Glenorchy Open Art Exhibition Virtual Gallery

The Glenorchy Open 2020 Exhibition opened at the Moonah Arts Centre on Thursday 5 March. Unfortunately the exhibition was cut short due to the COVID-19 closure. You can now view the artworks from the exhibition below. Scroll to the bottom for full artwork details and artist statements.

Artworks are listed in alphabetical order by artist surname.
For sales enquiries please email

Judi Adams
Clear view from Waterman’s Dock, 2019
Acrylic on canvas
53 x 43 x 3cm

Les Allester
Nina, 2018
33 x 48cm

Grant Allford
Sunset on Frankland Ranges, 2019
oil on canvas
71 x 102cm (includes frame)

Caroline Amos
A Strange Beauty, 2020
Acrylic on Canvas
91 x 122cm

Graeme Anderson
fence in the sky:bedlam walls, 2020
acrylic, ink, watercolour
27 x 34cm (includes frame)

Rebecca Bannister
Homecoming, 2020
Acrylic and mixed media on canvas
60 x 75cm
I have generations of Tasmania in my past. My paternal family have troubled histories coming from the European islands to these southern lands. I uncover more of these stories everyday, experiencing them through my genetic inheritance. Nan is central to my father’s memories of his Glenorchy childhood, her fierce survival in life a sad and empowering truth.

Stan Barnes
Moonah Drive-through (80s Iconic No. 1), 2019
Acrylic on upholstery vinyl
90 x 90cm
This work stems from my short time of being a home owner in Moonah. What an odd blancmange of the 50s, the 80s and hot rod intestinal residential. The lines of the A-Team van, the pleather, leatherette, upholstery vinyl of cars and lounge, the drive through to somewhere else. But as soon as I stopped, walked about and explored, it all made sense.

Helen Barrett
Gell River Fire, 2019
Oil on canvas
30 x 40cm

Maxine Barry
Suburban Geometry (Chigwell), 2011
Staring out my studio window while pondering the work I was at in that moment, I was struck by the view in a new way. The symmetry of the roundabout, the colours in the wet road, the lovely new red leaf growth on the hedge opposite… I had to paint this view. It’s wonderful to see familiar sights with fresh eyes and see compositional possibilities overlooked before. It’s a form of mindfulness and a reminder not to take one’s surroundings for granted.

Annie Beecroft
Garden Play – Summer, 2019/20
mixed media – photography, papermaking, reclaimed metal frame
160 x 37cm
Not for sale
The artworks, the photography content and the handmade paper featured in Garden Play were all crafted by the artist Annie Beecroft and were inspired by, constructed and photographed in our garden. Images top to bottom: Tiger Lily Gift Wrap, Aubrey and Friends, Tiger Lily et al)

Romany Best
Beta 1, 2020
oil on canvas
106 x 91cm
Not for sale

Etienne Boura
Zero Point : when Emptiness is Fullness., 2019
Analog Collage
74 x 86cm (includes frame)

Olivia Bowman
Alice, 2017
Pages of ‘Alice’s Adventures in Wonderland’ by Lewis Carroll
36 x 36cm (includes frame)
We tend to think of stories as linear – progressing one way through time and space, with expected arcs and a satisfactory conclusion. We see stories written on flat pages, in bound books, with a beginning, middle and end. We read from left to right, from top to bottom. Using modular origami, I play with stories to upend and transform these narratives  into something other – chaotic, nonsensical, partial and incomplete, yet finely organised, rhythmical and discrete. Alice’s Adventures in Wonderland upended contemporary expectations of children’s literature when it was published in 1865, and meshes perfectly with the ideas I’m exploring.

Erin Brandall
Fertile Ground, 2019
Collagraph prints, scoby collagraph
83 x 77cm
Not for sale
A conjuring of flesh and fertility, using my Grandmother’s 44 year old scobys. An exploration into grieving and letting go.

