Our after school classes show their responses to the art of the past in an exhibition that includes painting, drawing, ceramics, sculpture, puppetry, and animation.
In this exhibition you will see modern Gods, contemporary mask making, a spirited puppet theatre, and contemporary cave painting.
Opening Event : Friday 11 October 2024, 6:00pm – 7:30pm
Artist Talk : Sunday 13 October 2024 @ 2pm
To light up or illuminate; well-lit
This dictionary definition is a repeating theme behind this collection of latest works. The title of “Luminous State” is a duality and can refer to both a literal geographical location, such as in this case, the state of Tasmania, and a condition of the mind.
“Over the years I’ve researched and examined many of Tasmania’s remote and rugged landscapes. This group of works which has formed the “Luminous State” exhibition, is a collaboration of these sojourns and a memory filled revisiting of this visual and emotive discovery.
Despite the variety in locations represented, the one repeating factor in this exhibition is the quality and transient nature of Tasmania’s light and my ability in harnessing this light quality in paint. Tasmania’s light is recognised across the nation as having a clarity and warmth that bathes it subjects. Particularly at certain times of the year as the sun tracks a low trajectory across the sky.
The illumination of this direct light through clear alpine air or filtered light through a heavy atmosphere, provides an unending and ambient form of communication to the viewer. Recording these moments literally in the field by means of plein air studies, sketches and photographs has provided me with the means back in the studio of giving to the viewer of my work the same emotive response I experienced when on location.
If the viewer can feel the bite of a southerly breeze or the desperate warmth of alpine sun late in the day emanating from these paintings, then my work has found its purpose.” – Clifford How
Henrietta Manning. The Larder, Home Grown Series. Acrylic on masonite. 84.5 x 50cm. Photographer Simon Olding
Exhibition Dates : Tuesday 29 October – Monday 2 December 2024 **Installation viewable 24/7
In contrast to a fast world demanding instant gratification, the Series Home Grown by Henrietta Manning celebrates the joy of planting, harvesting and eating the produce of your own hands. Paintings inspired by the artist’s garden. Slow down and immerse yourself in the soil and the changing seasons, it’s good for the soul.
For the series Home Grown the artist is sharing her connection and pleasure derived from the just over one-acre block of land surrounding her home in Tasmania’s Huon Valley. Originally sparsely planted, and still a work in progress, it has been a steep learning curve, landscaping, and developing two working vegetable bunkers. Produce taken into the house, whether edible or as floral decoration, has been painted from life as intimate works combined with the trappings of home life or with glimpses through windows to the garden outside.
A garden is an extension of you and your home. It matters not whether it is in a single pot or on acreage, growing and nurturing life expands your world. Whatever your taste and passion leads you to grow, trees, shrubs, flowers, succulents, vegetables, fruit, nuts or herbs, you see life in the round. You become more aware of the small things, of life around you; butterfly’s moths, bees, the caterpillars, slugs, snails and worms, skinks and snakes. You reconnect with the seasons and changing weather. The struggle for life becomes more apparent as you nurture and then defend from predators.
Sometimes it can even be hard to pick or prune, to end the life of those you have tended for so long, at others it is a race to harvest at the perfect time before plants bolt or birds and possums get there first. The taste is sweeter and the satisfaction greater at every meal.
Not for you the anonymous supermarket flowers, fruit and vegetables but those carefully chosen by you from seed or seedling, nurtured into life, protected from predators and blight and harvested straight into your kitchen or carefully arranged in a vase. You know where they came from and how they were grown. You can choose varieties not mass produced and can grow free from chemicals. You can make a difference by keeping heritage varieties alive.
In a world of increasing financial, climate and food insecurity there is also a sense of safety and self-reliance looking at your own produce growing or stored in larder and freezer.
What better way to start your day than to let the chickens out, collect eggs and watch for every bud and burst of new life?
Henrietta Manning. Tomatoes, Home Grown Series. Acrylic on masonite. 25.5 x 30cm. Photographer Simon Olding
Henrietta Manning. Eggs on the Mantel. Home Grown Series. acrylic on masonite 25.5 x 30cm. Photographer Simon Olding
Studio Waterloo
Special Event at Studio Waterloo Monday 25 November – Sunday 1 December 2024 : Open daily 11:00am – 4:00pm 57 Glocks Road, Waterloo, Tasmania 7109
In conjunction with the last week of the Lightbox installation the extended series Home Grown will be exhibited in the Artist’s Huon Valley studio, open to the public for one week only. An opportunity not only to view more of the current series but also to meet the artist and explore her working studio and art practice inside the heritage Apple Packing Shed that is her studio. Bring a picnic and enjoy stunning views extending down the Huon River to Sleeping Beauty and Kunanyi/Mount Wellington.
