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  • Landscape Luxury

    Experience the epitome of luxury at The Henry Jones Art Hotel with one night's accommodation in a Deluxe Spa Harbour View Room on historic Hunter Street, premium dinner at Landscape Restaurant & Grill…

    From $649

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  • A Night of Colour

    Stay one night in a Deluxe Spa Harbour View room on Hobart's colourful waterfront, enjoy dinner at the contemporary, casual and vibrant Peacock and Jones on historic Hunter street and dine in the lounge…

    From $599

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  • Stay 3, Pay 2

    For a limited time, when you stay three nights at The Henry Jones Art Hotel, you’ll receive the last night free.

    From $540

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  • Stay 4, Pay 3

    From January 10 until the end of September, book 4 nights and receive the 4th night free. Limited availability.

    From $810

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  • Stay and Drive

    The Henry Jones Art Hotel is offering a fantastic opportunity to explore Hobart and its surrounds. Enjoy a two night stay in one of our Deluxe Spa Harbour View rooms and we will include free car hire!…

    From $420

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The Henry Jones Online Art Catalogue

You can browse the collection of works currently on display at the hotel via The Henry Jones Art Catalogue. Our online gallery catalogue has been designed to provide you with information about each individual artwork you will encounter during your stay—including artist information, background on the individual artworks and pricing.

For more information about the catalogue or to enquire about any of the work exhibited at the Henry Jones, please contact us.

The Henry Jones Art Hotel is registered for COLLECT, an Art Purchase Scheme offering Australian residents twelve month interest-free loans to purchase artworks by contemporary Tasmanian artists from selected arts businesses across the state. It is an initiative of arts@work, the arts industry development unit of the Tasmanian Government.

Our Art Liaison, Emine Lewis, provides updates on new works and information on our artists via Art News. You can view the current issue here.

Art in The Lounge

PAUL SNELL
Intersect 201501, 2015
Lambda metallic print
118cm diameter

SOLD

Art in The Lounge

PAUL SNELL
Intersect 201511, 2015
Lambda metallic print
118cm diameter

SOLD
Courtesy of Colville Gallery, Salamanca

Art in The Lounge

DAVID HAWLEY
Timing, 2006
Acrylic screenprint on ply
160 x 115cm
$4,400 Available on the COLLECT Art Purchase Scheme
Location: The Lounge
Courtesy of Colville Gallery, Salamanca

Art in The Lounge

DAVID HAWLEY
Appear, 2006
Acrylic screenprint on ply
110 x 145cm
$4,400 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

Art in The Lounge

LUISA ROMEO
Pork Flavoured Donut, 2015
Hand coloured linocut
120 x 120cm
$1,900 framed in acrylic  Available on the COLLECT Art Purchase Scheme
Location: Room 114

Art in The Lounge

CAROLYN WIGSTON
Test Pattern, 2015
Acrylic on acrylic
85 x 120cm
$4,600  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Art in The Lounge

CAROLYN WIGSTON
Pink Noise, 2015
Enamel on acrylic
80 x 90cm
$1,800  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Abigail Gregory

ABIGAIL GREGORY
Untitled #1, 2009
Acrylic on canvas
68 x 85cm
$850
Location: Room 304

Abigail Gregory is a 2010 graduate of the Tasmanian School of Art

This body of work was initiated by an intense interest in dress and how it shapes identity. From the initial ideas surrounding dress, identity and disguise my work shifted to gradually focus upon how the individual functions within society. The concept of dress was eliminated to be replaced with the functions of camouflage, influence and manipulation; elements that society forces upon individuals daily.

As a result the work has come to embody the concept that individuals are simply a construct of society, shaped and influenced by their surroundings and interactions with others. The manner in which the work was articulated shifted with the alteration of the concept. The work became increasingly abstracted and focused upon how form, colour and line could be used to create visual discord to communicate the flexible nature of social identity. From a far reaching theme of dress, the project became an investigation into my own construction of self-identity within society and my daily feeling of discord as I navigate the external environment. - Abigail Gregory

Abigail Gregory

ABIGAIL GREGORY
Who do you think I am, 2009
Acrylic on canvas
72 x 95cm
$850
Location: Room 304

Abigail Gregory

ABIGAIL GREGORY
Poser, 2009
Acrylic on canvas
120 x 70cm
$850
Location: Room 304

Abigail Gregory

ABIGAIL GREGORY
Now you see me, 2010 
Acrylic on canvas
90 x 120cm

SOLD

Abigail Gregory

ABIGAIL GREGORY
Crossed Purposes, 2009
Acrylic on canvas
92 x 96cm

SOLD

Abigail Gregory

ABIGAIL GREGORY
Untitled #2, 2009
Acrylic on canvas
122 x 135cm

SOLD

Abigail Gregory

ABIGAIL GREGORY
What lies beneath, 2009
Acrylic on canvas
92 x 122cm

SOLD

Alex Wanders

ALEX WANDERS
Undone 6, 2016
Synthetic polymer on canvas
170 x 130cm
$7,750  Available on the COLLECT Art Purchase Scheme
Location: The Lounge

Alex Wanders is a Tasmanian College of the Arts 2016 Honours Graduate

These Undone images are based on the work of the psychologist and philosopher William James, who identified a particular type of ‘spiritual’ experience which he proposes is common to us all, but is not necessarily connected to any particular religious or spiritual belief. He describes these experiences as those fleeting moments when familiar objects or sights seem to take on an added significance, filling us with a sense of a profound but ambiguous mystery lying hidden beneath the outward appearance of things.

 My work investigates the possibility of developing a secular painterly language for these particular experiences. The strategy I have employed is to ‘undo’ ordinary objects such as windows and doors from their functional setting, and picture them instead leaning idly against the walls of narrow interior spaces. Through a careful use of colour, light and shadow, I intend these functionless thresholds to resonate with a sense of the inexplicable mystery described by James. As such, these Undone images act as an invitation, crafted as eloquently as possible, for the viewer to join in the investigation of this intriguing area of human experience. - Alex Wanders 2016

Alex Wanders

ALEX WANDERS
Undone 4, 2016
Synthetic polymer on canvas
160 x 120cm
$6,500  Available on the COLLECT Art Purchase Scheme
Location: The Lounge

Alex Wanders is a Tasmanian College of the Arts 2016 Honours Graduate

These Undone images are based on the work of the psychologist and philosopher William James, who identified a particular type of ‘spiritual’ experience which he proposes is common to us all, but is not necessarily connected to any particular religious or spiritual belief. He describes these experiences as those fleeting moments when familiar objects or sights seem to take on an added significance, filling us with a sense of a profound but ambiguous mystery lying hidden beneath the outward appearance of things.

 My work investigates the possibility of developing a secular painterly language for these particular experiences. The strategy I have employed is to ‘undo’ ordinary objects such as windows and doors from their functional setting, and picture them instead leaning idly against the walls of narrow interior spaces. Through a careful use of colour, light and shadow, I intend these functionless thresholds to resonate with a sense of the inexplicable mystery described by James. As such, these Undone images act as an invitation, crafted as eloquently as possible, for the viewer to join in the investigation of this intriguing area of human experience. - Alex Wanders 2016

Alex Wanders

ALEX WANDERS
Undone 2, 2016
Synthetic polymer on canvas
145 x 115cm
$5,500  Available on the COLLECT Art Purchase Scheme
Location: The Lounge

Alex Wanders is a Tasmanian College of the Arts 2016 Honours Graduate

These Undone images are based on the work of the psychologist and philosopher William James, who identified a particular type of ‘spiritual’ experience which he proposes is common to us all, but is not necessarily connected to any particular religious or spiritual belief. He describes these experiences as those fleeting moments when familiar objects or sights seem to take on an added significance, filling us with a sense of a profound but ambiguous mystery lying hidden beneath the outward appearance of things.

 My work investigates the possibility of developing a secular painterly language for these particular experiences. The strategy I have employed is to ‘undo’ ordinary objects such as windows and doors from their functional setting, and picture them instead leaning idly against the walls of narrow interior spaces. Through a careful use of colour, light and shadow, I intend these functionless thresholds to resonate with a sense of the inexplicable mystery described by James. As such, these Undone images act as an invitation, crafted as eloquently as possible, for the viewer to join in the investigation of this intriguing area of human experience. - Alex Wanders 2016

Andrea Jordan

ANDREA JORDAN
Exotic Garden #2, 2011
Oil on linen
110 x 110cm
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Room 119
Courtesy of Handmark Gallery

Hobart artist Andrea Jordan graduated from the Tasmanian School of Art in 2002 with a Bachelor of Fine Art (Honours) and then continued her studies at the Charlie Sheard Studio School in Sydney, undertaking an intensive three year painting course on the techniques of the Old Masters.

When they were children, my father and his brothers and sisters used to scour the neighborhood looking for pictures of roses on biscuit tin lids or old calendars, which my grandfather would then paint on the dining room walls, above the dado. For as long as I can remember, my mother has grown roses, which she adores, and she has won many prizes with them in local garden clubs and rural shows. I understand my grandfather’s and my mother’s love for roses; their beauty captivates me in all stages of their development, from bud to rosehip.

Roses have been grown throughout history for their beauty and fragrance; they have long been used to represent that most basic of human emotions, love. Petrified wreaths of roses have been discovered in tombs of the ancient Egyptians. Fossilized roses have been found even from pre-historic times. The rose still remains a revered symbol in daily life.

I studied traditional oil painting techniques in Sydney following completion of a Fine Arts degree at UTAS. The paintings in this exhibition have evolved towards abstraction and stylization in exploration of those techniques and in response to the exotic forms and colours of the roses.

Painting a rose is similar to unraveling a puzzle. All roses are bound to follow their predestined form but every one is unique. The folds of the velvety petals flow smoothly or dip and curl unexpectedly, the colours astonish in their variety, exuberance or subtlety and the sunlight illuminates their delicacy and transparency. There is beauty even in their decay, but sadness as the final petals fall to the ground.

I will always be inspired by the beauty of a rose. – Andrea Jordan

Andrea Jordan

ANDREA JORDAN
Exotic Garden #5, 2011
Oil on linen
61 x 61cm
$1,950 Available on the COLLECT Art Purchase Scheme
Location: Room 119
Courtesy of Handmark Gallery

Andrea Jordan

ANDREA JORDAN
Exotic Garden #3, 2011
Oil on linen
91 x 91cm
$2,400 Available on the COLLECT Art Purchase Scheme
Location: Room 119
Courtesy of Handmark Gallery

Andrew Donohoe

ANDREW DONOHOE
Last night I dreamt that somebody loved me, 2012
Linocut print, edition of 50
30 x 30cm
$450 unframed
Location: Print Rack

Andrew Donohoe

ANDREW DONOHOE
The Weld as we know it, 2012
Linocut print, edition of 50
30 x 30cm
$450 unframed
Location: Print Rack

Andrew Donohoe

ANDREW DONOHOE
Florentine Exclusion Zone, 2012
Linocut print, edition of 50
30 x 30cm
$450 unframed
Location: Print Rack

Andrew Donohoe

ANDREW DONOHOE
Anticura (stone of sun), 2013
Monotype & waterless lithography
41 x 64.5cm


SOLD

Angus Douglas

ANGUS DOUGLAS
Soft Outback (Jane Franklin Palanquin)
Acrylic on canvas
58 x 151cm
$5800
Location: 2nd floor Corridor

Angus Douglas

ANGUS DOUGLAS
IXL, 2014
Acrylic on canvas
42 x 44cm
$850
Location: Room 306

Angus Douglas

ANGUS DOUGLAS
Aurora
Acrylic on canvas
57 x 75cm
$1,200 Available on the COLLECT Art Purchase Scheme
Location: Room 306

Angus Douglas

ANGUS DOUGLAS
Kelly's Steps, 2014
Acrylic on canvas
88 x 92cm
$2,700 Available on the COLLECT Art Purchase Scheme
Location: Room 306

Angus Douglas

ANGUS DOUGLAS
Jane Franklin's Diary, 2016
Acrylic on canvas
85 x 90cm

SOLD

The lettering is Jane Franklin's handwriting from her journal written at Recherche Bay, in 1838. 

Angus Douglas

ANGUS DOUGLAS
Shore Excursion, 2014
Acrylic on canvas
44 x 95cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Nothofagus
Acrylic on canvas
46 x 51cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Aurora, 2014
Acrylic on canvas
73 x 74cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Anchorage, 2014
Acrylic on canvas
84 x 95cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Jam Factory, 2014
Acrylic on canvas
37 x 40cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Hunter Street, 2014
Acrylic on canvas
88 x 91cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Hunter's Isles, 2014
Acrylic on canvas on board
75 x 55cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Melaleuca Plains, 2014
Acrylic on canvas
41 x 43cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Pelion Plains, 2014
Acrylic on canvas
49 x 64cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Overland
Acrylic on canvas
46 x 50cm

SOLD

Angus Douglas

ANGUS DOUGLAS
A Lake and Four Mountains, 2014
Acrylic on canvas
43 x 139cm

SOLD

Angus Douglas

ANGUS DOUGLAS
Maldini



SOLD

Ann Holt

ANNE HOLT
Storm Bay, 2005
Oil on linen
51 x 182.5cm
$4,700 
Location: Outside Room 226

Ann is currently a research candidate for Doctorate of Philosophy at the University of Tasmania. She also holds a Bachelor Fine Art from Phillip Institute (now R.M.I.T) and has a Masters of Fine Art (by Research) from Monash University.

Ann has held ten solo exhibitions and a solo touring exhibition to regional galleries in Victoria and Tasmania. She was the only visual artist to hold a solo exhibition as part of the inaugural 10 days on the Island Festival in 2001. In 2006 her work was featured in the exhibition Australian Visit at the Danish National Museum, Fredriksbourg. Ann’s work has been included in over two dozen group exhibitions including as a finalist in The Glover Prize for landscape painting three times, the John Leslie Art Award for art and the environment , the Tasmanian Art Award and the Fleming Mutz Art Prize. She has been awarded a University of Tasmania Research Scholarship, University of Tasmania Research Travel Grant, Monash University Research Publications Grant, Monash University Travelling Fellowship, Dame Elizabeth Murdoch Trust Fund Grant, awarded several artist in residencies within Australia and was the principle artist/ recipient for an Australia Council Cultural Community Development Grant. Her work is held in collections including Artbank, Macquarie Bank, Lowenstein-Sharp, Joseph Brown Collection, Firbank Grammar and private collections in Australia, United States and France.

For the past 15 years Ann has been painting the landscape on and around Bruny and built a studio base on the island. In between extended stints working on location she has has taught painting and drawing at the University of Tasmania, The University of Melbourne, Monash University, Victoria University and Australian Catholic University. Her teaching commitments have also extended to include numerous community based art projects, curating exhibitions and ten years as the co-ordinator of a studio based program for Aboriginal artists.

Ann Holt

ANNE HOLT
D'Entrecasteaux No 1, 2009
Oil on linen
51 x 51cm
$2,200 
Location: Contact Art Liaison

Ann Holt

ANNE HOLT
D'Entrecasteaux No 2, 2009
Oil on linen
51 x 51cm
$2,200 
Location: Contact Art Liaison

Ann Holt

ANNE HOLT
Lilac Morning, 2012
Oil on linen
122 x 152cm
$7,000 
Location: Contact Art Liaison

Anne Morrison

ANNE MORRISON
Branching, 2004
Oil on canvas
51 x 51cm
$1,950 Available on the COLLECT Art Purchase Scheme
Location: Room 202
Courtesy of Despard Gallery, Castray Esplanade, Hobart

As an artist my interest in working with the landscape developed originally in response to my experiences of both an intimate and distant perspective of the Australian landscape. Travel to and across remote and isolated environments, observing patterns and processes within nature informed my work from 1994 onwards.

When one moves through the landscape it is not merely a particular view one remembers, but a complex unfolding of experiences and sensations that occur over a period of time. - Anne Morrison

Anne Morrison was born in Glasgow, Scotland in 1966, and currently lives and works in Hobart. She is a graduate of Glasgow School of Art, the Royal College of Art London and completed a Phd at The University of Tasmania in 1999. In 1988 Anne won The Elizabeth Greenshields Award, The Ensign Award RCA and The British Institution Fund 1990, Scottish Arts Council and Grampian Regional Council Artist-in-Residence, Northfield Academy, Aberdeen, One Year Australian Arts Residency in 1994, The Commonwealth Scholarship in 1995, The Scottish Arts Council Small Assistance Grant, 1999, Scotlands Year of The Artist, residency 2000.

Anne Morrison

ANNE MORRISON
Flame, 2003
Oil on canvas
52 x 52cm
$1,750 Available on the COLLECT Art Purchase Scheme
Location: Room 302
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Loop, 2004
Oil on canvas
51 x 51cm
$1,950 Available on the COLLECT Art Purchase Scheme
Location: Room 202
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Pod, 2003
Oil on canvas
71 x 71cm
$2,500 Available on the COLLECT Art Purchase Scheme
Location: Room 302
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Living System 1, 2007
Acrylic on canvas
76 x 81cm
$4,500 Available on the COLLECT Art Purchase Scheme
Location: Room 202
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Living System 2, 2007
Acrylic on canvas
76 x 81cm
$4,500 Available on the COLLECT Art Purchase Scheme
Location: Room 202
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Living System 4, 2007
Acrylic on canvas
76 x 81cm
$4,500 Available on the COLLECT Art Purchase Scheme
Location: Room 202
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Weave Gray, 2003
Oil on canvas
52 x 52cm
$1,750 Available on the COLLECT Art Purchase Scheme
Location: Room 301
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Weave Mauve, 2003
Oil on canvas
52 x 52cm
$1,750 Available on the COLLECT Art Purchase Scheme
Location: Room 301
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
Dividing Ground, 2004
Oil on canvas
119 x 102.5cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Room 301
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Anne Morrison

ANNE MORRISON
A Transitory Grove, Weightless, Almost Liquid, 2005
Oil on canvas
152 x 122cm
$7,500 Available on the COLLECT Art Purchase Scheme
Location: Room 302
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Ben Taylor

BEN TAYLOR
Red Dressing Gown, 2016
Iridescent pigment & synthetic polymer resin on canvas
136 x 136cm
$3,400 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor 

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

This research explores the uncanny threshold in painting. The uncanny threshold is a concept derived from my personal experience of contemporary Australian architecture in the form of Lovett Bay House, the private home of architects Richard Leplastrier and Karen Lambert in New South Wales. This research argues that Lovett Bay House challenges Malpas's view (2008) that the threshold is something that needs to be crossed, as a zone of transition, in order to be a threshold. At Lovett Bay House, the absence of a conventional door, and the effective removal of the front wall, shifts the concept of the threshold as space of transition (from inside to outside or vice versa) to the threshold as a zone of habitation – a space in which one dwells. Within the zone of habitation it is argued that everyday experiences are made extraordinary through the simultaneous and overlapping space of the extended entranceway; the inside and outside experienced as one, and, what I have termed, the uncanny threshold. 

It is the aim of this research to explore the physical entity and felt experience of the uncanny threshold through the pictorial space of painting. In the first instance, a genealogy of the threshold is developed, drawing on the sublime as a device in painting. Key works by Caspar David Friedrich, James Abbott McNeill Whistler and J.M.W. Turner have been selected, each demonstrating a particular approach to the sublime and, hence, the threshold in painting. In the contemporary setting, works by Peter Doig, Karin Mamma Andersson and Jess MacNeil have been selected to explore the uncanny threshold in painting. The key devices relevant to this research are described as a "twofold temporal movement" (Grenier 2007, p. 107-108) in the case of Doig; twofold spatial movement in the case of Andersson and twofold spatio-temporal movement in the case of MacNeil. Each of these works demonstrates an approach to the threshold, and provides a means through which I am able to develop and convey my own exploration of the threshold as a spatio-temporal threshold that houses the two in one.

This research draws upon three key aspects of the Modernist movement: a framework of tradition, material experimentation and a continual experimental approach. The final methodology develops a series of incidents that work to emulate the overlapping and simultaneous concurrence of space found in the reveal zone of the threshold at Lovett Bay House. The architectural reveal, a structural component concealed within the conventional threshold, becomes apparent when one is 'tripped up' in crossing the threshold. At Lovett bay House, due to the architectural arrangement of the threshold, the reveal is continuously present. The incidents as methodological device produce a series of images that allow one to visually contemplate the threshold as a zone of habitation in painting; images that are familiar, yet curiously strange. The incidents work sequentially and as a whole to disrupt the logical, linear progression of each painting and in doing so, demonstrate that the threshold is a place of simultaneous and overlapping spatio-temporal zones.

The final images are not a representation of the threshold. Rather, the threshold has been used as a methodological device. The resulting images, produced through this research clearly demonstrate that painting, like architecture, is able to exemplify a form of threshold where movement and transition do not apply. The uncanny threshold as overlapping and simultaneous spaces and incidents generates a familiar yet strange set of unfixed, amplified, ambiguous, uncertain, sensory and spatial awareness.

Ben Taylor

BEN TAYLOR
Snow Border, 2016
Iridescent pigment & synthetic polymer resin on canvas
136 x 136cm
$3,400 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor 

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

This research explores the uncanny threshold in painting. The uncanny threshold is a concept derived from my personal experience of contemporary Australian architecture in the form of Lovett Bay House, the private home of architects Richard Leplastrier and Karen Lambert in New South Wales. This research argues that Lovett Bay House challenges Malpas's view (2008) that the threshold is something that needs to be crossed, as a zone of transition, in order to be a threshold. At Lovett Bay House, the absence of a conventional door, and the effective removal of the front wall, shifts the concept of the threshold as space of transition (from inside to outside or vice versa) to the threshold as a zone of habitation – a space in which one dwells. Within the zone of habitation it is argued that everyday experiences are made extraordinary through the simultaneous and overlapping space of the extended entranceway; the inside and outside experienced as one, and, what I have termed, the uncanny threshold. 

It is the aim of this research to explore the physical entity and felt experience of the uncanny threshold through the pictorial space of painting. In the first instance, a genealogy of the threshold is developed, drawing on the sublime as a device in painting. Key works by Caspar David Friedrich, James Abbott McNeill Whistler and J.M.W. Turner have been selected, each demonstrating a particular approach to the sublime and, hence, the threshold in painting. In the contemporary setting, works by Peter Doig, Karin Mamma Andersson and Jess MacNeil have been selected to explore the uncanny threshold in painting. The key devices relevant to this research are described as a "twofold temporal movement" (Grenier 2007, p. 107-108) in the case of Doig; twofold spatial movement in the case of Andersson and twofold spatio-temporal movement in the case of MacNeil. Each of these works demonstrates an approach to the threshold, and provides a means through which I am able to develop and convey my own exploration of the threshold as a spatio-temporal threshold that houses the two in one.

