Now Representing


The Main Gallery is delighted to announce the first artist representation: Firat Neziroglu (born Izmir), a visual artist and dancer currently living and working in Istanbul, Turkey. 

Firat was invited to Oslo under the auspices of the Royal Norway Embassy and to Thailand for the birthday celebrations of the Queen of Thailand, where he wove a special cloth for her. As a result, he was elected as the brand ambassador to the Thai Kingdom. He was invited to the Lausanne Biennial, the world’s most important fibre art event. It became the cover of Christie’s, one of the most important auction houses in the world. In addition, he presented his ready-to-wear collection on the runway of New York Fashion Week.

As a new venture in Turkey, Firat uses weaving as part of live performances accompanied by music on stage. He realises his dreams on stage with ModernDansLAB, classical ballet and contemporary dance ensemble.

Firat presents his weaving works using his traditional tapestry technique through a unique and specific interpretation developed with a modern approach.

His works reflect aspects of his daily life related through real-life stories. Neziroglu uses colours, tones, and forms and various traditional Anatolian weaving techniques and local fibres. He developed a new weaving technique that is accepted in the world of contemporary art. His work is included in university lectures worldwide and has been the subject of a master’s thesis.

Firat works have been exhibited in London, Paris, Munich, New York, Washington, Shanghai, New Delhi, Venice, Roma, Singapore, Dubai, Marrakech, Buenos Aires, Hawaii, Kitakyushu, Incheon and Chonburi. Collaborates with worldwide brands and he is also Bilişim Vadisi Wearable Technologies Consultant.

“Next, I come to the work of Firat Neziroglu, Turkish dancer and artist extraordinaire. What is most commendable about his work, alongside his very visible talent as a weaver, is his challenge of gender stereotypes. His work depicts a multitude of scenes, all rooted in a sense of joie de vivre, but are all communicated via the medium of a tapestry weaving which is traditional, in the Middle East, a very feminine role. Neziroglu, being a trained dancer as well as a talented weaver, send a message out to the West about Turkey’s increasingly liberal mindset amidst its very conservative neighbours.”
Paniz Gederi – ArtLyst / Art Monaco / 2013​

To see Dear Ahmet by Neziroglu in person, please visit us at The Main Gallery. We are looking forward to presenting new works by Firat Neziroglu in our group exhibition A FRESH BREEZE later this year.


Alan Todd

Alan Todd trained as a painter in 1960s London but has worked as much in three dimensions as he has in two with a body of work in steel in the 1980s, and stage set design over a thirty-year period with his own contemporary dance company. Humanity and the human condition have been constant subjects in painting, sculpture and the theatre in particular where he was able to manipulate forms in space and shape them with light. Using film in conjunction with moving dancers and locations such as an airport and a forest provided not just a backdrop but the opportunity to integrate moving choreographed forms into different environments.

flying figure

This collection of figurative sculptures from the 1980s were maquettes for life-sized works in welded steel. The largest of the finished works was 3.5 metres high and completed in Adelaide for the 1986 Advertiser annual sculpture exhibition. Stylistically they derive from Armitage, Noguchi, Giacometti and Henry Moore [who lived down the road from me in Hertfordshire, England] who all used the human figure to express as much about humanity as individual emotion. These figures are optimistic in their belief that flight is possible even although grounded by the reality of gravity. They saw a brave new world emerging.


Photographer Alex Frayne also has a background in film making. He says the more he searches for simplicity and ‘plain truth’ in photography, the further away simple solutions seem to be: ‘The closer I look, the more mysterious trees seem to be.’

Alice hu

Alice Hu is a philosophy-based artist, working with many types of mediums. So many things fascinate her in this world, and she is thirsty for knowledge and her desire to seek answers, which motivates her to be a contemporary artist. Alice never stops her quest for exploring them and finding her answers by creating artworks. She is a multicultural artist, currently focusing on multiculturalism and acculturation. Alice hopes that she could use her own experience to make things better for people who had similar experiences and open doors to people willing to accept differences.

Acculturation, 2021

In modern Australia, at least 40 per cent of Australians are considered to have a multicultural background. Despite this large percentage of people in this position, many like me still face struggles and discrimination within Australia and abroad. I wish to demonstrate my perspective of acculturation through my artworks, deliver my experience of being a multicultural artist with multiple aesthetics drawn from various influences, how it has impacted the artifact produced, and bring changes and inspections to people. Eventually, we may accept, celebrate our differences and enjoy living in a multicultural society. It is more than ever crucial as we are hoping to exit the global pandemic and connect once again with our culture and arts.

Amber Cronin

Amber Cronin is an emerging cross-disciplinary artist living and working on Kaurna Land. A recent graduate, her visual arts research is rooted in performative and sculptural gestures that engage the audience through the connection of memory, time and space.

Developed through a vocabulary of processes, forms emerge that reframe everyday actions as sites of ritual activity. Utilising elements of ceramics, textiles, performance, moulding and casting, Cronin’s studio experiments are gathered and displayed in combinations that facilitate meditations on connection and discovery.

Cradle, 2019

The work  investigates networks and systems of meaning through gestures. I am drawn to collecting natural objects, some of these experiments are an attempt to find a home for the quinces, seeds and stones that I feel compelled to collect. Atop folds of clay balancing on their plinths, the cast quinces are cradled safely, held in an indent. Each fold catches the precious fruit in a frozen moment of action. The divot shape influences the negative space below it– the action of one object coming into contact with another. The hollow of the interior, like the shape within the plinths, performs the same possibility of emptiness.

anna horne

Since graduating from the Adelaide Central School of Art (2008) Horne has exhibited her sculptures frequently in local and interstate galleries including GAG Projects (SA), CACSA (SA), Firstdraft (NSW) and BUS Projects (VIC). Horne has obtained multiple international residency opportunities including Sankriti, India (2013, Helpmann Academy), Gachang, South Korea (2016, Asialink) and Cité internationale des arts, Paris (2018, Art Gallery NSW). Horne has been an award finalist in the Viscopy John Fries Award (2014) and the Churchie Emerging Art prize (2017) and the winner of the 2017 Tatiara Contemporary Art prize.

colour theory

Anna Horne explores materiality, process and the transience of the physical world through the medium of sculpture. Contradiction and opposition are themes that are particularly central in Horne’s practice, often playfully explored through the juxtaposition of opposing material forces. In the creation of her sculptures, Horne uses commonplace industrial materials such as concrete, plaster and metal to cast replicas of familiar everyday objects such as beach balls, plastic bags and wine sacks. While these everyday objects are chosen for their form and inherent physical qualities, Horne’s rendering of the objects in industrial materials disrupts and challenges preconceived ideas and truths about their physicality and function.

Asli Canpolat

Asli began her career as an undergraduate at the Traditional Turkish Art Department, where she then took on a Masters. Since 2005 she has exhibited extensively as a solo artist and in group shows in London and Istanbul. Recent work took the form of card-deck inspired haute couture kimonos, the colours of which were also reflected in her storybook projects.

Garden, 2018

Art has always been a passion in my life and studies of traditional Turkish art allows me to express memories, and moments through symbolic stories driven by imagination.


Barbara KRAJEWSKA was born -first time- in Poland and, then, the second time in France, when she discovered, in Paris, French civilisation. She lived in different countries but, feeling profoundly European, she belongs to French culture that she represents with her books and other writings. Artist painter, she exhibited many times in Paris, but also in New York, in London, in Switzerland, in Italy and in Australia. Barbara Krajewska is also an author. After completing her Ph.D. she published internationally four books and a number of articles devoted to French literature, French history, French society and also Napoleon and Dostoyevsky.


Barbara KRAJEWSKA abandoned her initial technique, water painting, to work exclusively with oil on canvas. Initially indifferent to abstract, she has turned to this expression recently, although her favourite subjects are portraits, nudes and landscapes in an attempt to destabilise formal vision of world and people through a personal vision of things and human beings. She is trying to dramatize banal situations or to exaggerate what’s singular in settings that are eternal rather than anecdotal, all seized in a line deliberately minimalist. The purpose is to visualise certain states of mind without the ambition to venture into innovative or trendy approaches with the intention to express spleen or to retain the instant through aesthetical sublimation and the intensity of a suggestion.


Bernadette completed a Bachelor Degree in Visual Arts and Design at Adelaide College of the Arts in 2017, majoring in painting. Since graduating she has continued to develop her oil painting skills in a variety of genres including portraiture, landscape and more recently abstraction.