Henrietta Manning is a Contemporary Realist exhibiting since 1984 and currently living in Tasmania. A versatile artist, painting predominately from life, plein air and in the studio, series are developed for exhibition. Drawn to historic sites a recurring theme is the passage of time and how we live with and build upon the past. A recipient of an Australia Council Visual Arts/Craft Board ‘New Work Established Grant’ and finalist in Australian art awards such as The Wynne, Glover, Portia Geach, Waverly, Alice, Fishers Ghost, Eutick, Waterhouse and The Summer Exhibition in England.
Presented by the Corrective Services Department of Justice
Artists with Conviction is an annual exhibition that provides prisoners within Tasmania Prison Service as well as offenders serving orders with Community Corrections with the opportunity to display their art and written pieces in the community.
The annual Artists with Conviction exhibition is a unique showcase of creativity and resilience. This year’s theme, Behind These Eyes, invites you to explore the profound and personal stories of prisoners of the Tasmania Prison Service facilities, offenders serving orders with Community Corrections, and Department of Justice staff.
Through a diverse range of art forms including painting, drawing, sculpture, woodwork and writing, these artists offer a rare glimpse into their inner worlds. Each piece reflects elements of their journey, emotions and perspectives, providing a powerful testament to the human spirit and the transformative power of art.
Now in its fourteenth year, this exhibition provides you with an opportunity to support and celebrate the artistic talents of those who often remain unseen. Experience the raw and compelling expressions of individuals striving for redemption and connection in our community.
Audrey Durbridge. Rib#2 (2024). 86cm x 40cm
Opening Dates : Wednesday 30 October – Sunday 10 November 2024 10:00am – 4:00pm daily
Opening Event : Thursday 31 October 2024, 6:00pm – 8:00pm
Terre by Audrey Durbridge is a collection of artworks articulating the textures, tonality and resonance of coastline.
Terre is a collection of artworks articulating the textures, tonality, and resonance of coastline. Made primarily from materials gathered and processed within their place of origin, Bellerive, and Barrett’s Bay as these are my studio sites and are the constant informants of my creative impetus.
Earth pigments, inks and stains infuse the cloth and paper with colour that creates a rich surface for embellishment. Collage, appliqué and stitch then provide the unexpected placements and connections. Using coastal detritus and salvaged metal gives form to the patterns and rhythms of place.
This work is situated between the unexpected and the intentional. The combining of various materials is the process through which the artwork forms, with mixed media becoming its own content. Terre is the language that represents my relationship to place.
Audrey Durbridge. Gust (2024) (detail). 80cm x 50cm
Greg Wood’s paintings offer moments of reprieve and contemplation. At once both closely observed and deeply imagined, they depict landscapes not quite locatable. Records of light, colour, and atmosphere, his paintings are the stuff of memory itself. –Amelia Wallin
Greg Wood is a painter of the earthy and ethereal. During the last 25 years his practice has involved the observation of landscape and the natural world. He paints places traversed through sensory impression For Wood the essence of place is more important than specifics of location. He creates art that alludes to the mysterious impressions left by landscape, the emotional afterimages that endure. His delicate, layered canvases invite us to enter a felt sense of place, imbued with memory and emotion. Wood describes his work as a ‘slow release’ –the nuance of his paintings gradually revealing themselves to the viewer. A formative influence is Melbourne tonalist, Clarice Beckett, who has informed his use of thin, gestural layers of muted colours, flattened forms, merging tones and diffuse light.
Wood’s paintings are psychologically and visually alluring. The more we look, the more we are invited to come into communion with the subtle aspects how place shapes us, how we dwell in landscapes both literal and interior.
Paintings that elevate the everyday, with the richness of oil paint bestowed upon imperfect, ephemeral fruit.
A pop up performance by Zoe Knighton
Melbourne cellist Zoe Knighton will do a pop-up performance responding to the paintings in How Sweet To Know You. 4pm Thursday October 24. All are welcome.