This research draws upon three key aspects of the Modernist movement: a framework of tradition, material experimentation and a continual experimental approach. The final methodology develops a series of incidents that work to emulate the overlapping and simultaneous concurrence of space found in the reveal zone of the threshold at Lovett Bay House. The architectural reveal, a structural component concealed within the conventional threshold, becomes apparent when one is 'tripped up' in crossing the threshold. At Lovett bay House, due to the architectural arrangement of the threshold, the reveal is continuously present. The incidents as methodological device produce a series of images that allow one to visually contemplate the threshold as a zone of habitation in painting; images that are familiar, yet curiously strange. The incidents work sequentially and as a whole to disrupt the logical, linear progression of each painting and in doing so, demonstrate that the threshold is a place of simultaneous and overlapping spatio-temporal zones.

The final images are not a representation of the threshold. Rather, the threshold has been used as a methodological device. The resulting images, produced through this research clearly demonstrate that painting, like architecture, is able to exemplify a form of threshold where movement and transition do not apply. The uncanny threshold as overlapping and simultaneous spaces and incidents generates a familiar yet strange set of unfixed, amplified, ambiguous, uncertain, sensory and spatial awareness.

Ben Taylor

BEN TAYLOR
Hi Vis, 2016
Iridescent pigment & synthetic polymer resin on canvas
76 x 76cm
$1,300 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor 

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

Ben Taylor

BEN TAYLOR
Untitled, 2016
Iridescent pigment & synthetic polymer resin on canvas
76 x 76cm
$1,300 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor 

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

Ben Taylor

BEN TAYLOR
Snowblind, 2016
Iridescent pigment & synthetic polymer resin on canvas
76 x 76cm
$1,300 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor 

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

Ben Taylor

BEN TAYLOR
Untitled, 2014
Iridescent pigment & synthetic polymer resin on canvas
80 x 70cm
$1,200 Available on the COLLECT Art Purchase Scheme
Location: Room 102

Ben Taylor completed his MFA at the Tasmanian College of the Arts July 2016

Bridge2Bridge is the name of a prestigious, internationally renowned water skiing race held annually on the Hawkesbury River in Sydney, NSW. Commencing at the Hawkesbury River Bridge, the race tracks 112km inland to the finishing line at Windsor. The concept of the bridge is recognised as spanning the distance between one side of the river and the other. The paintings in Bridge2Bridge seek to shift and extend this idea to explore the interstitial space between two bridges. As a result, the river becomes a bridge between two bridges, or, a suspension across two spans. The paintings in Bridge2Bridge seek a similar form of suspension.



Ben Taylor

BEN TAYLOR
Untitled, 2014
Iridescent pigment & synthetic polymer resin on canvas
70 x 80cm
$1,200 Available on the COLLECT Art Purchase Scheme
Location: Room 207

Ben Taylor

BEN TAYLOR
Untitled, 2014
Iridescent pigment & synthetic polymer resin on canvas
98 x 85cm
$1,450 Available on the COLLECT Art Purchase Scheme
Location: Room 102

Ben Tither

BEN TITHER
Untitled (round), 2015
Laser cut MDF
40cm radius

SOLD

Ben Tither is a Tasmanian College of the Arts graduate.

Closed Loop Systems: A topographical Map of the mind

My work aims to bridge the gap between drawing and sculpture by utilizing computer systems that allow for a multiplicity of form. I developed this project from a linear method of drawing that begins with a single closed loop. From this apex, a new loop is formed, slightly larger and similar in shape. The structure continues this pattern, accumulating information, increasing in size as it grows outward. These loops can be read topographically, which allows me to produce accurate three-dimensional models from my two dimensional drawings. I then use computer software to convert my models into language of code for a machine router to decipher. It processes the hundreds of coordinates and cuts with millimetre precision the material of my choosing. The sculpture is left bare to place greater emphasis on line, form, light and shadow. The smooth edges and gentle curves present these forms as highly organic and fluid in nature. By incorporating fixed or moving light, the sculpture jumps out into its surrounding environment, displaying its playful shadow. 

The foundations of this project can be traced back to my immersion in the world of street art. I was captivated with how fluid arcs of colour could wrap around the multi–faceted urban landscape and lift the space on an emotional level. The bond I had formed with graffiti soon collided with my love for architecture, a resolute rule based system of design. By amalgamating the two disciplines, I have developed this highly process-based practice.  - Ben Tither

Ben Tither

BEN TITHER
Untitled (square), 2015
Laser cut MDF
57.5 x 57.5cm
$1,200 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Ben Tither is a Tasmanian College of the Arts graduate.

Closed Loop Systems: A topographical Map of the mind

My work aims to bridge the gap between drawing and sculpture by utilizing computer systems that allow for a multiplicity of form. I developed this project from a linear method of drawing that begins with a single closed loop. From this apex, a new loop is formed, slightly larger and similar in shape. The structure continues this pattern, accumulating information, increasing in size as it grows outward. These loops can be read topographically, which allows me to produce accurate three-dimensional models from my two dimensional drawings. I then use computer software to convert my models into language of code for a machine router to decipher. It processes the hundreds of coordinates and cuts with millimetre precision the material of my choosing. The sculpture is left bare to place greater emphasis on line, form, light and shadow. The smooth edges and gentle curves present these forms as highly organic and fluid in nature. By incorporating fixed or moving light, the sculpture jumps out into its surrounding environment, displaying its playful shadow. 

The foundations of this project can be traced back to my immersion in the world of street art. I was captivated with how fluid arcs of colour could wrap around the multi–faceted urban landscape and lift the space on an emotional level. The bond I had formed with graffiti soon collided with my love for architecture, a resolute rule based system of design. By amalgamating the two disciplines, I have developed this highly process-based practice.  - Ben Tither

Blair Waterfield

BLAIR WATERFIELD
Chandelier, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Chandelier, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Candelabra, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Candelabra, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Candelabra, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Trace & Pin cushion, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Brooch, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
Brooch, 2010
Etching
56 x 76cm
$990 unframed
Location: Print Rack

Blair Waterfield

BLAIR WATERFIELD
The Flower Pot Man, 2016
Archival pigment print on rag paper, Edition of 7
144 x 102cm
$2,200 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Handmark Gallery, Salamanca

Blair Waterfield

BLAIR WATERFIELD
My Mask, 2016
Archival pigment print on rag paper, Edition of 7
144 x 102cm
$2,200 framed Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Handmark Gallery, Salamanca

Blair Waterfield

BLAIR WATERFIELD
Objective Rationale, 2009
Etching
78 x 77cm
$1,950 framed Available on the COLLECT Art Purchase Scheme
Location: Jones & Co. Foyer
Courtesy of Handmark Gallery, Salamanca Place, Hobart

Born in Sydney, Blair Waterfield was invited to study at the National Art School in a 2001 scholarship initiative. It was here that he realized his passion for the printmaking medium. In 2006, he moved to Tasmania to study at the University of Tasmania’s School of Art and has since established himself as one of Tasmania’s emerging artists. With appearances in an abundance of group and solo exhibitions, Blair was recently featured in the national printmaking journal, Imprint. In 2009, he was invited to exhibit in the Tasmanian Museum and Art Gallery showcasing a selection of emerging Tasmanian artists. He is currently completing his Masters at the Tasmanian School of Art.

In Objective rationale, Waterfield presents a range of objects that have been passed down through his family. He has represented them in a manner that renders them barely visible through a series of surfaces and color, or not visible at all except for the vacant space within the print that enables the viewer to connect with that object they may, or may not identify with. The objects for Waterfield become a connection to family members and their actual existence in an era when such objects would have been considered everyday, rather than held with emotional attachment as heirlooms are regarded today.

Blair Waterfield

BLAIR WATERFIELD
Fishing Reel, 2010
Etching
56 x 76cm
SOLD

Breon Martin

BREON MARTIN




SOLD

In 1999 Martin undertook a Diploma of Art, Craft and Design at TAFE in Hobart, where continued designing and making furniture. Later that year he won a prize in an exhibition at the Salamanca Long Gallery for a stool he had designed. During his second year at TAFE he began selling this design at Featherston interiors.

Pop art comes to mind when viewing Martin’s works. A mundane object of the everyday is presented with a mix of materials and metals we would usually overlook. The type is a garbled and indecipherable piece of information: it is a sign that cannot help us understand where we are going or have arrived at. We look for secret codes that may or may not be embedded and we are intent on understanding what it really means. Constructed of salvaged signs and typeface, these works presents a confusion of lettering which questions our conditioning to observe and react to signs in an instant.


After many years of browsing his mothers Vogue Living magazines, Breon Martin’s growing appreciation for retro furniture took shape when he moved into his own flat and decided to make his own furniture rather than spend large amounts on classic pieces. An adult education course in upholstery cemented this interest and his career as an artist began.

After he completed his diploma at TAFE, Martin began his Bachelor of Fine Arts at the Tasmanian School of Art, majoring in furniture design. One of his minor subjects was sculpture, which appealed to him as it is a supporting practise when working in the field of object design. During his studies began sculpturing bold block shaped type out of native Tasmanian timber off cuts he was able to source from the art school, recycling centres and building sites. The response from his supervisors was conducive to him investigating this further and to exhibit the works which he now sells.

Breon Martin

BREON MARTIN
Verbal Abuse, 2010
Aluminium, vinyl, steel & MDF
60 x 40cm
$600
Location: IeXel Gym

Breon Martin

BREON MARTIN




SOLD

Breon Martin

BREON MARTIN




SOLD

Breon Martin

BREON MARTIN




SOLD

Breon Martin

BREON MARTIN




SOLD

Breon Martin

BREON MARTIN
Love Letters, 2010
Aluminium, vinyl, steel & MDF
60 x 40cm
$600
Location: IeXel Gym

Breon Martin

BREON MARTIN
Fishy Business, 2010
Aluminium, vinyl, steel & MDF
60 x 40cm
$600
Location: IeXel Gym

Carolyn Wigston

CAROLYN WIGSTON
Test Pattern, 2015
Acrylic on acrylic
85 x 120cm
$4,600  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Carolyn Wigston

CAROLYN WIGSTON
Pink Noise, 2015
Enamel on acrylic
80 x 90cm
$1,800  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Carolyn Wigston

CAROLYN WIGSTON 
The Infinite, 2015 
Acrylic on acrylic
60 x 60cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Awakening, 2015 
Acrylic on acrylic
60 x 60cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Stasis, 2015
Enamel on acrylic
60 x 60cm
$900 
Location: Contact Art Liaison

Carolyn Wigston

CAROLYN WIGSTON
Ambient Notation, 2015
Enamel on acrylic
60 x 60cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Static in Blue, 2015
Acrylic on plastic on polyester stretcher
82 x 124cm overall (diptych)
$2,800 Available on the COLLECT Art Purchase Scheme
Location: Room 117

Carolyn Wigston graduated from the Tasmanian School of Art in 2007 with a Bachelor of Fine Art (Honours). Wigston lives and works in Hobart and has an active art practice, exhibiting regularly and participates in local art projects and initiatives.

I love the over-the-top design principles of fashion houses, the artistry of the un-wearable fashion show that becomes abstracted down so that items become street-acceptable, wearable pieces. The tantalising adverts that not only - and sometimes not at all - show the sellable piece, but more then anything elevate the iconic brand. Often we see celebrities in the campaigns and I find the match of the exclusivity of brand with the rank of actor very appealing.

This body of work reflects my engagement with the imagery of high fashion. It uses re-appropriation and re-production as methods of image-making in a manner similar to the advertising agencies behind the fashion campaigns. I am visually smitten with the glossy vision and unachievable consumer goals dangled in front of me by magazines and Internet exposure. The work acknowledges how we covet brand and status while simultaneously fighting for non-materialism and a life of substance. My personal obsession with the artistry in design and the need to be free of conforming to superfluous consumerism come together in these works, suggesting that these two worlds are really not that different. - Carolyn Wigston

Carolyn Wigston

CAROLYN WIGSTON
Station #3, 2014
Acrylic on plastic on polyester stretcher
61 x 81cm
$2,650 Available on the COLLECT Art Purchase Scheme
Location: Room 117

Carolyn Wigston

CAROLYN WIGSTON
Analogue, 2014
Acrylic on acrylic
100 x 120cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Miss2012
Acrylic on plastic
123 x 92cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Cousin Chloe2012
Acrylic on plastic
75 x 100cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
What Katy Did2012
Acrylic on plastic
100 x 75cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Call and Respondent2012
Acrylic on plastic
76 x 51cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Take-away Louis2012
Acrylic on plastic
51 x 61cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Departure from the Departure series2007
Enamel, acrylic & vinyl on acrylic
120 x 120cm

SOLD

Carolyn Wigston graduated from the Tasmanian School of Art in 2007 with a Bachelor of Fine Art (Honours). Wigston lives and works in Hobart and has an active art practice, exhibiting regularly and participates in local art projects and initiatives.

…perspex is used extensively throughout public places and provides a clinical, graphic finish. The highly reflective surface allows the viewer and their surroundings to become part of the work.

This project examines the dichotomy of the interior and exterior self, using the form of architecture as a visual device for the construction of the imagery through the medium of paint.

In the case of many multi-million dollar makeovers the Southern Cross Re-development was fraught with problems and the revised budget compromised the architect’s original vision. The intended goal was sacrificed and as a result the absolute vision was never fully realised. In my work I wanted to eulogize the architects lost dream by formalising and aestheticising the station. By paying homage to the original concept I wish to offer an epiphany if you will, a new dream that may encompass the passions lost. I approached this desire, ironically, through evidencing that my image-structures are impossibilities that, they too, can never exist in reality. By referencing idealised structures and the impracticality of them in actuality, the paradoxical becomes evident. So the reverence is bittersweet.

Carolyn Wigston

CAROLYN WIGSTON
Final Call from the Departure series2007
Enamel, acrylic & vinyl on acrylic
120 x 120cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Platform from the Departure series2007
Enamel, acrylic & vinyl on acrylic
120 x 120cm
$1,250 Available on the COLLECT Art Purchase Scheme
Location: Room 112

Carolyn Wigston

CAROLYN WIGSTON
Hour, from the Village series2007
Enamel and acrylic on acrylic
130 x 84cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Escape, from the Village series2007
Enamel and acrylic on acrylic
130 x 84cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Complex, from the Village series2007
Enamel and acrylic on acrylic
130 x 84cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Moriok City2007
Enamel onacrylic
122 x 84cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
Song and Kelly2007
Enamel onacrylic
160 x 120cm

SOLD

Carolyn Wigston

CAROLYN WIGSTON
185 Vaurgirard2007
Enamel onacrylic
90 x 85cm

SOLD

Catherine Woo

CATHERINE WOO
Ebb, 2014
Mixed media on aluminium
120 x 120cm
$7,200 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

In Association with Despard Gallery

Painting with Weather is an exploration of natural forces, collaboration with environment, and realisation of ‘process as practice’. Catherine Woo dances between disorder and control to co-create her striking and raw plates.

ARTIST STATEMENT / 2014
Painting with Weather evolved through a bi-fold intention - to create a painting system whereby to some extent the works would create themselves, and to combine this with an existing framework of exploring matter, body and environment. The desire to have the works self-propagate was somewhat prosaic in its genesis, read: time poor artist needs assistance from natural process to achieve artwork outcomes. What manifested was a partnership with the immediate environment around the studio - the guttering was re-directed into the studio, and its seepage, flowing and wave motions were combines with vibration and evaporation - and a collaboration with the weather came into being. The resulting works document this process, where the involvement of the artist is no greater than the processes deployed, leaving not so much a record of my perception of the environment, as a trace of our alliance.

Catherine Woo’s works provide a visual exploration of the inter-relationship between humans, their bodies and the natural environment.  Her delicate, abstract forms, rendered in intensely detailed surfaces, draw forth various analogies between the body and the environment. Catherine describes the works as landscapes, but by infusing aspects of the body within them, an ambiguity arises that blurs the traditional notion that the landscape is outside of the body.

By using a range of unconventional materials, Catherine creates works that are both macro and micro-interpretations of natural phenomena. Elements such as iron, silica, calcium carbonate, mica and black sand are combined to evoke flesh; rivers; plant forms; arteries; cloud patterns. These views could be aerial views of earth, imprints left in sediments at the bottom of a lake or microscopic snapshots from within the body. In conflating the regions of the body and the environment, new possibilities are explored where the self is inextricable from the environment that contains it.

In 2010, Woo was included in an exhibition at the Samstag Museum in Adelaide titled Abstract Nature.  In 2008, Woo was awarded a $20,000 New Work grant by the Australia Council Visual Art Board and was included in the Biennial of Australian Art in Adelaide. She has completed major commissions for corporations including Visy Corp Australia, the Chinese World Trade Centre, Beijing, Shangri-la Hotel, Beijing; Four Seasons, Hong Kong; and the Ritz Calton Hotel, Shanghai, as well as being represented in private and public collections in Australia, Britain and Asia.

 

Catherine Woo

CATHERINE WOO
Lake Studies #9, 2014
Mixed media on aluminium
40 x 40cm
$900 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Catherine Woo

CATHERINE WOO
Eddy, 2014
Mixed media on aluminium
120 x 120cm
$7,200 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

In Association with Despard Gallery

Catherine Woo

CATHERINE WOO
Tide, 2014
Mixed media on aluminium
120 x 120cm

SOLD

Catherine Woo

CATHERINE WOO
Salt Lake, 2011
Mixed media on canvas
180 x 133cm
$7,500 Available on the COLLECT Art Purchase Scheme
Location: Outside Room 201

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm each
$2,200 each Available on the COLLECT Art Purchase Scheme
Location: Room 217

Catherine Woo’s works provide a visual exploration of the inter-relationship between humans, their bodies and the natural environment. Her delicate, abstract forms, rendered in intensely detailed surfaces, draw forth various analogies between the body and the environment. Catherine describes the works as landscapes, but by infusing aspects of the body within them, an ambiguity arises that blurs the traditional notion that the landscape is outside of the body.

By using a range of unconventional materials, Catherine creates works that are both macro and micro-interpretations of natural phenomena. Elements such as iron, silica, calcium carbonate, mica and black sand are combined to evoke flesh; rivers; plant forms; arteries; cloud patterns. These views could be aerial views of earth, imprints left in sediments at the bottom of a lake or microscopic snapshots from within the body. In conflating the regions of the body and the environment, new possibilities are explored where the self is inextricable from the environment that contains it.

In 2010, Woo was included in an exhibition at the Samstag Museum in Adelaide titled Abstract Nature. In 2008, Woo was awarded a $20,000 New Work grant by the Australia Council Visual Art Board and was included in the Biennial of Australian Art in Adelaide. She has completed commissions for the Shangri-la Hotel, Beijing; Four Seasons, Hong Kong; Ritz Calton Hotel, Shanghai; Westin Hotel, Taipei; and Cathay Pacific in Hong Kong, as well as being represented in private and corporate collections in Australia, Britain and Asia.

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 217

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 217

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 217

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 217

Catherine Woo

CATHERINE WOO
from 'Blue Sky Project', 2008
Mixed media on canvas
75 x 75cm
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 217

Chris Hamnett

CHRIS HAMNETT
Untitled #2, 2017
Acrylic and oil on canvas
92 x 92cm
$2,000 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Chris Hamnett

CHRIS HAMNETT
Untitled #1, 2017
Acrylic and oil on canvas
92 x 92cm
$2,000 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Chris Hamnett

CHRIS HAMNETT
Untitled #2, 2014 ON HOLD
Acrylic and oil on canvas
183 x 153cm
$3,000 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Chris Hamnett is a Tasmanian College of the Arts (TCotA) graduate. He completed his BFA in 2010, Masters by Coursework in 2012 and Honours Research in 2013.

My Masters project was concerned with repetition and process. I recall as child spending hours writing numbers on reams of pad paper. This early Childhood memory upon diagnoses is my earliest memory of performing a compulsion associated with having Obsessive Compulsive Disorder (OCD). In my work I have taken to the canvas as though it were a piece of pad paper. However, the works take on a transcendental and existential tone, being accessible to all. To be human is to experience repetition. Hence the works also discuss the human endeavour of purpose and its evil twin futility.

Chris Hamnett 2014 

Chris Hamnett

CHRIS HAMNETT
Untitled #9, 2014
Acrylic and oil on canvas
183 x 153cm
$3,000 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Chris Hamnett

CHRIS HAMNETT
Untitled #1, 2014 
Acrylic and oil on canvas
183 x 153cm

SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #3, 2014 
Acrylic and oil on canvas
183 x 153cm

SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #4, 2014
Acrylic and oil on canvas
183 x 153cm 

SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #5, 2014
Acrylic and oil on canvas
183 x 153cm

SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #6, 2014
Acrylic and oil on canvas
91.5 x 91.5cm

SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #7, 2014
Acrylic and oil on canvas
91.5 x 91.5cm


SOLD

Chris Hamnett

CHRIS HAMNETT
Untitled #8, 2014
Acrylic and oil on canvas
91.5 x 91.5cm

SOLD

Christl Berg

CHRISTL BERG
Washed Up 1, No. 5, 2010
Digital print on archival paper
140 x 102cm

SOLD

Christl has lived in Tasmania since 1984. She was awarded a PhD in 2004 from the University of Tasmania where she lectured between 1990 and 2010. Christ’s art practice has over the past years focused on her sense of place in Tasmania, using photo media to explore bush, suburban and urban locations. Her work has been shown in numerous solo and group exhibitions since 1989 and is held in public collections in the National Gallery of Victoria, Tasmanian Museum & Art Gallery, Burnie Regional Art Gallery, Artbank, University of Western Sydney, Canberra University, ANU, and UTAS.

Christl Berg

CHRISTL BERG
Afterglow No. 1, 2008
Digital print on archival paper
44.5 x 35.5cm
$750 framed
Location: Jones & Co. Foyer

Christl Berg

CHRISTL BERG
Afterglow No. 4, 2008
Digital print on archival paper
44.5 x 35.5cm
$750 framed
Location: Jones & Co. Foyer

Christl Berg

CHRISTL BERG
Afterglow No. 17, 2008
Digital print on archival paper
44.5 x 35.5cm
$750 framed
Location: Jones & Co. Foyer

Corinne Costello

CORINNE COSTELLO
Snow Lotus, 2017
Oil on linen
97 x 107cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

 

The Winter Dragon

KURAOKAMI the Winter Dragon is the Japanese Shinto deity of rain and snow.