A finalist in various art prizes, including the Adelaide Parklands Prize (2018) and the Kennedy Art Prize (2018/2019) Bernadette received the Helpmann Academy Emerging Artist Award at the Royal South Australian Society of Arts / SALA portrait Prize in 2019, a highlight of her career. Bernadette has exhibited regularly in both group and solo exhibitions.

Colour theory

Anna Horne explores materiality, process and the transience of the physical world through the medium of sculpture. Contradiction and opposition are themes that are particularly central in Horne’s practice, often playfully explored through the juxtaposition of opposing material forces. In the creation of her sculptures, Horne uses commonplace industrial materials such as concrete, plaster and metal to cast replicas of familiar everyday objects such as beach balls, plastic bags and wine sacks. While these everyday objects are chosen for their form and inherent physical qualities, Horne’s rendering of the objects in industrial materials disrupts and challenges preconceived ideas and truths about their physicality and function.

bin bai

Bin Bai (aka Gentsu Gyatso) is a multidisciplinary visual artist who currently works and lives in South Australia. He uses paintings, sculptures, architecture and animated films to explore the transformation of traditional art and the culture in the contemporary art realm. He was born in Kham, Tibet, studied art in the art institutions in Chongqing, Kassel and Adelaide and was granted Master Degrees in Fine Art and Design in 2004 and 2021, respectively.

Since 2002, Bin has participated in various exhibitions and given talks about his research and practice. By employing digital animation in visualising Tibetan grassroots oral literature, his 26 minutes animated film “The hunter and the skeleton” (2012) was regarded as the first animated film by Tibetan artists. Moreover, it was among the official selections of scores of international film festivals. In parallel, his paintings and sculptures also look into the transformation of Tibetan art by elevating and representing aesthetics from his understanding of ancestral cultures and the links with our modern times. His latest painting project for UniSA Master’s study was selected into the Helpmann Academy Graduate Exhibition 2021. In addition, he was awarded the Graduate Exhibition Acquisition Prize 2020 by UniSA Creative.

space horse 2021

The three sets of my works exhibited here are based on my interests in how to transform traditional Tibetan art. Through contemporary painting, sculpture and animation, I incorporated traditional aesthetics and knowledge into a new way of art-making, which allows viewers to communicate with the unfamiliar culture and people who created them. Moreover, my research is intended to identify the true identity of art, which lies in the prehistorical artefacts and beliefs I studied and later recreated in my works. So naturally, the informative aspect of these works turned my art into a bridge that connects the past and present, the East and the West, the forgotten and the curious minds.

Brenton Hill

Brenton Hill is an Adelaide Hills based artist.

He attended The South Australian School of Art, Central School of Art and TAFE SA.

For over 35 years his art practice worked in tandem with being a graphic designer.

How to bring together marks into a meaningful image is what challenges and intrigues him…

To draw to the surface the inner picture of the soul so the eye may see.

To feel a forgotten memory.


Art is not always about pretty things

It’s about who we are

What happened to us

How our lives are affected

And how we can be healed

(Adapted from Elizabeth Broun)

Home 2023

Have we been created to belong, to be in a place where we can love and be loved? 

A place to call Home.

To be safe, nurtured and where we can be ourselves.

Is Home a place of shelter, a birth place, where we grew up or where we give up our final breath?

This sense of Home may not be the same for everyone – for some it can be a place of pain, sadness, trauma or regret.

Memory is such a fragile archive.

This poignant body of work hopefully will lead you into a place that you call home, a place where you are now or a place where you have been – and a place of an eternal Home to come.

Do we need to leave a home to go HOME

CHarlotTe tatton

Charlotte Tatton is an Adelaide based artist, predominantly working with oil paint. Her work explores the intersection between design, nostalgia, and the transformative power of decoration. Tatton employs collage techniques to create compositions that play with spatiality and movement. Since completing her Bachelor of Visual Art at Adelaide Central School of Art in 202, she has exhibited at galleries across Adelaide and interstate, including FELTspace, Adelaide Town Hall, Endspace Gallery and The Long Gallery (TAS). Tatton has received recognition as the RHG prize winner at the Gallery M contemporary art prize in 2022 and is currently preparing for her first solo show at Gallery M in October.

colour theory

Inspired by second-hand 1960s house and garden magazines and craft books, the collaged compositions within my work delve into notions of space, scale, and form. By juxtaposing realistic renderings with flat, graphic magazine diagrams, perceptions are challenged, giving rise to intriguing and fragmented spaces. Rhythmic patterns, bold colors, and distinctive forms capture the intriguing allure of mid-century aesthetics, inviting contemplation of the lasting impression of design from that era and celebrates its unchanging style that continues to captivate.


An artist and educator, Cheryl Dundas draws upon observations of nature. She
considers the issue of museums and looted artefacts, examining ethnographic bias in
collections of artefacts, flora, and fauna and their exhibition as ‘curiosities’.

chris beasley

Chris has exhibited often in group and solo exhibitions, alongside her work as a social sciences academic, specialising in gender and sexuality studies. Art has offered her another direction. Chris’ approach reflects her childhood in remote Australia, connections between human beings and the natural world, social inequality, and an ongoing concern with emotional intensity.

elizabeth wojciak

Elisabeth Wojciak is an Adelaide based artist who works in the mediums of painting and drawing. She has a Bachelor of Visual Arts and Applied Design from the Adelaide College of the Arts. Since her studies, she has received several awards including the MinterEllison Lawyers Rising Star Award, Academic Achievement Award and the Art Stretchers Award for Highest Achievement in Painting. She has also been selected to exhibit in the Waterhouse Natural History Art Prize, represented ACArts Adelaide at PICA in Perth. Her work is now included in several national and international private collections.


In my work I strive to convey feelings of intimacy, longings and ambiguities of things unspoken, forgotten. I continue my attraction in themes of the female form, (self-) perception, and the connection between figurative and abstract /expressionist painting. My creative process is largely intuitive and through referencing to the figure I allow the painting to lead me and respond to the marks on the canvas. I use colour and expressive brushstrokes to develop language concerned with mood and content.

esra kavci ozdemir

Esra graduated from Dokuz Eylül University Faculty of Fine Arts, Department of Traditional Turkish Arts. She has been enjoying her academic career as an associate professor in the same department since 1998, where she attained a Master’s Degree and PhD.  Her selected solo exhibitions are “Reflections” in 2010, “Selections from Ahmet Hepdogru Izmir Writing Patterns Archive” in 2015 and “Patterned Weaves Textile Exhibition” in 2016.


Esra specialises in traditional weaving, palace and printed fabrics. She combines these traditional weaving techniques with contemporary interpretations. Additionally she uses mould printing, fabric surface colouring and waxed batik techniques on fabric. She expresses herself through an artistic vision that includes traces of tradition and emphasises links to the past, present and future.

Fang-Yi Kuang emigrated to Adelaide from Gauangxi, China in 2006. Currently due to COVID-19, she lives and works in Guilin, China. Her works draw on her cultural heritage, seeking to discover new connections corresponding to the material and the viewer.
Firat Neziroglu

Firat Neziroglu was born in Izmir. He was invited to Oslo under the auspices of the Royal Norway Embassy and to Thailand for the birthday celebrations of the Queen of Thailand, where he  wove a special cloth for her. He was elected as the brand ambassador to the Thai Kingdom. It became the cover of Christie’s, one of the most important auction houses in the world. He presented his ready-to-wear collection on the runway of New York Fashion Week.

As a new venture in Turkey he is using weaving as part of live performance accompanied by music on stage. He realises his dreams on stage with ModernDansLAB a classical ballet and contemporary dance ensemble.

… And still; unravelled, academician, thinker, dancer, and a weaver, while weaving all of these to each other…

Firat Neziroglu presents his weaving works using his traditional tapestry technique through a special and specific interpretation which he was developed with a modern approach. 

Dear Ahmet

His works reflect aspects of his daily life related through real life stories.  Neziroglu not only use colours, tones and forms but also various traditional Anatolian weaving techniques and local fibres.  He developed a new weaving technique which is accepted in the world of contemporary art. His work is included in university lectures around the world and has been the subject of a  master’s thesis.


Fred Beel is a semi-retired fitter machinist, toolmaker, and welder who has turned his
skills to sculpture. His works consider displaced human remains in museum collections and the iconography of Picasso’s 1949 peace dove design.


Always a maker, Genevieve de Jong graduated with a Bachelor of Visual Arts and Design, jewellery major, in 2014. For the last 6 years she has enjoyed working within the arts / ethical manufacturing jewellery industry while building up her arts practice. 