Rob Braslin
Rapture, 2019
Film Photography
42 x 59cm
This photo is one of my favourites I have taken since getting back into film photography. I was waiting for the bus a minute from my house and then scrambled to grab my camera out of my backpack when I saw this man standing a square of light so he could read his newspaper. It’s always a mystery when you use film, you dont know what you have until it’s developed or scanned and seeing this picture work out made me very happy, and the added bonus of the man standing under a sign that says Rapture *hair and beauty* which I didnt realise when taking the picture. I’m an athiest but this is literally a sign that says rapture. I used a Pentax ME Super with Portra 800 film and a 28-105mm zoom lens and had the film scanned at Walsh Optics and printed in the same building at Full Gamut.

Helen Burnett
Seaside, 2016
oil on canvas
48 x 58cm (includes frame)
Not for sale

Fadila Cahut
Birdwing Butterfly, 2020
pen & acrylic ink
35 x 35cm (includes frame)

Pauline Calder
Look at me (peacock), 2018/19

Adriana Carnevale
Untitled., 2019
Acrylic on canvas
60 x 45cm

Karin Chan
Blossom II, 2020
Ink on fabric
50 x 50cm

Jennifer Chapman
Galactic Energy Code, 2020
Acrylic on canvas
46 x 91cm
I have had to change my style of painting due to hand problems. This new style allows me to let the paint flow without having to hold a paint brush. The energy I feel while doing the latest work is energizing.

Adrienne Charles
Broadmarsh Vista, 2019
55 x 72cm (includes frame)
For the past twenty nine years I have been designing and producing counted cross stitch kits (Nostalgia Tasmania) of icons of Tasmania, in my bid to promote this lovely Island State. I have described it as ‘painting with thread’, as I enjoyed selecting the colours for a particular project and blending them to make the finished design. I at last ventured into the real World of water colour painting and am enjoying the learning curve, steep as it is. There is so much to learn, but with professional help for about eight years, and now being one of a group of like minded people who are encouraging and yet kindly critical at the same time, I am enjoying the journey.

Josh Charlton
Valentines, 2020
Not for sale

Kim Churchill
The back steps of the Cafe, 2019
Oil on Canvas
76 x 50cm
Not for sale

Tracy Colhoun
Kurinuki bowls, 2020
6 x 20 x 10cm
$50 (set of 2)
These two bowls are made using the Japanese kurinuki method of forming clay by hollowing out a vessel using carving tools. I appreciate the raw, earthy characteristic of this method of making pottery and the black clay adds an ancient, volcanic element.

Anne Cracknell
Penguins Homecoming, 2019
30 x 42cm

Leo Cuthbert Solzberg
Scruffy, 2020
Linolium Print
45 x 32cm (includes frame)
This is a lino print of my dog named Scruffy.   I did it with my friend Peter Gouldthorpe. Scruffy makes me laugh and I like to go to the park and throw the ball with him. My family likes to take Scruffy to the beach. He is an awesome dog!

Nour Dalal
Table Cloth, 2019
screen print on fabric
79 x 69cm
Not for sale

Dawit Y Dersoling
Untitled, 2019
cardboard and acrylic
160 x 85cm

Rory Dick
Splash, 2017
acrylic on canvas
89 x 89cm

Lawrence Dooley
The Bride and Her Reflection, 2019
pencil & acrylic
55 x 45cm (includes frame)

Eleanor Downes
You’ve got to have a go to get a go, 2020
ceramic sculpture
33 x 18 x 22cm
Not for sale

Tilly Ellis
Freedom, 2020
Acrylic on canvas
61 x 81cm
Not for sale
I love experimenting with colour, movement  and texture. This piece was inspired by how I felt when listening to the band Foo Fighters. Title is Freedom as I felt the freedom of music, colour and dance all at the same time.

Joy Every
A wintery day, 2019
35 x 44cm (includes frame)
My watercolour painting is done using a very limited palette, which suits a winter’s scene very well.

Christine Fabian
In Spirit We Remain, 2019
Acrylic on canvas
61 x 61cm
In spirit we remain is a comment on the devastating bushfires we had in Tasmania where so much of our wildlife perished.  I have created this piece in the hope of getting the message out that we could loose them all in the coming summers without drastic action.

