This is a public exhibition of original photographic works produced by members of the Hobart Photographic Society.
This is an annual exhibition with a collection of works by our members covering a wide range of genres including but not limited to landscape, portraiture, wildlife, macro, urban and creative images.
It is expected that there will be 60 large format images on display plus a video display of a further 200 images. It will be open to the public and is anticipated to attract local, interstate and overseas visitor as it has in past years. HPS members include winners of numerous national and international photographic awards.
We believe that as with any art form unless it is shared with the public audience, colleagues, and friends it is not fully appreciated and is often lost forever. The exhibition offers an opportunity for our diverse and talented members to showcase their best or most meaningful work with others in our community.
The exhibition also provides us with an opportunity to describe the workings of the society and encourage new membership.
Past exhibitions have been reviewed by local media and been described as being of the highest order of presentation and diversity.
This exhibition offers visitors from interstate and overseas an opportunity to view our images and share something of the experiences and lives of the people living in our community.
As the majority of images on display are sourced from Tasmanian based suppliers they demonstrate the expertise and professionalism available in this state.
PLEASE NOTE our lift is currently undergoing maintenance and repairs. Wheelchair access to levels 2 and 3 of the arts centre is currently unavailable.
Opening event: January 18 – 6pm Daily opening times: Jan 18 – Feb 2, 2024 Everyday – 9am – 5pm + extended open hours of 9am – 8:30pm on 19 & 26 January, 2024
In 2015, M. Rene Ariston gave the world PEGSpressionism. 2024 is Phoenix Year Zero. What happened in between is another story.
In 2015, M. Rene Ariston gave the world PEGSpressionism – his critically and artistically (and almost financially) successful debut solo exhibition.
Not long after that – his finest achievement – his life fell apart at the seams, bringing him to the lowest of a lifetime of lows.
Now he’s back – with a renewed will to live and create – and a new show. 2024 is Phoenix Year Zero.
Opening event: 11 January, 2024 – 5pm
Times and dates: 9 – 16 January, 2024 9.30am – 5pm
Mapping the paradoxes
‘Confined / Unconfined’ presents a body of work from a paradoxical period of my life. As a family we moved, for a year, to the other side of the world, to live in a city to which I was both alien and familiar, where I was both liberated and confined, mobile and sedentary. It was a year of progress and of standing still.
My art practice was both constrained and released to run in new directions.
Restricted mainly to drawing, life in Dublin’s outer suburbs allowed the evolution of a number of ideas that I had been waiting to develop for several years. These ideas form the core of the exhibition.
Thematically they cover themes to which I return frequently: humanity’s relationship to the environment, the alienation of the virtual world, and modern working life. However a common element to these works is a sense of claustrophobia with the systems, processes and networks of human civilisation.
The two exceptions are ‘Species’ and ‘Unconfined Spaces’ which view the world from an uncharacteristically liberated perspective.
Presented by the family of Patricia Giles
This retrospective exhibition will showcase the evolution of Patricia Giles’ artistic journey through her landscapes.
We are excited to present a retrospective exhibition celebrating the life and work of the late Tasmanian artist, Patricia Giles. This exhibition will focus on her extensive body of work, with a particular emphasis on her captivating landscape paintings.
Patricia Giles was a renowned artist known for her deep connection to the Tasmanian landscape, and her paintings captured the beauty and essence of this unique environment.
Catherine’s exhibition will be opened by Seán Kelly.
Seán is a Curator, Arts Writer and Re-emerging Artist.
Daily Opening Times :
9.30am – 5pm daily (Closing at 4pm on the final day)
Ocean Windows presents a series of luminous seaweed paper artworks inspired by the traditional rose windows of Gothic cathedrals and the universal symbolism of the circle.
‘Ocean Windows’ combines the delicate translucent textures of seaweed paper with the timeless appeal of traditional stained glass windows. Inspiration is drawn from the ornate rose windows that adorn European Gothic cathedrals, and the universal symbolism of the circle.
Tasmanian artist Catherine Stringer has been researching the making of paper from seaweed for over 10 years. This series represents a significant progression in her seaweed papermaking practice, with the development of new techniques and themes.
The artworks in ‘Ocean Windows’ are all circular in design and depict various marine themes. Each one is constructed from many different seaweed papers, handmade from a wide range of Tasmanian seaweeds. They are framed and displayed in a manner which allows light to filter though from behind, illuminating and enlivening the images.