Genevieve explores the interplay between jewellery and its wearer through the intimacy of jewellery making. Known to use a variety of materials more recently precious gem stones and metals have become an important aspect of her work.

Genevieve creates beautiful, handmade, one off  sculptural pieces. Her ideas are often a response to themes of memory and imagery,  or simply from the old treasures she finds while stomping around in the bush.


History has proven that “events” sear in our minds and then we forge ahead. 

The age old art of jewellery making creates heirlooms with an emotional attachment. In response Jewellers are always critically thinking and agonising over the most minute of details, creating an intimacy between the maker, the jewellery and the wearer.

The designs of my body of work were inspired by my exchanges over the last year with colourful characters, then exploring the imaginary interplay between the jewellery and the person.  The process of  transferring my observations, misshaping the precious metals with my hands and adding natural gem stones, created strong, beautiful and whimsical jewellery, and I imagine the wearer adoring them.

There was no agonising over the concept and unapologetically I allowed my process to be a positive reaction to my exchanges, refusing to give the “event” any more energy.

This is what I needed to do….to forge ahead.

georgina mills

Georgina Mills is a locally and internationally trained sculptor who has recently returned from five years of study and tutoring at The Florence Academy of Art in Italy. Her practice explores the human condition through the representation of the figure and aspires to capture a transient moment that resonates viscerally with the viewer. Georgina is excited by the new challenge of extending her classical figurative training to incorporate contemporary Australian culture.

Desire for Desires

Desire for Desires is a figurative representation of a discontentment with life. The heaviness of the pose captures an intangible energy associated with dissatisfaction- a symptom usually experienced as part of a deeper underlying restlessness with self. Unwittingly, this realization can surface once the everyday stimulus of life has been removed, manifesting itself as boredom.

Geoff Gibbons

Geoff Gibbons studied at the SA School of Art and was awarded a national scholarship to research prints and drawings in the British Museum. He taught a major in printmaking and art history within TAFE award courses and later within the BVA program at the Adelaide Central School of Art where he was head of the faculty of art history & theory from 2011 – 2014.

In 2008 he helped establish the Bittondi Printmakers Association Inc. that operates an access workshop for artist printmakers. He exhibits regularly and runs workshops in copper plate etching.

Beauties and Beasts

In this selection of recent paintings I have tried to express my responses to certain sights encountered on my travels that I found fascinating or seemed to strike a chord in me. e.g. The gathering of turkeys I saw by a derelict house in western Queensland where the uncanny dominance of these creatures suggested their ownership of the property in the absence of any human presence. A sentinel-like silo seen at dusk and the somewhat surreal appearance of a donkey on the platform of a deserted railway station were the genesis for other images I felt compelled to paint.

gerry mcmahon

I am a South Australian Sculptor with young kids. I am acutely aware of the need for motorists to be vigilant around schools and areas where children are present. While caution signs assist to inform motorists they can be overlooked amongst other signage. I have designed these childlike sculptures to draw motorists’ attention, at a glance or via peripheral vision, to remind drivers to slow down.

Here I AM

My work as a sculptor has been based on the skills I acquired from my previous occupation as a sheet metal tradesman. I always appreciated the characteristics of metal, particularly its versatility and durability, but as an artist I am able to experiment, explore the boundaries and manipulate metal in a more creative fashion than ever before. The foundation for my art practice has also been enhanced with the completion of a Bachelor of Visual Arts and Applied Design. My practice is divided into three major areas: commissioned works, exhibitions and workshops. While I enjoy the freedom of exhibiting, it is the realm of public art that gives me the greatest satisfaction, allowing my works to be seen by a larger audience and sharing my vision with the whole community. Public pieces created within workshops reinforce this notion even further.

gus clutterbuck

Gus Clutterbuck is an Australian mid-career artist with a diverse mix of skills and achievements. He graduated from AC Arts(2000), exhibited widely nationally and internationally, and recently was a finalist in the 2020 Taiwan Ceramics Biennial. 

His work is held in the collections of the Art Gallery of South Australia, Flinders Medical Centre, Jingdezhen Ceramic University(China),Yingge Ceramic Art Museum(Taiwan) and numerous private collections.

His creative vision is expressed through multiple art forms, including drawing, ceramics, and photography. He works in Adelaide, Jingdezhen(China) and with Aboriginal artists in the East Kimberleys. 

He is represented by MEOU Art Shanghai.

self portrait as li bai

I am a storyteller. I use a distinctive visual language to portray the narratives of my life.

This personal language combines traditional qīng-huā painting techniques and references to Chinese symbology, with my own and my family’s personal experience of life and the Australian landscape.

My work responds strongly to my immersion in the immediate cultural environment, and embodies the essence of cultural exchange through the juxtaposition of Chinese and Australian archetypes.

These works on Jingdezhen porcelain are painted using traditional blue and white techniques in the spirit of the Romantic tradition.

Hande kilicarslan

Hande Kilicarslan was born in Ankara. She graduated from Ankara University School of Home Economics in 2003. She completed her postgraduate studies at Ankara University, Institute of Science, Department of Home Economics and Handicrafts in 2006, and her Proficiency in Art at Süleyman Demirel University, Institute of Fine Arts, Department of Art and Design in 2014.  Since 2015, Dr Instructor Hande has worked as a member of Kırsehir Ahi Evran University, Neset Ertas Faculty of Fine Arts and earned the title of Associate Professor in 2018. In addition, Kılıcarslan, who has participated in many national and international group exhibitions, has published papers and articles on Traditional Turkish Arts.

distance from 2018

Weaving provides a means for expressing feelings and thoughts.

Distance (Referential): The spaces of the striking elements in the work are a reference to nature – dimensional, formational, imaginary, referential distance between the elements of nature.

Distance From The beads used between two spaces in this work symbolize the act of forgetting although the forgetting is characterised by the distance between us.

Distance (Disconnected): The distance between the two elements of the work symbolizes broken relationships, disconnected relationships, disconnected thoughts and  disconnected lives.

Hayal Incedogan

Hayal Incedogan is an artist and academician born in İzmir, a graduate Dokuz Eylül University Fine Arts Department specializing in painting is represented in collections worldwide including the United States, Germany, Finland, Spain, Hungary and the United Arab Emirates and has exhibited internationally as both an invited participant in projects as well as solo artist.

Exhibitions have included ‘The Last 60 Years of Contemporary Turkish Art’  in Osthaus Museum in Germany and an exhibition in Modern Hungarian Gallery in Hungary. Incedogan was cited as among the “40 remarkable artists in ‘Turkish Contemporary Art’ under the age of 40”.

Lilac Wine

As a multimedia artist developing interdisciplinary projects using painting, photography, light and sound, I utilise memory, particularly personal and social memory.   Recollections and nostalgia are linked to classical and electronic music,  literary texts and botany. “In the Shade of Time” kaleidoscopic photographed plant forms are presented as the continuity and infinity of nature and that sense of the infinite is heard in the repeated forms and phrases of the electronic soundtrack.

In my exhibition “Lilac Wine” I  focused on the theme of love and brought together different works of art from oil paintings, photographs to neon installations and videos in a feminine sensibility, the presence of an emotional ‘climate’ change is unquestionably dominant.

The spineless cactus, named ‘Echeveria’ and a member of the ‘succulent’ family, plays the leading role in this climate as it stands out in this sudden and eerie ‘transition’ climate to which we are exposed through love. This succulent plant blossoms once a year and as it makes concessions to life and death, the pink-yellow and ingratiating flowers gain strength, nourish, cherish and bloom in the tormented semi-light and the wilful drought of love.


Irene Messia is originally from Italy where she undertook her art training. These works consider eudaimonia: a philosophy predating Aristotle, which holds that individuals have a responsibility to recognize and live in accordance with their daimon, or true self.

Jacqui Grace

Jacqui Grace was raised in rural South Australia and went on to work as a Registered Nurse in Adelaide.

She had the opportunity to study art at the Optimal Art School and the Prisma Art and Handiwork School in Stockholm, Sweden. On return she completed her Bachelor of Visual Arts at the University of South Australia in 2012. Recently she has had the opportunity to push her work further amongst the rolling hills of Tennessee, USA. Jacqui now resides in the Adelaide Hills where she opens her studio to the public. Jacqui’s work has been exhibited locally and internationally with many works held in private collections.

Jacqui considers it a privilege to proclaim wonder and delight in her work. She believes there is a need to experience beauty in this world and to encourage others to creatively express themselves. Over the years her combined work with the arts and health industry has raised her interest in the therapeutic properties of creativity.       