In mythology Izanagi and Izanami, siblings of the Winter Dragon, gave birth to the islands and gods of Japan.

This work is based on my recent travels to Japan and continued interest in oil painting, as an exploration of the aesthetics of pictorial and psychological space, from an Eastern perspective.

Finding inspiration in the mythological story of the Winter Dragon and the Floating World of Edo Japan, my work traverses between figuration and abstraction. The painting constantly changes between form and formless, between the familiar and unfamiliar. I strive for a painting that has a sense of the mysterious, organically hovering and dissolving over the surface of the canvas.

My attraction to oil painting lies in the nature of the paint itself. The addition of oil enhances the unique properties of each paint pigment creating rich contrasts and optical complexity. The application of alternating layers of transparent and opaque paint creates work that constantly fluctuates between the static and ephemeral, the illusion of depth is created with subtle cool and warm colour contrasts.

My interpretation of The Edo period, 1615- 1868, is an imagined universe of extravagance, hedonism and transgression. In contrast to the polite manner and everyday obligation of the Japanese society, Edo was a period of imagination and rich sensory pleasures. Overtones of beauty and colour were entwined with the Kabuki theatres and red light districts. A place where imagination ruled and the seasons could co-exist simultaneously, concealing yet revealing.

 

Corinne Costello

CORINNE COSTELLO
Snow Blossom, 2017
Oil on linen
97 x 107cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Mountain Huangshan 1- Hommage to Poets, 2015
Oil on linen
97 x 107cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

A UNESCO world heritage site, the stunning peaks of Huangshan, shaped by Quaternary Glaciation 100 million years ago, are world famous. Its former name Yishan, Mount Yi, was changed in the Qin Dynasty in 747 AD to Mount Huang thought to be in honour of the mythic Huang Di or Yellow Emperor. He was the mythological Ancestor of the Han Chinese who in one legend ascended to Heaven from Huangshan. The first use of the name Huangshan is also associated with the poet Li Bai who was no doubt captivated by the beauty of the mountainous scenery. Besides the granite peaks and pine trees the site is mystical in that the mist and clouds appear to touch the mountain peaks more than 200 days a year. Huangshan has inspired much poetry and art, especially Chinese ink painting.

At the Shanghai Museum I found a collection of ink paintings by Wang Yuanqi, 1642-1715. Also know by his literary name Lutai, Shishi Daoren. He was one of the ‘Six Masters of the Early Quing’ adept at landscape painting often inspired by Huangshan. Centuries ago when poets and artists were capturing their ideas on paper it is easy to imagine that at Huangshan they were truly at the point of the sublime where man, earth and Heaven meet. - Corinne Costello, July 2015

Corinne Costello

CORINNE COSTELLO
Mountain Huangshan 2- Hommage to Poets, 2015
Oil on linen
97 x 107cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Momentary Illusion, 2017
Oil on linen
137 x 112cm
$6,200 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Mushin, 2017
Oil on linen
153 x 96cm
$6,200 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Geisha, 2017
Oil on linen
153 x 96cm
$6,200 Available on the COLLECT Art Purchase Scheme
Location: Room 101
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Aphrodite Pink: The Secret of Summer 4, 2015
Acrylic on paper
76 x 56cm
$1,500 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Colville Gallery, Salamanca

Aphrodite Pink

Zen in the studio.

Rosmarinus - according to mythology rosmarinus or ‘dew of the sea’ was draped around the body of Aphrodite when she rose from the ocean.

The beauty of ink painting is that is so easy to access. In a moment paper can be unrolled next to a glass of water and some ink, painted, dried and rolled up. I practice ink painting not only to develop painterly skills, but to emulate its’ aesthetic simplicity.

Painting, in oil or ink, is circular in nature. Always simple at the beginning of the journey, brush, support and medium, the more one learns the more complex it appears to become. However as technique improves painting becomes second nature and more focus shifts to the artists’ intent. Until eventually the painting reflects the emotion of the painter and there is no dichotomy of content and form

Corinne Costello

CORINNE COSTELLO
Aphrodite Pink: The Secret of Summer 2, 2015
Acrylic on paper
76 x 56cm
$1,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery, Salamanca

Corinne Costello

CORINNE COSTELLO
Aphrodite Pink: The Secret of Summer 3, 2015 
Acrylic on paper
76 x 56cm


SOLD

Corinne Costello

CORINNE COSTELLO




SOLD

Corinne Costello

CORINNE COSTELLO




SOLD

Dane Chisholm

DANE CHISHOLM
The Nest, 2017
Mixed media on ply
60 x 50cm
$750
Location: 1st Floor Corridor

Dane Chisholm

DANE CHISHOLM
The Whole thing, 2017
Mixed media on ply
60 x 50cm
$750
Location: 1st Floor Corridor

Dane Chisholm

DANE CHISHOLM
Far away, close up, 2017
Mixed media on ply
60 x 50cm
$750
Location: 1st Floor Corridor

Dane Chisholm

DANE CHISHOLM
Between the Lines, 2017
Mixed media on ply
60 x 50cm
$750
Location: 1st Floor Corridor

Dane Chisholm

DANE CHISHOLM
Confused Topography, 2017
Mixed media on ply
93 x 63cm
$1,350
Location: 1st Floor Corridor

Dane Chisholm

DANE CHISHOLM
Garden of Van Diemens #5, 2015
Mixed media on ply
61 x 41.5

SOLD

Dane Chisholm

DANE CHISHOLM
Garden of Van Diemens #6, 2015
Mixed media on ply
61 x 41.5

SOLD

Dane Chisholm

DANE CHISHOLM
Garden of Van Diemens #7, 2015
Mixed media on ply
61 x 41.5

SOLD

Dane Chisholm

DANE CHISHOLM
Garden of Van Diemens #8, 2015
Mixed media on ply
61 x 41.5

SOLD

Dane Chisholm

DANE CHISHOLM
Pen & Acrylic on paper
83 x 59cm


SOLD

Dane Chisholm’s practice involves a mix of technology, techniques and media. Working between photography, printmaking and drawing, taking cues from majoring in printmaking at the Tasmanian School of Art. His art is often a blend of the above mediums, presenting final work as fine art inkjet prints. Completing studies in 2006, Dane has continued developing his practice being recognized by selection as a finalist in awards such as Tidal 2010, Burnie Print Prize 2011, Bay of Fires Art Prize 2012 and receiving an Arts Tas Startup Grant in 2010.

As an artist living in Tasmania, nature is one of the biggest influences in my visual expressionism that is print making, drawing or painting: Being surrounded by organisms and plant life that are entwined with each other and manage to wrap their way around my thoughts and imagery. I’m interested in nature because of its free flowing lines, detailed patterns and mysterious origins. Abstracting the landscape into dynamic images comes naturally to my process as I make most of my art work. I automatically go from one line to the next, occasionally glancing at a photo I have taken or looking directly outside my windows. The images grow and take on a life form of their own, developing and fragmenting parts of their energy into other sprouts of new life. Creating patterns that are reminiscent of scientific illustrations, I craft new environs of a strangely beautiful place. Some parts are familiar while others are new and out of the ordinary.

Experimenting with mediums, I instill a sense of isolation and darkness. These qualities can be attributed to the quietness of nature, the isolation of Tasmania and the calmness in me, that of being an artist and human being who enjoys solitude and individualism.
- Dane Chisholm, 2012

Dane Chisholm

DANE CHISHOLM
Pen & Acrylic on paper
83 x 59cm


SOLD

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 8, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 7, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 6, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 5, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 4, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 3, 2016
Mixed media on canvas
145 x 160cm
$6,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 3, 2016
Mixed media on 300gsm University Cartridge
122 x 86cm
$1,800 unframed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 2, 2016
Mixed media on 300gsm University Cartridge
122 x 86cm
$1,800 unframed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Untitled (No Idea) No. 1, 2016
Mixed media on 300gsm University Cartridge
122 x 86cm
$1,800 unframed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liason
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Closer, 2015
Mixed media on ply
25 x 150cm (triptych)
$2,500 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

David Hawley

DAVID HAWLEY
Incidental, 2006
Acrylic screenprint on ply
105 x 120cm
$3,300  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

David Hawley

DAVID HAWLEY
Rift, 2006
Acrylic screenprint on ply
105 x 120cm
$3,300  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

David Hawley

DAVID HAWLEY
Appear, 2006
Acrylic screenprint on ply
110 x 145cm
$4,400 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

David Hawley

DAVID HAWLEY
Timing, 2006
Acrylic screenprint on ply
160 x 115cm
$4,400 Available on the COLLECT Art Purchase Scheme
Location: The Lounge
Courtesy of Colville Gallery, Salamanca

David Hawley

DAVID HAWLEY
Missfeed, 2004
Acrylic on ply
105 x 150cm (diptych)

SOLD

David Hawley’s works are created through manipulations of technology, often coming about through the transformation of a singular motif by “input from two external devices; the first being computer software and the second a black and white analogue photocopier”. The result are works that holds both a sense of exploratory rigour and a delight in the endless permutation of the effects of chance, colour and movement.

Over the past 20 years David Hawley has exhibited consistently in solo and group exhibitions and in 2003 completed a Master of Fine Art at The Tasmanian School of Art in Hobart. Hawley has been the recipient of multiple grants through both NAVA and state arts funding bodies and has been short listed for a number of print awards including the 2008 Fremantle Print Award and the 2009 Burnie Print Prize. Hawley’s work is represented in private and public collections, including the Tasmanian Museum and Art Gallery, Artbank and The Burnie Regional Art Gallery. He currently lives and works in Hobart.

David Hawley

DAVID HAWLEY
The Same but Different, 2004
Acrylic on ply
105 x 150cm (diptych)
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

David Hawley

DAVID HAWLEY
Unity, 2004
Acrylic on ply
105 x 150cm (diptych)
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

David Hawley

DAVID HAWLEY
Float, 2004
Acrylic on ply
105 x 150cm (diptych)
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

David Hawley

DAVID HAWLEY
Freeze, 2004
Acrylic on ply
105 x 150cm (diptych)
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Art Installation Suite

David Hawley

DAVID HAWLEY
Untitled Variant #3, 2001
Gouache on 300gsm University Cartridge
150 x 150cm (diptych)
$3,900 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Di Masters

DIANE MASTERS
Employing the current, 2017
Multi-plate etching and aquatint
39 x 57cm
$1,050 framed 
Location: Room 120
In association with Handmark Gallery, Salamanca

Etchings from UNDERCURRENT

Exhibition at IMAS Gallery, Castray Esplanade

1/2/2017 to 30/3/2017

Have you ever thought of what the microscopic, drifting, primary producers that the ocean is teeming with have done for you? These are the phytoplankton, and they are grazed by animals known as zooplankton. All ocean life and we humans, depend on plankton because they are the start of the food chain. 

Plankton dominates the biomass of the oceans. Phytoplankton perform nearly half of the photosynthesis on Earth, fixing carbon dioxide and producing half of the oxygen we breathe. The most common zooplankton, the copepods, outnumber insects as the most abundant animals on Earth. The abundance and success of all marine life is dependent on the health of the plankton. They are our oceanic "canaries in the coal mine". Plankton also impacts human health directly. Some phytoplankton species are toxic and form large harmful algal blooms, contaminating shellfish and causing poisoning and death in humans. Some zooplankton are venomous, such as the box jellyfish and lrukandji species, causing severe pain and death and beach closures in Northern Australia. 

Plankton influence the pace and extent of climate change. Many phytoplankton species produce chemicals that influence rain and cloud patterns. Phytoplankton remove carbon from the ocean surface via photosynthesis. Zooplankton graze the phytoplankton and then export the carbon as faecal pellets or carcasses which sink to the ocean floor and lock the carbon from the atmosphere for thousands to millions of years - it would be much warmer if this carbon had not been taken up by the ocean. Over geological time, the accumulation of carbon from plankton on the seafloor has formed the oil and natural gas deposits we use today.

So tread lightly. - Di Masters

Di Masters

DIANE MASTERS
Fish larvae adrift, 2017
Multi-plate etching and aquatint
39 x 57cm
$1,050 framed 
Location: Room 120
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Dinopysis tripos - the hands, 2017
Multi-plate etching and aquatint
39 x 57cm
$1,050 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Codonellopsis orthoceras multiplied, 2017
Multi-plate etching and aquatint
39 x 57cm
$1,050 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Limacina sp. - Sea Butterfly, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Clione limcina - Sea Angel, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Emerging fish larvae, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Polychaete #2 greets Sea Angel, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Sea Angel - on the move, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Rhabdonella spiralis - tintinnid, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Polychaete #1 - worm, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DIANE MASTERS
Phronima sp. and Bassia bassensis, 2017
Multi-plate etching and aquatint
26.5 x 24.5cm
$750 framed 
Location: Contact Art Liaison
In association with Handmark Gallery, Salamanca

Di Masters

DI MASTERS
Reclaiming Ground, 2013
Multi-plate etching & aquatint
75 x 112cm
$1,450 framed Available on the COLLECT Art Purchase Scheme
Location: Room 123
Courtesy of Handmark Gallery, Salamanca

Di Masters is a graduate of the Tasmanian School of Art: Masters of Fine Arts & Design 2013 and Bachelor of Fine Arts 2011

My etchings and aquatint images are a response to my own experience of living and working in small rural and remote communities; the various landscapes, events and cultures which have impacted significantly on me and others who have migrated and resettled, many times, finding their place and a way to belong. My sense of what it means to belong has been communicated pictorially by the use of elemental landscape ( fire, water, air and earth ) and vessels motifs.

Some images have a narrative of human struggle but ultimate success through adherence to, and sharing of strong cultural traditions and celebration, practices which have enriched the new society within which many migrants find themselves. Other images reference the drift of shared knowledge and cultural practice through different landscapes.

Through my image making, I have come to understand that a sense of belonging may not be about being rooted within a particular landscape but can be a nomadic perspective, that of being at home in a state of transit across many landscapes.

Di Masters

DI MASTERS
Celebration, 2011
Multi-plate etching & aquatint
91 x 110cm
$950 framed
Location: Room 123
Courtesy of Handmark Gallery, Salamanca

Di Masters

DI MASTERS
Never To Return, 2011
Photopolymer multi-plate etching
91 x 110cm
SOLD

Courtesy of Handmark Gallery, Salamanca

Diane Allison

DIANE ALLISON
Opium Drift, 2014
empty pill capsules on acrylic
80 x 115cm

$5,900

Poppies are intrinsically linked to remembering. But in their role in the production of opiates they are also an agent for altering our inner landscape.  In Opium Drift thousands of empty pill capsules have been used to produce a pixelated Tasmanian landscape, based in reality but other-worldy in nature.  The pill capsule is used here as a symbol of both the physical and the metaphysical, the real and the imagined.

Like our physical surroundings we too shift and change – becoming altered by circumstance. Change is our only constant.

- Diane Allison, 2014

Diane Allison

DIANE ALLISON
Shelter (after John Glover's The Last Muster of the Aborigines at Risdon, detail, 1836), 2014
Acrylics & Monopoly houses on paper
68 x 138cm
SOLD

Shelter consists of 2 838 “Monopoly” houses that have been arranged in a grid. The image, of applied acrylics, depicts an abstracted and pixelated version of a small section from John Glover’s 1836 painting, The Last Muster of the Aborigines at Risdon.

John Glover’s work illustrates the landscape of the Derwent’s eastern shore and a gathering of the indigenous population before their forced deportation to the Bass Strait Islands.

The site referred to here as Risdon is an area that has been used by local communities for thousands of years. It is also the place of the first attempts at a European settlement. Risdon now is part of the greater Hobart area and is indicative of the somewhat universal phenomenon of the urban sprawl.

In Shelter, the image is abstracted and fragmented suggesting the complex nature of history and time; how it can be layered; eradicated; built over. The pixelation echoes this and seeks to highlight the contemporary act of viewing - experiences now so often mediated through “the screen”.

The use of miniature brick-like houses from Monopoly - the ubiquitous game of capitalism, references the notions of ownership, industrialism, accumulation, development, power and the compulsion for constant growth. This work asks us to consider how we might reconcile the varied and sometimes competing notions of “home”.

Diane Foster

DIANE FOSTER
Tailings Dam, 2006
Digital Print
46 x 46cm
$1,195 framed 
Location: Room 115

Diane Foster

DIANE FOSTER
Lost Forest, 2006
Digital Print
46 x 46cm
$1,195 framed 
Location: Contact Art Liaison

Diane Foster

DIANE FOSTER
Ashes to Dust, 2006
Digital Print
46 x 46cm
$1,195 framed 
Location: Room 115

Diane Foster

DIANE FOSTER
Big Cat Trackes, 2006
Digital Print
46 x 46cm
$1,195 framed 
Location: Contact Art Liaison

Diane Foster

DIANE FOSTER
Leviathan 1, 2009
Digital Print
57 x 80cm
$650 unframed
Location: Contact Art Liaison

Diane Foster

DIANE FOSTER
Leviathan 2, 2009
Digital Print
57 x 80cm
$650 unframed
Location: Contact Art Liaison

Diane Foster

DIANE FOSTER
Aftermath Trilogy, 2006
Digital Print
48 x 24cm
$1,315
Location: Contact Art Liaison

Eleanor Morgan

ELEANOR MORGAN
Flannel Head, 2015
Acrylic & oil on canvas
60 x 45cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

People are strange. They have peculiar habits, embarrassing compulsions, disabling obsessions. They engage in self destructive behaviours. They do weird things in misguided attempts to comfort their fears and relieve their anxieties. Sometimes they work and sometimes they don’t. I am people. You are people. When we observe such peculiarities exhibited by others, it is easy to respond with judgement. I would like to provide a platform for empathy rather than condemnation, for the fear and anxieties that motivate such behaviours, lie within us all.

Eleanor Morgan

ELEANOR MORGAN
Foam Mouth, 2015
Acrylic & oil on canvas
60 x 50cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Cloth Mouth #2, 2015
Acrylic & oil on canvas
60 x 50cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Cloth Mouth #1, 2015
Acrylic & oil on canvas60 x 50cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Marble Eyes, 2015
Acrylic & oil on canvas
60 x 50cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Teat Face, 2015
Acrylic & oil on canvas
60 x 45cm

SOLD

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Cream Face #2, 2015
Acrylic & oil on canvas
60 x 50cm
$750
Location: Contact Art Liaison

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Blanket Head, 2015
Acrylic & oil on canvas
60 x 45cm

SOLD

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Sponge Eyes #1, 2015
Acrylic & oil on canvas
60 x 45cm

SOLD

 

Eleanor Morgan

ELEANOR MORGAN
Sponge Eyes #2, 2015
Acrylic & oil on canvas
60 x 45cm
 
SOLD

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Morgan

ELEANOR MORGAN
Cream Face #1, 2015
Acrylic & oil on canvas
60 x 45cm

SOLD

Eleanor is a Tasmanian College of the Arts 2015 BFA Graduate.

Eleanor Tracey Cockburn

TRACEY COCKBURN
Bijoux I, 2015
Digital print, Edition of 10
29 x 21cm paper, 14.5 x 14.5cm image
$135 unframed
Location: Contact Art Liaison

Eleanor Tracey Cockburn

TRACEY COCKBURN
Bijoux II, 2015
Digital print, Edition of 10
29 x 21cm paper, 14.5 x 14.5cm image
$135 unframed
Location: Contact Art Liaison

Eleanor Tracey Cockburn

TRACEY COCKBURN
Bijoux III, 2015
Digital print, Edition of 10
29 x 21cm paper, 14.5 x 14.5cm image
$270 framed (44 x 35cm frame size)
Location: Room 210

Eleanor Tracey Cockburn

TRACEY COCKBURN
Bijoux IV, 2015
Digital print, Edition of 10
29 x 21cm paper, 14.5 x 14.5cm image
$270 framed (44 x 35cm frame size)
Location: Room 210

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Dream Sequence, 2010
Archival digital print, edition of 10
15 x 85cm image, 28 x 100cm paper

SOLD

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Willow Clouds, 2010
Archival digital print, edition of 10
15 x 85cm image, 28 x 100cm paper
$280 unframed
Location: Print Rack

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Relic (series), 2010
Digital prints
21 x 21cm each
$450 framed (set of 3)
Location: Contact Art Liaison

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Untitled from the Garden Series, 2003
Digital inkjet print on tracing paper
59 x 42cm
$650 framed
Location: Room 119

Tracey Cockburn’s practice has developed from a background in printmaking and earlier training in design. She completed a Bachelor of Design (Product Design) in South Australia in 1985. In 2005 she graduated with a Masters of Fine Arts degree in printmaking from the University of Tasmania School of Art and works at Clarence City Council as the Arts and Cultural Development Coordinator, previously teaching printmaking at TAFE and UTAS.She has exhibited widely in Australia and New Zealand with solo shows in Hobart, Canberra and Dunedin, New Zealand and has received several prizes and commissions including the City of Hobart Art Prize in 2006, City of Burnie TASART prize in 2003 and an Art for Public Buildings Scheme Commission from Arts Tasmania in 2001.

Over the years she has explored a variety of media and techniques stemming from traditional printmaking processes and including digital imaging, paper construction and printing on a variety of substrates whilst challenging the notion of the traditional framed print with large scale installation style works.

Cockburn’s work deals with the ruin, a concept which she considers has the power to evoke memories and to allow the invention of a new set of possible histories, and in doing so suggest a broader, more universal picture of the past. As it is rare that a complete factual history of a site or people exists, we are compelled to construct a history or set of possible histories ourselves, to find a way to fabricate it from the fragments of items now in our possession.

‘Ruin’ is not static in the temporal sense, as it is not fixed in time. Not only is it subject to continual decay, but also it is transformed by the very act of digging it up. Through the process of excavation, a site ceases to belong exclusively to the past but is brought immediately into the present.