The circle’s symbolic significance has traversed diverse cultures and religions throughout history, embodying themes of unity, wholeness and the cyclical nature of existence. It is evident in prehistoric petroglyphs and megalithic structures, the Eastern Yin-Yang symbol, the Native American medicine wheel, Celtic knots, and in the religious mandalas of Hinduism and Buddhism.
More recently, Jungian psychology recognises the circle as a powerful archetype originating in the collective unconscious. Jung saw mandalas as portals to the inner world, and manifestations of the psyche’s efforts to integrate and balance the conscious and unconscious aspects of the self. Meditating on mandalas was thought to promote self-discovery, healing and personal transformation.
The intricate stained glass panels within the awe inspiring rose windows of Christian cathedrals often depict spiritual themes and religious teachings. However the geometrical design and powerful radiant light mediate a profound effect on the viewer which transcends words. They can be viewed as metaphorical gateways between earthly and heavenly realms and expressions of humankind’s highest aspirations towards wholeness and coherence. They continue to resonate with viewers today, surpassing cultural boundaries and speaking to the deepest aspects of human experience and spirituality.
The seaweed paper artworks in ‘Ocean Windows’ meld organic materials with spiritual inspiration, tradition with innovation. Although not of the scale or grandeur of the Gothic rose windows they share their luminosity and circular design. Similarly, these ‘windows to the deep’ may allude to things that are ‘beneath the surface’ or usually hidden from view, but the ethereal evocative imagery promotes an initial visceral or intuitive response and invites contemplation and reflection.
Andrea Jordan/ Pot with Brush and Apple/ 2023/ Oil on linen/ 35 x 35cm/ Full Gamut photography
Andrea Jordan & Sallee Warner
15 – 25 September 2023
Opening event:
September 15 – 5pm
Daily Opening Times :
Weekdays 10 – 4pm Saturday 9.30am -4.00pm Sunday 10am – 4.00pm Monday 25th September 10.00 am – 4.00pm
STILL is an exhibition by Andrea Jordan, painter and Sallee Warner, ceramicist, revealing the humanity and beauty found in the simple objects of everyday life.
STILL
Andrea Jordan Painting
Sallee Warner Ceramics
This exhibition is a collaboration between two good friends: a painter, Andrea Jordan and a ceramicist, Sallee Warner, exploring a common approach in our separate disciplines. We share a love of art that is quiet and dignified, with intrinsic humanity and beauty. These qualities are reflected in the work that we each bring to this exhibition.
Andrea:
The paintings are intended to be calm, quiet and contemplative – a still life, investigating the intrinsic value of everyday objects and celebrating the human touch. I have long admired that quality in Sallee’s ceramics, some of which can be found in my paintings.
I surround myself in the studio with my paintings and other collections, taking pleasure in composing the subjects and exploring the contribution of their shadows, seeking balance and harmony in the conversations between subject, lighting and shadow.
I have developed the techniques employed in these paintings over many years, based originally on those of the master painters of the Renaissance.
The simplicity of subject matter in these paintings and the calming, muted colour palette allow the objects to speak quietly of their worth.
Sallee:
“Something beautiful to behold in the form of an object you can use.”
My work is about making purposeful pots, using soft clay thrown on the pottery wheel, enhancing the throwing lines and ridges that reside in the memory of the making.
The simplicity of the form engages you not only in the function of the vessel, but in the unique textural quality of being handmade.
Things, things that we use every day surround us. By bringing this concept to the table and experiencing the contact of living with and using hand made pots we can elevate the ordinariness.
While using hand made pots you may notice a signature, maybe a shell imprint, subtle contours and character of forms. Traces of knowing it has been considered and thought through.
You may even know the maker, bringing a little bit of joy into your day.
Shanshan Ai / The good memory with you / 2023 / watercolour / 15x20cm
Shanshan Ai and Xingming Wu
7 – 13 September 2023
Opening event:
7 September – 6.30pm
Daily Opening Times :
9am – 6pm daily
‘Entangled in Movement’ is an exhibition explores the connections between migration and traditional art memory. The exhibition brings together two artists to exploring these themes. Shanshan’s work focuses on the relationship between weeds and migrants, while Xingming remaining memory of Chinese painting to explore the concept of movement and migration.
