Funding, School of Arts and Humanities (SAH), Edith Cowan University – $1,290

2023      Professional Development Award, Australian Research Council (ARC) Centre of Excellence for the Digital Child – $500.00

2021      Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $14,980

2021      Arts U-15k, Department of Local Government, Sport and Cultural Industries (DLGSC), WA – $4,050 (co-curated project)

2020      Ellenbrook Overall Prize, Ellenbrook-Swan Art Award, WA – $1000

2020     Yagan Square Digital Tower Screen Initiative (co-recipient), Metropolitan Redevelopment Authority, WA – $1,000 (co-recipient)

2020      Research Culture Grant (co-recipient), School of Arts and Humanities, Edith Cowan University, WA – $400 (co-recipient)

2019      Research Culture Grant (co-recipient), School of Arts and Humanities, Edith Cowan University, WA – $400 (co-recipient)

2018      Research Training Program Scholarship, Federal Government of Australia – $85,000

2015      The Louise Macfie Painting Prize, Edith Cowan University, WA – $2,000
2015      New Colombo Plan Scholarship, Federal Government of Australia – $35,000
2015      New Colombo Plan Student Mobility Grant, Edith Cowan University, WA – $1,200

2010      Design Award for Excellence, Curtin University, WA

Publications (Creative Research)

See, H. W. (2025: accepted by peer review). Collaborative art practice towards understanding and connection: co-imagining worlds through reciprocal painted storytelling [visual essay]. In special issue: Learning through ART: Speculative pasts and pedagogical imaginaries. InSea (International Society for Education Through Art). Publication launch at InSEA 38th World Congress.

 

Adams, L., Kaye, N., Jayakumar, E., Barstow, C., & See, H. W. (2025: accepted by peer review). Art in Public: Potential Public Pedagogy Post Pandemic. Journal of Urban Cultural Studies.

See, H. W. (2024). Collaborative art practice as a slow-burning form of dialogue between positions of difference [conference presentation]. Australia and Aotearoa New Zealand Communication Association (AANZCA) 2024: Pause. Royal Melbourne Institute of Technology (RMIT).

See, H. W., Mah, D, & Yeo, C. K. (2024). Curatorial Statement. In H. W. See., D. Mah, & C. K. Yeo (Eds.), Paper Trails Between Lion and Swan [Exhibition Catalogue] (pp. 2-3), SCULPTURE2052, Singapore; Artsource, WA.

See, H. W. (2022; 2023; 2024) Cross–Cultural Storytelling as Playthrough [lecture]. In N. Kaye (Ed.) Storytelling and Meaning (SAH1250.1), School of Arts and Humanities, Edith Cowan University.

See, H. W. (2024). Re-approaching painting through an integration of videogame tropes [lecture]. Invited by Professor Helen Wildy to deliver extended presentation to the team of AGWA voluntary guides: Art Gallery of Western Australia (AGWA), small lecture theatre.

See, H. W. (2023). Curatorial Statement. In H. See (Ed.), HERENOW|23 In-Between-ness [Exhibition catalogue] (pp. 3-5). ECU Galleries.

See, H. W. (2023). Curatorial Statement. In H. See (Ed.), Crossroads and Convergences [Exhibition catalogue] (p. 1). ECU Galleries.

See, H. W. (2022). Encounters Across Dialogic Cross-cultural Collaborative Painting [Doctoral exegesis (Embargoed), Edith Cowan University]. https://ro.ecu.edu.au/theses/2593/

See. H. W. (2022). Sustained Connection through Material Dialogue: International collaborative painting during the COVID-19 pandemic. ACUADS/DDCA 2021: Conference New Networks. https://acuads.com.au/conference/article/sustained-connection-through-material-dialogue-international-collaborative-painting-during-the-covid-19-pandemic/

See. H. W. (2021). Dialogic Painting and Mythology: Cross-cultural collaboration amidst COVID restrictions. ACUADS 2020: Crisis and Resilience. https://acuads.com.au/conference/article/dialogic-painting-and-mythology-cross-cultural-collaboration-amidst-covid-restrictions/

Mason, G. & See. H. W. (2021). Creativity in Crises: Adapting a community of practice through a landscape of COVID-based disturbances. ACUADS 2020: Crisis and Resilience. https://acuads.com.au/conference/article/creativity-in-crises-adapting-a-community-of-practice-through-a-landscape-of-covid-based-disturbances/

Adams, L., See, H. W., & Bell, F. (2020). Public Arts: the academy engaging with Main Roads WA, industry and community. ACUADS 2019: Engagement. https://acuads.com.au/conference/article/public-arts-the-academy-engaging-with-main-roads-wa-industry-and-community/

See, H. W. (2017). A Cosmopolitan Landscape: Development of a body of paintings that explore and expand upon the shared tropes of figuration in the work of Giovanni Bellini and Shen Zhou. [Honours exegesis, Edith Cowan University]. Research Online: Institutional Repository. https://ro.ecu.edu.au/theses_hons/1490

Publications (Qualitative Research)

See, H. W.,  Ólafsson, K., O'Neill, B., Green, L., Jacques, C., & Jaunzems, K. (2025: accepted by peer-review). Do parents ‘know best’ when it comes to their teenaged children’s experiences of sexual content online?. New Media & Society.

Woodley, G., Cayley, G., Senior, I., See, H. W., & Green, L. (2024). ‘[Do] I Have to Get It in Writing or Something?’ What Happens When Sexuality Education Is Conceptualised Through Consent? Youth, 4(4), 1739-1756. https://doi.org/10.3390/youth4040110

Stevenson, K. J., See, H. W., & Jayakumar, E. (2024)Guiding principles for stakeholder engagement in supporting children’s digital citizenship: the 4A model [conference presentation]. Australia and Aotearoa New Zealand Communication Association (AANZCA) 2024: Pause. Royal Melbourne Institute of Technology (RMIT).

See, H. W., & Woodley, G. (2024). ‘Firsthand’ versus ‘Secondhand’ Perspectives of Harm: Emphasising Teens’ Firsthand Perspectives of Online Sexual Content. M/C Journal, 27(4). https://doi.org/10.5204/mcj.3077

Stevenson, K. J., Jayakumar, E., & See, H. W. (2023). The Toy Brick as a Communicative Device for Amplifying Children’s Voices in Research. M/C Journal, 26(3). https://doi.org/10.5204/mcj.2957l

See, H. W., Stevenson, K. J., & Jayakumar, E. (2023) Chatterboxes and other child-centred methods: Communicating young children’s multimodal contributions to research [conference presentation]. Early Childhood Australia (ECA) National Conference 2023, Adelaide Convention Centre.

See, H. W., Stevenson, K., Jayakumar, E., & Zeng, H. (2023). Children’s Digital Citizenship Project: Your Perspectives [A report for children]. ECU/Centre for the Digital Child.

Jayakumar, E., Stevenson, K. See, H. W., & Ryu, Y. (2023). A Model for Children’s Digital Citizenship in India, Korea, and Australia: Stakeholder engagement principles. ECU/Centre for the Digital Child.

Stevenson, K., Jayakumar, E., See, H., Ryu, Y., & Das, S. (2022). Children’s Perspectives of Digital Citizenship in India, Korea and Australia: Report of Findings from Children’s Digital Citizenship and Safety Roundtables. ECU/Centre for the Digital Child.

Stevenson, K., Jayakumar, E., Le-Viet, T., Ryu, Y., & See, H. (2022). Contexts for Children’s Digital Citizenship in India, Korea and Australia: A Literature Review. ECU/Centre for the Digital Child.

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