His Presence: My Home

From a child I have felt His dwelling and have felt at home with Him.

His presence

His Love

His faithfulness

His provision

His Security and solid ground

It is where I am fully seen, fully known, fully heard, fully cherished, and fully satisfied.

This side of heaven it is my most favourite landscape to dwell.

His inspired words from Psalm 139 wove the colours of my heart as I pondered this treasured reality in my life.

His original love is what draws my family and relationships together.

This hope draws my eyes upward from the horizon towards the light.



Jasmine Crisp completed a BVA (honours) at Adelaide Central School in 2017 and has since been granted the 12 month Carclew (2018) and Praxis (2019) artist in residence programs in SA as well as international artist residencies across Iceland (SíM, NES) and Finland (Koli Ryynanen). Crisp’s work is included in the Artbank collection and been awarded for first prize for the CCH Art Prize, Prospect Portrait Prize and YouthScape Art Prize, achieved multiple peoples choice awards and included as finalists in the Ravenswood Art Prize, SALA Advertiser awards, Emma Hack Art Prize and Kennedy Art Prize.

Colour theory

Jasmine Crisp is a painter born and based in Adelaide, South Australia. Her characteristic practice features figures from her lived experiences to form localised genre paintings of the familiar and absurd. Crisps often maximalist scenes are built upon personal narratives, which are crafted in reference to past traditions of portraiture. Long established symbols within painting are presented in harmony with the familiarity of the present to form playful reimagined landscapes of the felt human experience.

jingwei bu

Jingwei Bu is a Chinese – Australian emerging artist. Draws on a range of artistic traditions that references both Western and Eastern cultural traditions, her practice focus on investigating time, space, and memory through drawing, painting, installation, performative video and art performance. Her early art training in traditional Chinese charcoal portrait drawing, followed by joining a contemporary art atelier in Germany. Currently, she is a graduating visual art student at Adelaide Central School of Art by the end of the year. Jingwei draws on her experience of cultural displacement and social isolation and a well-trained capacity for observation. Her artwork has been included in numerous group exhibitions in South Australia and overseas. In addition, her intuitive drawing Life Maps series works, which she has been developing since 2016, have been exhibiting in the Mill Adelaide and Women’s and Children’s hospital within their ‘Art in Health’ program.

Life Maps-Ping An / Safe and Sound

Jingwei Bu considers art-making as an extension of everyday life. She utilizes a range of modalities and approaches – installation, performance, video, multi-media, and works on paper – to explore time, memory, the impermanence of life, natural and man-made ecosystems and ontology.

Bu draws on life events as an abundant source of creativity.  Big and small actions that make up the insignificant and meaningful moments in life act as triggers for largely spontaneous creative responses. Her practice is attuned to accident, play, and translation: thoughts and feelings are shaped into artistic expression, both object-based and performative.

Bu often incorporates performance in her practice alongside other modalities. Developing her understanding of the body through theatre performance and the Tai Chi, Bu uses movement to extend the duration-based abstract drawing series Life Maps (2016-), works on papers and installations. Addressing time, space and materiality in the context of culture and identity.


Completing a Bachelor of Visual Art and Design at Adelaide College of the Arts in 2017, Jemima is an emerging South Australian artist working primarily within jewellery and metal work.

Inspired by the storytelling ability of art and a profound love of the natural world, Jemima creates intricate, detail orientated pieces, which are often interspersed with aspects of traditional textile techniques in metal that allow flexibility and movement in her work.

Jemima was the recipient of Helpmann Academy’s Artist Residency at Sanskriti Kendra, New Delhi, India in 2018 and was awarded a Helpmann Academy grant in 2019.


As the wind swirled around me, I heard you whisper “its ok you are of me and I am part of you, that can never change, our connection is forever”

Reflective of the sentimental expression that is often linked to body adornment, each wearable artwork is inspired by a three year process of gathering memories through photography and the collection of natural objects or relics from the past that now can be carried with me.

Rather than reflecting on longing or grief for a lost part of the past, this introspective journey has become a celebration of appreciation, love, connection, identity, respect and gratitude for the gift of legacy in all its forms.

JOE felber

Joe Felber lives in Adelaide; he studied architecture in Lucerne. In 2000 he received (MFA in Research) at RMIT in Melbourne. He has lived, worked and exhibited over three continents with individual and group exhibitions since 1970-ties. 


Joe migrated to Australia in 1980 and lived in Sydney until 1989, where he returned to Zurich and worked and exhibited mainly in Switzerland, Germany, Cologne, Frankfurt Hamburg. Since 1991 in New York with Lennon Weinberg Inc. Since 1990, he lived for five years in Cologne as a peripatetic nomad: his art practice a ‘performance’ of physical and discursive displacement. He was invited as an artist in residence in the international art programme Costello Rivara, Torino in Italy, where he was introduced to the origin of the Arte Povera collection. Since 1992 his practice became interdisciplinary and acquisitive: absorbing, assembling, composing and de-composing…playing and re-playing elements from a vast array of fragments, each a caught glimpse (a musical notation) of a moment, a movement through public/social space (the literal spaces of landscape, architecture and urbanity, and the virtual, or constructed spaces of both written and artistic syntax).

a short view in a wast landscape over time

The tree works shown here are a response to the political debate on environmental issues and the reconciliation of the First Nation in Australia. The Diptych of architecture is a revelation on two witnesses planning and Monument. This Top panel is the famous Art Deco building ‘The Plaza’ hotel near Central Park, New York. In all works, the painting process that interests me is the surprise, the accidents, and the beauty of Aesthetics. 


On completing my jewellery apprenticeship with Wendts in Adelaide I went to London to further my career. In London I worked for the contemporary jeweller Andrew Grima making one-off pieces, while studying in the evenings at the Sir John Cass School of Art.  On my return to Australia I started my own practice based on my experiences overseas until being asked to head the first jewellery apprentice course in South Australia. This resulted in a 30-year career in education eventually becoming head of jewellery at the Adelaide College of the Arts. During this time my main emphasis was developing my student’s artistic development with the occasional commission mainly in institutional silverware.



On retirement my practice has broadened to encompass the tradition of silversmiths and jewellers in the creation of Objet D’Art.  For this exhibition I based my pieces on my love and concern for the Australian landscape, the figurative work of the sculpture of Anthony Gormley, Alberto Giacometti and in traditional indigenous art forms especially the skeletal rock art of the Kimberly region.

Jonathan Kim

Jonathan Kim was born and raised in South Korea and spent most of his 20s in China and 30s in Australia. Like his nomadic background, Kim’s artwork contains various cultural elements. His current practice focuses on defining and demonstrating the Gong-gan-seong (spatiality), which is the intuitive relationship between different factors, such as material, medium, environment, and audience. Since 2017, Kim has involved in 3 residency programs and around 30 diverse exhibitions.


My early practice was inspired by the Korean artist Lee Ufan’s Man-Nam (Encounter) theory which was the foundation of the Japanese sculptural movement Mono-ha and influenced the Korean painting style Dansaekhwa. This series is a part of my Dansaekhwa practice, which emphasizes the tactile texture of paper using the density difference between oil and water. Also, my cultural identity was reflected more actively in the works by adopting the Korean Jogakbo design and the Korean colour theory Obangsaek. Therefore, the geometrical patterns embraced the aesthetic value of Jogakbo, excluding the functionality, and the colours based on Obangsaek indicate Korean sentiments.

Judith Rolevink

Awarded Bachelor of Design (Ceramics) from SACAE Underdale, eventually returning to full-time sculpture, on retirement in 1998. Judith recently completed two figurative bronze children for the “Vietnamese Boatpeople Monument” on the riverbank, Kintore Avenue in Adelaide, unveiled January 2021. Other well-known bronzes are” Mary MacKillop and Children” situated outside the St Francis Xavier Cathedral facing Victoria Square, and “George Giffin” is a 2.25m coloured bronze situated between the Cricket Dressing Rooms at the Adelaide Oval. There are numerous bronze saints and busts across Australia, “Poets Corner” In Penola, SA has two bronze poet busts unveiled in 2018-9.

Irena with hat

From figurative sculpture in large bronzes to realistic rendering of the figure in clay, the colour becomes a foil in the narrative ambiguity in work. The clay sculptures are hollow built, coloured, and fired with a phycological complexity, rarely looking directly at the viewer and are often lost in thought. The figure of “Marta” won the recent Brighton Jetty Sculptures Indoor Prize in January 2021. It highlights the severe danger of swimming in unfamiliar waters.

