PREVIOUS EXHIBITIONS | UPCOMING EXHIBITION


OPENING NIGHT: Fri 18 Aug 6pm – 8pm  | DATES: 17 - 31 Aug 2023

Adelaide Macpherson

otk Leza Cullen otk

Deborah Amon-Cotter

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Susan Mountford

FRONT GALLERY

EAST OF ALICE
by Adelaide Macpherson

CATALOGUE

The paintings and etchings within this exhibition have evolved from plein air studies made at various locations on or near Ross River Homestead in the East Macdonnell Ranges NT. Being in the landscape watching, studying and connecting to placeis very important to my practice. Returning to my studio a similar process takes place watching as a painting or an etching plate develops but now learning to allow a freer creative form to emerge while remaining true to a spirit of place.


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BACK GALLERY

AFTERNOON
 by Leza Cullen

CATALOGUE

Autumn light on the wall. The pouring of tea. A tablecloth smoothed out. Flowers from the garden put into vases. Afternoon celebrates small moments that bring us pleasure, the quiet beauty of interiors and the domestic art of arranging.

Leza Cullen is a Naarm based visual artist who works predominantly with watercolour. Her work is informed by interior design principles, and her love of neighbourhood gardens, mid-century pottery and Stevie Nicks. 




 

SIDE GALLERY

FRAGMENTS OF COLOUR
by Deborah Amon-Cotter

CATALOGUE

My background is in all things clay, both hand-built and thrown, I love the tactile qualities of this medium.

My main inspiration for this series of ceramic paintings is reuse, recycle, and re-purpose, thereby eliminating these pieces ending up in landfill & giving them a new lease of life.. To a certain extent, I rely on the universe to provide me with ceramic tiles, glass tiles, mirror, chipped, or broken china and the like.  I also hand make in clay and decorate retro inspired pieces that I include alongside my found fragments. 



 

 

UPSTAIRS GALLERY

LUXURY ITEMS
by Susan Mountford

CATALOGUE

Reflecting the consumer preferences of a different era, this group of pencil drawings depicts objects for sale in a copy of The New Yorker from 1968. Taken from their contexts, they adopt for me an enigmatic quality. Once considered 'luxury items' and now stripped of their sheen, they embody a kind of suspended desire. I hope through their portraiture, they might make a new kind of presence felt.