• Holly Anderson.

    Holly Anderson.

    Holly Anderson's painting practice investigates sensory experiences between light and landscape. Hovering between the figurative and the abstract, raw brush strokes fragment into larger monochromatic compositions, building surfaces whose surprising flatness and geometry heightens the strangeness of their persistent realism.

     

    Sunlight permeates an array of Holly's subject matter, with bright bursts of white negative space disrupting the order of gridded geometric surfaces. These painterly grids of stripes and squares produce complex systems that bend or scatter where bright light flashes. Familiar subjects now appear in new light, composed behind the glare of a white hot sun and developing a new visual language for the brilliance of sunlight in the Australian landscape.

     

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    • Holly Anderson Pool (the broken window), 2022 oil on panel 120 x 110 cm
      Holly Anderson
      Pool (the broken window), 2022
      oil on panel
      120 x 110 cm
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  • Tom Blake.

    Tom Blake.

    'Most of the work I do starts with drawing,' says the artist about his wide-ranging practice. The drawings are then fragmented and redrawn, and the new compositions incorporated into cyanotypes, hand-etched de-silvered mirrors, mobiles and installations. 'There's a balance between concept and formalism, and where those two meet,' explains Tom.

     

    Tom has exhibited in Australia, Japan and Italy, and has undertaken residencies with Perth Institute of Contemporary Arts (PICA), Museo de Arte Moderno Chiloé (MAM), Fremantle Arts Centre (FAC), North Metro TAFE, Sapporo Tenjinyama Art Studio, and Parramatta Artists’ Studios. He was a 2013 recipient of a Clitheroe Foundation Mentorship.

     

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    • Tom Blake index, chair, 2023 cyanotype, artist-made brass frame 40 x 30 cm
      Tom Blake
      index, chair, 2023
      cyanotype, artist-made brass frame
      40 x 30 cm
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    • Tom Blake chair (bo bardi) II, 2022 hand-etched de-silvered mirror, light box, artist-made aluminium frame 40 x 30 cm
      Tom Blake
      chair (bo bardi) II, 2022
      hand-etched de-silvered mirror, light box, artist-made aluminium frame
      40 x 30 cm
      Enquire
  • Joshua Charadia.

    Joshua Charadia.

    Joshua Charadia's work casts an aesthetic and critical eye on the complex forms of Australia’s industrial landscape. He explores the nature of perception and awareness by drawing close attention to these ubiquitous yet overlooked scenes. Working with the slow mediums of oil paint and charcoal, Charadia affords time to these images, usually seen in passing or from a distance. 

     

    Charadia won the Adelaide Perry Prize for Drawing in 2023, and has been a finalist in numerous art prizes, including the Jacaranda Drawing Award (2022), Sulman Prize (2020) and Dobell Drawing Prize (2021, 2019). In 2021 he was awarded the Fisher's Ghost Art Award South West Sydney Award, in 2020 he was awarded People’s Choice at the Adelaide Perry Prize, and in 2018 won 2nd place at the Belle ArtStart Prize. His works are held in the National Art School collection and private collections in Australia, New Zealand, The United Kingdom, & USA.

     

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    • Joshua Charadia Nocturne 61, 2023 oil on board 40 x 30 cm
      Joshua Charadia
      Nocturne 61, 2023
      oil on board
      40 x 30 cm
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    • Joshua Charadia Nocturne 62, 2024 oil on board 40 x 30cm
      Joshua Charadia
      Nocturne 62, 2024
      oil on board
      40 x 30cm
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  • Casey Chen.

    Casey Chen.

    Casey Chen’s ceramics practice references historical illustrations from an eclectic mix of folklore, mythology and pop culture. Blending childhood nostalgia with long-standing East Asian ceramic traditions, Chen applies his imagery to hand-thrown plates and vases, which are then fused with geometric patterns from traditional sources. The result is a cultural pastiche, and a dynamic conversation between traditional craft and contemporary perspective.

     

    Casey’s recent work draws upon imagery and motifs from the archetypal tales of the four great classic novels of Chinese literature: Romance of the Three Kingdoms, Journey to the West, Water Margin and Dream of the Red Chamber. His resulting works are both a self-exploration and an homage to the rich and enduring history of Chinese porcelain craft and Japanese ukiyo-e woodblock prints.