The works have evolved from an investigation into the idea that the ordinary or undistinguished history of a place is as important, if not more so, than that which is normally deemed significant. Cockburn’s considerations include the value of objects as signifiers of past events and the possibility that material traces from the past can provide the means by which we can recover immaterial historical possibilities. Her imagery is derived from small fragments of imported nineteenth century crockery unearthed from the site in Hobart where she recently built a house. It is likely that these fragments were simply part of the household refuse from a substantial colonial property that now no longer exists. By examining the relics from the site she is attempting to recover and reconstruct the possible history of the place and suggest a personal history that may or may not be real.

My practice has been repeatedly focused on crockery fragments, textiles, wallpaper patterns; the neglected artefacts of the domestic and our mundane existences. These items are ubiquitous and yet so often overlooked or written out of history. They exist in the background or on the periphery of our consciousness. They have fallen into a state of oblivion.
– Tracey Cockburn

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Untitled from the Garden Series, 2003
Digital inkjet print on tracing paper
59 x 42cm

SOLD

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Untitled from the Garden Series, 2003
Digital inkjet print on tracing paper
59 x 42cm
$650 framed
Location: Room 119

Eleanor Tracey Cockburn

ELEANOR TRACEY COCKBURN
Untitled from the Garden Series, 2003
Digital inkjet print on tracing paper
59 x 42cm

SOLD

Emine Lewis

EMINE LEWIS
Guilty Pleasures, 2016
Acrylic on canvas
245 x 112cm

SOLD

Guilty Pleasures

Eating chocolate, drinking alcohol, smoking cigarettes and having sex are activities that can make us feel good, bringing pleasure through a chemical release of hormones such as dopamine, serotonin and endorphins. But at what cost? We have been told that moderation is the key… However, to be honest with ourselves, who can stop at one piece of chocolate or just one alcoholic beverage?  Sadly, once the pleasure has faded, all that remains are empty wrappers, guilt, and relentless cravings for more.  This ongoing cycle has become deeply intertwined with my daily pursuit of happiness and as such I often find myself consuming copious amounts of chocolate without considering the underlying cause or outcome.

Each carefully rendered item on the canvas is quickly consumed with the eyes before the need to move onto the next takes over.  In moderation the artefacts are gratifying, but with the excessive amounts presented they become overwhelming.

Emine Lewis

EMINE LEWIS
Gift Wrapped, 2016
Acrylic on canvas
25 x 30cm
$240
Location: Contact Art Liaison

Emine is a Tasmanian College of the Arts 2016 BFA Graduate.

Emine Lewis

EMINE LEWIS
Prophylactic, 2016
Acrylic on canvas
25 x 30cm
$240
Location: Contact Art Liaison

Emine is a Tasmanian College of the Arts 2016 BFA Graduate.

Emine Lewis

EMINE LEWIS
French Letters, 2016
Acrylic on canvas
70 x 50cm
$690
Location: Contact Art Liaison

Emine is a Tasmanian College of the Arts 2016 BFA Graduate.

Emine Lewis

EMINE LEWIS
Love Glove, 2016
Acrylic on canvas
10 x 15cm

SOLD

Emine Lewis

EMINE LEWIS
Franger, 2016
Acrylic on canvas
10 x 15cm

SOLD

Emine Lewis

EMINE LEWIS
Raincoat, 2016
Acrylic on canvas
10 x 15cm

SOLD

Emine Lewis

EMINE LEWIS
Rubber, 2016
Acrylic on canvas
10 x 15cm

SOLD

Eun Ju Cho

EUN JU CHO
Window of the Mind II, 2016
Silkscreen print
50 x 50cm paper size
$425 unframed
Location: Print Rack

Eun Ju Cho is a Tasmanian College of the Arts 2015 Honours Graduate.

Artist Statement:

My work explores natural harmony and balance in colours and shapes of geometric patterns inspired by Korean traditional windows and doors - called Chang Moon - and Korean wrapping cloths - called Bojaji. Chang Moon is an important element of Korean Han Ok architecture as it operates as passages between different spaces and times.   Lattice, which has unique geometric patterns and is wrapped with translucent rice paper, is an important element of Chang Moon. Bojagi is made of small fragments of material that traditionally have five colours.

Western Art also has a strong geometrical tradition and shares similar patterns with Korea. For example, geometrical abstraction of Mondrian has formal similarities to Bojagi and Chang Moon. I explore these formal similarities in my project. I combine the beauty of Chang Moon and Bojagi in various mediums.  Water colour paintings and Printmaking with collage are inspired by Bojagi, but integrated with geometric patterns from Chang Moon.  My work responds to architectural spaces reflecting Chang Moon embracing concepts of space and time. My work builds on consistent concepts – harmonic and natural balance in colours and shapes in order to reflect not only Eastern (Korean) but also Western cultures in my work.

Eun Ju Cho

EUN JU CHO
Window of the Mind VII, 2016
Silkscreen print
50 x 50cm paper size
$425 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Window of the Mind I, 2016
Silkscreen print
50 x 50cm paper size
$425 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Window of the Mind V, 2016
Silkscreen print
50 x 50cm paper size
$425 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon 1.1 + 1.2, 2015
Silkscreen print
61 x 78cm framed
$1,190 framed
Location: Contact Art Liaison

Eun Ju Cho

EUN JU CHO
Chang-Moon II, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed/$545 framed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon XVIII, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon XIX, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed/$545 framed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon XX, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon XXI, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon XXII, 2015
Silkscreen print
35 x 50cm paper size
$495 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon VI, 2015
Etching with hand colouring
14.7 x 14.7cm image / 50 x 50cm paper
$425 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon X, 2015
Etching with hand colouring
15 x 14.7cm image / 50 x 50cm paper
$425 unframed
Location: Print Rack

Eun Ju Cho

EUN JU CHO
Chang-Moon IV, 2012
Mixed media on paper
17 x 30cm image / 43 x 63cm frame

SOLD

Eun Ju Cho

EUN JU CHO
Chang-Moon III, 2012
Mixed media on paper
15 x 33cm image / 43 x 63cm frame

SOLD

Eun Ju Cho

EUN JU CHO
Chang-Moon I_v1, 2015 
Silkscreen print
70.5 x 25cm paper size

SOLD

Eun Ju Cho

EUN JU CHO
Chang-Moon I_v2, 2015
Silkscreen print
70.5 x 25cm paper size

SOLD

Fiona Lee

FIONA LEE
Iron, from Bits of House, 2003
Etching
80 x 67cm
$1,350 framed 
Location: Room 122

Fiona Lee is an artist with an interest in dialogical, pedagogical modes of social practice, and the role of the artist-curator. She curated Our Day will Come, an alternative art school by Paul O’Neill (2011) for Contemporary Art Spaces Tasmania (CAST), and co-curated with Pat Brassington, The Arresting Image (2009) for the Plimsoll Gallery . In addition to her artistic practice, for the past 15 years she has been involved in exhibition curating and touring, and gallery administration—at CAST 2004-09; as a member of the Plimsoll Committee 2001- 2010; as a Board member of INFLIGHT art (2010-2011), and in 2009, she worked for the Australia Council at the 53rd Venice Biennale. She has had a residency at the Cité Internationale des Arts in Paris and two Australia Council Funded art residencies in the UK. She has been awarded an APA scholarship for post-graduate studies and the Marie Edwards Travelling Scholarship.

Fiona Lee

FIONA LEE
Iron, from Bits of House, 2003
Etching
80 x 67cm
$1,350 framed
Location: Room 122

Fiona Lee

FIONA LEE
Pattern Repeat #3, from Women of IXL, 2003
Mixed media
29 x 51cm
$675 framed
Location: 1st Floor Corridor

Fiona Lee

FIONA LEE
Pattern Repeat, from Women of IXL, 2003
Mixed media
29 x 51cm
$675 framed
Location: Room 122

Gabrielle Gollogly

GABRIELLE GOLLOGLY
Frisson 1, 2016
Oil on canvas
122 x 92cm
$1,250  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Gabrielle is a Tasmanian College of the Arts 2016 BFA Graduate.

Frisson

A tension between dubious attraction and sceptical distaste surrounds the act of confection within this body of work. The visual representation of a fluidly painted liquid substance dripping and oozing down a head and bust present the viewer with a set of paradoxes. The confrontational self-portraits embody a classicist idealisation; the painting of the figure alludes to Greek marble sculptures, but this perfected portrayal is obscured by a threatening, thick and heavily weighted icing that varies between uncomfortably saturated or drably muted colour. The identity of the figure is slowly being concealed and the gaze is disrupted by the overpowering quality of the icing. These pictorial pourings evoke sensory experiences or encounters with an imaginary physical sensation that can either be pleasurable or repulsive. The dripping motion is fraught in contrast to facial expressions that suggest calm approval and revitalisation. Notions of beauty are challenged by tarnishing the skin, hair, and clothing, however the choice of sticky, sweet icing acts as a perplexing deliciously seductive garnish. Our senses are made vulnerable in this visual exploration of consumerism and attraction. - Gabrielle Gollogly

Gabrielle Gollogly

GABRIELLE GOLLOGLY
Frisson 2, 2016
Oil on canvas
122 x 92cm
$1,250  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Gabrielle is a Tasmanian College of the Arts 2016 BFA Graduate.

Gabrielle Gollogly

GABRIELLE GOLLOGLY
Frisson 4, 2016
Oil on canvas
122 x 92cm
$1,250  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Gabrielle is a Tasmanian College of the Arts 2016 BFA Graduate.

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Memory 6, 2008
Oil & gold leaf on linen
122 x 152cm
$7,700 Available on the COLLECT Art Purchase Scheme
Location: Room 216

The circular and linear paintings that I have been doing for several years now are evolving and giving way to a new series entitled ‘Memory’.

The use of obvious narrative is no longer required. Instead, the primary focus is on the layering of paint, colour and brush stoke. The paintings are simple, yet complex, and allow the viewer to move freely within the work.

Memory, for me, is a series of experiences: they take shape and form, and continue to live within us . Largely invisible forces embrace the full gamet of our feelings. Memory is a world of polarities that drive, motivate, challenge, and inspire; and cannot be controlled. On a more humorous note, memory translates as, “the fact or condition of being remembered; ‘exemption from oblivion’ (The Shorter Oxford English Dictionary, 3rd Ed., 1959, p. 1232).

- Genevieve de Couvreur

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Memory 1, 2007
Oil & gold leaf on linen
137 x 137cm
$7,700 Available on the COLLECT Art Purchase Scheme
Location: Room 216

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Memory 2, 2007
Oil & gold leaf on linen
137 x 137cm
$7,700 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Landscape #4, 2006
Oil & gold leaf on canvas
122 x 122cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 218

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Tiers #1, Series #3, 2007
Oil & gold leaf on linen
122 x 214cm
$8,800 Available on the COLLECT Art Purchase Scheme
Location: Room 218

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Landscape #3, 2012
Oil, beeswax & gold leaf on linen
122 x 152cm
$7,700 Available on the COLLECT Art Purchase Scheme
Location: Rom 218

Genevieve de Couvreur

GENEVIEVE de COUVREUR
Illumination #3 (Blue), 2006 
Oil & gold leaf on canvas
122 x 122cm

SOLD

Geoff Parr

GEOFF PARR
Bi-Cycle, 2006
Giclee print
65.5 x 131cm
$3,400 framed Available on the COLLECT Art Purchase Scheme
Location: Room 213

Geoff Parr is Professor Emeritus of Art and an Honorary Research Associate at the Tasmanian School of Art, University of Tasmania. He has taught art at a tertiary level for 35 years and has worked in painting, photography and digital processing. Artworks by Parr are held in the public collections of the National Gallery of Australia, Museum of Contemporary Art, Art Gallery of South Australia, National Gallery of Victoria, Tasmanian Museum and Art Gallery, University of Tasmania’s Fine Art Collection, Queensland Art Gallery, Queen Victoria Museum and Art Gallery and the Geelong Art Gallery. Although a long-time resident of Tasmania, Geoff Parr was born in Earlwood, NSW.

As Head of School, Geoff Parr lead the integration of the Tasmanian School of Art into the University of Tasmania in 1982 and its subsequent relocation to the former IXL Jam factory buildings at 37 Hunter Street in 1986.

His current series of digital prints stretch the possibilities of surface tension created by new-pointillist techniques. Inspired by the patterns and forms of natural materials found in the Tasmanian bush, Parr’s recent work has incorporated imagery sourced from the state’s widely publicised old growth forests.

Instrumental in the development of the Digital Arts Research Facility (DARF) at the University of Tasmania in Hobart, Parr was recently a Chief Investigator on an Australian Research Council grant exploring the formative pixel structures in computer generated images.

Parr has been extensively collected throughout Australia, with the National Gallery of Australia holding a large number of Parr’s early works in their permanent collection.

Geoff Parr

GEOFF PARR
Silos and Lids, 2006
Giclee print
65.5 x 131cm
$3,400 framed Available on the COLLECT Art Purchase Scheme
Location: Room 213

Gillian Lojek

GILLIAN LOJEK
My Sky No. 14, 2012
Acrylic on canvas
61 x 91cm
$850
Location: Room 303

As my original training was in the graphic arts, my work naturally leads towards a graphic image as opposed to a painterly image. I made a conscious effort to create my own signature with paint as the medium, I like the work to have its own language and to able to talk to the viewer, or tell its own story.

In my work I like to capture ethereal moments in nature that people in their busy lives miss. People have become too busy to see what’s around them, and take the environment for granted. I see beauty in the small things in the natural world, the pattern of the sandstone rock, the wind in the grass, that moment of a sunrise never to be seen again.

I make an emotional response to my visual surroundings, and hope to make the viewer take an outward rather than an inward view on life, to appreciate the small and unexpected, and perhaps to realize how small and insignificant we are as humans in the scheme of things.
I use a texture and a textural quality to pull and involve the viewer into the heart of the painting, and want to physically interact with the work. To make the work a personal experience, to literally want to touch.

When a viewer gets to know a painting it also becomes not only about the subject matter, but about the paint itself, the texture, the interplay of colours, and how the collaboration of contrasting and harmonious colours can produce a completely new third aspect.

Gillian Lojek, 2012

Gillian Lojek

GILLIAN LOJEK
My Sky No. 15, 2012
Acrylic on canvas
61 x 91cm
$850
Location: Room 303

Gillian Lojek

GILLIAN LOJEK
My Sky No. 16,  2012
Acrylic on canvas
61 x 91cm
$850
Location: Room 303

Gillian Lojek

GILLIAN LOJEK
Reflecting on the Day



SOLD

Gillian Lojek

GILLIAN LOJEK
Reflecting Later in the Day



SOLD

Gillian Lojek

GILLIAN LOJEK
Over the Garden Fence, 2012
Acrylic on canvas
122 x 61cm
$1,400 Available on the COLLECT Art Purchase Scheme
Location: Room 303

Gillian Lojek

GILLIAN LOJEK
Layers of the East Coast
Acrylic on canvas
120 x 122cm (tripych)

SOLD

Ian Bonde

IAN BONDE
Emblem, 2006
MDF, acrylic, metal leaf
240 x 120 x 3cm
$8,260 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Bett Gallery, North Hobart

In 2006 Ian Bonde was awarded a Doctor of Philosophy from the Tasmanian School of Art, University of Tasmania. He also holds a Master of Fine Art and Bachelor of Fine Art from the University of Tasmaina.

Emblem, detail

Ian Bonde

Emblem, detail

Emblem, detail

IAN BONDE
Emblem, 2006 (detail)
MDF, acrylic, metal leaf
240 x 120 x 3cm
$8,260 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Bett Gallery, North Hobart

Iona Johnson

IONA JOHNSON
Nyctalopid I, 2014
Etching
59 x 59cm

SOLD

Iona is a graduate of the Tasmanian College of the Arts, Hobart.

Iona explores how the body engages with the world resulting in tactile and sensory responses. She uses the techniques of linocut, etching and collograph to explore the sensory experience of moving through the environment which also speaks of ancient histories and slowly evolving ecologies. Iona seeks to capture in print particular aspects of these moments; the strangeness and unfamiliarity of the known/unknown, which is hidden from view. She uses fragmentation and abstraction to reflect the idea of the dissolution of boundaries and loss of the known and its impact in the realm of the unconscious.

Night blindness (nyctalopia) is the inability to see well at night or in poor light.

Iona Johnson

IONA JOHNSON
Nyctalopid II, 2014
Etching
59 x 59cm

SOLD

Iona Johnson

IONA JOHNSON
Nyctalopid III, 2014
Etching
59 x 59cm

SOLD

Jamin

JAMIN
Vagrant,2017
Spray paint on aluminium
120 x 80cm
$2,750 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Despard Gallery

Jamin

JAMIN
Origin,2017
Spray paint on aluminium
120 x 80cm
$2,750 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Despard Gallery

Jamin

JAMIN
Frank, 2015
Mixed media on ply
110 x 80cm
$2,950 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Despard Gallery 

JAMIN

A Life Mediated (A life lived)

Oh to be like a bird, eating the berry, catching the wind and doing other bird like things. Or like a rock, ponderously witnessing such ancient and slow accretion and dissolution – unconcerned, apparently, by the immediate nature of my rockishness or after-rockishness or before-rockishness. Instead I cling like a many-headed-leech to a multiplicity of filters, mirrors, constructs and contraptions; shaping and shaped – mediated – by the blood-flow of fashionable consumption. My thoughts and desires are disingenuous, and yet I struggle to place where it is they originate from and why I am left with a residual feeling of futility. My identity is not some essential thing.  My fingerprints remain a point of continuity but their surrounding flesh has changed, aged, calcified. I guess in a certain kind of modality I am human– like that Verve song – yet I’m told that on a sub-atomic level I’m not that different to the bird or the rock. My other experiences and perceptions of self seem contiguous, linked, to some other mutable thing – a book, a person, a word, an event – seemingly fixed but itself in a state flux , contingent to yet more things enfolded within elaborate mesh works. For instance, I often find a song to be compelling, so I press a button that deletes money – which only existed as a virtual contingent – from my bank account, of no fixed location. That virtual currency is then distributed amongst a collection of interested parties that probably had something to do with making the music. Probably. It is a tiny step in a colossal process that gathers, mines, produces, destroys, builds, empties and fills my desire. Seemingly instantly. In my cynical acknowledgement of this process – I only introduce yet more fashionable consumptions into the flow. Each time I attempt to ‘choose’ a different option – I am left poorer, further indebted and indentured to the culture-society-food-and-house-making-system I live in. Either that, or something new has arisen from the meshwork to assuage my thirst. A book about assemblage theory. A yoga class. A new movement. Some strings for my guitar so that I can write songs critiquing my indentured subscription to life-as-I-know-it. So then what? Well, for a brief moment – a mask slips, or a filter tears – and I glimpse into a void, an emptiness that is pregnant with possibility. It’s very brief. The filter stitches itself back together like a Mk2 Terminator or a granny on steroids, and what was void becomes mirror. I see myself in the round and am left with a feeling, in no uncertain terms, that the life-mediated, is all that’s left of me.             - Jamin, 2015

Benjamin Kluss is a PhD Candidate at the Tasmanian College of the Arts, University of Tasmania, who produces visual art under the moniker Jamin and music as Vibrant Matters. He has produced numerous solo and group projects. In 2013 he was one of three artists commissioned to design work for the interior of the MONA ROMA 1 Ferry and more recently for Frank Restaurant & Bar.

Jamin

JAMIN
Jacob, 2015
Mixed media on ply
110 x 80cm

SOLD
Courtesy of Despard Gallery

Jamin

JAMIN
Georgia, 2015
Mixed media on ply
110 x 80cm
$2,950 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Despard Gallery

Jennifer Marshall

JENNIFER MARSHALL
Wreck Bay, Winter, 2015
Oil on canvas
76 x 102cm
$5,000  Available on the COLLECT Art Purchase Scheme
Location: Room 221

Jennifer Marshall

JENNIFER MARSHALL
Dawn, Bass Strait, 2015
Oil on canvas
35 x 40cm
$2,750  Available on the COLLECT Art Purchase Scheme
Location: Room 110

Jennifer Marshall

JENNIFER MARSHALL
Bay of Fires, Summer Storm, 2015
Oil on canvas
40 x 35cm
$2,750  Available on the COLLECT Art Purchase Scheme
Location: Room 221

Jennifer Marshall

JENNIFER MARSHALL
Eagle's Nest, Bunurong Coast, 2013
Oil on canvas
90 x 122cm

SOLD

Jennifer Marshall

JENNIFER MARSHALL
From the Signal Station - Summer, 2013 
Oil on canvas
67 x 208cm

SOLD

Jennifer Marshall

JENNIFER MARSHALL
Court Island, Night, 2015
Oil on canvas
35 x 40cm
$2,750  Available on the COLLECT Art Purchase Scheme
Location: Room 110

Jennifer Marshall

JENNIFER MARSHALL
Swan Island Light, 2011
Oil on canvas
76 x 102cm
$5,000  Available on the COLLECT Art Purchase Scheme
Location: Room 221

Jennifer Marshall

JENNIFER MARSHALL
Cape Bruny Light, 2014
Oil on canvas
40 x 35cm
$2,750  Available on the COLLECT Art Purchase Scheme
Location: Room 110

Jonathan Kimberley

JONATHAN KIMBERLEY
Not my garden: Map of Unlandscape (Ecumene), 2008
Synthetic polymer & charcoal on linen
91 x 91cm
$3,600 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Bett Gallery Hobart.

Jonathan Kimberley’s practice is both conceptual and grounded. His work combines solo and collaborative insights into ‘landscape’ and ‘country’. Previous collaborations have included: Living Water, Traveling Water 2004 with painter Patrick Mung Mung, Gija country, Warmun; meenamatta lena narla puellakanny (meenamatta water country discussion) 2006 with writer puralia meenamatta (Jim Everett); and Kuluntjarra World Map 2009 made with Kayili Artists in Ngaanyatjarra country, Gibson Desert.

COLLECTIONS 
Tasmanian Museum & Art Gallery, Hobart, TAS - Devonport Regional Gallery, Devonport, TAS - Federal Court of Australia, Hobart, TAS - Artbank, Sydney, NSW - Macquarie Bank, Sydney, NSW - Big River Collection, TAS - Mills Oakley Lawyers, Melbourne, VIC - National Library of Australia, ACT - Art Gallery of NSW, Research Library, NSW - Monash University Library, VIC - IATSIS Library, ACT - State Library of Victoria, VIC - State Library of Tasmania, TAS - University of Tasmania Library, TAS - Private Collections - Australia, China, U.S.A

Jonathan Kimberley

JONATHAN KIMBERLEY
Not my garden: Map of Unlandscape (Homage), 2008
Synthetic polymer & charcoal on linen
91 x 91cm
$3,600 Available on the COLLECT Art Purchase Scheme
Location: Room 215
Courtesy of Bett Gallery Hobart.

