Event Type: Exhibitions

Earth and Land presents lutruwita/Tasmania’s natural beauty, captured within the clay of Angela Reiher’s sculptural forms and Caitlin Love’s canvas.

Opening Event
Friday 30 September 2022
5:30pm – 7:30pm
Top Gallery, Salamanca Arts Centre

Emerging artists Angela Reiher and Caitlin Love met in 2020 after taking ceramics classes together. They soon realised their shared ambition to produce a body of work to exhibit. Angela and Caitlin’s interest in the natural landscape and obsession with the Tasmanian wilderness was the subject of many conversations which lead the pair to recognise the many ways their works speak to each other. Angela collects wild clay from different locations in lutruwita/Tasmania, to use within her work. Caitlin represents the natural environment in her paintings, including some of locations where Angela has sourced her clay from. Their work embodies the landscape in more ways than one.

Angela and Caitlin have nurtured a strong friendship over the last couple of years, consistently supporting and encouraging one another to follow their motivations as artists. Together, the pair launched their work for Earth and Land with a trip to Tasmania’s wild and captivating West Coast, early in 2022. This is the first time that Angela and Caitlin have exhibited their work.

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Angela Reiher

Angela Reiher is an artist based in nipaluna/Hobart. Angela was born in Warragul, Victoria and moved to lutruwita/Tasmania in 2018. She came on a holiday to Tasmania in 2017 and fell in love with the amazing and diverse landscape as she travelled around the state. She has recently retired from a life of teaching to release her dreams and passion for the arts.

Angela has a deep-rooted connection with the natural world and her works reflect this. Angela’s work is inspired by what she sees around her, or literally includes elements from the environment. In her ceramic work, she uses items such as rocks for tools in shaping, trimming, carving and finishing work. Angela uses shells, rocks and leaves and other found items as inspiration and to emulate colours in glazes and in the finishing effects. Her handbuilding reflects the organic shapes in the environment and incorporates aspects of natural elements such as wild clay.

Angela loves connecting to the earth by collecting and hand processing clay found in the wild. Everything is done by hand until the final firing stage, including collecting the clay, picking up or digging out the clay with a small handheld shovel or shell. Clay is broken down and squished by hand, from large lumps into a smooth mix. Angela then pushes it through a sieve and dries it out to a usable degree, wedges it and makes it ready to use. Angela uses wild clays as finishing effects on ceramic pieces that she has either handbuilt or wheel-thrown. Angela likes her artwork to ‘create itself’. She begins with an idea but has learnt to have no boundaries. She likes the work to take on its own form and, in a way, to create itself.

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Caitlin Love

Caitlin Love was born in Ngunnawal country/Canberra and she studied Art History and Curatorship at The Australian National University. She moved to lutruwita/Tasmania in 2015 and based herself in nipaluna/Hobart to further her study at the School of Creative Arts, completing her master’s degree.  Caitlin currently works as an art teacher.

Painting has been a lifelong passion of Caitlin’s. In this exhibition, Caitlin captures the essence and life of Tasmania’s diverse and pristine wilderness through her exploration of the colours and vistas that have captivated her during hiking and camping trips. These paintings reflect her personal connection to Tasmanian landscapes and the profound nourishment she receives from being in nature. There is a welcoming sense of solitude and peace that can be found in Tasmania’s unique landscape, which offers Caitlin both a sense of belonging and a feeling of remoteness.

This installation by Elizabeth Barsham, Betty Nolan and Rebecca Watson features ceramic and sculptural creatures, and is a preview of the upcoming exhibition FLOCK at Nolan Art throughout October 2022.

A Hunter Island Press Pop-Up Print Sale and Exhibition.
Postcards and artwork sales will raise funds for the Ukraine Crisis Appeal.

Hunter Island Press (HIP) provides a place for artists to create work and pass on their skills to the community.

HIP members have produced images for postcards to raise funds for the Ukraine Crisis Appeal.