     

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    • Casey Chen Military Maneuvers 5, 2023 glazed porcelain, ceramic colourants, enamels, gold lustre, and applied gold leaf; fired 5 times 50.5 x 25.5 x 25.5 cm
      Casey Chen
      Military Maneuvers 5, 2023
      glazed porcelain, ceramic colourants, enamels, gold lustre, and applied gold leaf; fired 5 times
      50.5 x 25.5 x 25.5 cm
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    • Casey Chen Tribute to a Fallen Rockstar (Cloud Nine), 2023 glazed porcelain, ceramic colourants, enamels and gold lustre 34 x 34 x 3 cm
      Casey Chen
      Tribute to a Fallen Rockstar (Cloud Nine), 2023
      glazed porcelain, ceramic colourants, enamels and gold lustre
      34 x 34 x 3 cm
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  • Claire Healy & Sean Cordeiro.

    Claire Healy & Sean Cordeiro.

    Working as a collaborative duo since 2001, Claire Healy & Sean Cordeiro’s practice combines a playful sense of humour and an engagement with art historical precedents. The duo's work is characterised by the deconstruction and reinvention of prefabricated structures and objects into extraordinary sculptures and installations. Readymade materials often feature in their work, including Lego, Ikea furniture, car and aircraft parts, dinosaur bones, and reconfigured architectural structures.


    Claire & Sean won the Sulman Prize in 2022, and have had numerous survey exhibitions in Australia and internationally. The duo’s installation Life Span was included in Australia’s representation at the 53rd Venice Biennale, and the duo have been included in the Auckland Triennial (2013), the Australian Biennial of Art (2018), and Oku-Noto Triennale, Japan (2021). Major solo exhibitions include Post-Haste (2021-22), Blue Mountains Cultural Centre; Claire Healy and Sean Cordeiro (2012-13), Museum of Contemporary Art, Sydney; Are we there Yet? (2011), Corcoran Gallery, Washington DC; The Paper Trail (2007), Art Gallery of New South Wales; and flatpack (2006) Künstlerhaus Bethanien, Berlin.

     

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    • Claire Healy & Sean Cordeiro Sunny disposition, 2024 recontextualised lego 96 x 96 cm
      Claire Healy & Sean Cordeiro
      Sunny disposition, 2024
      recontextualised lego
      96 x 96 cm
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    • Claire Healy & Sean Cordeiro Almost Jayne Mansfield, 2022 acrylic gouache on car turret 125.5 x 177 x 22 cm
      Claire Healy & Sean Cordeiro
      Almost Jayne Mansfield, 2022
      acrylic gouache on car turret
      125.5 x 177 x 22 cm
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  • Neva Hosking.

    Neva Hosking.

    Taking her cues from the rich visual delights of her immediate environment, Neva Hosking’s still lifes are semi-autobiographical, displaying in their subject matter and aesthetic structure cues from her personal life. The detail, careful composition and craftsmanship of her practice provides ample stimulation for the viewer, providing a poignant reminder of the unique wonders of nature. Neva’s remarkable works of observation centred on living plants redefines the still life genre by celebrating nature.

     

    In Neva’s work, the paper is as much the work as the marks she leaves upon it. The printed grids on the paper act as windows to both project upon and to peer at, to let the viewer peek through, and to keep them at just the right distance. Once framed, Neva’s works become windows into her greenhouse — an invitation into her personal world. Devoid of colour, focus is made on the line and form of the artist’s subjects to engage a sense of attention that enables the elevation of otherwise overlooked plants.

     

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  • Kyra Mancktelow.

    Kyra Mancktelow.

    Kyra Mancktelow’s multidisciplinary practice investigates legacies of colonialism, posing important questions such as how we remember and acknowledge Indigenous histories. A Quandamooka artist with links to the Mardigan people of Cunnamulla, Kyra’s practice includes printmaking, ceramics, and sculpture – each applying a unique and distinct aesthetic. Kyra works with various materials to share her rich heritage, stories, and traditions to educate audiences and strengthen her connection to Country. Her printmaking explores intergenerational trauma as a result of forced integration on colonial missions, and her use of local materials in her sculpture, including clay, emu features, and Talwalpin (cotton tree), strengthens her connection to Country.

     

    Currently undertaking a PhD at Queensland College of Art, Kyra regularly exhibits in both solo and group exhibitions nation wide. Kyra won the 2021 Telstra Emerging Artist Award at The National Aboriginal & Torres Strait Islander Art Awards, and a Special Commendation at the 2021 Churchie National Emerging Art Prize.

     

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    • Kyra Mancktelow, Carrying Change, 2022
      Kyra Mancktelow, Carrying Change, 2022
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    • Kyra Mancktelow, Carrying Change I, 2022
      Kyra Mancktelow, Carrying Change I, 2022
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    • Kyra Mancktelow Gubagulabu (Y1205), 2022 unique bronze sculpture 24 x 29 x 22 cm
      Kyra Mancktelow
      Gubagulabu (Y1205), 2022
      unique bronze sculpture
      24 x 29 x 22 cm
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  • Danie Mellor.

