• Curiosity : Exploring opportunities
  • Creativity : Encouraging discovery
  • Courageous : Daring to challenge the status quo
  • Connect : Uniting people and ideas through the arts


  • Creativity is our most valuable human resource.
  • Creative thinking is under-valued.
  • Fostering creativity enriches live’s and society.



Anna Cerneaz started her professional life as an oceanographer. However, her lifelong interest in the arts, notably as an oboe player and concertgoer, soon channelled her career in an entirely different direction. Over a number of years, she built up her own artistic management business; among the many positions she held during that time was as general manager of Pinchgut Opera.

In the past decade, Anna has honed her company director skills in a very practical way. She is currently a director of several for-profit and not-for-profit organisations, including the Graeme Wood Foundation, which supports progressive thinking and action, Artology, Spring Bay Mill, Wild Mob and Syrinscape.

Anna’s greatest wish is that by developing the creative development of the young (and not-so-young), the current not-so-rosy prognosis of Homo sapiens can be rescued via deep immersion in the glorious worlds of nature and music.


Graeme Wood is an Australian entrepreneur and philanthropist who founded the online travel business Wotif.com in 2000. The Graeme Wood Foundation was formed in 2006 and supports environmental sustainability, the arts and education. Graeme is a major donor to the University of Queensland, where he was instrumental in the formation of the Global Change Institute. In 2013, he teamed up with the UK Guardian News and Media to form Guardian Australia. Graeme was made a Member of the Order of Australia (AM) in 2012.


Colin Cornish joins the Artology Board in 2021. Colin is the Chief Executive Officer at the Australian Youth Orchestra (AYO). The AYO is a key partner for Artology through the Fanfare Competition and the Momentum Ensemble and we see this partnership as integral to Artology’s core business.


Philippa Horn has worked in the small to medium arts sector for many years, with contemporary music organisations such as International Society of Contemporary Music, New Music Network, Aurora Festival, Australian Music Centre, Music in the Hunter, The Song Company, ABC Classic FM, Pinchgut Opera, the national networks for Orchestra, A Cappella and Jazz, and freelance for many more.


Liliana Munoz loves to keep busy sharing good stories with the world. In 2019, she produced the comedy series ‘The Unboxing’, for Facebook Watch. In the same year, she was Associate Producer on Seven’s primetime comedy series, ‘Fam Time’. Liliana turned her attention to Scripted content after serving as a Development and Series Producer of Reality Entertainment for over 15 years with industry heavyweights Fremantle and MTV. Today her focus is on championing diverse voices of all cultures, sexuality and age. In 2016, Liliana was selected as a Screen Producers Australia OnesToWatch and in 2019 was awarded Screen Australia’s Enterprise People grant. In 2017, together with Artology, RAW was produced, a First Nations New Writers Initiative executive produced by Leah Purcell and Wayne Blair, the work ‘All My Friends Are Racist’ by Enoch Mailangi and Kodie Bedford’s will be produced for ABC in 2020.


The works of Nicholas Vines have been performed by the likes of Alarm Will Sound, BMOP, Ensemble Offspring, the Schola Cantorum Gedanesis Chamber Choir, the BT Scottish Ensemble and the Australian Piano Quartet. He has been commissioned by organisations around the world, such as Acacia Quartet, Callithumpian Consort, Firebird Ensemble, mmm…, Guerilla Opera, ChamberMade Opera, Ensemble Apex, the Sydney Philharmonia Choirs, the Sydney Symphony Orchestra and various Sydney schools. Recognition for Vines’s work includes APRA AMCOS Art Music, Helpmann and Green Room Awards, runner-up in the 2010 Minnesota Orchestra Composer Institute, an honourable mention in the 2006 Salvatore Martirano Competition (USA), and 2nd Prize in the ‘Musica Sacra 2005’ Competition (Poland). Published by Wirripang, Faber Music, the Australian Composers Online Project and Alexander Street Press, the bulk of his work is available through the Australian Music Centre. Navona Records has released albums of Vines’s compositions featuring the Callithumpian Consort (Torrid Nature Scenes), Guerilla Opera (Loose, Wet, Perforated) and Ryan MacEvoy McCullough (Hipster Zombies from Mars). Graduating in 2007 with a PhD from Harvard University, Vines taught theory and composition there and at Wellesley College and the Massachusetts Institute of Technology, before taking up a position at Sydney Grammar School. He is also a composition tutor at the UNSW, and mentor for the Artology Fanfare Competition.


Lyle Chan’s compositions are known for their combination of intellectual rigor and powerful emotional impact, even for audiences unaccustomed to classical music. He is best known for three works: his most notorious composition is Wind Farm Music, dedicated to Australia’s unpopular then-Prime Minister Tony Abbott in protest against the government’s anti-renewable energy stance. The work that first brought him widespread recognition was Rendezvous With Destiny for narrator and musicians – based on US political history – and performed by Bob Carr, a former Foreign Minister of Australia. His most personal and confronting work is his 90-minute String Quartet, a memoir of his years as an AIDS activist in the 1990s. It was hailed by American composer John Corigliano as “a serious and deeply felt work of art born out of a seemingly endless plague.” He was awarded the 2017 Art Music Awards’ Orchestral Work of the Year prize for his acclaimed 40-min orchestral song cycle called My Dear Benjamin, based on the wartime letters between a young Benjamin Britten and his first love, Wulff Scherchen. For the Debussy centenary of 2018, he was commissioned by the Australian National Academy of Music to compose the remaining 3 Sonatas of Debussy’s unfinished final project.

Lyle Chan holds a Bachelor’s degree from the University of Wisconsin, Madison. He spent over a decade at ABC Classics, where as Artists, Repertoire and Marketing Manager he spearheaded the production of over 200 recordings, including every winner of the Best Classical category of the ARIA Awards between 1998 and 2008. He is co-founder and co-artistic director of Extended Play, a unique festival that is a ‘complete venue take-over’ of Sydney’s famed City Recital Hall.


Chrysoulla Markoulli is a Sydney-based award-winning screen and theatre composer. She graduated with a Bachelor of Music (Honours)/Bachelor of Education from the University of New South Wales, receiving First Class Honours in Composition. She has worked with the Sydney theatre companies: Belvoir, Australian Theatre for Young People, New Ghosts Theatre Company and Millstone Productions; to compose the music for the stage productions: My Brilliant Career (2020), Iphigenia in Splott (2020), Intersection 2019 – Arrival (2019), Yen (2018), Impending Everyone (2018), Moth (2017), Oedipus Doesn’t Live Here Anymore (2017) and Fight with all your might the zombies of tonight (2016). Short film credits include Aracourt Studio’s Cnut  (2020), Jean-David Le Goullon’s Barnacle Face (2020) and Mohamed Mebarek’s The Shot (2019). Chrysoulla’s music has been played in the Sydney Opera House, Art Gallery of NSW and Perth Concert Hall and has been acknowledged in several competitions including the ScoreLive Competition (2020 Runner-up), Glories of the Score Student Screen Music Competition (2018 Winner), and Artology Fanfare Competition (2016 Winner). She is currently collaborating on Miss The Mark Productions’ short film Mary (2021), Griffin Theatre Company’s Jali  (2021), White Box Theatre’s Dead Skin (2021) and the Australian Theatre for Young People’s Lights in the park (2021).


Find below Artology’s most recent Annual Reports.