Jonathan Kimberley

JONATHAN KIMBERLEY
Not my garden: Map of Unlandscape (Untitled), 2008
Synthetic polymer & charcoal on linen
91 x 91cm
$3,600 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Bett Gallery Hobart.

Joshua Andree

JOSHUA ANDREE
Eraser, 2017
Oil and acrylic on canvas
150 x 150cm
$2,250 Available on the COLLECT Art Purchase Scheme
Location: 1st Floor corridor

These recent paintings explore historical reinvention through the act of painting. They seek to question how history is constructed and attempt to unsettle the understanding of what and who constructs it. Archival images are sourced from various points in Tasmanian history, with particular reference to the wilderness and environmental past and are subsequently, through the act of painting, removed from their original narrative meaning and repositioned to create a set images that are fugitive of their objective context, creating a strange, new and incongruous history, one that through the lens of time never actually happened.

The figures imbedded within the surface of the paintings once played a role in Tasmania’s past. They, however have long since gone, becoming ghosts of history. 

Swinging between figurative and gestural abstraction, pools of poured paint and sweeping marks of the artist’s brush suggest a flowing transient world in which history is at the mercy of the dynamic flux of time and new possibilities of understanding histories are developed. The stirring environments of paint all but suggest a slipping away of both time and reality while the lurid contrast of figure and ground battle to sustain one another, wiping away potential for narrative meaning.  In this sense, the images are no longer relic artefacts of history but become objects in and of themselves.

Joshua Andree

JOSHUA ANDREE
Before the flood, After the flood, 2017
Oil and acrylic on canvas
150 x 150cm
$2,250 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Joshua Andree

JOSHUA ANDREE
The Watcher, 2017
Oil and acrylic on canvas
102 x 90cm
$1,250 Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Joshua Andree

JOSHUA ANDREE
First Moment, 2015
Oil on canvas
183 x 183cm

SOLD

Joshua is a Tasmanian College of the Arts 2015 Graduate BFA honours / painting

To represent is to make relative. To make relative is to consider entity, phenomena or otherwise in relation or proportion to another. The objective of these paintings is to hold a self-evident reality; a reality referable through corporeal experience, but not illustrative of a particular place. The paintings travel a distance from figuration and representation toward san embodiment of gesture, movement and a containment of the existence of body, creating environments in and of paint where the plasticity of lived experience as well as the materiality of paid is laid bare.

Our worlds are liquid. Always becoming, never become. The way that we experience the world around us too is fluid; dynamic in nature, multi-faceted and temporal. The paintings seek to operate within this dynamic state, denying the rigors of traditional figure/ground relationships and western mythos of perspectival laws, creating an engagement with the viewer whereby the eye and body oscillates around the canvas, not finding a singular entry point into the composition. In this sense, the painted world too becomes liquid; in a constant state of flux. A destabilisation is created in which every stable and defined place to locate the viewer dissolves, becoming immersive environments of paint where colour, form and space are freed of their objective meaning, becoming the subjects in and of themselves.

Joshua Andree

JOSHUA ANDREE
Second Moment, 2015
Oil on canvas
183 x 183cm

SOLD

Joshua Andree

JOSHUA ANDREE
Third Moment, 2015
Oil on canvas
183 x 183cm
$1,600  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Joshua Andree

JOSHUA ANDREE
Fourth Moment, 2015
Oil on canvas
183 x 183cm
$1,600 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Joshua Andree

JOSHUA ANDREE
Fifth Moment, 2015
Oil on canvas
99 x 99cm

SOLD

Joshua Andree

JOSHUA ANDREE
Sixth Moment, 2015
Oil on canvas
99 x 99cm

SOLD

John Ingleton

JOHN INGLETON
from Retour à la Terre de Diemen, 2012
Digital print and acrylic medium
21 x 95cm
$395
Location: Contact Art Liaison

In 2005 I started research on a thesis about the early exploration of Tasmania by asking what would have happened if the French had settled here. Along the way my interest was piqued by information about the 1000’s of Australian plants collected by both the D’Entrecasteaux and Baudin expeditions which ended up in the Jardin des Plantes in Paris and in the garden of the Empress Josephine at Malmaison. The last surviving letter of, Jacques-Julien Houtou de Labillardière, the botanist on the Bruni d’Entrecasteaux expedition of 1792-94, was to the vice president of the Académie des Sciences in 1833 in which he, “…strongly urged the introduction to the south of France of five eucalypt species from Australia, including the mighty bluegum, Eucalyptus globulus…” (Duyker, Citizen Labillardiere). The investigation of Australian flora in French culture has informed my art practice during these past seven years but I thought it was now time to revisit my earlier focus on French exploration. However, instead of men in ships I have chosen to use the French Oak (Quercus robur) as a motif to represent those who might come exploring our island today. This is similar to the way that I have previously used Tasmanian flora to “explore” modern France.
- John Ingleton

John Ingleton

JOHN INGLETON
from Retour à la Terre de Diemen, 2012
Digital print and acrylic medium
21 x 95cm
$395
Location: Contact Art Liaison

John Ingleton

JOHN INGLETON
from Retour à la Terre de Diemen, 2012
Digital print and acrylic medium
21 x 95cm
$395
Location: Contact Art Liaison

Josh Simpson

JOSH SIMPSON
Paradise Arcade, 2017
Oil on Canvas
91 x 91cm
$1,420
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Hideaway, 2017
Oil on Canvas
91 x 91cm
$1,420
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Jungle to Jungle, 2017
Oil on Canvas
91 x 91cm
$1,420
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Paradise Pending, 2017
Oil on Canvas
40 x 40cm
$720
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Adrift, 2017
Oil on Canvas
40 x 40cm
$720
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Destination Unknown, 2017
Oil on Canvas
40 x 40cm
$720
Location: Room 206
Courtesy of Colville Gallery

Josh Simpson

JOSH SIMPSON
Out of Sight, 2017
Oil on Canvas
91 x 91cm

SOLD

Josh Simpson

JOSH SIMPSON
Fractured Canopy, 2017
Oil on Canvas
91 x 91cm

SOLD

John Vella

JOHN VELLA
Mine, 2016
Digital injket prints on Hahnemuhle photo rag with soil, no doz, coffee, Berocca, Red Bull
42 x 30cm paper size
$5,000 framed
Location: 1st Floor Corridor

MFA Tasmanian College of the Arts, University of Tasmania Australia 2000 BFA (Hons); Tasmanian College of the Arts, University of Tasmania Australia 1996; DipFA National Art School, Sydney Australia 1993

John Vella is Head of Discipline (Art) at the Tasmanian College of the Arts.  His work is represented in private and public collections. He has developed a number of independent and collaborative art research projects across diverse national and international contexts that include the: Museum of Old and New Art (MONA), Hobart; Stockholm Independent Art Fair; Glasgow International Arts Festival, UK; MCA Sydney; Helen Lempriere National Sculpture Award, Melbourne; Tasmanian Museum and Art Gallery, and Contemporary Art Tasmania, Hobart. In addition to having been awarded five major public art commissions, Vella has received highly competitive grants from the Australia Council and Arts Tasmania. 

MINE

I’ve used, if not abused, the mine closure form (the last form you fill in to close a mine) and reduced it to its skeletal composition. It’s left to the bare bones that frame the detail of who authorises what and why etc. (the form of the form if you will).. There is something about this particular form that strikes me in specific relation to the term ‘exhaust’… I can see the mine owners filling in this form having exhausted the earth they once worked on and in. I can see them exhausting their own resources in the process. I can feel them being aged by the process, ironically becoming closer to the earth, over the time they’ve spent mining what was once their space.

I printed the form multiple times in different colours as a form of release from the pragmatic. These colours aren’t overtly decorative or consciously contrived, more determined by a this goes with that mentality that might capture diverse emotional states and/or reference a range of natural to artificial materialities. They appear in their original states, minimal, beautiful, orchestrated, clinical…

I’ve taken the prints and brought them to my half built place. (the home I am renovating) Taking the various residue materials that have been left lying around the site (the stone, concrete, timber, steel..) I’ve worked the forms physically in an attempt to wear them out… to exhaust them of their preciousness, to provoke their minimalist poise, to challenge their inherent objectivity and drag, scrape and scratch them into a space of mine.

This process has been cathartic. A wonderful counterpoint to the manager, leader, bureaucrat space associated with my job in an art school however it’s more than that. It seems to have generated a pathos related to a material consciousness that is intimately linked to our own. I now feel for these fragments, this detritus and it’s capacity to shelter and house me and I also feel frustrated by the inevitable collapse of the organic to geometric, the transition that seems to be a compulsory part of this process… the tree to a log, to a plank of wood, the stone removed and sheared into tiles and so on ad infinitum. This frustration is matched by my hypocritical reality where as a human I consume whether it be air, food, light etc. I am in the world and I regularly use the world to my own ends. 

There is another side to this work that may manifest within frames or as a performative reaction to the gallery space. The use and abuse that comes with the exhaustion of MINE placed in relation to a counterpoint determined to transcend exhaustion. These are attempts to resuscitate echoing our own often, futile attempts to extend our ‘useful’ lives through substances geared to keep us a awake, give us strength or make us more efficient if not effective. Coffee, Red Bull, Berocca, No Doz etc. are mechanisms to counter exhaustion that are used and abused here as graphic, aesthetic if not pathetic counterpoints. Splashed across the objects and prints they serve to subvert the linear configuration of the work, to return the geometric to the organic, and in so doing reference the spill, the stain, the somewhat loose gestures of ingestion, absorption and abstract expressionism. Their concocted, chemical materiality stands in stark contrast to the physical, arguably natural materials they have attempted to revive.

So the forms, the stains, the materials are combined in a pseudo talismanic cycle of relations that for me speaks about what’s mine – my stuff, my place in the world – and my responsibility to at the very least own the bigger picture MINE… the magnificent attunement of my and their exhaustion and our collective, perpetual if not inevitable cycles of destruction, relation and cohabitation…

Kate Piekutowski

KATE PIEKUTOWSKI
Waiting, 2016
Hand coloured etching
70 x 49cm


SOLD

Being a first-generation child of Polish migrants, I am intrigued by the concept of belonging. Through the traditional methods of printmaking, I have tried to find connections between my contemporary life and my European heritage. There are elements of nostalgia in my works, as I am reflecting of memories from the past. Architecture and fashion have become huge elements in my work, and the 1920's have also become a major influence. By using processes of layering and narrative, my aim has been to explore an alternate world in the hopes of engaging with cultural identity.

QUALIFICATIONS
2013 Masters of Fine Arts in Printmaking, University of Tasmania 
2011 Bachelor of Fine Arts, School of Art, University of Tasmania, Hobart
2010-2011 Diploma of Fine Arts, School of Art, University of Tasmania, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI
Capturing Memories, 2016
Hand coloured etching
70 x 49cm
$595 unframed
Location: Print Rack
Courtesy of Colville Gallery, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI
A 1920s Gown, 2016
Hand coloured etching
90 x 60cm


SOLD

Kate Piekutowski

KATE PIEKUTOWSKI
A cage of memories, 2012
Multi plate etching, Edition of 20 (variable)
69 x 49cm
$595 unframed
Location: Print Rack
Courtesy of Colville Gallery, Hobart

Being a first-generation child of Polish migrants, I am intrigued by the concept of belonging. Through the traditional methods of printmaking, I have tried to find connections between my contemporary life and my European heritage. There are elements of nostalgia in my works, as I am reflecting of memories from the past. Architecture and fashion have become huge elements in my work, and the 1920's have also become a major influence. By using processes of layering and narrative, my aim has been to explore an alternate world in the hopes of engaging with cultural identity.

QUALIFICATIONS
2013 Masters of Fine Arts in Printmaking, University of Tasmania
2011 Bachelor of Fine Arts, School of Art, University of Tasmania, Hobart
2010-2011 Diploma of Fine Arts, School of Art, University of Tasmania, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI
A Romantic Past, 2012
Multi plate etching, Edition of 20 (variable)
69 x 49cm
$595 unframed
Location: Print Rack
Courtesy of Colville Gallery, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI




SOLD
Courtesy of Colville Gallery, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI
Threads of Venice, 2012
Multi plate etching, Edition of 20 (variable)
69 x 49cm


SOLD

Kate Piekutowski

KATE PIEKUTOWSKI




SOLD
Courtesy of Colville Gallery, Hobart

Kate Piekutowski

KATE PIEKUTOWSKI




SOLD
Courtesy of Colville Gallery, Hobart

Kath Sinkora

KATH SINKORA
Going Somewhere?, 2009
Charcoal and ink on paper
107.5 x 149cm

SOLD
Judges Commendation, 2009 City of Hobart Art Prize

THE 2007 BARK CANOE PROJECT
Some 10,000 years ago the land mass now known as Tasmania separated from the Australian mainland. Tasmania’s (Trowenna) many offshore islands provided a rich, seasonal food source for the Aboriginal people of Tasmania, who travelled there in canoes made from stringy bark, paper bark and reeds. Over 200 years ago European explorers documented these craft in both words and drawings, thus providing valuable cultural records for the future. The 2007 Bark Canoe Project undertaken by members of the Tasmanian Aboriginal community at the Tasmanian Museum and Art Gallery sought to renew this traditional cultural practice of canoe-making previously thought lost.

The Bark Canoe Team built a fourteen-foot canoe on site at TMAG and as a TMAG employee of I was privileged to gain access to the construction site. I witnessed the awe-inspiring and impressive beginnings of the canoe and followed the fascinating process to its successful completion. I was moved by the power of the canoe’s presence – its size, form, structure, texture and incredible technical, historical and cultural significance.

Kath Sinkora

KATH SINKORA
Where's the Ocean, 2007
Charcoal on paper
79 x 118.5cm
$3,900 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Katy Woodroffe

KATY WOODROFFE
Caught in the Spotlight, 2013
Acrylic and ground pigment on paper
113 x 103cm
$4,500 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Race of the Carousel, 2013
Acrylic and ground pigment on paper
150 x 100cm
$7,500 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Trophies of the Landscape: A Private Collection, 2015
Acrylic and ground pigment on paper
113 x 112cm
$6,750 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Still Life with Oranges:

Last year I visited the 1840’s cottage of Geoffrey and Rosemary Stillwell in Liverpool Street, Hobart. Rosemary had recently passed away and her brother Geoffrey had died in 2000. The home was full of an eclectic collection of items from their lives, set out in various arrangements ready for auction.

Geoffrey had been the Curator at the Allport Library and Museum of Fine Art and had collected some wonderful Tasmanian heritage items as well as inherited objects from his own family’s history.

I felt a bit like a voyeur and an intruder as I wandered around examining each piece and even handling some of the objects. The rooms seemed largely untouched and the original wallpaper framed some beautiful old pieces of work. The experience initiated many of the works in this exhibition, as did several visits to the exquisite Allport Museum with its beautiful colonial collection.

… things placed right next to us, in absolute intimacy, yet unknowable. Full of history, but their history is mute; full of associations with particular people, moments, gestures, emotions, and all those associations not available now… 
(Mark Doty, Still Life with Oysters and Lemons)

Katy Woodroffe 2016

Katy Woodroffe

KATY WOODROFFE
Twilight Dreaming,2016
Acrylic and ground pigment on paper
111 x 72cm
$3,750 framed Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Katy Woodroffe

KATY WOODROFFE
A Private Collection (Deep Red Tablecloth), 2016
Acrylic and ground pigment on paper
38 x 73cm
$2,250 framed Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Katy Woodroffe

KATY WOODROFFE
A Private Collection (With Strawberry), 2016
Acrylic and ground pigment on paper
38 x 73cm
$2,250 framed Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Katy Woodroffe

KATY WOODROFFE
In the Shadow of Past and Present, 2016
Acrylic and ground pigment on paper
38 x 38cm

SOLD

Katy Woodroffe

KATY WOODROFFE
Winter Evenings: Desire, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 225

Artists Statement
Inheritance

A visit to the Tasmanian Museum and Art Gallery and a journey through some wonderful homes and museums in England renewed my desire to explore the colonial links between Tasmania and Britain. This prompted an investigation into my own (hitherto unknown) family history.

Research revealed that my mother’s great grandfather, Henry Lyne, arrived in Van Diemen’s Land from England with his family in 1826 at the age of twelve. They were granted 1500 acres of land on the east coast. This land belonged to the Oyster Bay aboriginal tribe and accounts of the conflict during the Black War have been well documented. It was a shock to find out that my own family had played a part in the dispossession of their land.

Henry’s two youngest siblings, Betsy and Susan, were unintentionally involved in the conflict. In 1828, aged ten and eight, they were sent into the tidal marsh near their home to guard a herd of young bulls. Evidently they were playing and failed to see an approaching group of aborigines. Susan was knocked unconscious with a blow to the head with a waddy. She survived and I have responded to her story in several of the works.

Henry’s older brother, John, became a politician and to gain favour with the local sheep farmers, introduced a bill to put a bounty on the thylacine, with a significant impact on their numbers. The Tasmanian tiger is featured in several pieces of work in this exhibition, sometimes paired with the Asian tiger, which was often used as an exotic specimen in the 19th century cabinets of curiosity of the British Empire. With other trophies, these cabinets were a reflection of colonial power and it seems ironic that extinction was often part of the narrative of these displays.

As I worked on these pieces, I reflected on the impact of colonial rule on the evolving Tasmanian identity with references to my own family heritage. Attempts by the early settlers to create a semblance of the civilized society they had left behind inevitably led to the transfer of imported cultural artifacts into their new homes. This was the starting point for many of the works.

Finding a diary entry in my grandfather’s work journal added further motivation to pursue the female and domestic part of the story. In noting his activities on his property Coombend, he mentioned my mother’s birth at the end of a long list of farm tasks as “baby born Saturday”. No other mention was made of her in the diary.

This exhibition is, in part, a belated celebration of that event.

Katy Woodroffe 2015

“And the ship sailed onward, gliding serenely down the moonlit river toward the dark lands beyond.”
Christopher Paolini, Inheritance

Katy Woodroffe

KATY WOODROFFE
Winter Evenings: Radiance, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 225

Katy Woodroffe

KATY WOODROFFE
Tiger Tales: A Knowing Gaze, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Tiger Tales: Past Tense, 2014
Acrylic and ground pigment on paper
39 x 37cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Secrets of the Lader: Pesce Arancione, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Bedtime Stories, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 211

Katy Woodroffe

KATY WOODROFFE
Secrets of the Larder: Good Friday, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 211

Katy Woodroffe

KATY WOODROFFE
Secrets of the Larder: Easter, 2014
Acrylic and ground pigment on paper
39 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Beside Still Water: Seeking the Light, 2014
Acrylic and ground pigment on paper
75 x 39cm
$2,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 225

Katy Woodroffe

KATY WOODROFFE
Beside Still Water: Sarah Mary the Second, 2014
Acrylic and ground pigment on paper
75 x 39cm
$2,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 225

Katy Woodroffe

KATY WOODROFFE
Memory Room: Expectations, 2012
Mixed media on paper
117 x 73cm
$3,750 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Memory Palace
Created from a recent journey through Italy and France

In the 1500s, the Italian scholar and philosopher Giulio Camillo attempted to memorize all the knowledge in the world in his “theatre of memory” - designed to store memories in a physical space that was linked to another technique for remembering – the memory palace.

This exhibition is based around images collected during a journey through Italy and France last year and these have provided the basis for this imagined palace of memories. Objects in natural history museums, cabinets of curiosity and opulent palaces with their lush gardens and carousels have been combined to create fresh narratives. Connections between the real and imagined, the natural and man made, became increasingly significant as the work progressed

I have worked intuitively, using symmetry and repetition to create a series of pieces in which there is a threshold between these real and imagined states. Paintings within paintings and birds on man made chairs and ceramics next to other birds and animals, which are all specimens and have similarly been created by man.

Ultimately the work is an imaginative and intuitive construct, which hopefully reflects the sense of awe and excitement I experienced in these poetic and evocative spaces.

- Katy Woodroffe

Katy Woodroffe is an Australian artist who lives in Hobart, Tasmania. She has exhibited nationally and internationally and has been selected for art residencies in countries around the world.

From 1999 - 2010 she was Director of the Poimena Gallery where she was actively involved in curating and organising a wide range of exhibitions and events. She also initiated and co-ordinated the Poimena Visual Arts International Residency Program and was Head of the Art Department at the Launceston Church Grammar School from 1987 – 2010.

Katy studied at both the Tasmanian School of Art in Hobart and in Launceston where she completed her Master of Fine Art and Design in 1999.

In 2001 she was invited to participate in a two month residency at the Cite des Arts in Paris by the University of Tasmania and this experience was a major influence on the development of her arts practice.

In 2007, Katy was invited to exhibit with fellow artist Robert Ikin and two Dutch artists in the exhibition “The Tasmanie Project” at the Gallery de Meerse in Amsterdam. This exhibition was opened by the Australian Ambassador to the Netherlands and received widespread coverage in arts publications in Holland.

In 2008 she won the Premier’s Choice Award in the Women Tasmania’s Material Girl 08 Competition, which is a prize she also won in 2006. That year she was also a selected Finalist in Bimpe V, the Fifth Biennial International Print Exhibition in Vancouver, Canada and was selected in the 7th Lessedra World Art Print Annual in Sofia, Bulgaria.

In April of that year, Katy was invited to a residency at the Fundacion Valparaiso in Mojacar in Spain. This four week residency was funded by a generous grant from the Fundacion Board which selects artists, writers and poets etc from around the world. At the end of the residency she had a solo exhibition and presentation of her work to guests from Paris and Copenhagen. In 2008 she was also chosen as the winner of the Salamanca Collection Art Prize in Hobart.

In 2009 she was selected in the 2nd Guanlan International Print Biennial in Shenzhen, China from artists from 70 countries and was one of 5 artists chosen from Australia.

In the same year one of her major pieces from the “Los Cantaros” series from Spain was selected for the International Print Triennial in Krakow, Poland and has consequently been included in their collection.Another piece from this series was selected in the International Juried Exhibition in Ottawa, Canada.