Jillian Farmer
Seduction of plastic, 2020
Acrylic on canvas
76 x 76cm
I have been concerned for many years about the seduction of plastic and the consequences to our planet.  The state of our oceans is heightened when catastrophes occur such as major oil spills. In my work the ocean currents of the world are defined with the words “I would like my life back”, these were the words of a CEO of an oil company when he was interviewed after one such event. The Great Pacific garbage dump is a massive accumulation of discarded plastic both visible and invisible. Layers are broken down into microplastics and the ocean has dead spaces beneath where no life can flourish.To reflect this process the first layers of my work have been submerged and replaced with bright seductive plastic and a dead hole.

Kevin Fields
Eastern Rosella, 2019
Acrylic on watercolour paper
48 x 39cm (includes frame)

John Fisher-Thomas
The Gum Tree & The Woodshed, 2019
Oil on canvas
100 x 75cm
My painting has common characteristics of homes in Australia, on the periphery of most country towns, woodsheds were most popular, even to this day.

Maria Fritz
fishing shack at great lakes
58 x 77cm

Zainab Gholami
curtain, 1994
hand embroidery
260 x 145cm
Not for sale

Jane Giblin
Self, 2019
ink, pigment and watercolour on paper on canvas on stretcher
87 x 62cm
This self-portrait was produced as an exercise, a diversion from my Furneaux Island family project. During any project I take time out to draw in varying contexts to refresh my visual perception for the betterment of the project. I will use tools not usually part of the project to shake up my technical skill and manipulative muscle memory. While working on such a task, my subconscious will also be attending to the project, working away in the background to supply all sorts of things that I had not considered while project focused.

Helen Goninon
Study, 2020
water colour and coloured pencil
20 x 18cm (includes frame)

Ian Goudie
Fiji – Beachcomber Holiday 2020 No1, 2020
Sand, acrylic medium, glitter & acrylic paint
49 x 36cm (includes frame)

Claire Graham
Host, 2018
Collage, digital print
62 x 44cm (includes frame)

Laura Graham
Blue Velvet Flower Garden, 2020
pencil & oil pastel
41 x 77cm

Angela Griffiths
Between the Shadow and the Soul, 2018
30 x 30 x 5cm
Not for sale

Daryn Guest
Semaphore, 2020
recycled fabric
23 x 122cm

Rebecca Holmes
Cicada, 2013
20 x 15cm

Lisa Honeychurch
Solitude, 2018
silver, brass, repousse/etched copper, found object (aluminium), and red gum
20 x 16 x 12cm

Matt Hoori
Free Willy, 2020
photocopy of original drawings & acrylic
54 x 44cm (includes frame)

Betty Huigsloot
A wonderful gift from the creator, 2019
acrylic on canvas
31 x 61cm

Huong Ibrahim
Issy and mom, 2018
Arcrylic on canvas
51 x 51cm
Not for sale
Issy and mom was painted in 2018 as a present from me to Issy.

Olivia Jarvis
Feminine Empowerment, 2019
70 x 51cm

Susan Job
Lady Monarchs, 2017/2018
Mixed media
70 x 50cm
It is a mixed media collage of female monarch butterflies hence the stiletto shoe.

Kethuledsumy Kandiah
Handmade mat, 2019/20
96 x 55cm

Faranak Kazemimajd
Oranges, 2018
colour pencil
22 x 25cm
Not for sale

Kolsoum Khalili
Coathanger cover, 2019
102 x 67cm

Mahesh Kunwar Rana
Universal Aura, 2020
Acrylic on Canvas
61 x 46cm
Not for sale
“Universal Aura” explores the relationship between meditation and its experiences. The colour and flow of energy can be felt from the bottom ‘Root chakra’ also known as ‘Mulãdhãr Chakra’ to the top ‘Crown Chakra’ also known as ‘Sahasrãra Chakra’. The meditation starts out as a daily practice with my dad in childhood which makes way to unconscious mind. The practice now became a pathway to release a thought creating a new reality. As colours and forms become reconfigured through repetitive practice, the viewer is left with a compliment to the universal aura.

Margaret Lovett-Wilson
Macaws of Brazil, 2020
acrylic paint
50 x 40cm

Maria Isabel Lozano Fernandez
Epicormic Growth, 2020
acrylic on plexiglass
85 x 60cm
In Summer 2020, the bushfires have ripped apart Australia and destroyed millions of hectares of bushland. Epicormic growth is the plant’s response to damage or stress. Similarly, as human beings, to overcame adversity, you must rescue yourself first. These green shoots emerge from the scorched eucalyptus providing a glimmer of hope for the future.

