Sunrise, Sunset.

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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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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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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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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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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A regular finalist in major art prizes, Sally won the People's Choice Award at the 2021 Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) at the Museum and Art Gallery of the Northern Territory, and the Roberts Family Aboriginal and Torres Strait Islander Prize at the Art Gallery of New South Wales in 2022. The British Broadcasting Corporation (BBC)  named Sally as one of the 100 women of the year in 2022, and is a member of the National Gallery of Australia Council and Chair of its First Nations Advisory Group.⁠

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