Judith klavins

Over the past two years, I have been able to paint almost every day. My interest in architecture and the natural world are an ongoing source of inspiration. This is the first opportunity I have had to exhibit a considered body of work. Although I have been painting for twenty years, business and travel have occupied my time.

Poetry in Shadows

I leave it for you to reflect on the quiet and slow passing of time within these rooms and places filled with history.
I leave you to reflect on possible conversations that have occurred.
I leave you to ponder…
The Attic, was the ancestor’s photo left behind on purpose?
Did the soloist feel nervous before his performance?
Why does the restaurant door say ‘PUSH’ when clearly a waiter is standing against it?
Has someone just had a bath or are they about to?
And so with each painting, I immersed myself in fantasy and history.

*I acknowledge Simon Watson for allowing me to use some of his photographic images              

colour theory

This series of works were photographed along the Adelaide coastline near Henley Beach. By collaborating with silk, fishing line, the wind, and sunlight, this wind installation work speculates upon my ancestors’ practice in the 1830s of ‘making a smoke and raising the whiff (flag)’ to attract passing ships for trade. My ancestors include a sealer and Tasmanian First Nation’s woman, who raised a family on King Island, llutruwita (Tasmania), in the 1820-40’s. Whilst I don’t personally or culturally identify as a First Nations person, I think about the troubling and complex lives lived by Tasmanian First Nation’s women and sealers.

Julie Barnes

Over the past two years, I have been able to paint almost every day. My interest in architecture and the natural world are an ongoing source of inspiration. This is the first opportunity I have had to exhibit a considered body of work. Although I have been painting for twenty years, business and travel have occupied my time.

Poetry in Shadows

I leave it for you to reflect on the quiet and slow passing of time within these rooms and places filled with history.
I leave you to reflect on possible conversations that have occurred.
I leave you to ponder…
The Attic, was the ancestor’s photo left behind on purpose?
Did the soloist feel nervous before his performance?
Why does the restaurant door say ‘PUSH’ when clearly a waiter is standing against it?
Has someone just had a bath or are they about to?
And so with each painting, I immersed myself in fantasy and history.

*I acknowledge Simon Watson for allowing me to use some of his photographic images              


The artists use painting, shaping, and assemblage to explore the ideas of memory, imagination, and fantasy.


Kylie Nichols is a Sculptor and Installation artist based in Adelaide, South Australia. Known for her organic forms and use of multiples, Nichols art practice explores human relationships with the natural world, often drawing parallels with everyday objects. The material process is essential to her art practice with a fascination with the dichotomy of liquid to solid states; casting and mould making are often employed.

Nichols has a Bachelor of Visual Arts and Design and was a recipient of a residency at the Pottery Workshop in Jingdezhen, China (Helpmann Academy) in 2019. Her work is held in numerous private collections.

Nostalgia / earthernware

My three works explore different aspects of how our worlds changed during this time:

‘Collective Memory’ is a term Historians refer to the way the public remembers an event or a period of time. Covid has touched as all. We are now a part of a generation that will carry a distinct identity forged by a shared experience of a profound event. The words imprinted are what got some of you through (provided during the latter half of 2019).

Peek (at someone or something)

  1. to be inside of something and take a look out.  Our windows, or the images on our TV were our limited view of the outside world while we bunkered down in self isolation.

Nostalgia – It’s comforting to have a nostalgic feeling for the past that reminds us who we have been and who we really are.

Libby Bennett

Educated in Adelaide, Libby has worked as a Secondary Art teacher in both SA and NSW schools. 

As a mixed-media visual artist, she has had studio gallery practices in some of the places she has worked in, including the Blue Mountains (NSW), Lenswood (SA) and Crystal Brook (SA); recently known as ARCADIA.

Libby currently lives in Strathalbyn (SA) and plans to open ARCADIA there in Spring 2023.

She continues to create multi-layered artworks combining fragments of drawing, stitch, painting and collage. As a self-confessed ‘nature-lover’, their content is usually an organically informed expression exploring life observations as visual metaphors, with natural history and the human condition.

Libby’s heartfelt ‘pale reflections’, imbue hope…                                                           



This ‘handmade’ collection captures echoes of a lost Eden Garden home, combined with a yearning for ‘roots’.

‘Home restorations’ of all kinds continue on in the hands of the Gardener of all Shelter, Welcome and Comfort. In the midst, conditions and appearances may be cracked, broken, smashed, polluted, torn peeled, unravelled, stripped, tangled…

There is much ‘branching’, ‘flowering’ and ‘fruiting’; organic ‘Home’ – related metaphors delve right down into the ‘little bits and collections of nature’; the ‘nooks and crannies’. Heart embrace. They also ‘soar’; brought through and out, and gathered up. Held.

At their heart, a reversal of places is suggested; sacrifice of Jesus Christ, One for all, on a tree that was once a Cross… bringing HOME; anywhere on this ‘pale blue dot’, and forever.

Linda Lee

Linda Lee is a visual artist currently working from Praxis Art Studios. She has a Bachelor degree In Secondary Art and Design Teaching and a Bachelor of Visual Arts and Design.



Depending on subject matter my work can be described as either utilizing a surreal, fantasy inspired approach or referencing a hard-edge pop style. More recently I have been manipulating original or iconic photographic imagery which leans towards more stylized imagery underpinned by strong colour theory considerations.

These artworks draw from personal links to memory, myth and evocative subjects/ objects. I use a combination of stylized elements and painting application. Shaped by my design background, they employ considerations of composition, contrast and color.

mahir kurtulan

Mahir was born in Izmir. He graduated from the Department of Traditional Turkish Arts in Izmir and moved to  Istanbul. Along with his working life, he completed his master’s degree at Marmara University Fine Arts Institute. Mahir continues to work and create in Istanbul with the experience he gained in the textile industry and the different principles he applied in his practice.

three island in the rain, 2021

In our age, humanity and nature have a contradictory relationship. This contradiction started with the domination of nature by humankind. In my paintings, I am inspired by the forest and the mythological figures it contains, which were first depicted centuries ago. A linking of this inspiration with that of today’s civilization,  allows me to express my feeling in paintings more strongly.

Margie Sheppard

Margie Sheppard is a painter and printmaker who has lived and worked in the Adelaide Hills, her career spanning 35 years. Having spent many years working exclusively as a printmaker, she has now returned to painting. In the recent past

Margie graduated from the South Australian School of Art in Painting in 1973 and taught in the TAFE system early in her career. She has had more than twenty solo exhibitions both in South Australia and interstate. She has also exhibited in New Zealand, Slovenia, Mexico, Korea and the USA and has been selected for a number of important print exhibitions such as the Fremantle Print Award and is also a three times winner of The Whyalla Art Prize Print Award.

it's moving parts

The intoxication of new colour/shape combinations in my paintings is a heart-opening catharsis. This exchange of energy inspires my ongoing creative process.

Mark Niehus

Mark Niehus is a true multi-disciplinary Artist, presenting individually or combining mediums of painting, poetry, moving image and sound. Niehus is always seeking to discover new ways to apply his experimental ethos to engage audiences and push the boundaries of his art.

This prolific artist has produced a number of solo exhibitions, group shows and developed multiple projects for Local Government and festivals, as well as published a book of poems. Most recently, Niehus created his solo exhibition ‘Backbone’ at Newmarch Gallery and delivered a workshop, ‘Dictation of Thought: Writing for the Surreal’ at AGSA.

Beauties and Beasts

I have an impulse to make art, I cultivate the interplay between the conscious and unconscious mind and employ them to invent and transcend the mundane. For me the practice of art is a rebellion against apathy, I use it to subvert the predictive nature of my thoughts and explore the relationship between instinct and ideas of purity. 

I invent worlds and individuals that find themselves in diverse situations amongst themes of individuality, resilience and marginal relationships and the friction between ideals and feelings of incompatibility with the status quo.

Meliesa judge

Meliesa Judge & Will Kuiper have been working together for over 25 years during which time they have established themselves amongst the foremost producers of contemporary figurative sculpture in Australia. Mary Ward, for the Loreto Schools in Australia, was Meliesa’s first nationwide commission. It took several years for the artists to bronze cast the entire edition of eight life-sized portraits at Liquid Metal Studios. Subsequent projects have honed her skills in historic interpretive portraiture.