Entangled in Movement:An Exploration of Beauty of Migration and Remembering
Overview:
‘Entangled in Movement’ is a group art exhibition that explores the connections between migration and traditional art memory. The exhibition brings together two artists, each with their unique approach to exploring these themes. One artist’s work focuses on the relationship between weeds and migrants, while the other employs remaining memory of Chinese painting to explore the concept of movement and migration.
Artists:
-Artist 1: Shanshan Ai, works are inspired by the idea that aims to explore a psychological expectation of migrants who survive harmoniously in the host country, in a similar manner as introduced weeds. This examination of migrancy and exotic plants, in the form of art might foster the emplacement and emotional identity of people who are living far from home.The artist creates intricate, layered compositions that invoke canvas materials and installation to create a sense of beauty and strength. Trying to find a close and positive connection which brings harmonious coexistence and mutual benefit, which are exists in both plants and humans. The artworks exploring the meaning of our existence and the direction of our common development.
-Artist 2: Xingming Wu, specializes in traditional Chinese ink painting techniques to explore the concept of dust-laden treasure and migration. The artists’ works are inspired by the ancient Chinese tradition of literati painting, which emphasizes the importance of the artist’s personal expression and interpretation.
Although across culture the art still rooted the traditional methods to bring art form in contemporary concept. Through delicate brushstrokes and subtle use of colour, the artist creates ethereal character that convey a sense of fluidity, motion and unfailing manner.
Exhibition Design:
The exhibition is designed to create a sense of beauty and eternity, a way of movement and flow, with the artworks arranged in a way that encourages visitors to explore the space two artists’ works. The exhibition space will be divided into two sections, with each artist’s works displayed in its own area. The First section will feature the mixed materials works of Artist 1 (Shanshan Ai), while the second section will showcase the traditional Chinese ink paintings of Artist 2 (Xingming Wu).
Conclusion:
‘Entangled in Movement’ is a thought-provoking exhibition that invites visitors to explore the connections between migration and traditional art techniques. By bringing together two artists with their unique perspectives on these themes, the exhibition offers a rich and nuanced exploration of beauty, movement, growth, precious value and human experience.
Production still from Tan Lijie, 22 (2013). Single-channel HD colour video with sound, 3’ 46”. Courtesy of the artist.
Curated by Lynne Howarth-Gladston and Paul Gladston
Long Gallery, Salamanca Arts Centre, 77 Salamanca Place, Hobart Saturday 19 August – Friday 1st September, 10-4pm
SOCIAL, Salamanca Arts Centre, 67 Salamanca Place, Hobart Saturday 26 August – Sunday 3 September, 10-4pm
The Barracks Gallery, 11 The Avenue, New Norfolk Saturday 9 September – Sunday 22 October (Saturdays and Sundays only) 11-4pm
A Chinese artist presents contemporary visions of reciprocity between humanity, Nature and the heavenly.
This exhibition showcases videos, photographs and assemblages by the Chinese contemporary artist Tan Lijie representing imagined coexistences between lived realities, enchanted realms, reveries and dreamscapes.
The multi-dimensionality of Tan’s work gives rise to subtly transporting atmospheres and myriad aesthetic affects which suspend fixed perceptions of the real as well as any orderly sense of time and space.
Tan’s work is informed by personal concerns about the controlling expectations and devastating environmental impact of present-day, materially obsessed, societies. It is also marked by the residual traces of traditional Chinese Confucian-literati culture and its aspirations toward a harmonious – mutually sustaining – aestheticized reciprocity between humanity, Nature and the heavenly.
Enchanted Realities -Tan Lijie, Selected Works 2013-2022 is curated with reference to Johnson. Tzong-zung Chang’s conception of the Yellow Box; an intervention with internationally dominant modes of gallery display intended as conducive to the showing of works characterized by the harmonizing reciprocity of traditional Chinese Confucian-literati aesthetics.
Tan continues to live and work in her home city of Shenzhen at the border between mainland China and Hong Kong – an interstitial space resonant with the indeterminate aesthetics of the artist’s work.
From Tan Lijie, Garden Memory Series (2019). From Tan Lijie, The Endless Circle (2017-2022). Photographs and light boxes, dimensions variable.Production still from Tan Lijie, A Mirror-Holder (2014). Three-screen video installation, black and white with sound, 10’ 49”.