In 2009 Katy was included in the Ex Libris Exhibition in Debrecen in Hungary, the International Graphic Triennial in Bitola (Republic of Macedonia) and she was also included in an exhibition featuring the work15 artists from 13 countries at the Gallery Hopeinen in Helsinki, Finland. Her work was also selected in the 3rdInternational Printmaking Exhibition in Istanbul, Turkey, and she was featured in the First Alexandria International Biennale for Miniature Graphics in Egypt in December 2009

A solo exhibition of her work from her residency at the Fundacion Valparaiso in Mojacar in Spain was shown in “The Fountain” at the Salamanca Collection Gallery in Hobart in July 2009.

She also had a major exhibition of work from the previous three years at the Barrack Gallery, Art Equity, in Sydney in September 2009. “Cadenza” included work from the Tasmanie Project, the Amber Room series and works from Spain. In July 2010 she had an exhibition of new works at the Colville Gallery in Hobart in the exhibition “Two Worlds” with Rob Ikin.

In August and September 2010 she was invited to participate in the 5th International Printmaking Triennial in Douro, Portugal.

In September and October 2010, Katy participated in residencies at the Skopelos Foundation for the Arts on the Skopelos Island in Greece and at the Makanne residency in Udaipur in India. In September she also had a major solo exhibition, “Ghazals”, at the Astry Gallery in Sofia, Bulgaria. Works from the residency in Greece were selected by the Bougainvillea Gallery in Udaipur for an international exhibition in 2010/11.

In 2011 she was selected in a range of national and international exhibitions and had a successful solo exhibition at the Colville Gallery in Hobart. This was followed by another major exhibition “In Search of Paradise” at the same Gallery in April 2012, before travelling to Rome, Sicily and Paris. In early 2012 she also had work selected in important exhibitions in Melbourne, Sydney, Hong Kong, Hungary and Bulgaria.

Katy Woodroffe

KATY WOODROFFE
Memory Room: Threshold, 2012
Mixed media on paper
116 x 75cm
$3,750 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Battle of the Pawns, 2012
Acrylic and pigment on paper
116 x 73cm
$3,750 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Katy Woodroffe

KATY WOODROFFE
Pawn Story: Act 1, 2012
Mixed media on paper
58 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Katy Woodroffe

KATY WOODROFFE
Pawn Story: Act 3, 2012
Mixed media on paper
58 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Katy Woodroffe

KATY WOODROFFE
Pawn Story: Act 4, 2012
Mixed media on paper
58 x 37cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Katy Woodroffe

KATY WOODROFFE
Pawn Story: Act 2, 2012
Mixed media on paper
58 x 37cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
In the Amber Bedroom, 2007
Mixed media on paper
120 x 80cm
$6,500 framed Available on the COLLECT Art Purchase Scheme
Location: Room 209

In the Amber Bedroom, 2007

This piece of work was inspired by a journey through Eastern Europe in 2007.

My preconceptions about cultures emerging from the communist era were shattered when I encountered the confident, modern societies of Hungary, Slovenia and Slovakia, where the people seemed comfortable with the traditions of the past whilst embracing the excitement of the future.

I have endeavoured to celebrate the individual optimism of contemporary women who are still linked to the culture and traditions of the past.

The lace used in this piece was given to me in a Budapest market and I have used the mannequin and the bobbin to make a playful sexual reference.

The work incorporates hand painted stencils on paper with a transparent oxide glazed over the top.

— Katy Woodroffe

Katy Woodroffe

KATY WOODROFFE
Clique of the Castanets #1, 2006
Mixed media on paper
124 x 101cm
SOLD

Katy Woodroffe

KATY WOODROFFE
Pearls of Wisdom #2, 2006
Mixed media on paper
94 x 105cm
$4,000 framed Available on the COLLECT Art Purchase Scheme
Location: Room 212 

This body of work has been inspired by experiences on a journey through India, Spain, Portugal and Morocco in January 2005. I was already obsessed with pattern, following a Paris residency in 2001 and this was further ignited by my first actual encounters with Islamic art and architecture. The Palace in Udaipur, the Taj Mahal in Agra and the Palaces of the Alhambra in Granada were awe inspiring and allowed my imagination full scope as I paused for reflection in many of the rooms of these buildings which had often been used only by women.

THe imprint of these women, who were often hidden from view, but ever present, seemed to permeate these spaces. The Tower of the Captive Princess at the Alhambra was especially poignant - where the presence of the female was palpable, yet absent. The extraordinary beauty of the patterns in the tiling throughout the Palaces in the Alhambra seemed to absorb secluded world of women, conjuring up feelings of the exotic sensuality of ancient Islam. THis was essentially a western response to the mystery, tranquility and the absolute beauty of this culture. I have attempted to include aspects of these reactions in my ensuing practice.

The work which resulted from these experiences is largely print based and further explores an ongoing personal repertoire of feminist concerns: sexuality, re-generaton, isolation. A dressmaker dummy first seen in an antique market in Paris, provided the initial inspiration, being used as a recurring figurative symbol in my work in an attempt to re-situate the female image in a contemporary context. This includes an evolving visual exploration into the complexity of the female identity - often as a site for re-constructing the procreative experience - as mother, daughter, goddess, icon - or a combination of roles to be explored in all their ambiguous diversity.

The princess paradox continues as part of the fairytale, existing somewhere between fantasy and reality.

Katy Woodroffe

KATY WOODROFFE
Pearls of Wisdom #3A, 2006
Mixed media on paper
94 x 105cm
$4,000 framed Available on the COLLECT Art Purchase Scheme
Location: Room 212

Katy Woodroffe

KATY WOODROFFE
Songs of the Nightingale
Mixed media on paper
140 x 130cm

SOLD

Katy Woodroffe

KATY WOODROFFE
Allure of the Orient
Mixed media on paper


SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Hidden Desires #7, 2006
Mixed media on paper
54 x 54cm
$1,250 framed Available on the COLLECT Art Purchase Scheme
Location: Room 222

Katy Woodroffe

KATY WOODROFFE
Hidden Desires #1, 2006
Mixed media on paper
54 x 54cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Hidden Desires #3, 2006
Mixed media on paper
54 x 54cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Hidden Desires #4, 2006
Mixed media on paper
54 x 54cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
The Nightingale's Farewell #5, 2006
Mixed media on paper
47 x 39cm
$495 framed
Location: Room 209

Katy Woodroffe

KATY WOODROFFE
The Nightingale's Farewell #8, 2006
Mixed media on paper
47 x 39cm
$495 framed
Location: Room 209

Katy Woodroffe

KATY WOODROFFE
Waiting for Persephone, 2011 
Mixed media on paper
120 x 128cm


SOLD

This work evolved from my experiences during a residency on a Greek Island at the Skopelos Foundation for the Arts last year. Regular dinners at a local restaurant under a fully laden pomegranate tree, sparked an interest in the significance of this fruit in Greek mythology.

The ancient myth of mother and daughter, Demeter and Persephone, touches on many complex human emotions such as love, lust, desire, passion, grief, control, deception, temptation and resurrection.

After the kidnapping of her daughter, the suffering of Demeter, goddess of the harvest, threatens to cause great harm to the earth. And the power and attraction of the pomegranate seed deceives Persephone so that she is condemned to spend four months of each year in the underworld. The natural transition of the seasons thus becomes part of the myth and is associated with the grieving of Demeter. Persephone represents both youth and spring. Her continued relocation back to the earth suggests renewal and increased vitality.

This work explores a fictional narrative around the myth and also makes reference to Skopelos, where the ancient Greek culture always seems to be just beneath the surface of this ‘treasure island’.

‘Looking at objects from other cultures and countries, I am a tourist, in awe of their beauty and power. I follow my instincts and am compelled to draw certain forms, trying to understand them and the effect their presence has on me. I am “swallowing” culture and it co-exists with my own – from two different hemispheres’.

Katy Woodroffe

KATY WOODROFFE
Temptation, 2011
Mixed media on paper
117 x 75cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Where is my loved one, 2011
Mixed media on paper
117 x 76cm

SOLD
Courtesy of Colville Gallery, Hobart

Katy Woodroffe

KATY WOODROFFE
Persephone Returns, 2011
Mixed media on paper
120 x 74cm

SOLD
Courtesy of Colville Gallery, Hobart

Keven Francis

KEVEN FRANCIS
Untitled, 2014
Acrylic, charcoal and scorching on paper
76 x 56cm

SOLD

The art practice of Keven Francis engages with reflection and transition, as a contemplative space of negotiation, a separate state of in-betweenness. It is informed during time spent working in regional Australia as an artists and manager and in cross-cultural arenas where negotiation and the transformation are essential components of sustainability.

A focus of his practice is the concept that during transition and negotiation elements are in a state of flux, which creates experiences and reflections that are unique to the period of transition itself rather than its before and after. When transition is engaged with, and its unstable aspects put aside, it can be observed as a meditative dimension of understanding.

The scorched works evolved from the tactility and sensuality of materials, and the spontaneity and risk associated with the transformational qualities of fire. The transition of carbon edges created on pit-fired pots drew his attention as he began to focus on the edge that distinguished one state from another. Eventually stretching the curved lines on the pots into lines on paper, canvas and wood.

Keven holds a Graduate Diploma of Arts (Visual) from the Australian National University and a Master of Arts and Entertainment Management from Deakin University. He lives with his family in Hobart where he works as a visual artist and management consultant. He is also currently enrolled in a cross-cultural and interdisciplinary PhD at the Australian National University, in the fields of landscape management and visual arts.


Artist Statement

My art practice reflects my experience and contemplation of negotiation between people in cultural and natural environments. I work across a wide range of the mediums including Painting, Drawing, Photography, Ceramics

I am inspired by the world heritage of Tasmania, where I live with my family and my experiences working at Uluru-Kata Tjuta and Purnululu world heritage parks.

The scorched drawings, which I have developed over recent years, evolved from my ceramics practice and engagement with the flame. Initially I simply pulled hot pieces and wood from the fire pit and infusing their presents into paper.
- Keven Francis, 2015

Keven Francis

KEVEN FRANCIS
Untitled, 2014
Scorching on paper
76 x 56cm
$1,050 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Keven Francis

KEVEN FRANCIS
Untitled, 2014
Scorching on paper
76 x 56cm
$1,190 Available on the COLLECT Art Purchase Scheme
Location: Room 305

Keven Francis

KEVEN FRANCIS
Space Between, 2014
Acrylic on canvas
162 x 100.5cm
$2,000 Available on the COLLECT Art Purchase Scheme
Location: Room 305

Keven Francis

KEVEN FRANCIS
Transition, 2014
Acrylic on canvas
92 x 61cm

SOLD

Keven Francis

KEVEN FRANCIS
Behind, 2014
Acrylic on canvas
61 x 46cm
$825
Location: Room 203

Keven Francis

KEVEN FRANCIS
Black and White, 2014
Acrylic on canvas
46 x 61cm
$825
Location: Room 203

Kim O'Sullivan

KIM O'SULLIVAN
Eel Sharks, 2011
Acrylic on MDF
120 x 170cm
$2,500 Available on the COLLECT Art Purchase Scheme
Location: Room 111

Kim is a 2010 graduate from the Tasmanian School of Art.

My work looks at the relationships between humankind and the environment – at man’s assumptions and the resultant consequences for other species. In this series, I am creating paintings which portray marginalised and outlawed animals as an embedded part of the landscape – wary and camouflaged but nevertheless present.

The paintings are composed from taxidermy specimens and fragments of Tasmanian bushland and the intention is that the animals and their environment vie for prominence. By subverting the figure to ground relationship through camouflage strategies within colour, line and composition, I allow the animals to escape detection, if only for a second.
- Kim O’sullivan

Laura E Kennedy

LAURA E KENNEDY
crinitus pullum (a fluffy chicken), 2013
Pencil on paper
86 66cm framed 
$1,900
Location: Room 104

In these drawings Laura E. Kennedy explores how the bombardment of imagery in our current society affects our perceptions about animals. In particular the drawings explore how the classifying of type between domestic and wild or common and exotic contaminate their perceived value and consequently, their treatment. In these two works, Kennedy simultaneously examines the devaluing of her medium of coloured pencil on paper and of birds used most commonly for food production or sport. The compositions fuse two contrasting but abundantly revered painting influences; that of the Baroque Masters and the conceptual painting pinnacle of Kazimir Malevich’s Black Square. Through the juxtaposition of these influences and the use of repetition and pattern she presents the birds in unexpected drawings that transcend the assumptions generally reserved for their subjects, scale and medium. The titles being presented in Latin is a further (albeit rather playful) attempt by Kennedy to elevate the drawings and address the tenuous nature of “value” in art, particularly in the context of the artist not speaking a word of the esteemed dead language but rather relying solely on Google Translate to produce the phrases.

Laura E Kennedy

LAURA E KENNEDY
anas fugiens fereni (duck fleeing the scene), 2013
Pencil on paper
86 66cm framed diptych
$1,900
Location: 1st Floor Corridor

In anas fugiens ferenti in order to inspire the viewer to look beyond the common portrayal of ducks as either hunting target motifs or “kitschy wall décor”, Kennedy has presented this bird gracefully in flight and attempting to escape the dictated visual plane. The unbalanced composition is accentuated by the separation of the drawing into two hinged frames designed to sit perpendicularly in the corner of the exhibiting space.  The corner angle also creates a reflection on the glazing that imprints the duck’s form back onto the vast dark space from which it aspired to escape. This reflection references the duck’s inevitable entrapment due to the pathetically imbalanced nature of a small defenseless bird being forced to compete with a shotgun.

Laura E Kennedy

LAURA E KENNEDY
297 Nights in the Middleton of Nowhere, 2014
Pencil and ink on collaged paper
97 x 97cm framed 
$2,200
Location: Room 104

297 nights in the Middleton of nowhere is an exploration of isolation as experienced by the artist as a result of relocating from mainland suburbia to rural Tasmania in early 2012. To attempt to convey the complexity of this experience, Laura E Kennedy has created a nightscape that simultaneously references both the exterior and interior.

In terms of conveying the external, the domineering black of the work aspires to replicate how overwhelming the expanse of overnight darkness can be. Specifically, it targets the jarring that occurs when “outside” is suddenly an entirely alien region unaided by the glow of streetlights or even neighbouring houses. The brief illumination from a torch shone onto a small cluster of grass, represents the new reality that light is only present within the tiny scope of what you can personally control.

The deep box frame surrounding 297 nights’… intentionally creates a significant separation between the glazing and the works surface in order to replicate the boundary between windowpane and outside world. The notion of interior is further reinforced by the disjointed arrangement of the paper. The resulting embedded cross formation quietly pays homage to simplistic childhood drawings of windows. The use of glazing over the largely dark work creates a distractingly significant amount of reflection when viewing. Here the impossibility of peering out into the night from within the comfort of a well-lit room is being simulated. Conceptually, the reflection of the viewer also serves as an important psychological symbol. That is, how darkness or moreover the fear and paranoia it induces is always purely a reflection of what you imagine is contained within it.

Leonie Oakes

LEONIE OAKES
She Murmured to Herself, 2015
Giclee print on archival paper, antique paper & thread
50 x 50cm
$1,200 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Leonie Oakes

LEONIE OAKES
She Whispered, 2015
Giclee print on archival paper, antique paper & thread
50 x 50cm
$1,200 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Lindsay Broughton

LINDSAY BROUGHTON
Jam Pot, 2009
Wax crayon
228 x 300cm
The Henry Jones Art Hotel Collection

Lindsay Broughton was Head of the Drawing Studio at the Tasmanian School of Art, University of Tasmania for 25 years. Since retiring, he continues his art practice in Hobart. His own work consists mainly of drawing, although he also works periodically as a sculptor and installation artist.

The Foyer artworks at The Henry Jones were installed on December 4th, 2009.

JAM POT: IXL Jam dates back to the 1890’s and was a successful company until the early 1970’s. Generations of Hobartians knew, and still recall the sweet fragrance of jam that would fill the Hobart air, all of which emanated from these large steam-heated pots, which were still used until the very late stages of the company.

In the larger studio drawings that evolve from his smaller objective studies, Broughton portrays historical artefacts in ways that transcend the latters’ relative archaeological objectivity and ‘fact’. Typically, in these studio works, he alters details and overall proportions for compositional reasons, while, for expressive purposes, he incorporates within a particular work details from his studies of other artefacts. He strives to realise images of speculation and mystery that connect viewers, via their own imaginations, with some ancient, mythic past.

Woven Basket, 2009 Wax crayon on paper, 228 x 300

Lindsay Broughton

Woven Basket, 2009 Wax crayon on paper, 228 x 300

Woven Basket, 2009 Wax crayon on paper, 228 x 300

LINDSAY BROUGHTON
Woven Gathering Basket, 2009
Wax crayon
228 x 300cm
The Henry Jones Art Hotel Collection

Lindsay Broughton was Head of the Drawing Studio at the Tasmanian School of Art, University of Tasmania for 25 years. Since retiring, he continues his art practice in Hobart. His own work consists mainly of drawing, although he also works periodically as a sculptor and installation artist.

The Foyer artworks at The Henry Jones were installed on December 4th, 2009.

WOVEN GATHERING BASKET: Sullivans Cove, Hobarts waterfront precinct, was inhabited by the Mouheneer for at least a thousand generations. Their inherent connection to the land runs deeply, bypassing the changes over the last two centuries, and it is through the use of arts and traditional craft that enables them to keep their culture flourishing. The drawing is of a traditional woven basket used for gathering and is a beautiful acknowledgment.

In the larger studio drawings that evolve from his smaller objective studies, Broughton portrays historical artefacts in ways that transcend the latters’ relative archaeological objectivity and ‘fact’. Typically, in these studio works, he alters details and overall proportions for compositional reasons, while, for expressive purposes, he incorporates within a particular work details from his studies of other artefacts. He strives to realise images of speculation and mystery that connect viewers, via their own imaginations, with some ancient, mythic past.

Ships Bell, 2009 Wax crayon on paper, 130 x 182cm

Lindsay Broughton

Ships Bell, 2009 Wax crayon on paper, 130 x 182cm

Ships Bell, 2009 Wax crayon on paper, 130 x 182cm

LINDSAY BROUGHTON
Bell from the Natal Queen, 2009
Wax crayon
130 x 182cm
The Henry Jones Art Hotel Collection

Lindsay Broughton was Head of the Drawing Studio at the Tasmanian School of Art, University of Tasmania for 25 years. Since retiring, he continues his art practice in Hobart. His own work consists mainly of drawing, although he also works periodically as a sculptor and installation artist.

The Foyer artworks at The Henry Jones were installed on December 4th, 2009.

BELL FROM THE NATAL QUEEN: For many years the iron barque, Natal Queen, traded between Tasmania and mainland ports. In 1909 she was at Gray Brother’s pier, Adventure Bay and loading timber for Adelaide when an easterly gale sprung up. Captain Shimmins tried to move her to deeper water but she grounded on the rocks.

Frederick Gray, owner of the timber mill obtained salvage rights on the vessel and recovered this bell.
The Cove was integral to the early development of Hobart. The maritime history is rich, linking many aspects of early Hobart and its whaling industry as it was one of the whaling capitals of the world. All of the convicts arriving in Tasmania disembarked their ships in the Cove and their first steps on Tasmanian land would have been at Old Wharf, which is what Hunter Street was originally named.

In the larger studio drawings that evolve from his smaller objective studies, Broughton portrays historical artefacts in ways that transcend the latters’ relative archaeological objectivity and ‘fact’. Typically, in these studio works, he alters details and overall proportions for compositional reasons, while, for expressive purposes, he incorporates within a particular work details from his studies of other artefacts. He strives to realise images of speculation and mystery that connect viewers, via their own imaginations, with some ancient, mythic past.

Lorraine Biggs

LORRAINE BIGGS
Canopy: Adagio, 2016
Oil on linen
102 x 182cm
$3,850  Available on the COLLECT Art Purchase Scheme
Location: Rom 106

Lorraine Biggs moved from Perth, W.A. to Tasmania in 1993. Her post-graduate studies were completed at the University of Tasmania in Hobart and her art practice continues from her home studio on the East coast of Tasmania.

ARTIST STATEMENT

I considered my approach to the Blue Tier highland country; the clouds, shapes of the mountain forms through different weather, the light, the complex forest systems and then they burst back out into the light at the end of the day from under the leafy canopy. I built on repetition and nuances from many years of visiting this location.

Lorraine Biggs

LORRAINE BIGGS
Forest: Polyphony, 2016
Oil on linen
102 x 182cm
$3,850  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Lorraine Biggs

LORRAINE BIGGS
Mountain Wind, 2017
Oil on linen
102 x 182cm
$3,850  Available on the COLLECT Art Purchase Scheme
Location: Room 207

Lorraine Biggs

LORRAINE BIGGS
Sassafras: Sonata, 2016
Oil on canvas
200 x 75cm (triptych)
$1,500 
Location: 2nd Floor Corridor

Lorraine Biggs

LORRAINE BIGGS
Werifesteria: Glissandi, 2016
Oil on canvas
45 x 60cm
$700  
SOLD

Lorraine Biggs

LORRAINE BIGGS
Forest1: Poco vivo, 2016
Oil on canvas
25 x 20cm
$500 
Location: Room 106

Lorraine Biggs

LORRAINE BIGGS
Forest2: Poco vivo, 2016
Oil on canvas
30 x 40cm
$600 
Location: Room 106

Lorraine Biggs

LORRAINE BIGGS
Forest3: Poco vivo, 2016
Oil on canvas
25 x 20cm
$500 
Location: Room 106

Lorraine Biggs

LORRAINE BIGGS
Small Wonders of the Forest #1, 2015
Pastel chalk and charcoal on handmade Tasmanian pandani paper
111 x 85cm (frame size)
$2,800 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

*unavailable until end of November 2017 due to upcoming gallery show

Small Wonders of the Forest won the People's Choice in The 2015 City of Hobart Art Prize.

Lorraine Biggs moved from Perth, W.A. to Tasmania in 1993. Her post-graduate studies were completed at the University of Tasmania in Hobart and her art practice continues from her home studio on the East coast of Tasmania.

Painting and drawing make up the major portfolio of her work and her main focus is the natural world where she explores diverse ecosystems through detailed works. Project based works can take two or three years with immersion into forest, coastal or weather themes often researched through residencies. She has been commissioned for many projects including a diverse range of Art for Public Building projects in Tasmania.

Lorraine is an active artist who exhibits widely and her works are held in many collections including Artbank, Curtin University, University of Tasmania, Art Gallery of W.A.