Jen Franklin. SL56 Lemons (2023). Oil on Canvas. 54 x 61cm
Michelle van Pelt. Friendly Alienation (2024). Oil on canvas. 50 x 50cm
Daily Opening Times : Friday 25 October – Monday 4 November 2024 Monday – Friday 10:30am – 5:00pm Saturday & Sunday 10:00am – 4:00pm
Opening Event : Friday 1 November 2024, 6:00pm – 8:00pm
Point of Reference by Michelle van Peltis an inquiry into how, and why, we respond to landscape through painting.
Feelings of distance and isolation, enclosure and safety, or clear eyed wonder and joy can arise spontaneously when viewing a landscape. This collection of paintings attempts to delve a little deeper into those initial responses. In particular, it asks that we consider what of our selves we bring to each experience of the land. How do we view a landscape? And who are we when we are looking or responding? Does our experience of the encounter shift as we move through a place, or spend more time? In this way, the point of reference circles between that which is seen, and that which is looking.
Michelle van Pelt. Glimpse – Shore (202). Oil on board. 20 x 20cm
Richard Butler. East to Ravenswood (2023). Ink-jet print on Canson Baryta Matt. 1400 x 1020mm
Opening Event : Friday 15 November 2024, 5:30pm – 7:30pm
Opening Dates : Thursday 14 – Wednesday 27 November 2024 10:00am – 5:00pm daily* * 10:00am – 12:00noon on Final Day / Wednesday 27 November 2024
“Fourteen thousand six hundred and three days had passed since I last saw the sun rise through the storms over the Ravenswood hills. After all that time – and finally – I saw its beauty. Without knowing how much. I missed it so.” – Richard Butler
the desire to be there is an exhibition of photographs by Richard Butlerat the Long Gallery, Salamanca Arts Centre.
The photographs were made across an 18 month period ending in December 2023. The motivation for the series was artist Richard Butlers’ return to Launceston after a four decade absence.
Not long after his arrival he stood on the deck of his Trevallyn home and through the storms and rain saw glimpses of the misted hills far across the Tamar Valley. The view evolved without repetition each day. It held his attention as a magicians trick captures the imagination of a child. All that mystery. All that wonder.
At dawn during the day and at each days’ end for eighteen months Richard stared into the swirling weather. He saw and photographed the thinly raked light against the shadows in the thunder clouds. He loved the blankets of gold and cyan coloured mist covering the foothills of Mt Arthur, Mt Barrow and Ben Lomond. Those daily weather events provided a personal revelation. He had assumed the weather in the valley was relatively constant across each season, but was shown the colours and tone at every second of every day were remarkably different.
The experience both beautiful and mesmerising. The weather and all of its symbolism had found him and opened a new awareness. “Until recently, I have not wanted to photograph the land”.
But the land informed his thoughts on the connection between place and identity. Richard felt a sense of longing caused by the passing of unretrievable time. Everything seen today would not be seen tomorrow. “On the really wild days everything is at work. All crashing. All at the same time” Richard wrote in his note-book. “The poetic nature and interplay between time and light; of line and colour; of space and the graphic flatness of the East Tamar valley walls – these are the walls we are climbing. The walls which must be climbed.”
“We long for connection with a permanency beyond ‘our us’.”
For this series, Richard has used colour negative and colour transparency film. He scanned the film in his studio and produced the digital files in-house. The printing of the images was a collaborative effort, in part due to the size and other challenges in handling each print. “I wanted the images to be big, almost falling off the sheet. When you stand in front of them, I hope you will stare into their colours and just wonder.”
When a small light-sensitive piece of film is shown the world by old lenses that film provides a beautifully imprecise response. “I love film – it is just like the weather – and rejects any notion of predictability” He feels the story-telling elements of film are ideal for this interpretive folio.
The most exciting photographs in this folio are those where more is inferred and less is shown. Contrary to larger format photography and different technology platforms – it is what isn’t in the photographs that Richard believes is critical. “Absences liberate. Absences provide opportunity to reflect and dream. The essential elements are interdependent and together with imagination, are interlocutory. With a bit of luck magic can happen.”
Richard Butler. Always the sun #4 (2022). Ink-jet print on Canson Baryta Matt. 1400x1020mm
Richard Butler. Cloud over Mt Arthur (2022). Ink-jet print on Canson Baryta Matt. 1400x1020mm