From Tan Lijie, Mental Interest Series (2019). Photographs of accidental ink works on paper, dimensions variable.
TAN Lijie (b. 1991) was awarded a Master of Fine Arts degree from the Intermedia School of The China Academy of Fine Arts, Hangzhou (2017) and studied as an exchange student at Kingston University, London (2015). A one-person exhibition of Tan’s work was held at The Chinese University of Hong Kong, Shenzhen (2022). Her work has also been included in group exhibitions at The Salamanca Arts Centre, Hobart Tasmania, The Cipa Gallery, Beijing, the Central Academy of Fine Arts Museum, Beijing and the Djanogly Gallery of The University of Nottingham, United Kingdom. Her video, The World was awarded Best Creative (drama) at the Global Chinese University Student Film Awards (2012). Tan’s video, Haussmann in the Tropics is in the collection of the White Rabbit Gallery, Sydney.
The Curators
Lynne HOWARTH-GLADSTON is an artist, curator, and researcher. She has exhibited her paintings internationally, including in China, the UK, and Australia, and was lead curator of the exhibitions ‘New China/New Art: Contemporary Video from Shanghai and Hangzhou,’ Djanogly Art Gallery, University of Nottingham, Nottingham, UK (2015) and ‘Dis- /Continuing Traditions: Contemporary Video Art from China,’ Salamanca Arts Centre, Hobart, Tasmania, Australia (2021). Her Ph.D. thesis is the first to engage critically with the work of the nineteenth-century botanical illustrator, Marianne North. She was a contributor to the BBC4 documentary, Kew’s Forgotten Queen: The Life of Marianne North (2016).
Paul GLADSTON is the inaugural Judith Neilson Chair Professor of Chinese Contemporary Art at the University of New South Wales, Sydney and a Distinguished Affiliate Fellow of the UK-China Humanities Alliance, Tsinghua University, Beijing. His numerous book-length publications include Contemporary Chinese Art: A Critical History (2014), awarded ‘best publication’ at the Awards of Art China (2015), and Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili: Towards a Critical Contemporaneity (2019). He was an advisor to the internationally-acclaimed exhibition ‘Art of Change: New Directions from China’, Hayward Gallery-South Bank Centre, London (2012).
Jonny Scholes / Record of 09/22 / 2022 / 132cm x 94cm / Photo: Peter Whyte
Jonny Scholes
20 July – 1 August 2023
Opening event:
July 20 – 5.30pm
Daily Opening Times :
Monday-Thursday: 10:00am-4:00pm
Fridays: 10:00am-5:30pm
Saturdays: 10:00am-3:00pm
Sundays: CLOSED (open by appointment)
‘Interpreted’ is a series of woven tapestries portraying a year’s worth of global news as seen through the eyes of artificial intelligence (AI).
‘Interpreted’ is a series of woven tapestries portraying a year’s worth of global news as seen through the eyes of artificial intelligence (AI).
With a gaze fixed on the future, ‘Interpreted’ has its roots in the past. Since medieval times, woven tapestries have been used to record significant events. They portrayed truth as seen by the powers that commissioned them, and often contained mistakes made by weavers. The makers of AI products also have their own biases and ulterior motivations, which are invisible to the consumer. They, too, can make mistakes. With the use of AI tools growing at an alarming rate, ‘Interpreted’ raises timely questions about how facts are gathered, curated and presented to us in the new world we already inhabit.
Although the exhibition consists of physical tapestries, at its core ‘Interpreted’ is a new media project. Drawing on a decade of experience as a software developer, Scholes has created an automated program which continually reviews all news articles as they are published around the world. An AI tool is employed to create a single image that represents each day. Using generative art techniques, the days are collected into months, and incorporated into a unique tapestry design. The result is autonomously sent off to be woven and eventually delivered by post to Jonny Scholes’ studio.
‘Interpreted’ attempts to illustrate the erosion of information as it is captured, distilled and re-disseminated. To understand the works in this exhibition, the viewer must unpick each piece with a critical eye. There are potential inaccuracies at every step – commissioner, maker, distributor and consumer all play a hand. Scholes’ exhibition asks us to consider how the artificial curation of information will impact our future years, days or minutes – and whether we are happy for AI to become a core part of the way we record our history.