Her most recent sculptures are Catherine MacAuley, Monte Sant Angelo College, North Sydney, 2018; Calvary Chapel artworks for the new Calvary Hospital, Adelaide, March 2020. Meliesa is a Churchill Fellow 2001.

half moon

“Attention is the rarest and purest form of generosity” Simone Weil

Meng Zhang

Meng Zhang is an emerging artist, born in Inner Mongolia, China, and she started a study journey in Adelaide in 2010. She is an observer and recorder, using different ways to record her daily observations. She is fascinated by registering the unexpected, unintended, and something said by the material. To observe, record, reflect, and consider retrospectively and then to save the unwilling and improvised, to save voice from materials and to save the details of daily life. Meng involves broad-ranging practise in printmaking, photography, video, drawing, sculptural and installation.


The work, Thread, is about my nostalgia. Distance becomes a powerful and significant word during the COVID pandemic.

Physical distance has been emphasized everywhere. The images come from my hometown, Hohhot, and the city I live for about ten years, Adelaide. Searching the familiarity in each image, rediscovering the feelings behind each image and set them beside each other to relook. I then find the connection and stitch them together.

Mirjana dobson

Mirjana Dobson is an emerging Australian contemporary ceramic artist with a curiosity for the beauty of our natural world. Her preoccupation interest lies in the complex ecology of our coral reefs and underwater ecosystems.

Fusing an abstract reference of marine plants, animals and bacteria, Mirjana constructs sculptural organisms that connect and confront the relationship we hold with Nature. The forms, textures and compositions found in the natural environment are used as design elements for her organic sculptures.

Although her ambiguous forms consider the complexity of all life forms, the fragility and delicate balance of Nature is the central and overriding theme in her work.


When we locked ourselves behind closed doors, an amnesty began with Nature.

While we watched reality TV, the waterways of Venice cleared, and the fish returned.

While we struggled to home school our children, the baby turtles made it safely to the water on empty Brazilian beaches.

While Face timing our loved ones, wild boar, goat, and deer roamed the car-free boulevards of Europe.

And while we occupied ourselves playing board games and solving jigsaw puzzles, pollution abated, and the peaks of The Himalaya’s became visible once again.

While we stayed at home, we gave Nature a gift; the respite she needed to proper. 


Adelaide based artist, Monika Morgenstern, was born in Germany. Her art is based on phenomenological research she conducts around people and their mystical experiences. She works with light and its effects on glass, digital prints, paintings, lightboxes and as projections.

Nevin guven

Nevin Guven is a Turkish artist who lives in Isparta and works as an Assistant Professor at Suleyman Demirel University for 23 years. She completed Bachelor of Painting at Dokuz Eylul University in 1987 and continued her academic studies at Anadolu University completing both Master’s Degree and Phd in 1996. She has had, and contributed to, solo and group exhibitions and symposiums in Turkey, Mexico, Japan, Poland, Macedonia, USA, France, Greece and Bulgaria. 

at the age of life

In these times we live in today, every expression turns into a masquerade; therefore, by losing their credibility, the superficial perception becomes the rising values whereas it is actually “genuineness and authenticity” that humankind look for in their journey of life. The idea of a period of time in which people feel safe, fearless and joyful, is very serenely captivating and amusing. What I want is to create narrative paintings that will make unbearable aspects of life bearable and to enhance my hope by sharing and raising awareness for the conception of a pure and child hearted world.

Nurdan aliyazicioglu

Melbourne based artist Nurdan Aliyazicioglu has been honing her costume skills since 2011 but the passion of fabrics and clothing come from her childhood. After she graduated from a Stage Design Department of a Faculty of Arts in 2005, she worked at many costumes and set design jobs as a designer in Istanbul. In her decade-spanning practice she has begun cultivating this passion through wearable art and fabric sculpture.

Nurdan`s evolution into wearable art allows her to use her design skills for long-lived art creations for our daily lives. In that space, she does not separate the costumes from clothes nor from art.

my morning jackets

‘My Morning Jackets’ is a series of autobiographical wearable artworks. Each of the six jackets represents a particular era ruled by a specific emotion/motion, whereby they became a second skin that functioned to withstand the real-life experiences of vulnerability and introversion. Each jacket is both a trace back to its original atmosphere of feeling and the objectivity that results from travelling through distances of time.

They are made from used, upcycled and found materials.

These are the ‘everyday jackets’ we all wear, comforting blankets that reflect how we repeatedly gather, shed, create and re-create our own lives.

Olcay Ataseven

Olcay Ataseven completed the art education at Hacettepe University, lives in Isparta-Turkey and continues her art adventure there. On the other hand, she has been working as an academician at the Fine Arts Faculty of Suleyman Demirel University, since 2001. Currently, she prefers to embody her narrative style and concepts in visual plastic mediums such as sculpture, painting and drawing. The basic trajectory of her art is the single, plain, minimal forms that seek an answer to the mute but infinitely profound mystery of the monoliths, which carry an intertemporal message to humanity’s impasse of existence. Several of her sculptures of this mode have been installed in public places in some Turkish cities and a number of other works have been included in private collections.


The light

My artistic practice has been gathering expressive direction in which the psychological / spiritual effects of daily life, social and environmental problems, find their counterpart in color and form. The colors and shapes in my works are a reflection of a quest that tries to break through the depressive effect of the grey and black, via the light of yellow, which is a personal representation of the violations of human values and global environmental problems.



Olivia is a jeweller and taxidermy artist.

Her pieces have been described as a ‘modern fusion of taxidermy and jewellery’. She achieves this by moulding and casting precious metals from the bones of deceased animal and birds, creatively combining these pieces with flora, pearls and gemstones. Creating a juxtaposition, forcing people to observe the fragments of death while hopefully seeing the same natural beauty that she does.

 Olivia has participated in multiple group shows and her jewellery is currently stocked in 3 states.

Taxidermy has inspired her to create unique wearable art, wall pieces and beautiful sculptural items. Olivia draws inspiration from the idea that her work may appeal to people who would normally be shocked by the ideas portrayed. She finds purpose in creating lasting objects inspired by nature and remnants left behind.

A Remanent Reminder / three chandeliers

Everything in life is temporary.  Just as death marks the end of an old life, the decay and decomposition that soon follows will provide material for new life.

At the start of 2020 I was ready to move to London to follow my heart and pursue a career as an artist. However, the universe had other plans. Through the pandemic I found myself, along with many others in a state of mourning and loss and with feelings of despair and no direction. As time passed, just as the death of a creature helps form new life, I began to rebuild mine. Inspiration started to flow, and my artistic practice began to flourish.

These pieces are a reflection of the beauty and new life that has grown and will to continue to develop from the perceived rotting despair of 2020.

Ozlem Yeni

Ozlem Yeni is an international artist who now lives and works in Adelaide. She studied painting, completing a Bachelor of Fine Arts at the University of Suleyman Demirel in Turkey. Before becoming a full-time artist, she enjoyed an 18-year academic career as a lecturer in Theatre Stage Design Department at the University of Dokuz Eylul in Turkey, where she attained a Master’s Degree and PhD. She has had a number of solo and group exhibitions in Turkey, Japan, Albania and Australia. Ozlem Yeni’s paintings and clay works can be found in private collections in many countries.

Life is short, but I am tall and all

As an artist, I was both witness and participant to the profound changes of the last couple of months. The need to express the emotional and intellectual challenges in a time of confusion went hand in hand with the need to remember what we all went through. These series express the lows and highs of the emotional rollercoaster we have all experienced during these surreal times. The figure motifs in any of my works are not characterised by any particular gender, age, religion, nationality or skin colour. They are symbols of flawed humanity and as such are the products of sensual reflection. The ground or background represents ‘life’ but time and place do not exist in my paintings even though I am conveying the personal experience of a particular moment in time which links everyone…..

peter hall

Peter Hall is an Adelaide-based visual artist, dividing his time between still photography and film projects. 

In the last five years he has exhibited in Adelaide, Melbourne, and Los Angeles with an exhibition planned for Tokyo in 2024.   In 2022/23 Peter exhibited Pilgrim, a fine art narrative photography exhibition involving a Japanese/Australian cross cultural journey. The exhibition at the Migration Museum of SA attracted 11,000 visitors and it is planned to travel to Japan next year.

He is currently co-producing/co-directing a Sri Lankan/Australian film on immigration and new beginnings in Outback Australia.

Peter Johnson

Peter Johnson has been working in the arts for 35 years, completing a Bachelor of Design in Ceramics and Glass in 1987. He has worked as an artist in studios at the Jam Factory and was a founding member in 1990 of Jamboree Clay Workshop, located at Welland. In 1997 Peter established Gaff Studio, in Port Adelaide.


