Lorna Quinn. The egg (2022). Oil paint on board. 30cm x 25cm.
Vale is a collection of paintings by Lorna Quinn, created after an experience with a mountain plain in the Central Highlands in 2020.
“As a tourist looking in from a designated viewing platform, I found pleasure in imagining living on the slopes of the mountain as a bat or a worm or as a gust of wind. At the same time, I felt a sense of pain at the remoteness of this vision of dwelling – an absolute separateness from it. These two feelings, of inhabiting, and of outsideness, tangled together in a sort of ache, a longing, that I decided to represent in paint. Using a combination of holiday snaps, memory, and invention back at home, I repetitively formed and reformed the hills that I could remember in careful experiments with colour, texture and shade.
Returning to the viewing platform two years later, I found that my impression of the place had shifted. The idea of the mountain scene had grown so complete in its absence that the real thing felt pale and diminished, the paintings more concrete.” – Lorna Quinn
Lorna Quinn is a Melbourne based artist, creating small-scale portraits of vegetation, rock, earth and sky. Her practice considers the triangular relationship between landscape, personal experience and painting.
Jane Flowers. Sailing South (2022). Oil on Canvas. 101cm x 75cm.
+ Ned Trewartha. Sittin' on the Dock. Photograph by Kim Rodahl.
Opening Event Sunday 12 February 2023 6:00pm – 8:00PM Exhibition to be opened by Lucienne Rickard (speeches at 6:30pm)
New paintings by Jane Flowers, furniture and sculpture by Ned TrewarthaThis joint exhibition examines the connection between the ‘Elements’ and ‘Shelter’. At sea amongst it, in an anchorage seeking it and ashore being comforted by it.
Jane Flowers. Hurrica V (2022). Oil on Canvas. 122cm x 122cmJane Flowers
Jane Flowers
Maritime artist Jane Flowersloves to capture the many moods of our ocean and waterways and express the pleasure of being in, on or around the water.
Her new paintings express themes of sea and sky, wind and water, the shape of sail and the pleasures of beachcombing.
Jane Flowers loves to immerse herself in nature and has always vowed “I cannot paint what I haven’t seen, heard or felt on my skin. Some may say that doing a couple of Melbourne to Hobart Westcoasters and a Sydney Hobart yacht race may be taking things to extreme…There is no doubt that many of her seascapes are inspired by being offshore and experiencing nature’s elements at their best. At the same time much of her work offers shore based vistas of calm reflection admiring Tasmania’s beauty in its quiet and nurturing stillness.”
Ned Trewartha. Shelter (detail). Photograph by David Walker.Ned Trewartha
Ned Trewartha
Ned Trewartha is a traditional wooden boat builder and furniture designer/maker.
He is well known for his clinker dinghies handcrafted from select Tasmanian timbers, building only a few a year now. More of his time is spent creating furniture, and when time allows small sculptures and ukuleles.
He is passionate about the sustainable use of Tasmanian timbers and believes they are unique and precious and should be treated with great respect. He carefully selects for each individual project to minimise waste. He does not like waste. His small sculptures are made from offcuts from the boatbuilding process.
Ned uses old recycled timber from wherever and whenever he can and cannot understand how these aged timbers with so much character can be discarded as no longer useful. The hard won patina of age should be celebrated not trashed, and he is not afraid to show off those battle scars and what some may see as faults, rather adhering to the concept of ‘wabi sabi’.
Some of Ned’s furniture has a sculptural element but always maintains form and an honest functionality.
He feels absolutely privileged to be able to work with timbers such as Huon Pine everyday.
His workshop/gallery/home is in Woodbridge on the beautiful D’Entrecasteaux Channel.
Nina Keri. Ancestors (detail) (2022). Oil on board. 74cm x 70cm.
Opening Event Friday 3 February 2023 6:00pm – 8:00pm
Layers of monochrome became earth, sky, abstracted fields, wheat and grass twisted, flattened and forced – a changed landscape. From Nina Keri‘s psyche comes images of Ukraine as the breadbasket. Food, sustenance, life – threatened again by war. Borderland consists of eight works painted in heartfelt response to Ukraine.