Artists represented include: Maggie Aird, Anastasiia Ananieva, Sally Beech, Rowena Bond, Alicja Boyd, Carolyn Canty, Rebecca Coote, Tina Curtis, Cath de Little, Jeanie Edwards, Ailsa Ferguson, Abbey J Green, Janice Luckman, Pat Martin, Rob McKenna, Anna Mykhalchuk, Linda Pollard, Julie Race, Sarah Robert-Tissot and Amalea Smolcic.

HIP thanks Monotone Art Printers for sponsoring postcard printing. 

An exhibition by Landscape Photographer Samuel Allen

“My homeland of Tasmania is a natural setting for landscape photography. The untouched temperate rain-forests, world heritage areas and coastal scenery is simply breathtaking. A plethora of famous walking tracks, well-formed and sometimes not well known within the island, lead to locations perfect for capturing images that I try to showcase with my photography.”
– Samuel Allen

How many bodies have passed through this hotel room? Those empty cupboards, tight sheets, and lumpy pillows, just an illusion of comfort and homeliness. I contort, conform, disrupt and seek respite in the voids, using my body as language and location as parameter.

Opening Event
Thursday 15 September 2022
5:30pm – 7:30pm
Free to attend, subject to capacity.
The opening event for Vacancy is sponsored by Spotty Dog Brewers

Vacancy is a series of self-portraits representing my body as language, within parameters of specific, often confined, space. Body placement is expressed through a process of conformity and contortion within a space that holds everyday normalcy. The form is both disruptive and illusionary — seeking comfort and filling the void through isolation and retreat.

I once thought hotels to be romantic places, and maybe they were at one time. These days I find them mostly clinical, attempting to lull me into a false sense of comfort and security. Despite this, the hotel room has been my sanctuary for many years. I traveled a lot for work. A nomadic life that appeared glamourous but in actuality was bound by limited space and time. Whilst being on the road, I found myself fighting to make space, to discharge and find retreat in a time-poor reality. The hotel room was often my only respite from the rushed, high-energy experience of putting on a show. These transient spaces gave me both limitations and opportunities for experience and expression to shape my work.

While the elements of interior/exterior maintain plausibility within the work, placing my body within these spaces interrupts a seamless reading, prompting the viewer to question the presence of the body as landscape… Vacancy draws attention to the body’s purpose, flexibility and limitations in relation to space…

Bodies are markers of self … and what is self but a body that relates to space, holds space, takes up space, finds space, makes space and leaves space.

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Eddie James

Eddie James is an emerging artist based in nipaluna, Hobart, Tasmania. Influenced by a career on the road, her practice explores the human capacity to see and read body language. She engages with the mind/body connection in creating action, reaction, emotion and physicality. James uses the body, movement and the tactile processes of analogue/alternative photography and printmaking to create a visual tension that highlights displacement, comfort, isolation and freedom. With the use of architecture, light and form, James translates a deep listening of space into a visual experience.

Eddie James trained at Swinburne University, School of Theatre and Performance, completed a Diploma of Visual Arts at the Newcastle Art School in 2019 and is now completing her BFA at The University of Tasmania. In 2020 she received the ‘Cobra’ Award from Contemporary Art Tasmania with which she then created the work ‘Walk On’. This project was picked up by 10 Days On the Island and a further iteration was created specifically for the festival. James has been selected as a finalist in numerous art prizes, including, twice, the Newcastle Emerging Art Prize. She is the current (2022) winner of the Women’s Art Prize Tasmania. The Judging Panel for this award was unanimous in its choice, saying; “In this work, Eddie James offers a multitude of narratives in a soft-focus ambiguous world. Room 18 is a strong well-conceived work with a timeless quality using the body as a disrupter in a transitory, illusory and disquieting space.”

Other-Worldly is a collection of oil paintings centered around the idea that home in its truest sense exists outside our walls in the great outdoors.

In Other-Worldly, Britt Fazey plays with the definition of home and connection to the natural world.  Could the practice of nurturing our connection with the natural world help us to re frame the overwhelming distractions of modern life? Could it help free us and make us more effective participants in our own lives?

Opening Event : **Event has reached Capacity**
Wednesday 7 September 2022
5:30pm – 7:30pm
Free to attend, subject to capacity.
The opening event for Other-Worldly is sponsored by Spotty Dog Brewers

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From marine algae to twisted trees, this exhibition by Anna Brooks explores a fascinating variety of plant forms.