Maria MacDermott
Improvised Drawing (Dust), 2019
chalk pastel on paper
85 x 67cm (includes frame)
The drawing “Dust” was created as part of an improvised music session.  By sanding chalk pastel into a bowl i create a sound that is enacted alongside drums and guitar/violin by members in the band StrangerStill.  Then, while the music continues, I dip my hands into the bowl of sanded chalk and quickly eke out the depiction of a white ghost – inviting it to emerge from the darkness of the black paper.  In this particular session the figure seems almost insect or alien like, caught in the act of letting the chalk-dust fall from it’s fingers – reflecting  me – with the dust of the chalk on my fingers – depicting the ghost.

Penny Malone
Bag with Column, 2020
Hemp and cotton
31 x 45 x 21cm
Column bag with Column. I’ve been learning to sew for the past couple of years and have got stuck on Bags. I am really enjoying using up my backlog of hand and commercially printed fabrics to produce repositories of all shapes and sizes. Call me the Bag Lady!

Duncan Marshall
Cloudy Bay 6, 2019
watercolour on paper
43 x 33cm (includes frame)
This watercolour is part of an ongoing series of works inspired by the coastline of Tasmania. I usually do them when camping or staying in a cabin by the sea and have the time to immerse myself in the experience. They are small attempts to translate the way these ‘experiences beyond language’ affect us as human beings. I apply watercolour across the paper just using my eye with no ruler or guide in order to intensify the sense of concentration when making them and leave traces of imperfection.

Tatiana Mavric
Blue Moon, 2018
oil on canvas
60 x 75cm
Blue Moon was created with the knowledge that there are only a little over 3000 tigers left in the world through greed and hunters (the killing game) and the question I asked myself, would there be any left at all in 20 years. For me painting such a beautiful creature keeps the memory of the tiger alive.

Len Maynard
The Dan mountain hut, 2019
acrylic on board
37 x 47cm (includes frame)

Margaret McAteer
Hansel and Gretel, 2019
52 x 42cm (includes frame)

Lydia McDonald
Penny, 2019
37 x 30cm (includes frame)
Not for sale
Penny was born into a life of confinement and had a litter before 2years of age before she was surrendered to Brightside. Penny and I bonded the second our eyes meet.

Maureen McLaughlin
High Country, 2019
47 x 57cm (includes frame)

Mermaid Meg
Mermaid & friends, 2020
Mosaic (glass and ceramic tiles on cement sheet)
100 x 72cm

Carey Maree Merten
untitled cross, 2020
ink on cotton rag
57 x 57cm

Robyn Michael
Maya, 2019
Acrylic on canvas
76 x 61cm
Maya is part of a group of paintings influenced by the Red Head Match box design.  I wanted to celebrate the cultural diversity women of all nations using this style. Maya is my sexy, self confident Asian match box design.

Diana Michalek
Heaven and Earth, 2018
lino print
75 x 75cm (includes frame)
Heaven and earth is designed to be a repeated image for fabric. As an art piece the image at MAC  depicts the earth in the centre enclosing the elements of water. The “tree of life” is from my garden and the animal, my dog (gone to heaven) The black wings represent heaven. All of the elements are connected by the serpent like ropes and tied together with the love knot. The flower like image is the lotus. A symbol of spirituality, of human beings connection to the earth and their ability to rise above animal nature. The Lino print is printed by hand using a barren (a hand held device) using Kozo paper much like rice paper, translucent and fabric-like. I also hand-colour this image.

Ken Mitchell
Escarpment, 1998
oil on masonite
77 x 92cm (includes frame)

Paul Robert Mitchell
A Question of Time?, 2019
Oil and acrylics on canvas
54 x 54cm (includes frame)
Not for sale
Rather than through the intellect, I experience the world through my senses. As a visual artist, I have always been fascinated by the eye, which I see as simultaneously the subject and the object of my work. In this painting, the eye is depicted in a clock-like structure symbolizing the passing of time. A question mark cuts across the canvas, as if to interrogate time itself, as if time could provide the answers to the questions life poses. Finally, a gold pigment embellishes the painting, signifying a newly found acceptance not only of the passing of time, but also of the impossibility to find the answer to all the questions we ask ourselves.