 

Lorraine Biggs

LORRAINE BIGGS
Small Wonders of the Forest #2, 2015
Pastel chalk and charcoal on handmade Tasmanian pandani paper
111 x 85cm (frame size)
$2,800 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Small Wonders of the Forest won the People's Choice in The 2015 City of Hobart Art Prize.

Lucia Rossi

LUCIA ROSSI
Abraded, from the Isola Corpo series, 2007
Type C Print
Edition of 8
23 x 97cm
$1,850 framed
Location: Room 107

Lucia completed a Bachelor of Fine Arts degree at the Tasmanian School of Art, University of Tasmania, in 2003, majoring in photography.

I have a big problem with a world that does not really understand the value and importance of nature in both cultivated and wild places – especially the latter which is becoming increasingly threatened. We would be a much more advanced civilisation if we truly respected and understood the role of nature in the spiritual and physical well-being of humanity and the planet. I thank my parents who gave me a huge gift by immigrating to Tasmania. It’s so in my heart; and has instilled in me a love and regard for nature.

Lucia Rossi

LUCIA ROSSI
Ephemeral trace, from the Isola Corpo series, 2007
Type C Print
Edition of 8
23 x 97cm
$1,850 framed
Location: Room 107

Luisa Romeo

LUISA ROMEO
Pork Flavoured Donut, 2015
Hand coloured linocut
120 x 120cm
$1,900 framed in acrylic  Available on the COLLECT Art Purchase Scheme
Location: Room 114

Luisa Romeo

LUISA ROMEO
Repetitive by Nature, 2014
Paint pen and acrylic on board
90 x 90cm
$920
Location: Contact Art Liaison

Melbourne born, Hobart based.
Donning many hats and adhering to many labels, Luisa is a daughter, a sister, an aunty, a neighbor, a friend, a cyclist, a motorist, a disability support worker, a volunteer, a WOOFER, a vegetarian, she is a pedestrian, a dish washer, a vintage dress collector, a kombi owning herbal tea drinker, a window shopper but most importantly, if a label to be placed, she is an artist. Art has filled her space and head space for her entire life. Drawing = happiness. A heavy defining line. A continuous unbroken line. Worn down 8B graphite pencils are not an uncommon sight in her home/studio space.

Luisa Romeo

LUISA ROMEO
Repetitive by Nature, 2014
Paint pen and acrylic on board
90 x 90cm
$920
Location: Contact Art Liaison

Luisa Romeo

LUISA ROMEO
Repetitive by Nature, 2014
Paint pen and acrylic on board
90 x 90cm

SOLD

Luisa Romeo

LUISA ROMEO
Buffalo, 2012
Graphite & watercolour
57 x 76cm
$850 unframed
Location: Print Rack

Luisa Romeo

LUISA ROMEO
Two Halves of Cow, 2012
Graphite & watercolour
57 x 76cm
$850 unframed
Location: Print Rack

Luisa Romeo

LUISA ROMEO
Pig, 2012
Graphite & watercolour
57 x 76cm
$850 unframed
Location: Print Rack

Luisa Romeo

LUISA ROMEO
Pork on your Fork, 2012
Two plate woodcut
90 x 60cm
$750 unframed
Location: Print Rack

Luisa Romeo

LUISA ROMEO
Pork on your Fork, 2012
Unique state

SOLD

Mairi Ward

MAIRI WARD
Painting No. 1, 2011
Household paint on linen
152 x 152cm
$3,250 Available on the COLLECT Art Purchase Scheme
Location: Room 220
Courtesy of Handmark Gallery, Salamanca Place

Practical engagement with materials is central to my arts practice. Whilst painting I engage in a creative play. The most exciting moments in the studio are when something new emerges. The conception of my work is inextricably linked to my everyday activities. In my practice the engagement in creative process is paramount.

My paintings are composed of layers of overlapping and interlocking forms. The process is built on laborious repetition. Through repeating simple patterns over the whole canvas quite complex patterns emerge. As the layers build up a visual push and pull occurs. Patterns pop out and fall back as layers are added. I mainly work with water-based house paints and ink. The fluidity of these mediums is well suited to the methods of application that I use.

There are many similarities, both philosophical and material, between my arts practice and that of dance. My interest in the process is primarily due to the movement inherent in it. It is through movement that I engage with the world. The things I make are the traces, or imprints of my actions. For me, the process is the outcome, when immersed in it I find a sense of equilibrium with what is. Mairi Ward, May 2009

Maria MacDermott

MARIA MacDERMOTT
Untitled (Fragments), 2016
Found objects fixed in 6 acrylic boxes
23 x 25 x 7cm each, sold as a set of 6
$3,750  Available on the COLLECT Art Purchase Scheme
Location: Cabinet Foyer 102 - 103

Maria MacDermott

MARIA MacDERMOTT
Anatomies
Watercolour on paper
81 x 65cm
$1,200 framed  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Maria MacDermott

MARIA MacDERMOTT
Fulcrum Series, 2012
Watercolour, pencil & perforations on paper
39 x 116cm

SOLD

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 01: Part of the old stone wall built circa 1880 that was the main jam production floor. It was subject to many alterations over the decades, hence the patchwork quilt visual effect.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 02: A general view of what little roof structure was left of the main jam production floor when work commenced on the hotel. This area is now the main outdoor dining area within the atrium and this view looks towards the waterfront and the area where the lift is located.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 03: The Second Floor of the late Georgian warehouses (No 29 and 31 Hunter St), with its open interior created by a grid of timber columns, beams and joists, naturally enough in different positions to the floor below. This timber structure, including all the roof framing and original corrugated iron, has been left intact with a complete new roof with insulation constructed above the old. This space is now occupied by Suites 214 to 220.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 04: A view of part of the main jam production floor, looking east towards the earliest of the warehouse rear structures. This early brick Georgian building predates the use of the buildings as a jam factory, and was first used as dormitory style accommodation for workers during the convict period. As can be seen in the photograph, it was all but swamped by later warehouse alterations, with lower walls being removed as changes in the jam making procedures meant more open space.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

 

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 05: The Second Floor of the late Georgian warehouses (No 29 and 31 Hunter St), was the area where jam tins were lacquered prior to the jam being added. This occurred in kilns with no proper exhaust system so the blackened tarred roof joists in Suites 219 and 220 are the result of this process. The tin lids have been used by artists as installation pieces for contemporary art.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 06: The First Floor of the late Georgian warehouses (No 29 and 31 Hunter St), with its open internal space created by a grid of timber columns, beams and joists. This timber structure is still intact and supports all the new work required to create the hotel suites. This space is now occupied by Suites 115 to 120.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 07: The Second Floor of the late Georgian warehouses (No 29 and 31 Hunter St), near the area where the lacquer kilns were located. The tins were formed into walled enclosures by squatters who illegally camped in the warehouses in the decades after 1970 when the buildings were left derelict.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 08: The First Floor of No 27 Hunter St, an early Victorian era warehouse. This was an area where heavy engineering work was undertaken and floors were removed to make higher Ground Floor spaces. This area is directly above the new public entry into the Atrium and is now the passage between Suites 110 and 112 of the hotel.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 09: The First Floor of No 27 Hunter St, looking towards the docks. The finely molded timber architraves show that the building was not always used as an industrial space, and originally may perhaps have been a residence above the open commercial spaces below. The ceiling was later lined with bituminous paper sheets, the black lining in the image. This area is now Suites 111 and 113 of the hotel.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Martin Walch

MARTIN WALCH
IXL Development Project - Phase 1, 2003
Stereoscope Photographic Installation in the Jones & Co. Foyer
10 images in series
Each edition of 20
2 sizes available
Contact the Art Liaison for pricing and purchase information

Image 10: The uppermost flight of the internal timber staircase with original turned newel post and winders, part of an early two storey Georgian residence constructed above a Ground Floor warehouse entry. Built in the early Colonial era in 1825 by convicts, this structure is the first residence constructed on (as it was then) Hunter Island, and as such represents the earliest surviving ‘townhouse’ still existing in Australia. The whole residence predates the jam factory by 50 years but was still used during this era as a residence, and its former inhabitants include Henry Jones himself. It is now Suite 222.

Martin Walch was born in Hobart in 1964, and continues to live and work in Tasmania.

Martin was educated at the Tasmanian School of Art, University of Tasmania attaining a Bachelor of Fine Art with Honors in Photography in 1994. He also completed a Master of Fine Arts by Research, in Digital Stereoscopic Photography and Landscape, in 1998, and has completed a PhD at the Tasmanian School of Art in 2009, where he is also a part-time Lecturer and Course Coordinator of the Art and Natural Environment units. Martin was Artist-in-Residence with Copper Mines of Tasmania at Mount Lyell, Western Tasmania between 1998-2003. Awards and bursaries include: joint-winner Siglo magazine’s National Collaborations Prize for Writers and Photographers (with writer Lisa Morissett) 1997; New Media Fund Development Grant, Australia Council for the Arts 1999; Arts Tasmania artist grants 1997 and 2000. Martin has recently completed a three-year appointment to the Visual Arts/Craft Board of the Australia Council for the Arts.

Martin has participated in 18+ group exhibitions including: Photographica Australis Asia Tour, Naarden Photo Festival Nederlands, ARCO Madrid, 2002 Adelaide Biennial of Australian Art; Australian Centre for Photography, Sydney; SOFA, New York; ARTV, Australian Centre for the Moving Image.

Martin is represented in public and private collections including the Tasmanian Museum and Art Gallery and the Art Gallery of South Australia.

The central concern of the work Martin has produced over the past decade is a preoccupation with visual perception and so-called ‘objective’ systems of measurement. His work is about the inability of empirical systems to provide descriptions of reality that go beyond the logical and rational. Martin has pursued a process of investigation that focuses on visual descriptions of landscape as the subject – due to their accessibility as a common experiential space and because of their complex and culturally dependent definitions.

About the Stereoscopes: Current research into the theory of landscape representation has focused on redefining popular conceptions of Wilderness, and investigating the role of “Nature Porn” in the commodification of the natural environment in Tasmania.

Walch’s interest in the IXL site stems from a visit in 1990 when, as an undergraduate student he explored the derelict site for the first time. He was intrigued by a distant, but nonetheless personal sense of what Hunter Street was when he discovered that his great-great-grandfather, Thomas Mackrell, re-married in the Steam Packet Inn, which was on the site now occupied by one of the Art School Buildings, in the mid 1800s.

The stereo viewers presented within The Henry Jones Art Hotel contain images made recently in the IXL buildings immediately prior to the redevelopment into the Art Hotel. The suite of images captures the old IXL factory and warehouses in the moment before their final transformation, and will provide viewers with a direct and powerful insight into the history of the site.

Mary Scott

MARY SCOTT
Keeper No. 7, 2011
Oil on linen
77 x 56cm
$3,900 Available on the COLLECT Art Purchase Scheme
Location: Room 228

Mary Scott studied at the Canberra School of Art and then at Tasmanian School of Art, completing a MFA in 1987. She taught at the Canberra School of Art and the University of Northern Territory, before returning to take up a teaching position in painting at the Tasmanian School of Art in 1991 where is she completed a PhD in 2001. She is a founding member of the Digital Art Research Facility established at the University of Tasmania in 1995 and was a recipient of an Australian Research Grants in partnership with other members. Scott's work has been exhibited regularly since 1990, is included in many public and private collections and she has been awarded both teaching and practice-based grants. Mary's work is referenced through numerous texts and catalogues. Mary was awarded a three year Rising Stars research grant for 2010 and was the School of Art Research Co-ordinator from 2007-2009.

Mary Scott's chief research interests include: painting and its interpretation within contemporary practice; gender, artifice and society; transgression and protocols; pictorialism and its interpretation through technology.

Mary Scott

MARY SCOTT
Keeper No. 6, 2011
Oil on linen
77 x 56cm
$3,900 Available on the COLLECT Art Purchase Scheme
Location: Room 228

Mary Scott

MARY SCOTT
Keeper No. 5, 2011
Oil on linen
77 x 56cm

SOLD

Mary Scott

MARY SCOTT
Keeper No. 4, 2011
Oil on linen
77 x 56cm
$3,900 Available on the COLLECT Art Purchase Scheme
Location: Room 228

Mary Scott

MARY SCOTT
As night comes on, 2007
Oil on linen
96.5 x 137cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 224

Mary Scott

MARY SCOTT
Self, no end, 2007
Oil on linen
96.5 x 137cm
$5,500 Available on the COLLECT Art Purchase Scheme
Location: Room 224

Milan Milojevic

MILAN MILOJEVIC
Tender Trap #2, 2014
Digital print
76 x 56cm
$1,950 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Colville Gallery

Courtesy of Colville Gallery

Milan Milojevic retired in 2012 after 33 years of teaching at the Tasmanian School of Art. As Head of the Printmaking Studio and a Chief Investigator and member of the Digital Art Research Facility, Milojevic has been invaluable in the education of art students and the development of digital printmaking.

He has exhibited widely in Australia and internationally including solo shows in Brisbane, Melbourne, Sydney, Adelaide, Canberra, Hobart and Dundee, Aberdeen in Scotland. Recent group shows include: IV International Digital Art Exhibition and Colloquium 2002, Havana Cuba; 8 Triennial Form and Matter, Museum of Decorative Arts, Frankfurt /Art Gallery of South Australia; Moving Cities – Australian Artists in Berlin 2000, Berlin; The Print scene in Scotland, St Andrews; The Power to Move, Queensland Art Gallery and Skin and Division, Brisbane. He has received awards from major bodies including the DAAD, the Australia Council, the Australian Research Council, and has undertaken four residencies in Scotland. Most recently he has received a New Work grant from the Australia Council for the Arts for 2004.

His work is held in major public and private collections in Australia and Europe including Artbank, the National Gallery of Australia, Parliament House, Queensland Art Gallery, State Library of Queensland, State Library of NSW, Art Gallery of South Australia, Tasmanian Museum and Art Gallery, the Montrose Academy and the Aberdeen Infirmary, Scotland, and the Bureau of Artistic Exhibitions, Poland.

His work evolves from two worlds – one evocative of a European landscape and the other reminiscent of a Tasmanian one. The images change so that one world disintegrates as the other gradually comes to the surface. These complex constructions originate from a collection of marks and textures built up over many years that have been borrowed from wood engravings dating back to the nineteenth century. The marks are scanned into the computer and then reconstructed into imaginary landscapes. They are a “hybrid”.

“Hybridity” also refers to Milojevic’s approach to printmaking media – one of applying or layering traditional methods onto new technologies. Digital/woodcut refers to the layering of the inkjet print with woodblocks.

Milan Milojevic completed his studies at the Tasmanian School of Art in 1976, and after an influential stint as a master printer at Landfall Press in Chicago, commenced teaching here in 1979. He recently retired, and this exhibition is a celebration of his exceptional output as an acclaimed printmaker. His extensive body of work illustrates research and production at the highest level across the discipline, working both in traditional techniques and frontier digital processes. More importantly there is the emergence of a highly individual and stunning visual language that is testament to his high standing as an image-maker. - Paul Zika, co-curator: A WORLD BETWEEN - A SURVEY OF PRINTS by MILAN MILOJEVIC

Milan Milojevic

MILAN MILOJEVIC
Tender Trap #3, 2014
Digital print
76 x 56cm
$1,950 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Day & Night Tree
Digital Etching
100 x 200cm
$9000 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor

Milan Milojevic

MILAN MILOJEVIC
Impossible Banquet 1, 2014
Unique state digital etching & collage
46 x 143cm
$4,400 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Tender Trap #4, 2014
Digital print
76 x 56cm

SOLD
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Tender Trap #5, 2014
Digital print
76 x 56cm

SOLD
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Dark Nature V (after Merian), 2013
Digital etching 
56 x 86cm
$1,900 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Dark Nature VIII (after Merian), 2013
Digital etching 
57 x 90cm

SOLD
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Unnatural Selection XIII, 2013
Digital print & silver leaf
100 x 50cm

SOLD
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Map Book, 2008
97 x 138cm
$1,000 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Map Book, 2008
97 x 138cm
$1,000 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Map Book, 2008
97 x 138cm
$1,000 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Verdure, 2007
Digital print & woodcut
113 x 73.5cm
  
SOLD
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC
Camouflage, 2007
Digital print & woodcut
40 x 60cm
$1,800 framed Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Milan Milojevic

MILAN MILOJEVIC




SOLD
Courtesy of Colville Gallery

Neil Haddon

NEIL HADDON
Wish I were here, 2014 
Acrylic on paper 
54 x 47cm
$650 framed
Location: 1st Floor Corridor
In association with Bett Gallery

Neil Haddon

NEIL HADDON
And we rely on each other, 2014 
Acrylic on paper 
54 x 47cm
$650 framed
Location: 1st Floor Corridor
In association with Bett Gallery

Neil Haddon

NEIL HADDON
This is what we are, 2014 
Acrylic on paper 
54 x 47cm

SOLD


In association with Bett Gallery

Neil Haddon

NEIL HADDON
The Fiefdom, 2014 
Acrylic on paper 
54 x 47cm
SOLD


In association with Bett Gallery

Neil Haddon

NEIL HADDON
Insect 160, 2009 
Acrylic on paper 
77 x 57cm
$1,100 framed
Location: 1st Floor Corridor
In association with Bett Gallery

Neil Haddon

NEIL HADDON
Insect 0158, 2009 
Acrylic on paper 
77 x 57cm
$1,100 framed
Location: 1st Floor Corridor
In association with Bett Gallery

Neil Haddon

NEIL HADDON
Spider, 2008 
Acrylic on paper 
77 x 57cm

SOLD
Courtesy of Bett Gallery, North Hobart

Neil Haddon studied at the West Surrey College of Art and Design, UK. From 1990 to 1996 Neil lived and work as an artist and educator in Barcelona, Spain. Since 1999 he has worked at the Tasmanian School of Art, completing a MFA in 2002.

Neil's work has been exhibited regularly since 1990, is included in many public and private collections and he has been awarded several grants to produce new work. His work has won competitive awards and been included in surveys of contemporary Australian painting. Neil was a founding member of Hobart's Inflight Artist Run Initiative.

Neil's research investigates strategies of selective misappropriation and wilful misinterpretation in translating existing Art Historical models or narratives into new painted pictorial form. Past work has re-evaluated formal characteristics and methodologies associated with Minimalism by misapplying these to new artworks. Recent research focuses on images taken from anecdotal or incidental narratives in the news media and re-pictures these as 'broken' images, or images 'freed' from their original narrative context. The intention is to question a complacency of attitude when regarding these images and to invoke a questioning of the narrative's relationship to personal experience.

Neil Haddon

NEIL HADDON
Spider, 2008
Acrylic on paper 
77 x 57cm

SOLD
Courtesy of Bett Gallery, North Hobart

Neil Haddon

NEIL HADDON
Stick, 2008 
Acrylic on paper 
77 x 57cm

SOLD
Courtesy of Bett Gallery, North Hobart

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Bloom (series), 2015
Etching
50 x 50cm
$380 each
Location: Print Rack

Nicole O’Loughlin

Nicole O’Loughlin is a Hobart based printmaker and painter. She completed a Fine Arts degree at the University of Tasmania in 2009 undertaking one year at the Madrid School of Art in Spain.

Nicole’s work is concerned with examining her surroundings at a microscopic level. Through art making she explores transformation, disintegration, memory and identity.   Using printmaking as the main method she creates works that are intricate with layering representing the accumulation of experience, memories and disintegration.

Nicole was awarded a two month arts residency in China at the Guanlan Original Printmaking Base during August to October 2012. Her work is included in national and international collections (in Spain, Argentina and China), including the Tasmanian State Government art collection displayed in the Department of Premier and Cabinet in the Climate Change offices.

Nicole works from a small studio at her home in Fern Tree at the base of Mt Wellington.  Further information and works can be seen at www.nicoleoloughlin.com

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Bloom (series), 2015
Etching
50 x 50cm
$380 each
Location: Print Rack

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Bloom (series), 2015
Etching
50 x 50cm
$380 each
Location: Print Rack

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Guanlan Walls #2, 2012
Etching & Screenprint
40 x 48cm paper / 33 x 27cm image
$350 unframed
Location: Print Rack

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Guanlan Walls #1, 2012
Lithograph
110 x 53cm paper / 90 x 41cm image
$550 unframed
Location: Contact Art Liaison

Nicole O'Loughlin

NICOLE O'LOUGHLIN
Guanlan Walls #3, 2012
Lithograph
79 x 55cm paper / 59 x 39cm image
$450 unframed
Location: Print Rack

Nikala Bourke

NIKALA BOURKE
Wreath 66, 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Nikala is a 2015 BFA Graduate of the Tasmanian College of the Arts.

Nikala Bourke

NIKALA BOURKE
Wreath, (Rose Ring 1), 2015
Digital print & light box
60 x 42cm
$650 
Location: 1st Floor Corridor

Nikala Bourke

NIKALA BOURKE
Wreath, (Rose Ring 2), 2015
Digital print & light box
60 x 42cm
$650 
Location: 1st Floor Corridor

Nikala Bourke

NIKALA BOURKE
Wreath 34, 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Nikala Bourke

NIKALA BOURKE
Wreath 38, 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Nikala Bourke

NIKALA BOURKE
Wreath 50, 2015
Digital print & light box
60 x 42cm
$650 
Location: 1st Floor Corridor

Nikala Bourke

NIKALA BOURKE
Wreath 53, 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Nikala Bourke

NIKALA BOURKE
Wreath 55, 2015
Digital print & light box
60 x 42cm

SOLD

Nikala is a 2015 BFA Graduate of the Tasmanian College of the Arts.

Nikala Bourke

NIKALA BOURKE
Wreath 64, 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Nikala Bourke

NIKALA BOURKE
Wreath 65, 2015
Digital print & light box
60 x 42cm

SOLD

Nikala is a 2015 BFA Graduate of the Tasmanian College of the Arts.