From 1997 until 2018 Peter lectured in Ceramics, Design, and Drawing at the TAFE OHalloran Hill campus and was Head of Ceramics at Adelaide College of the Arts (2015- 2018).

Peter’s ceramic work has been recognised and acknowledged by support from the Australia Council Overseas Residency Program, Barcelona,1993/4, and project grants for new work from Arts SA. In 2009 he undertook a Pottery Workshop residency in Jingdezhen, China.with the Helpman Academy.

Beauties and Beasts

‘ Within our urban, industrial and natural landscapes we can find not only harshness, but often hidden beauty.  When we take time to wander, to imagine and reflect on the places around us we can discover things to enjoy. This can vary from the ever-changing sky, tall trees, flowers, chimneys, fences, light posts, rocks and crevices, rusty metal, industrial decay and architecture new and old ‘. Peter Johnson

rob gutteridge

Rob Gutteridge, MSGFA, is an artist and teacher whose drawings and paintings focus on the human figure and our place in nature. He is the founding Director and Principal Teacher at the Rob Gutteridge School of Classical Realism, Adelaide. He has been a visual arts educator in the tertiary sector for over 40 years. He has won numerous prizes, scholarships to international schools (New York Studio School USA, Atelier de Seguret Provence France), and international artist in residence programs (Rimbun Dahan Malaysia, Red Gate Gallery Beijing China). He has held 28 solo exhibitions and over 80 group exhibitions. His work is held in the Art Gallery of South Australia, and national and international private and public collections.

beauties and beasts

The themes I am concerned with are of people and their relationship to nature. The motifs through which I communicate my ideas about our place in the natural world are the human figure and its anatomy, the figure in situ: cloudscapes or landscapes, and clouds themselves.

Rosemary Warmington

Rosemary Warmington paints from her beautiful Adelaide garden studio. Her contemporary paintings are drenched in colour, influenced by the natural world.  Her most recent significant solo exhibition, Colour Echoes, was at BMG ART in February 2021. With tertiary qualifications in social work and business, Rosemary was a CEO of a not-for-profit organisation for many years, retiring in 2017 to paint more. In 2012 Rosemary was made a Member of the Order of Australia.

Longing for the dawn

“My abstracted paintings are echoes of colours and forms I’ve seen, remembered, or contrived from my travels over time. I paint with saturated colours using mixed media, line work and scratchings into the canvas in an intuitive process towards an unknown outcome.

I want the colours in my paintings to echo within us, awaken that feeling of ‘aliveness’ that can become hidden and forgotten in our daily grind.

My works are, therefore, about experiencing our human condition more deeply, through colour and its impact on us.


Adelaide-based artist Sally Goldsmith engages with traditional jewellery making techniques to create wearable pieces and small objects. Sally, who completed a Bachelor of Visual Arts and Design at Adelaide College of the Arts in 2016, employs a playful approach to silversmithing with observation, investigation and introspection the genesis of each nuanced work.

I love to push against the inherent boundaries and challenges of working with a material that is not easily wrought. Each work is an opportunity to refine the mercurial creative process; imagining, designing, making and solidifying a personal introspection into a tangible offering of self.


It seems that 2020 has raised more questions about life than it answered… How can we best withstand social isolation? Will life ever be “normal” again? How can we make our domestic world more joyful?

This collection of whimsical sculptures entitled Re-Imagining 2020 investigates the comfort and stability that our everyday domestic objects offer us. In reflecting the need for solidity and dependability when external life takes an unanticipated turn, they consider the power of the mind to uncover diverting worlds within our world and footholds to traverse a new reality.

Through traditional jewellery-making practices I have explored the need to divert, escape, entertain, distract, daydream and internally connect with a less chaotic existence.


Sally Parnis is an Artist living and working on Kaurna land. She obtained a BVA(Hons) Adelaide Central School of Art in 2009 and has since been exhibiting regularly in both solo and group exhibitions. She has been shortlisted in a number of Art Prizes including The Doug Moran Portrait prize, The Fleurieu Water and Environment Prize, The SALA Business SA Contemporary Art Prize, The Prospect Portrait Prize and The Adelaide Parklands Prize.

Colour Notes from the Heart

This body of work started when Australia was burning and has been making its way through the upheaval and uncertainty of the pandemic. It traces gratitude for regeneration, home, family and beauty. Each work began with an iPad finger drawing or painting made from life. Many were made whilst hurtling along the highway in a car. The iPad drawings are like taking notes and the finger marks embody the time spent immersed in that drawing, searching for colour or form. Some images remain in their original state, others are re-explored as paintings. In many of the paintings, the subject has become the finger marks themselves. In others, quick line drawings about a loved one are filled with colour from memory and imagination.

samone turnbull

Samone Turnbull grew up in Arno Bay on Eyre Peninsula but currently resides and works in Adelaide. She studied Printmaking at The South Australian School of Art and graduated with a Fine Arts degree in 1977.

A life involved in the Arts, but principally a narrative style painter, Samone has exhibited regularly, including fifteen solo exhibitions, locally and with galleries in Sydney and Canberra. A finalist in the Fleurieu Peninsula Biennale, Portia Geach Memorial and the Kedumba Drawing awards, she won the Steinhoff Travelling Scholarship in 2002 and the Whyalla Art Prize in 2004. In recent years her art practice has shifted into ceramics.

beauties and beasts

The idea of Beauty and the Beast suggests the very pull and tug that goes to the heart of creation. As a potter, it is through the transformative nature of clay that this process becomes apparent.  If the Beast is the shapeless slurry, it’s for the artist to take the mud to task, and through it, seek out Beauty. The encouragement needed to coax form out of a lump of clay sometimes results in unexpected catastrophe. This is the nature of the Beast. These terracotta pieces have triumphed against the odds and lay tribute to the inherent Beauty of the red earth.

Sheila Whittam

Sheila Whittam is an Adelaide Hills artist, originally from Britain. She has had a long art career having more than 20 solo exhibitions in SA and Victoria. Sheila has a BA in visual art from ACSA.  As a tutor, she designed a course – which contributed to community well-being. She has been included as a finalist in many major art prizes and won SALA AWARD 2016. Is confidently experimental in her approach to art making – using mixed media – oils cold wax, monotypes, image transfers, and encaustics. Her current work engages in fascinating translucent treasures through multiple layering by using a non-objective abstraction style.

Silencing the Chaos

This new series of work has taken me in a direction which opened my perception brought about by the laying down of the material itself.

New directions were concurrent with world events that startled us by its intensity. I engaged with the effects of turmoil by allowing impulsive unruly play in my work.  Disorder tends towards order – this influenced me as I engaged in the basic elements of abstraction towards resolutions.   Surfaces undone, reworked, and remade, (un) intentional irregularities evolved – fundamental to my compositional aesthetics. 

This process took me finally into ordered silence of elementary beauty.


Simone Linder-Patton is an emerging South Australian Ceramic Artist, graduating in 2017 with an Honours Degree in Visual Arts from Flinders University and Adelaide College of the Arts. Currently based in the JamFactory studios in Seppeltsfield.

Influenced by her English heritage and the cultural landscape of Australia and China, Simone’s hand-built pieces investigate relationships between people and everyday objects.

Her current work examines the impact of world events on the human psyche.

Don’t Touch! - A Hard Pill to Swallow

Tactile interactions – the essence of human contact – has been identified as a major source of transmission of Coronavirus.

As a response, the worlds’ populations have had to fundamentally change social behaviours. Handshakes replaced by fist bumps and elbow rubbing. Reassuring hugs are now a distant memory.

Considering our daily interactions with ceramic objects and the materiality of clay in my practice has led me to question the impact of these changes on the human psyche and our future well-being.

We may survive this pandemic but at what cost?


Stella Vänskä is a contemporary jeweller and metalwork artist. She completed the Bachelor of Visual Arts and Design (Jewellery) from ACArts in 2017, and in 2019, she was awarded the Helpmann Academy artist residency at Sanskriti Kendra, New Delhi.

With a background in fashion design, Stella is inspired by patterns found in construction sites, scaffolding and power pylons to create large scale forms that fit around the body.

Stella is interested how our history, culture and surroundings can be interpreted into jewellery and sculptures. She enjoys working with sheet steel as the medium can be readily coloured and shaped into three-dimensional forms.

Invisible World

Computer screens, like the carved lattice-work stone screens of northern India, allow communication without physical connection. Intricately patterned jaali screens form a barrier between inner and outer worlds, allowing us to see out, without being seen. Geometric motifs encourage inner contemplation through tessellated patterns. Screens form a barrier across a portal, whether a window or the internet.