    Danie Mellor.

    Danie Mellor is a contemporary artist living and working in Bowral, New South Wales. His multidisciplinary research and practice explore intersections between contemporary and historic culture, and the legacies of cultural memory and knowledge. Born in Mackay, North Queensland, his maternal Aboriginal heritage is Ngadjon/Mamu with Scottish and Irish settler ancestry from the Atherton Tablelands and Cairns region, and his father’s family emigrated to Australia from California in the early 1900s.

     

    Mellor’s work is held in multiple regional, all state and significant national collections in Australia, including the National Gallery of Australia and MCA Collection; and in international museums including the National Gallery of Canada, the British Museum, and the National Museums of Scotland. His work has received major awards, acquisitions, and commissions including the MCA Australia’s Sculpture Commission in 2019, the National Gallery of Australia Member’s 2019 Acquisition Fund, and the National Aboriginal and Torres Strait Islander Art Award in 2009. He was awarded his PhD from the Australian National University in 2005 and held positions of lecturer and senior lecturer at the National Institute of the Arts, ANU and then Sydney College of the Arts, University of Sydney.

     

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    • Danie Mellor, On the edge of light, 2023
      Danie Mellor, On the edge of light, 2023
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    • Danie Mellor, The perpetual light, 2023
      Danie Mellor, The perpetual light, 2023
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  • Dylan Mooney.

    Dylan Mooney.

    Dylan Mooney is a proud Yuwi, Torres Strait and South Sea Islander man from Mackay in North Queensland working across painting, printmaking, digital illustration and drawing. Influenced by history, culture and family, Mooney responds to community stories, current affairs and social media. Armed with a rich cultural upbringing, Mooney now translates the knowledge and stories passed down to him through art. Legally blind, the digital medium’s backlit display allows the artist to produce a high-impact illustrative style with bright, saturated colour that reflects his experiences with keen political energy and insight.

     

    Dylan is among artists who are rethinking digital technologies and artistic practices to consider contemporary issues around identity, desire and representation. Interested in the ways in which we can reframe the conversation around some of the voices that have been left out, the artist has made an important body of work that embodies a shift in representation of queer love among people of colour.

     

    Dylan Mooney won the Brisbane Portrait Prize in 2023, and became a member of the board of Museums of History NSW in 2022.

     

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  • Thea Anamara Perkins.

    Thea Anamara Perkins.

    Thea Anamara Perkins is an Arrernte and Kalkadoon artist whose practice incorporates portraiture and landscape to question representations of First Nations peoples and Country. With a delicate hand, Thea answers heavy questions about what it means to be First Nations in contemporary Australia, and interrogates portrayal.


    Thea’s middle name Anamara is an Arrernte word that describes a river  and a Dreaming that runs north of Mparntwe (Alice Springs) – the place that keeps calling her back and has been the wellspring of art and activism for her family, and by extension, the nation. Perkins continues her family’s commitment to what she calls “strong and ready communication” and is part of an extraordinary dynasty of First Nations activists and creatives that includes activist Charles Perkins (her grandfather), Arrernte elder Hetti Perkins (her great-grandmother), curator Hetti Perkins (her mother) and acclaimed film director Rachel Perkins (her aunt).


    Raised and based in Sydney, Thea has family ties to the Redfern community and has worked in a broad range of community projects. Thea was the recipient of the 2023 La Prairie Art Award, administered by The Art Gallery of NSW, and won the Brett Whiteley Travelling Art Scholarship in 2021, and the Alice Prize & Dreaming Award in 2020.

     

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    • Thea Anamara Perkins Untitled (15.20.23), 2023 acrylic on board 12.7 x 17.8 cm / 15 x 20 cm (framed)
      Thea Anamara Perkins
      Untitled (15.20.23), 2023
      acrylic on board
      12.7 x 17.8 cm / 15 x 20 cm (framed)
      Enquire
    • Thea Anamara Perkins Untitled (13.20.2023), 2023 acrylic on board 12.7 x 17.8 cm / 15 x 20 cm (framed)
      Thea Anamara Perkins
      Untitled (13.20.2023), 2023
      acrylic on board
      12.7 x 17.8 cm / 15 x 20 cm (framed)
      Enquire
  • Joan Ross.

    Joan Ross.

    Bold and experimental, Joan Ross' practice investigates the legacy of colonialism in Australia with a  particular focus on reconfiguring the colonial Australian landscape and drawing attention to the complex and ongoing issues surrounding  the effects of globalisation and colonisation.