“For several years the theme of my artwork has been my maternal family history – of life in Ukraine before and during the Second World War. Specifically, the stories from my Russian Grandma. I have shaped her stories into forms that are carriers of a deep family narrative of survival and continuation despite the destruction of war. Part of me has always experienced Ukraine through my Grandma’s stories. It is an almost fairy tale place in my psyche. In my mind’s eye I see the farm, the many creatures that shared the life of the family, horses, cattle, pigeons, rabbits, a pet fox and a pet wolf, the great expanse of Steppe. green and verdant, where Grandma would ride. But as with all fairy tales, there is darkness and evil. I also see the cattle train taking my grandmother away, and her beloved uncle running after it. It’s a real place, but I have never been there. Yet in my DNA lies the deep rich soil, maybe alongside bits of broken china, rusty nails and animal bones. To see this world of my imagination down the barrel of a soldier’s gun, uploaded to tiktok, is almost indescribable for me.
On the 24th of February 2022, to my shock and disbelief, Russia invade Ukraine. Four days into the war I started painting without concept, in a cathartic state, to release my mental and emotional anguish. Layers of monochrome became earth and sky, abstracted fields, wheat and grass that’s twisted, flattened and forced – a changed landscape. From deep in my psyche comes images of Ukraine as the breadbasket. Food, sustenance, life – all this is threatened again by war. I allowed myself free rein in the creative process. If an image came to mind, I would honour it. If there were suggestions in the beginning of a work, I would follow them. I have named this exhibition Borderland. It consists of eight works painted in heartfelt response to Ukraine.” – Nina Keri
Nina Keri. Skin (2022). Oil on board. 61cm x 122cm.
Nina Keri. Anomaly (2022). Oil on board. 90cm x 118cm.
Nina Keri. Brothers (2022). Oil on board. 98cm x 58cm.
A graphic art installation featuring The Tree of Life with geometrical patterns, floral motifs, and Arabic Calligraphy by visual artist Halima Bhatti.
The Arabesque art coupled with geometrical patterns, motifs and Arabic Calligraphy made on The Tree of Life symbol, which is used by many cultures. This Turkish floral version captures vibrant colours often used in architecture in the Ottoman era.
The work is a manifestation of cultural Islamic art that artist has deep connections with, which focuses on the spiritual representation of objects and beings, made with the Tree of life symbol, which is a metaphor for the interconnectedness of all beings.
“Only by recognizing our roots, we can flourish in life, with wisdom, power and prosperity” – Halima Bhatti
Works by Halima Bhatti.
Works by Halima Bhatti.
Corey Sparkes. Lilypad Pond. Digital Art.
Opening Event Wednesday 8 February 2023 5:30pm – 7:30pm
Hobart to Yaizu is a series of digital illustrations by emerging artist Corey Sparkes inspired by the little known link between two cities.
“Yaizu is the sister city of Hobart’ is something you don’t hear often, if not at all.
I remember learning about Yaizu in school and thinking to myself, “hey this is great!” However, aside from Kanjiro Harada’s stunning Japanese Garden that is located within Hobart’s Botanical Gardens, there is very little in the way of promotional material in regards to this fact. This body of work exists as a promotional piece for both cities, identifying their shared characteristics in regards to landscape and environment through a minimalistic approach that explores the use of colour, limitation and indulges the idea of “play” rather than work or accomplishment.
Overall these pieces intend to serve as a cleansing moment of simplicity in our lives that can often be overwhelmed by chaos and complexity.” – Corey Sparkes
Corey Sparkes. Sandy Bay. Digital Art.
Corey Sparkes. Mount Fuji. Digital Art.
Corey Sparkes. Hobart. Digital Art.
Image Courtesy of Hunter Island Press. Artworks by Rowena Bond, Kathryn Catterick, Cath de Little, Patricia Martin and Jeanie Edwards .
The annual Hunter Island Press (HIP) Mini Print Exhibition and Sale showcases the different printmaking techniques and variety of subjects undertaken by its members.
The fine art prints are all a uniform paper size of 21cm x 21cm and are affordably priced at $40 each.
The work is pegged around the room and customers are encouraged to help themselves to the print they would like to purchase in an untraditional gallery style way. As a print is sold, it is replaced with another by the same printmaker. This may not necessarily be the same subject or technique as participants are unrestricted for this Exhibition. Sales are made on a first come, first serve basis.