Jeannie Mooney
Another Dirty War, 2020
Mixed Medium
80 x 54cm
The title of this piece references the military dictatorship that conducted a dirty war kidnapping and ‘disappearing’ thousands of civilians in Argentina in the 1970’s. Here we are in 2020 in throughout the world still defending ourselves and our planet against another dirty war fuelled by greed, ignorance and fear.

Isaac  Morgan
Steam train 4521 to London, 2020
graphite on paper
21 x 30cm
Not for sale

Luke Morris
Nature vs construction, 2018
acrylic on canvas
60 x 50cm
Not for sale

Elaine Munting
Beach at Mouth of Arthur River Tas, 2018
49 x 67cm (includes frame)

Huwaida Nader
Jasmine, 2020
Painting on glass
23 x 8 x 8cm
Not for sale

Naomi Neville
Mt Roland, 2019
oil on canvas
20 x 25cm

Lynnette O’Malley
Misty Morn on Kunanyi/Mt Wellington, 2019
Acrylic on canvas
49 x 64cm (includes frame)
I have lived with a view of Mt Wellington/Kunyani most of my life. I am drawn to the rock formations on the mountain as they have a very sculptural aspect (this appeals to me). It is the changing moods that I am most interested in, as in my Painting Misty Morn.” The mountain changes moods with the four Seasons and I have painted many variations, in all kinds of mediums. Misty Morn is acrylic and I have tried to paint it with an air of mystery As the fog moves across the rock formations early in the morning.

Tim O’Shea
Leaf, 2019
oil pastel
90 x 77cm (includes frame)

Tomas O’Meara
Centrelink dollars, 2019
Crayon on paper
27 x 22cm (includes frame)
The work comes from a series of drawings based off the cultural shock of moving to France followed by the cultural shock of returning back to Tasmania changed. Out of the 52 drawings this ones shows the relief of receiving Centrelink which allowed guilt free spending on my arts. The series of work is called souvenirs, the French word for memory, playing with the materiality of what the drawings are on (note paper from the bar job that I took orders on) while depicting my memories. My souvenirs.

Stephen Oddie
Gould’s Lagoon, 2019
58 x 48cm (includes frame)
My interpretation of the Gould’s Lagoon conservation area at Granton.

Ked Osborne
Under red light, 2019
Oil on canvas
122 x 91cm

Tessa Parsons
Desire, 2019
Reduction linocut
29 x 26cm
‘Desire’ is a reduction linocut that resembles the power of female identities and the underlying desire for gender equality. The figure is accompanied by banksias reflecting not only unique beauty but the continuous growth and support that is needed to achieve gender equality in todays society.

Julie Race
Living in the Seventies – Felicia, 2019
Acrylic on canvas
63 x 53cm (includes frame)

Isaac Rai
Hobart CBD , Tasmania, 2020
Water colour on paper
48 x 57cm (includes frame)

Kay Rawlings
The Sea, 2003
Paint on paper
65 x 85cm (includes frame)
Not for sale

Joseph Reynolds
Prize Bull, 2020
Digital Art
44 x 62cm (includes frame)
A bull in the desert at night.

Belinda Richardson
Inside my mind, 2019
digital print of mixed media art piece
57 x 47cm (includes frame)
Not for sale

Leigh Rigozzi
Untitled, 2020
Ink and watercolour
40 x 35cm (includes frame)
This artwork is a sequential rendition of some facets of Moonah and Lutana I observed from the window of my studio, with a few made-up panels included.

Donna Ritchie
Foxy Fox, 2019
74 x 68cm

Miranda Rogers
Street notes, 2020
Photography (of original drawing/collage)
32 x 42cm

Luisa Romeo
Every cheddar’s nightmare, 2003
Oil on canvas
118 x 92cm
The allure of a reflective surface, it’s irresistible. Reflecting the world out from itself, an inanimate object. The commonality of this utensil, flipped, warped and portrayed in a varied light. Beauty from the mundane, the overlooked. Every cheddar’s nightmare was created to allow the viewer a new perspective and appreciation of this everyday mundane kitchen utensil. One that sits on the shelf, that grates, that exists for our convenience. Look beyond, a little deeper, beauty and art can be found in everything.