An exhibition of works on paper, including printmaking, photography, drawing and collage. Intimate portraits show each plant, or plant part, as something precious and intriguing. The works emphasise form and pattern and the diversity of shapes and designs found in nature. They celebrate the mysterious nature of plants, and draw the viewer into the inner reaches of other organisms which may sometimes seem alien and sometimes familiar.

Anna Brooks has a great love of plants. This began when she was a child roaming around in bushland on the family farm, continued through a degree in Botany, and years of bushwalking in many wonderful places. Brooks completed her Honours in Fine Arts in 2021.  Almost all of her art is about the natural world.

Opening Event
Friday 9 September 2022, 6:00pm – 8:00pm

“In the light of the moon a little egg lay on a leaf.”
– Eric Carle, The Very Hungry Caterpillar

TasPride’s annual Artfully Queer Exhibition and Arts Program showcases the creative talents of emerging and fully fledged contemporary Tasmanian lesbian, gay, bisexual, trans and queer artists, designers, craftspeople and performers, responding to the theme ‘transform’. 

As always, interpret, challenge, expand or illustrate as creatively as you like.

Curated by Phoebe Adams. 

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Be part of it!
Artfully Queer is open to all Tasmanian LGBTQ creatives and their families. All mediums and levels of ability are welcome. This years theme is ‘transform‘ and we ask exhibitors to consider the theme and respond to it in their work or choice of entry. For more details on how to enter your art, craft, design work into this years Artfully Queer exhibition at the Long Gallery at Salamanca Arts Centre, please see the link below.

Southern Light is a series of paintings celebrating the unique light and beauty of Antarctica. Hannah Blackmore depicts this isolated environment through her indirect experience as the partner of an Antarctic expeditioner, and shares why we need to protect this natural wonder of the world.

Southern Light is intended to increase public awareness of the beauty of Antarctica, and the important work that takes place to protect this unique environment.

“I have not been to Antarctica. However, it has become an important part of my life over the past ten years. I have been married for ten years, and my husband has spent a third of that time in Antarctica. It has become part of our relationship, and we also have a close circle of friends who visit Antarctica regularly. It is a place I have developed a strong connection to, through my indirect experience as an artist.

As a painter, I am drawn to colour and light, and the light of Antarctica is something I have found captivating in the images I have seen. I have created a series of semi-abstract landscapes depicting the natural beauty of Antarctica, to show the importance of taking care of our Antarctic legacy. I do hope to travel to Antarctica one day, and capture the beauty I see with paint. For now, I shall share my interpretation and experience through the people in my life with you.”
– Hannah Blackmore

Life Drawing : charcoal studies, constructed objects, and photographs that draw on Medieval tapestries, industrial diagrams, wunderkammers, natural history collections, and maps to explore the multiple meanings of Drawing and Life, by Marinelle Basson.

“Life draws : squiggles, paw-prints, and traces – imprints of brachiopod shells from hundreds of millions of years ago in the mudstone of our garden. Less fixed are the flight-lines of insects and birds; harder to spot are the underground drawings of worms, roots, and billions of microscopic creatures. Life is everywhere, even in the darkest underwater. How it wriggles, squeezes out of tight spots, returns after disasters and thrives, or hangs by the thinnest of threads… fragile threads so easily cut: species lost, links severed.

We draw too : tens of thousands of years ago, our ancestors drew with charcoal and ochre on rocks and in caves. Humans have drawn with enormous stone structures, and tiny shell beads, with feet leaving footprints and tracks like wallabies do.  We continue to mark the world as we cut and build, dig and dredge. We remove mountain tops, re-route waterways, change everything… our marks getting bigger and bolder. 

For me, drawing is mark-making and conversation, listening and responding with charcoal on paper, or tearing, scrumpling, wrapping, pinning. It’s a way of getting to know intimately, distilling the essence of something;  a way to explore edges: animate|inanimate,  animal-self|human-self.  I draw upon life which has drawn me, which still draws me: not just the lines on my hands, but my whole way of being in the world, and what I cherish the most.”
– Marinelle Basson