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
Daily Opening Times : Friday 6 December 2024 – Sunday 5 January 2025 Monday – Friday 9:00am – 5:00pm Saturday – Sunday 11:00am – 4:00pm
CLOSED for Christmas / New Year from Monday 23 December 2024 | REOPENS Saturday 4 January 2025
Joy resides in simple things : the warmth of the sun on your skin, the breeze in your hair, the freedom of dance within… But what if these simple pleasures slip away?
Simple things define our childhood, shaping our experiences, exploration, and growth. Without them, childhood fades, halting our development.
Within us reside various personas: the playful child, the mature adult with desires, moments of sadness or confidence. On the surface, we embody a blend of these identities.
To reveal our true selves demands courage, requires us to dive deep. Self-discovery hinges on the freedom to explore this life.
Mona’s story starts with following the peacock, the Persian metaphors which sent Eve out of heaven. She wants to feel, experience, indulge in what we call living. To feel the breeze in her hair, to see the dazzling colours under the dancing brims of sun. Simple as it seems but not where she lives. She refuges to her imagination to build what has taken from her, to flee from pain, shame and suffocation.
Her story is a testament to her resilience as she navigated enforced modesty and the suppression of her true self, ultimately shaping her life and proving that the ideas of freedom can evolve into reality when nurtured within one’s mind.
Magie Khameneh. Exploration (2024). Digital painting
Hannah Blackmore/Untamed Coast/2024/Textured Acrylic on Canvas/45cm x 45cm
Open Day : Saturday 5 October 2024, 10:00am – 4:00pm Daily Opening Times : Thursday 3 – Monday 28 October 2024 Monday – Friday 9:00am – 5:00pm Saturdays / Sundays / Public Holidays 10:00am – 4:00pm
Off The Studio Wall by SAC Resident Artist Hannah Blackmore, explores contemporary Tasmanian landscapes and seascapes, where themes of light dance across a subtle palette, capturing the rugged yet serene essence of Tasmania’s natural beauty.
Discover the beauty of Tasmania’s landscapes and seascapes through the evocative work of local artist Hannah Blackmore in her solo exhibition, Off The Studio Wall, showing in the Studio Gallery at Salamanca Arts Centre.
Running from the Thursday 3rd to Monday 28th October 2024, the gallery will be open daily from 10:00am to 4:00pm, allowing visitors to immerse themselves in Hannah’s unique artistic vision. Join us for an exclusive Open Day on Saturday 5 October 2024, and chat with the artist about her work.
Off The Studio Wal’ explores contemporary Tasmanian abstract landscapes and seascapes, where themes of light dance across a subtle palette of warm tones, cool greys, and white. Hannah’s innovative technique of blending plaster with paint lends a distinctive texture to her canvas, capturing the rugged yet serene essence of Tasmania’s natural beauty.
With 25 new paintings being released, this exhibition offers art and nature lovers a chance to bring Tasmania’s captivating scenery into their own spaces.
Hannah Blackmore’s artistic journey is anchored in her fascination with the power of reduction. Her works transcend traditional landscape representation, guiding viewers to connect with the essence of nature in its purest form. Through a sophisticated use of colour, texture, and form, Hannah captures the very soul of landscapes and seascapes, distilling them into compositions that pulse with emotional intensity.
While minimalist in appearance, Hannah’s paintings resonate deeply. By stripping away extraneous detail, she unveils the emotional core of each scene, inviting viewers to experience a range of feelings from tranquillity to introspection.
For an even deeper dive into Hannah’s creative process, visitors are invited to explore her studio, conveniently located next door to the Studio Gallery. Witness firsthand the inspiring environment where these atmospheric pieces come to life.
This weekend is designed to offer during the first day a FREE Workshop with the Director of Drama of The National Drama School. This Workshop will explore some of the activities included in training at the National Drama School.
The second day is for Auditions for the 2024 Advanced Diploma of Acting.
Both the Workshop and Auditions are FREE, but Registrations are ESSENTIAL
Participants must be aged 17+
DAY ONE : Workshop : Saturday 14 September 2024, 10:30am – 3:30pm