     

    Joan's use of fluorescent yellow and high-visibility clothing symbolises colonisation and fear. The act of depicting people in this bright clothing and placing fluorescent objects in the landscape does more, however, than simply illustrate colonisation; it also highlights and exaggerates the foreign or alien aspects of her work and its association with the landscape and the cultural and spiritual connection to place.

     

    Recent projects include designing the hoarding for The Art Gallery of New South Wales' Sydney Modern expansion, and illuminating the façade of The National Gallery of Australia during the 2021 Enlighten Festival. Joan was awarded the National Art School Fellowship in 2023.

     

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  • Vipoo Srivilasa.

    Vipoo Srivilasa.

    A Thai-born Australian artist recognised as a leader in the field of ceramics, Vipoo Srivilasa creates work that engages with complex questions of queerness, migration and spiritual meaning, using an aesthetic and medium that is accessible, uplifting and beautiful.

     

    Vipoo has exhibited extensively around the world, including Museum of Fine Arts, Boston; Saatchi Gallery, London; Ayala Museum, Philippines; Yingge Ceramics Museum, Taiwan; Nanjing Arts Institute, China and the National Gallery of Thailand. His work is held in national and international public collections across the globe including Henan Museum, China; Roopanakar Museum of Fine Arts, India; Craft Council, UK, and the National Gallery of Australia. In 2021, Vipoo was awarded the Ceramic Artist of the Year by the American Ceramic Society for his contribution to the global clay community.

     

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  • James Tylor.

    James Tylor.

    James Tylor is a multi-disciplinary artist whose practice explores Australian environment, culture and social history through photography, video, installation, scent and food.

     

    James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.

     

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    • James Tylor Turalayinthi Yarta (Wirramiyu), 2017 photograph with ochre 50 x 50 cm
      James Tylor
      Turalayinthi Yarta (Wirramiyu), 2017
      photograph with ochre
      50 x 50 cm
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    • James Tylor Yuridla Mount Lofty and Mount Bonthyon, 2017 timber & ochre paint 36.5 x 6.5 cm
      James Tylor
      Yuridla Mount Lofty and Mount Bonthyon, 2017
      timber & ochre paint
      36.5 x 6.5 cm
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  • Natasha Walsh.

    Natasha Walsh.

    Natasha Walsh's practice is informed by an understanding of the artist as an alchemist. Known for her transformation of pigments on copper surfaces, Walsh's work acutely observes delicately-painted figures that emerge from the surface. ‘From the moment that I prepare the surface, it begins to naturally oxidise. I experiment with applying different ground pigments which change colour in response to this process. These paintings visibly age as I work on them. As such, my attempt to transfix time is inherently impossible and this interests me.’

     

    Walsh has been a recipient of multiple awards, prizes, and scholarships, including The Brett Whiteley Travelling Art Scholarship, Mosman Art Prize, and The Kilgour Prize, and has been a finalist in The Archibald Prize four times, The BP Portrait Award (London National Portrait Gallery), The Royal Scottish Academy Annual Exhibition (Edinburgh), and The Royal Academy of Arts Summer Exhibition (London).

     

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  • Louise Zhang.

    Louise Zhang.

    Louise Zhang 张露茜 is a Chinese-Australian multidisciplinary artist whose practice explores the dynamics of aesthetics, contrasting the attractive and repulsive in order to navigate the senses of fear, anxiety and a sense of otherness reflecting her identity.

     

    Zhang's  work is inspired by horror cinema, Chinese mythology and botany, adopting and placing symbols and motifs in compositions of harmonic dissonance. Her practice explores Chinese mythology – paintings, sculptures and scroll-like banners that incorporate demons, dismembered body parts and organs drawn from anatomy books – overlaid with illustrations of flowers, bones, scholar rocks and auspicious imagery presented in a sugary palette. The aim is to create a visual cacophony, a disjointed and disorientating mash-up of symbols and imagery in an attempt to in part reconcile and make sense of the fissures and contradictions that define her own identity.

     

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    • Louise Zhang Cloud Garden (Volume) #1, 2023 acrylic on linen 40.5 x 30.5 cm
      Louise Zhang
      Cloud Garden (Volume) #1, 2023
      acrylic on linen
      40.5 x 30.5 cm
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    • Louise Zhang Lotus and Peach, 2023 acrylic and oil on linen 50.5 x 41 cm
      Louise Zhang
      Lotus and Peach, 2023
      acrylic and oil on linen
      50.5 x 41 cm
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    • Louise Zhang Cloud Garden #3, 2023 acrylic on linen 40.5 x 30.5 cm
      Louise Zhang
      Cloud Garden #3, 2023
      acrylic on linen
      40.5 x 30.5 cm
      Enquire