Artist Profile

Brent Harris, our cover artist, will expand our experience of painting and art history. Few artists can boast such qualities as Brent. Artist and writer Peter Hill has eloquently provided us the opportunity to see Brent’s work and life, so that we fe

How do we know what is “real” in this world? Allegedly, real is something that is not an illusion, fantasy, imaginary, or a feeling or intuition. But this feels heady and spiritually distressing to me. The real I know is based wholly on my perception

Brent Harris’ studio is adjacent to Gertrude Glasshouse, the experimental satellite venue of Gertrude Contemporary. Apart from chance meetings at Tolarno Galleries openings, we haven’t really had much chance to talk since we were both doing residenci

Time is central to the art of Lyndal Jones. Working with durational practice, her installations include video, performance, theatre, dance, photography, and sound. Encounters with her projects unfold; her audiences navigate immersive experiences that

It’s a cold winter’s day when I visit Michael Schlitz’s studio in Tasmania’s Huon Valley. Dampness hangs in the air, but in the artist’s hand-built hut is a welcoming fire and cups of tea. The kettle boils on the woodfire stove while we talk. Without

Trevor Vickers has been working in abstraction for more than five decades, importing constructed visualisations onto canvas, offering ways of how the world can be perceived and understood. He has produced, and continues to produce, some of the finest

Renee So’s faces don’t often have all their features. Some have noses, but her early busts and knitted paintings often have mouths grown over by facial (or head) hair. Many wear masks, covering almost every detail which would give a hint of their cha

There’s a mini welder sitting on a desk. His high-ceilinged studio is packed to the very rafters with materials. He opens a drawer filled with beads; another shelf is stacked with wood-cutoffs. There is a lot of physical material, much more tangible

At this time of day, there’s not much natural light in Erin Mison’s small, square studio on the second floor of her home in Mount Keira, Wollongong. A single lamp in the corner – not unlike the lamps you find in some of her work – casts a yellow glow

It’s funny that there is a psychological divorce as soon as my paintings leave the studio. My mind is already bubbling with beginnings of what to make next; what will follow from what came before. I’ve long held the view: work begets work – through t

“I panicked, thought what if I can’t make anything ever again? I’d had tough moments – a divorce, losing my mum – but the space I was in this time was frightening. I said to myself, ‘I’ve got a show next year, I have responsibilities to my practice,

The State Library of Victoria on-line collection features a Go-Set photo from the early 70s of Ian “Molly” Meldrum missing a mark against an unidentified Collingwood VFL player. Regrettably, the catalogue entry states, “Photographer Unknown.” Hardly.

Looking back over my artistic practice, I can clearly see the signposts leading to what I’m making in the studio today. In recent years, I have been playing with cycles of creation and destruction: casting my body in gypsum and concrete, smashing the

The place was packed. Artist Godwin Bradbeer, as part of his current exhibition, was giving a public demonstration of his very personal method of making drawings that are almost paintings, and paintings that are almost drawings. “All these artworks a

“What kinds of problems and what kinds of meanings happen in paint? What is thinking in painting, as opposed to thinking about painting? … This is where alchemy can help because it is the most developed language for thinking in substances and process

“Surface. It doesn’t matter what you paint, your works are about surface.” In his Darlinghurst studio, surrounded by two decades of his work, Knight reflects on this observation, made by Ian Grant, his tutor at the University of New South Wales durin

The ambitious scale of Aflame deepens Savanhdary Vongpoothorn’s interrogation of the Ādittapariyāya Sutta (Pali, “Fire Sermon Discourse”) in Theravada Buddhism and ventures into new technologies. In the Fire Sermon, Buddha preaches about achieving li

The exhibition title Shapes For Gods is taken from the painting of the same name. It is the pivotal work amongst a field of twenty-three figurative paintings, a print and a drawing. Shapes For Gods is Lopes’ fourth solo exhibition at Mitchell Fine Ar

This year’s Venice Architecture Biennale will go down in exhibition history as a watershed moment for the industry. With the prompt-as-title “The Laboratory of the Future,” Lesley Lokko, the Ghanaian-Scottish curator of this year’s event – and the fi

all the women. in me. are tired. –Nayyirah Waheed The first text that you read, under the moniker “Opening Gambit,” features a quote from Hannah Gadsby: “Picasso said, ‘You can have all the perspectives at once!’ What a hero. But tell me, are any of

Just up the hill from the harbourside sources of material and inspiration for this exhibition, Yasmin Smith’s work is presented in an elegant and cohesive show. Through ceramics, bronze sculpture, and other media, Sediment explores the intersection o

In a commitment to bolster LGBTIQA+ visibility and offer more supportive conditions for growing up queer in regional Queensland – and regional Australia more generally – the Rockhampton Museum of Art (RMOA), Darumbal country, has held recent exhibiti

Ömie barkcloth: Pathways of nioge is currently on display on the fourth floor of the University of Sydney’s Chau Chak Wing Museum. Upon entering the gallery space, one is met with a black title wall, and illuminating the text design, is a creative an

BONNARD the bold lettering announced, with the curious subtitle DESIGNED BY INDIA MAHDAVI. On the adjoining carriage the National Gallery of Victoria’s logo stood like a decree over the mellow greens and tart yellows of one of Pierre Bonnard’s late w

Generally, the display of major exhibitions at Australian public art galleries does not go beyond the choice of colour for the walls and adjustments to the lighting. By contrast, the NGV commissioned the well-known Paris-based architect and designer

Central to The Offering is a rich vein of symbolism interwoven with the artist’s feminist perspective and her performative approach. One notable example is Historia from The Boho series. Created in 2016, the work marked Stockdale’s initial foray into

Are You There? surveys three decades of the artist’s prolific creativity in performance video, photographs, text, and archival material. Curated by James Gatt, and articulated within one double-height space at Wollongong Art Gallery, the exhibition i

Sending shockwaves of subject matter into the room, eX de Medici’s Beautiful Wickedness exhibition of exquisite detailed work is magnificently complex. Carefree and bold, Michael Zavros’ The Favourite takes us from graduation to the stand-out commiss

In 1991, Maurice and Katia Krafft died during the Mount Unzen eruption on Japan’s island of Kyushu. Herzog’s documentary does meditate on their deaths and the notion of “impending doom,” but his concerns are the Kraffts' humanity and their mythic ima

For each artwork, she constructs fictitious personas, notable for their uncanny artifice. It’s by means of these ambiguous characters and their uneasy actions, that Panegyres works through themes of personal trauma, memory, and social commentary. Her