Rowena Bond. Dorian. Collagraph
Artwork by Jeanie Edwards
Cath de Little. Magellanic Woodpecker. Linocut, hand-coloured.
Vertical Life Film Tour is in its third year and again brings the best of Australian vertical adventures to the globe while showcasing the best of the globe back home in Australia. From untold stories, unsung heroes and the faces we’ve come to know and love in climbing – the Vertical Life Film Tour has something for everyone.
From its humble beginnings created by the team behind Vertical Life Magazine, the tour was conceived to bring inspiration to worldwide climbing communities while outdoor adventure was limited – growing into a globally successful film tour since. In 2022 we will again showcase incredible climbing and phenomenal storytelling in settings that inspire the adventure community to connect. Driven by the passion to tell the stories of climbers across the world and our love for the global climbing community, the tour will commence in November 2022 with a premiere at the Beta22′ Climbing Festival in Australia.
Tickets Adult $26.93 (+BF) Child / Concession $21.71 (+BF) Family (2 x Adults + 2 x Children) $63.47 (+BF)
Midair In scaling rocks by the hardest routes, boulderers seek to escape gravity in an endless quest to achieve weightlessness and momentarily leave the world behind. Midair is a metaphysical bouldering film starring the UK’s best all-round climber, Jim Pope. Filmed in iconic Lake District locations and set to a pumping techno soundtrack. Starring Jim Pope with Frances Bentley, Aidan Roberts and Holly Toothill | Director : Louis-Jack
The First Worm New lines, in new places with new friends. The highline’s called “The First Worm.” First of many potential lines for these crags. Rigged on two backpacks and a boulder wrap, Lewis Foster and Brady Hayes made it possible for the first time to walk above some of the steepest ski lines in mainland Australia. Stuff like this doesn’t happen over night. But sometimes it takes little more than a crazy idea and 5 days. Director : Divya Gordon
Route Setters Short sport documentary film about route settings in Hong Kong’s indoor climbing gym. Director : Tony Cheung
Grace Having spent her teenage years in hospital, Grace finds healing in the climbing community. Director : Sandro Gromen-Hayes
The Process Tom Randall is a world class crack climber. He is also a terrible runner, which is why his latest challenge seems like an odd choice. He decided to link up two of the Lake District’s biggest and toughest endurance challenges, the Bob Graham Round and The Classic Rock challenge into one hellish 24 hour mad dash. A funny, honest, genuine and heartfelt story. Director : Matt Pycroft
Artworks by (Left to Right, from Top) : Sandra Champion, Deb St Leger, Julie Todd, Lynn Hasenkam, Anna Brooks, Prue Hutton, David Walker, Jan Peacock, James McAlpine.
Opening Event Wednesday 21 December 2022 5:30pm – 7:00pm
An evolving annual exhibition of around 45 Tasmanian artists, with links to the University of Tasmania’s School of Creative Arts and Media in its various incarnations, where artists present engaging mini exhibitions in a wide variety of media and approaches.
Images of Tasmania (IOT)It is the brainchild of Jan Peacock and Betsy Gamble, who saw the potential of presenting a collaborative show in the Long Gallery and Sidespace Gallery over the Christmas – New Year period. Hobart is buzzing with visitors at this time. The first IOT exhibition was held in 1998, as the initiative of artists and art educators who trained together in the late 1950s. Over the past decades, IOT has evolved into a high-quality exhibition of 40 – 45 artists, each with an individual display space in which to showcase the development of their ideas over a wide range of approaches and disciplines. Some artists have been exhibiting in IOT for many years, but the exhibition is annually infused with ‘new blood’ drawn mainly from art school graduates. The exhibition is entirely self-funded, and all costs and tasks of mounting the exhibition are shared by participating artists.
This year marks the 25th Anniversary of this thriving, co-operative venture and will include touches of silver throughout, a Rogues Gallery of participants (past and present) and various activities to encourage visitors to learn more about the artists in their local community.
Installation photo from Images of Tasmania 24.
Installation photo from Images of Tasmania 24.
Installation photo from Images of Tasmania 24. Artworks by Livia Bilsborough & Jenny Young.
Opening Event Friday 11 November 2022 6:00pm – 8:00pm
Featuring works by Nolan Art‘s Adult Students, this annual exhibition features oil and acrylic painting, watercolour and drawing.