These works are based on self-reflection and connection to the sacred. They reflect on the duality of life, juxtaposing light and shadow, public and private, the seen and the unseen, self-worship versus the self-absorbed.

Introspection inspires us to contemplate and connect to the divine within.

stephen cornwell

Stephen has been passionate about art all his life. He graduated with two degrees, one in Education as an Art Teacher and the other in Applied Design. After teaching for several years, Stephen relocated to Adelaide and lectured at Tafe SA, teaching Design Principles and Applied Design software fundamentals. He started an Ad agency as co-director in 1999, where he has focused entirely on his artwork in the past three years.

He had his first Solo Exhibition incorporating one hundred pieces of work and was also a Finalist in the 66th Blake prize this year. Recently, Stephen licensed a loop of animated versions of his artwork to UTV in Melbourne for screening at outdoor events around Australia.


I describe my work as “contemporary surrealism”, but it’s also been described by others as “Australian Baroque”, and this describes some of the pieces very aptly, but the range of exploration is now much broader than when that statement was made. The things that influence my work are personal experiences and curiosity. Most people are fascinated by something, images, and dreams that they can’t explain, and I’m no different.

My subject matter ranges from sensual to curious.  As well… quite a few pieces are underpinned by a straightforward narrative or a play on words, and occasionally, I produce a work questioning our environmental failings, but I like to think that each of the pieces speaks for themselves and allow the observer to interpret the images on their terms.

Steven Cybulka

Steven Cybulka has focused his practice on large scale public artworks and site-specific interventions in gallery spaces. In 2014 the Adelaide Festival Centre commissioned Changing Spaces, and in 2015 the Adelaide City Council commissioned Transition…109, an interactive sculpture installed at the Ergo Apartments.  In 2016 Steven was commissioned to create a large-scale site responsive sculpture to act as the framework for the prestigious Primavera: Young Australian Artists exhibition at the Museum of Contemporary Art, Sydney.

Cybulka has an intimate understanding of the power of the built environment and its ability to impact how we experience and respond to the world around us. Having spent a decade working in the building industry, he now employs this knowledge in the construction of sculptural works, installations and public art that explore ways in which to disrupt space, and the effects these disruptions have on our understanding of space and place.

Non Orthogonal Offcuts

Non Orthogonal Offcuts has been created using materials salvaged from the numerous building jobs I undertook during the COVID-19 pandemic. My work explores the barriers we erect in our minds, and the walls we build in the physical world, and how these structures operate to shape our lives and relationships. 

swee wah yew

Swee holds qualifications in Arts from the UNSW and the University Sains Malaysia. She has been an active member of several art societies, including RSASA, Red House of Gallery M, Penang Teachers’ Art Circle and the Penang Art Society.

The disciplines and mediums in the art that Swee is familiar with are varied. Painting, drawing and sketches range from still life and landscape in oils, acrylic, charcoal, mixed media and batik.

Her works often depict local surroundings, from Adelaide’s Rundle Mall, Central Market, wineries, parklands, Penang local coffee shops, heritage buildings, people enjoying what is on offer in the beautiful city, to wherever her thoughts take her, painting on canvas, silk fabric or using tree barks, with an essence of passion to her works.

nyonya's memories

A memory about my cultural background as a descendant of Nyonya / Peranakans, early Chinese migrants mainly settled in Penang, Malacca, Singapore and Medan.

While mine was from Penang, the sister city of Adelaide, the graceful character of the English ceramic tiles was a strong feature in the Peranakan heritage shophouses and the beautiful handmade beaded slippers, floral motifs, bowls sets used for special occasions or ancestral offerings etc.

tom borgas

Tom Borgas is an Adelaide-based visual artist working from a sculptural foundation across multiple platforms including gallery and project work, public sculpture, festival interventions, performance and education. Borgas’ work has been shown at galleries and venues across Australia. His practice has also been supported through organisations including the Australia Council for the Arts, Arts South Australia, NAVA, Guildhouse and The Helpmann Academy. In 2020 he was awarded the Unitcare Digital Art Award as part of SALA Festival and is a finalist in both the Waterhouse Natural History Prize and Heysen Prize for Landscape.

chair (tlap)

Developed through an oscillation between digital and analogue processes my work is an investigation of the space between image and object, virtual and physical, maker and viewer.  This suite of works manifests the immaterial colours and structural motifs of computer generated forms as artefacts to be viewed IRL (in real life).

tom phillips

Tom Phillips is an expressionist artist who depicts the human struggle in our society, and his style is both original and raw. He has participated in numerous group and solo exhibitions around Australia, including major art prizes. His highlights are three-time Kilgour Prize Finalist at Newcastle Art Gallery, four-time Manning Art Prize “Naked & Nude” Finalist at Manning Regional Art Gallery and two time Muswellbrook Open Art Prize Finalist at Muswellbrook Regional Art Gallery. In 2017 he received Limberup Mentorship run by Guildhouse, which he was mentor by renowned Adelaide’s artist Stewart MacFarlane.

Another lonely night

In this series of paintings entitled ‘Another day, another lonely night’, I examine the culture and identity of living within urban society, focusing on fear of loneliness and isolation. I want to express vulnerability, anxiety, and our fragile existence in this modern world. I see my figures as outsiders, aliens, or people forgotten by our society, which struggle to exist in this municipal environment. I try to catch my raw feelings about these issues, and my paintings have always been about human struggles and the urban experience.


I am a South Australian artist working in a small studio in Adelaide. My love of tinkering has culminated in an art practice predominantly working in sculpture. Over the past 15 years, I have exhibited in Solo Exhibitions and participated in collaborations with colleagues.

These wall pieces and sculptures are constructed from gathered materials. From my extensive collection of objects of different shapes, sizes, and textures, new forms evolve, harking back to the time and place of gathering. I explore hidden surfaces using differing sculptural techniques, especially relating to timber in its many guises. Most importantly, my work holds a memory of experience and adventure.


The artists use painting, shaping, and assemblage to explore the ideas of memory, imagination, and fantasy.

Will Kupier

Will Kuiper is best known for the sculpture of Malcolm Blight for Adelaide Oval. Will’s design captured the singular style of Malcolm’s long-kick, but also demanded a complex engineering solution as the entire sculpture is canter-levered back from the single point of contact, as the heel of the striding foot hits the ground.

Will runs a specialist bronze foundry, Liquid Metal Studios, in collaboration with Meliesa Judge. The combination of the sculptors’ modelling and design skills with mastery of the bronze casting methodology, enables a confluence between inspiration and technique. The distinctive possibilities of the process also inform and extend the sculptor’s approach.

Time Cycles - Still watch

Unless the past and the future are made part of the present by both memory and intention, there is, in human terms, no road, and nowhere to go.

Wilson Adams

Will Adams is an emerging artist and fashion designer from Adelaide, South Australia. He has completed a Bachelor of Contemporary Arts at the University of South Australia in 2020 and is currently completing a Bachelor of Fashion Design with the Whitehouse Institute of Design, Melbourne, Victoria.  He is skilled in working in wearable art, painting, fashion photography, film and art direction. His work explores the facets of drag, queer culture, portraiture and religious imagery. He focuses on using unconventional materials to do his works, repurposing garments and body painting. He wants to combine and blur the lines between fashion and art in new and challenging ways. 

evil eye

The evil eye is the negative energy used to inflict harm upon others and an emblem to protect against bad vibrations. ‘Evil Eye’ explores many dichotomies, such as the gloom of the pandemic, the rape of the natural environment, and the queer experience. Connecting these ideas together is this feeling of a continual curse and the absence of change and hope. It references Picasso’s Blue Period, Tom of Finland, Ophelia, Narcissus, Venus, and the Virgin Mary. ‘Evil Eye’ is a fashion film experience through the process of deconstruction and reformation.

Yasmin Grass

Yasmin Grass  is an Australian artist living in Adelaide. After many years as

Lecturer in a Bachelor of Visual art and Design and Manager of Light Square Gallery, Yasmin now concentrates on making paintings. Yasmin has exhibited in a range of galleries including, Signal Point Gallery, West Gallery, Art ImagesGallery, Newmarch Gallery, Worth gallery, Hill Smith Gallery and most recently at Urrbrae house for the History Festival 2021.

Spice Jar

Travelling as a decorative explorer on a domestic expedition, elements of

The house and garden are documented and feature as an extension of the self. Interiors and exteriors are cross-referenced, inviting the viewer into a mysterious, intimate space.


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