Peter Rudd
The Old Quarry, 2020
oil on canvas
91 x 71cm
Not for sale
This is one of many paintings I have made in the landscape close to my home in Glenorchy. I find my subjects by accident while wandering through the bush. In this work, I was attracted to the rectilinear patterns of the rocks, and the stark colours of light and shade seen in the open air.

Joshua Santospirito
The Brick, 2020
Watercolour on paper
56 x 75cm
Not for sale
The Brick is one painting in a series entitled The a Quoll in which unusual characters wander the Tasmanian landscape in the post human era.

Tanya Scharaschkin
See the she-oak by the seashore (Allocasuarina littoralis), 2019
Graphite and Ink on paper
‘See the she-oaks by the seashore’ is a pair of botanical art drawings of Casuarina equisetifolia. This is a common coastal species along the east coast of Australia. The artwork highlights the details in the fruit (cone)’.

Jonny Scholes
Mountain Figure #2, 2019
Enamel spray paint on canvas
96 x 125cm (includes frame)

Claire Sheppard
All things visible and invisible – together, 2020
Mixed Media
70 x 50cm

Barry Smith OAM
Pacific Vista, 2020
acrylic on canvas
40 x 80cm
The painting is acrylic on board and is not meant to be any particular place but an image in my mind of a beautiful island in the Pacific.

Stuart Solzberg
” I want to find something true. Show me the way?”
“It is not this way or that way…”
“It is beyond everything…it can not die.”
“An endless song and dance…”
, 2019
Pencil, acrylic paint, collage
115 x 76cm

Dan Sowerby
Citrus Dooberstein, 2019
Polylactic acid
28 x 26 x 16cm

Jane Stanton
Tolosa Park, 2020
Mixed media
20 x 20cm
This piece originated from an experimental session, trying out a makeshift silkscreen at my workplace, that had temporarily relocated to Tolosa Park Nursery for the summer. It was a privilege to be in this beautiful spot, where Bennett’s wallabies, in quiet moments, bounced past the gate, and currawongs looked down at us from the gum trees. The Understorey Network members created the native garden. A little oasis in the desert of the built-up environment.

Peter Stolp
Hells Gates – Entrance to Macquarie Harbour, 2019
Acrylic on canvas
48 x 63cm (includes frame)
Not for sale

Gabbee Stolp
Warm (Charcoal Blanket II), 2019
Charcoal, coal, polyester tulle, velvet
100 x 100cm
Warm (Charcoal Blanket II) is an exploration of the traditionally gentle forms of blankets and quilts. Gabbee Stolp’s contradictory comforter interweaves human made materials, as symbols of anthropogenic climate change, with natural materials as symbols of the deep history of the Earth. Gabbee explores themes of nurturing and mending through the acts of sewing and stitching. in creating blankets and quilts, she also explores notions of comfort and convalescence and attempts to provide a way to console the grief and despair she feels in this time of climate crisis.

Patricia Strk
polly, 2018
33 x 24cm (includes frame)
Not for sale

Rebecca Sutton
Glaciers, 2019
Acrylic on canvas
40 x 50cm

Kaylene Tapping
46 x 56cm (includes frame)
Country life in Black and White – This is what a lot of properties look like after the bushfires

Amy Telega
Geiseppi, 2019
Polymer clay, acrylics
10 x 19 x 8cm
Not for sale

Kris Terts
Place, 2020
210 x 187cm

Paul Tilyard
Pop and Lulu, 2020
Oil and acrylic on board
108 x 78cm (includes frame)

Melinda Tonks
Significant other, 2017
Paper and ink on canvas
20 x 20cm
Not for sale
After losing the sight in my right eye, I found it difficult to continue my jewellery making. I started cutting paper as a way of redeveloping my fine motor skills and creativity. I usually up-cycle objects, ephemera and findings. My work is informed by social consciousness and politics which translate through my 3D works, thus giving the viewer a glimpse into my conscience.

Tanja van der Wal
The Cloud Contemplates, 2019
30 x 46cm
Aurora and reflections captured at White Beach, Tasmania during October 2019.

Trish Verdouw
Living on the Edge I, 2018
liquid graphite, sumi ink, pencil, seawater, BFK paper, sea snails (co-collaborators)
Living on the Edge II is a work that has evolved from Pipe Clay Lagoon, a place where I have an intimate and sensorial connection. As I draw and explore the tidal line through walking, I incorporate marks, line, form and space to convey the natural movements of the environment, the patterns and rhythm in a complex system of all inhabitants. Through the act and process of walking and drawing I have become immersed in the entanglement; each sinuous line has become a deep personal and physical experience connecting and engaging me to this place.

Bill Watson
Scarlet Robin Myrtle Forest, Collinsvalle, Tasmania, 2019
oil on polymin
19 x 22cm (includes frame)

G Wheeler
Anarchy, 2019
Enamel and Oils on canvas
140 x 185cm

Damon Wills
‘Huon’ The Tawny Mouth, 2020
Huon Pine, stainless steel, lime
135 x 125 x 56cm
A Huon Pine tree branch has been carved into the shape of a Tawny Frogmouth and mounted on a stainless steel base. What looks like white filler is limestone, which was drawn up into the tree as it grew replacing the sap. Extremely unusual as not all Huon Pine trees grow in limestone enriched soil.

Marnie Wilson
A City for Every Thing, 2019
graphite and ink on paper
25 x 34cm (includes frame)
Not for sale
In the late 80s, Moscow’s Paper Architect collective rebelled against the constraints of Soviet architecture by imaging fantasy structures that were never meant to be built. Their detailed utopias (or often, dystopias) were half dream, half critique; a stark and melancholy commentary on loss and dehumanisation. Taking inspiration from the Paper Architect’s fantastical yet technically impressive output, I have envisioned the architecture of our shared digital lives. Data is ordered and knowledge leads to growth, but the illusion of ease and freedom belies a cold and restrictive complexity. The internet has changed our lives immeasurably; often for the better. But does its architecture serve the user?

Raymond Wittenberg
eucalyptus regnans, 2020
oil on canvas
152 x 50cm
I can barely imagine what this Glenorchy landscape must have looked like before white settlement. It seems simple today, the northern reaches of white settlement on the Derwent estuary have turned a wilderness into streets and suburbs. As an artist and conservationist I spend time imagining what this country might have looked like before suburbia. There will have been forests and floods and people just like us speaking a different language within a different and enduring culture. There will have been fires just as there is today but the wildlife and the people will have anticipated those fires and moved away, perhaps across the river, and understood that this was nature’s way, and that a burnt forest will regenerate and twenty four months later it will be bursting with life again. Today it is complicated, when wildlife needs to escape a bush fire it becomes entangled in fences, in suburbia, traffic or industrial areas and once the forest is burnt it too may not return, the regrowth is managed so fires are less likely to happen and the tall forests will not reappear well past our lifetime. I painted these two trees because I fell in love with their spirit, their desire to make the most out of simple needs, to grow as tall as all the other trees and snatch as much of the sunlight as they care. I’ve been painting similar wilderness themes all my life. I’ve lived in southern tasmania for five years now and I came because of these trees. Last year’s fire near Geeveston may have destroyed these two particular trees, I hope not but I’m prepared for what maybe when I visit them in the near future.

Roz Wren
Selfie, 2019/20
Linen fabric, wool and cotton thread, old flyscreen
26 x 26 x 1.5
Not for sale

Lyn Young
Eco-echidna, 2020
Papier mache (Glenorchy Gazettes) and recycled plastic cutlery
22 x 52 x 53cm
Not for sale
My Eco-echidna was created after I noticed all the takeaway forks that had accumulated at home, and I decided I should start an art project.  I asked everyone at work if they had any used forks on their desk, and was inundated with 2nd hand plastic cutlery of all kinds. To make the echidna as eco-friendly as possibly I used Glenorchy Gazettes I have kept (smaller than the newspaper, bigger than a Bunnings catalogue), and some plain newsprint I had been given, made paste from flour and water, and coloured him with cocoa and left-over poster paints.

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