Nikala Bourke

NIKALA BOURKE
Wreath (Autumn), 2015
Digital print & light box
60 x 42cm
$650 
Location: Contact Art Liaison

Paul Gundry

PAUL GUNDRY
Brooker Highway II, 2012
Oil on canvas
61 x 91cm
$2,600 Available on the COLLECT Art Purchase Scheme
Location: Room 201
Courtesy of Colville Gallery, Salamanca

Paul Gundry

PAUL GUNDRY
Central Avenue VIII, 2012
Oil on canvas
40.5 x 61cm

SOLD

Paul Gundry

PAUL GUNDRY
Central Avenue IX, 2012
Oil on canvas
40.5 x 61cm
$1,400 Available on the COLLECT Art Purchase Scheme
Location: Outside Room 201
Courtesy of Colville Gallery, Salamanca Place

Paul Gundry

PAUL GUNDRY
Coleman Street II, 2012
Oil on canvas
40.5 x 61cm

SOLD
Courtesy of Colville Gallery, Salamanca Place

Paul Gundry

PAUL GUNDRY
Rattle Street, 2011
Oil on canvas
60 x 90cm (diptych)
$2,200 Available on the COLLECT Art Purchase Scheme
Location: Room 201
Courtesy of Colville Gallery, Salamanca Place

Paul Gundry

PAUL GUNDRY
Tasman Bridge, 2011
Oil on canvas
61 x 61cm
$1,600  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery, Salamanca Place

Paul Gundry

PAUL GUNDRY
Derwent River II, 2011
Oil on canvas
61 x 61cm
$1,600 Available on the COLLECT Art Purchase Scheme
Location: Room 201
Courtesy of Colville Gallery, Salamanca Place

Paul Snell

PAUL SNELL
Intersect 201501, 2015
Lambda metallic print
118cm diameter

SOLD

Paul Snell

PAUL SNELL
Intersect 201511, 2015
Lambda metallic print
118cm diameter

SOLD
Courtesy of Colville Gallery, Salamanca

Pat Brassington

PAT BRASSINGTON
House Guest #2, 2007
Pigment print
86 x 63cm
$5,900 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Bett Gallery, North Hobart

Pat Brassington is one of Australia's leading photomedia artists. She has exhibited widely both in Australia and overseas for the past 20 years, including as a feature artist at the 2004 Biennale of Sydney.

Her work is held in numerous private collections including the National Gallery of Australia, the Art Gallery of New South Wales, the Queensland Art Gallery, the National Gallery of Victoria, Artbank and the Tasmanian Museum and Art Gallery.

Pat Brassington

PAT BRASSINGTON
The Best Move, 2008
Pigment print
80 x 56cm
$5,900 framed Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
Courtesy of Bett Gallery, North Hobart

Penny Burnett

PENNY BURNETT
Pandani 1, 2014
Oil on Masonite
120 x 130cm

SOLD

Tension in the Garden: a re-contextualising of narrative painting tropes within the site of the garden by expanding on the female and traditional mechanisms of the gaze.

Penny Burnett is a PhD candidate at the Tasmanian College of the Arts.

Penny’s area of research is about what is unseen. Many layers of paint and media create intense and oversaturated, ominous landscapes that look at what is hidden in both our native and traditional garden environments.

The paintings in Henry’s Restaurant are the result of a trip to Mount Field National Park, which is about an hour’s drive Northwest of Hobart. The protagonist in this series is the pandani, which is the largest heath plant in the world and found only in Tasmania.

Penny Burnett

PENNY BURNETT
Pandani 2, 2014
Oil on Masonite
120 x 130cm
$2,900   Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Penny Burnett

PENNY BURNETT
Pandani 3, 2014
Oil on Masonite
120 x 240cm

SOLD

Penny Burnett

PENNY BURNETT
Pandani 4, 2014
Oil on Masonite
120 x 120cm

SOLD

Penny Burnett

PENNY BURNETT
Pandani 5, 2014
Oil on Masonite
120 x 120cm
$2,900  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Penny Burnett

PENNY BURNETT
Pandani Grove after Snow, 2015
Oil on Masonite
75 x 75cm
$1,600   Available on the COLLECT Art Purchase Scheme
Location: Room 113

Penny Burnett

PENNY BURNETT
Pandani 6, 2014
Oil on Masonite
120 x 120cm
$2,900  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Penny Burnett

PENNY BURNETT
Fanchon Focus, 2016
Oil on Masonite
120 x 120cm
$3,100   Available on the COLLECT Art Purchase Scheme
Location: Room 113

Penny Burnett

PENNY BURNETT
Kew Gardens No. 2, 2015
Oil on Masonite
75 x 75cm
$1,600   Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Penny Burnett

PENNY BURNETT
Ode to Bataille's Language of FLowers No.2, 2014
Oil on Masonite
60 x 60cm
$950
Location: Contact Art Liaison

Penny Burnett

PENNY BURNETT
The Three Graces, 2013
Oil on Masonite
120 x 240cm

SOLD

Throughout history storytellers have used parables, fairytales, fables to provoke thought and reflection on complex life issues.

By constructing dioramas and models I create an alternative reality that allows me to access and engage with a more difficult issue. The works are painted fragments of my models which are intended as open ended narratives. These narratives explore the complexities of assisted reproduction, sexless conception, unknown donor sperm, and genetic engineering through characterisation. The characters are humorous takes on the roles and personalities within the medical, legal and social framework of IVF.

This is a personal exploration attempting to articulate the increasingly complicated question of where did I come from? - Penny Burnett, 2013

In 2013 Penny completed her BFA (Hons - First Class) at the Tasmanian College of the Arts and is now a PhD Candidate.

Penny Burnett

PENNY BURNETT
Victory, 2013
Oil on Masonite
90 x 60cm
$1,500  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Throughout history storytellers have used parables, fairytales, fables to provoke thought and reflection on complex life issues.

By constructing dioramas and models I create an alternative reality that allows me to access and engage with a more difficult issue. The works are painted fragments of my models which are intended as open ended narratives. These narratives explore the complexities of assisted reproduction, sexless conception, unknown donor sperm, and genetic engineering through characterisation. The characters are humorous takes on the roles and personalities within the medical, legal and social framework of IVF.

This is a personal exploration attempting to articulate the increasingly complicated question of where did I come from? - Penny Burnett, 2013

In 2013 Penny completed her BFA (Hons - First Class) at the Tasmanian College of the Arts and is now a PhD Candidate.

Penny Burnett

PENNY BURNETT
Bang Bang, 2011
Oil on Masonite
60 x 60cm
$1,100  Available on the COLLECT Art Purchase Scheme
Location: Room 116

Penny Burnett

PENNY BURNETT
Gabriel, 2011
Oil on Masonite
60 x 60cm
$1,100  Available on the COLLECT Art Purchase Scheme
Location: Room 116

Penny Burnett

PENNY BURNETT
Betty, 2011
Oil on Masonite
60 x 60cm
$1,100  Available on the COLLECT Art Purchase Scheme
Location: Room 116

Penny Burnett

PENNY BURNETT
Eden, 2011
Oil on Masonite
60 x 60cm
$1,100  Available on the COLLECT Art Purchase Scheme
Location: Room 116

Penny Burnett

PENNY BURNETT
AI, 2011
Oil on Masonite
60 x 60cm
$1,100  Available on the COLLECT Art Purchase Scheme
Location: Room 116

Penny Burnett

PENNY BURNETT
Swimming, 2011
Oil on Masonite
60 x 60cm

SOLD

Penny Burnett

PENNY BURNETT
Fruitfull, 2011
Oil on Masonite
60 x 60cm

SOLD

Penny Burnett

PENNY BURNETT
Mashed, 2011
Oil on Masonite
60 x 60cm

SOLD

Penny Burnett

PENNY BURNETT
Eve, 2013
Oil on Masonite
60 x 60cm

SOLD

Penny Burnett

PENNY BURNETT
Spud Donation, 2013
Oil on Masonite
60 x 80cm

SOLD

Pippa Dickson

PIPPA DICKSON
Over Hangar, 2001
MDF, ply, stainless steel, Enduro foam, polyurethane upholstery fabric
825 x 590 x 700mm

Mother Fokker, 2001
MDF, ply, stainless steel, Enduro foam, polyurethane upholstery fabric
450 x 350 x 1500mm

Sister Fokker, 2002
MDF, ply, stainless steel, Enduro foam, polyurethane upholstery fabric
350 x 350 x 1250mm

Bowing, 2000
Plywood, aluminium & stainless steel

NOT FOR SALE
The Henry Jones Art Hotel Collection

Pippa Dickson was awarded a PhD at the Tasmanian School of Art in 2006. Dickson completed a Bachelor of Arts of the University of Western Australia in 1993 majoring in political science and a Bachelor of Fine Arts with first class honours in 2001, from the Tasmanian School of Art. She was subsequently awarded an Australian Postgraduate Award, which she took up in July 2003. She is employed by Arts Tasmania as a project coordinator, is responsible for the annual Young Designers Month, and part time teacher and tutor in Furniture Design and Craft and Design Theory at the Tasmanian School of Art. In 2004 Pippa travelled to study at the University of Art and Design in Helsinki to pursue research towards her PhD and has was a recipient of the Bill Roberts Memorial Travelling Scholarship.

Pippa investigates areas that have a transitional element, where waiting and congregation, arrival and departure are the main function of the space. Her research is covering issues to do with identity and placelessness within public transit areas. She is currently designing bus stop elements for the Hobart City Council including shelters, seating, signage and lighting and furniture for an Art for Public Buildings project at Deloraine Health and Community Centre.

Her PhD research, ‘Emotion in Transit-Furniture for and about Transit Areas’, was predominantly inspired by elements of aircraft design. She is researching the history of transportation in Tasmania and associated notions of progress. The Derwent River provided paths for both ships and flying boats. Pippa will attempt to capture these ideas of movement in her new work by designing seating and lighting that can be suspended or placed in nominated areas of The Henry Jones Art Hotel.

The works by Pippa Dickson in the Hotel are prototypes. The chairs (Over Hangar) won an Object-Australian Centre for Craft and Design prize for New Design in 2002.

Pippa Dickson is CEO of the Glenorchy Art & Sculpture Park (GASP!) founded in 2008. She has been responsible for developing and implementing strategic priorities and raising significant investment from all tiers of government for infrastructure as well as managed the design processes. She works closely with the community, civic, arts and business leaders on developing a shared vision and implementing the critical steps to achieve it.

Rachael Rose

RACHAEL ROSE
Japonica, 2017
Etching and dye on acrylic 
122 x 80cm
Special order only
Location: Room 226

Rachael Rose

RACHAEL ROSE
Japonica, 2017 (detail)
Etching and dye on acrylic 
122 x 80cm
Special order only
Location: Room 226

Rachael Rose

RACHAEL ROSE
Flower Box 2, 2017
Etching and dye on acrylic 
88 x 88cm
Special order only
Location: Room 223

Rachael Rose

RACHAEL ROSE
Flower Box 1, 2017
Etching and dye on acrylic 
88 x 88cm
Special order only
Location: Room 223

Rachael Rose

RACHAEL ROSE
Azureus, 2017
Etching and dye on acrylic 
60 x 60cm
Special order only
Location: Room 223

Rachael Rose

RACHAEL ROSE
Forget me not I, 2015
Collagraph & Drypoint etching
40 x 40cm
$395 framed
Location: Contact Art Liaison

Rachael Rose

RACHAEL ROSE
Forget me not II, 2015
Engraving on clear acrylic
40 x 40cm
$395 framed
Location: Contant Art Liaison

Rachael Rose

RACHAEL ROSE
Forget me not III, 2015
Collagraph & Drypoint etching
40 x 40cm
$395 framed
Location: Contact Art Liaison

Rachael Rose

RACHAEL ROSE
Forget me not, 2015
Collagraph, drypoint etching & clear acrylic
40 x 40cm each panel
$395 each, framed or $1095 set
Location: Contact Art Liaison

Rachael Rose

RACHAEL ROSE
Nightfall, Kunanyi, 2014
Drypoint etching
76 x 56cm
$1,150 framed
Location: 1st Floor Corridor

Rachael Rose grew up in Brisbane and originally worked in fashion and costume design. She moved to Tasmania in 1991 and completed a Bachelor of Fine Arts majoring in printmaking at the Tasmanian School of Art in 2002. Through her printmaking practice she continues research into gardens and their personal meaning. She has exhibited in several group exhibitions and her first solo exhibition, Secret Garden, was held at the Royal Tasmanian Botanical Gardens in December 2002. Her Warratina Carpet is permanently installed at the Bahá’í Centre, in Hobart. Since 2006 she has been employed as Keeper of the Fine Art Collection held by the University of Tasmania.

Through my art practice I explore the garden and its many meanings to us. In a time of technology and instant gratification the garden offers us a space of contemplation, with sensory, emotive, and spiritual dynamics. The garden is full of metaphorical possibilities- evoking Paradise and the Garden of Eden, it can be both a place of security or entrapment, both a domestic or secret place. It is an artifice in which we can engage with nature in its cycles of change-birth, growth, and death.

I seek to convey the mysterious, fragmentary, and spiritual aspects of the garden, which are also connections we make with the feminine. - Rachael Rose

Rachael Rose

RACHAEL ROSE
Garden Party #1, 2014
Drypoint etching & Thread
76 x 56cm

SOLD

Rachael Rose

RACHAEL ROSE
Garden Party #2, 2014
Drypoint etching & Thread
76 x 56cm

SOLD

Rachael Rose

RACHAEL ROSE
Blue Myrtle Flow, 2006
Drypoint etching
112.5 x 112.5cm

SOLD

Rachael Rose

RACHAEL ROSE
Garden of Good Intentions, 2008
Drypoint etching
188 x 76cm

SOLD

Rachael Rose

RACHAEL ROSE
The Garden at Midnight, 2008
Collagraph and thread
41 x 60cm
 

SOLD

Rachael Rose

RACHAEL ROSE
Ashgrove Garden Carpet, 2008
Collagraph
56 x 76cm
$990 framed
Location: Room 208

Rachael Rose

RACHAEL ROSE
Paradise Found #1, 2004
Embossed collagraph
76 x 56cm
$900 framed
Location: Room 103

Rachael Rose

RACHAEL ROSE
Paradise Found #2, 2004
Embossed collagraph
76 x 56cm
$900 framed
Location: Room 103

Rachael Rose

RACHAEL ROSE
Eden & the Fall #1, 2003
Collagraph
76 x 56cm

SOLD

Rebekah Francis

REBEKAH FRANCIS
Daylight Savings, 1st October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Artist Statement

These works are the product of four series, loosely following the seasons. Each series takes place over the course of one month and involve completing a daily drawing. The drawings are first sketched in pencil, and then details are rendered with ink and watercolour before adding pen. Sections are then selected to be ‘coloured’ with pieces of cut washi tape, with this final addition completing the drawing.

This series will explore happenings around my home and Hobart, as Spring awakens the city. I have selected four of my favourite characters that have evolved throughout the seasons, and they will be a vehicle for my observations and experiences as they happen through the month of October. They will develop naturally and unpredictably as the month progresses.

These drawings ultimately tell a story; marking out the seasons of 2017 through the lenses of my various roles. As someone with a young family and a part time worker, my experiences are essentially domestic; mapping out small experiences and capturing tiny fragments of time. Even the medium is a reflection of this reality – a small drawing, often done in the quiet hours of the evening when my time is my own again.                                                                        

- Rebekah Francis, 2017

Rebekah Francis

REBEKAH FRANCIS
The Fruit Market, 2nd October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Morning walk, 3rd October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Letterbox Adventure, 4th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Grey Day, 5th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Holiday Reading, 6th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Grandfather Chair, 7th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Sunday Brunch, 8th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Monday, 9th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Office, 10th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Washing, 11th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Dockside Photography, 12th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Idle Days, 13th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Welcome Home Shearwaters, 14th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Cleaning Day, 15th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Back to School, 16th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Waiting, 17th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Rebekah Francis

REBEKAH FRANCIS
Hump Day, 18th October 2017
Watercolour, pencil, pen and washi tape on paper
15 x 21cm (unframed)
$120
Location: Atrium Cabinet

Robyn McKinnon

ROBYN McKINNON
1000 Wishes Deep, 2012
Acrylic on canvas
140 x 170cm
$10,500  Available on the COLLECT Art Purchase Scheme
Location: Room 204
Courtesy of Handmark Gallery, Salamanca Place, Hobart

A prayer,

Sitting on the edge of a cliff, the resonance is always, honesty, grace and liberation.

My practice is not concise, but guided by intuition and memory, perhaps better referred to as random possibilities, that present themselves as conclusions – for that given moment in time.

I have no fear or expectation of the work as it presents itself to me.

To learn, engage, and interact – probably, most importantly to feel something outside of the chaotic existence in which we are expected to (Abide).

So what happens today need not tomorrow – so be it

- Robyn McKinnon

Robyn McKinnon

ROBYN McKINNON
Pruple Haze, 2012
Acrylic on canvas
140 x 140cm
$8,500  Available on the COLLECT Art Purchase Scheme
Location: Room 204
Courtesy of Handmark Gallery, Salamanca Place, Hobart

Robyn McKinnon

ROBYN McKINNON
Land marks after earth cry, 2012
Acrylic on canvas
140 x 140cm
$8,500  Available on the COLLECT Art Purchase Scheme
Location: Room 205
Courtesy of Handmark Gallery, Salamanca Place, Hobart

Robyn McKinnon

ROBYN McKINNON
The Hours, 2007
Acrylic on canvas
139 x 139cm
$4,000  Available on the COLLECT Art Purchase Scheme
Location: Room 205
Courtesy of Handmark Gallery, Salamanca Place, Hobart

The constant abstract nagging of the ticking of a clock (even if clocks don’t tick any more). The urgency of a moment, to recall it, to hold it to memory, to release it, as ever present as breath.

The hands of a clock, like the pattern of dotterols’ feet on the sand, established a rhythm (constructed - yet intuited), like a heart beat emanating from a vortex, intensifying and dispersing as the moment extends from realisation to memory.

Driven by desire and the urgency of now, to complete whatever it is one has to do in a lifetime, like spiralling candescences, leaving behind a shadow on the wall, an imprint of the painting - reversing the concept of space.
- Robyn McKinnon

Ruth Frost

RUTH FROST
Faraday Street,Bedroom Wall, 8th Jan 3:29pm
Faraday Street,Bedroom Wall, 8th Jan 3:35pm
36.7 x 50cm / 36.7 x 36.7cm
$Price on Application
Location: Room 105
Courtesy of Colville Gallery

During the month of January sunlight bounced off a skylight across the street and for 15 minutes each day cast a shadow on my red bedroom wall.  This phenomenon has already disappeared as the sun slowly shifted its position with the season.  These images continue my ongoing exploration into the potential of the photograph to act as poetic metaphor for hidden memories of place. - Ruth Frost

Ruth Frost

RUTH FROST
Frankin House, Morning Room
From the Series Place of Residence, 2011
97 x 138cm
Edition of 6
$2,800 framed  Available on the COLLECT Art Purchase Scheme
Location: Tourism Admin
Courtesy of Colville Gallery

Ruth Frost

RUTH FROST
Runnymede, Nursery
From the Series Place of Residence, 2011
97 x 138cm
Edition of 6

SOLD
Courtesy of Colville Gallery

Ruth Frost

RUTH FROST
Runnymede, Main Bedroom
From the Series Place of Residence, 2011
97 x 138cm
Edition of 6
$2,800 framed  Available on the COLLECT Art Purchase Scheme
Location: Room 105
Courtesy of Colville Gallery

Ruth Frost

RUTH FROST
Clarendon
From the Series Place of Residence, 2011
97 x 138cm
Edition of 6
$2,800 framed  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Ruth Frost

RUTH FROST
Clarendon House, Main Staircase
From the Series Place of Residence, 2011
97 x 138cm
Edition of 6
$2,800 framed  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
Courtesy of Colville Gallery

Ros Meeker

ROS MEEKER
Where to eat, 2010
Etching
Edition of 10
29 x 20cm image / 57 x 38cm paper
$300 unframed
Location: Print Rack

These works are influenced by Lake St Clair. My engagement with the lake was limited to a few hours on the lake's shore and many hours in the library and on the internet. My theme was decided upon when I read that currawongs had learnt to undo zippers, raiding walker's backpacks, strewing contents across the track. As the works enfolded I embraced anthropomorphism, as in my imagination currawongs became my tour guides. Of late my work begins as collage. The photos I took at Lake St Clair, together with marks made with brush and pen form the backbone of my Lake St Clair series. The images gleaned from Google and other sources were selected on their contribution to the emerging narrative.

Four works made it through proofing. In Historical Perspective a 'classically posed' currawong regards WC Piguenit's 1843 work, Mt Olympus, whilst still retaining one eye on the viewer. The three works, What to Wear, What to Do and Where to Eat take a humorous view on life at Lake St Clair. With currawongs, and with art too, 'the gaze' is all important. For this reason a little hand colouring in yellow goauche was used, finishing the works.

- Ros Meeker

Ros Meeker

ROS MEEKER
What to Wear II, 2015
Etching
Edition of 10
29 x 20cm image
$300 unframed
Location: Print rack

Ros Meeker

ROS MEEKER
What to wear, 2010
Etching
Edition of 10
29 x 20cm image / 57 x 38cm paper
$300 unframed
Location: Print rack

Ros Meeker

ROS MEEKER
What to do, 2010
Etching
Edition of10


SOLD

Ros Meeker

ROS MEEKER
Historical Perspective, 2010
Etching
Edition of 10


SOLD

Ros Meeker

ROS MEEKER
The Weather Report, 2015
Etching
Edition of 10
20 x 29cm image
$300 unframed
Location: Print rack

Ros Meeker

ROS MEEKER
Rock, Paper, Scissors, 2011
Etching
Edition of 10
20 x 29cm image
$300 unframed
Location: Print rack

Ros Meeker

ROS MEEKER
Agnes and the bicycle, 2010
Soft ground etching, collagraph & stencil
Unique state
23 x 23cm
$500 framed
Location: Stockroom

Ros Meeker

ROS MEEKER
A common ground, 2010




SOLD

Sara Maher

SARA MAHER
Impermanence, 2011
Mixed media on paper
170 x 114cm
$6,000 framed   Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
In association with Bett Gallery Hobart

I work within and across the disciplines of printmaking, painting and sculpture. My artworks are windows through which an ephemeral view is glimpsed; an attempt to trace the infinitesimal through to the immense. Some pieces capture the elusive moment of a thing’s departure, while others record the traces left behind, alluding to its process of decay. In various ways my art reflects on the fragility of things as they leave our grasp; and in doing so, it highlights the ephemeral nature of human existence.

Through an evolving ‘material’ knowledge of the media I work with, I seek to reveal an essence of non-materiality, an immanence or ‘invisible’ life within. The process behind my art is a continuous feedback between the choices I make and how materials respond. Nothing is predetermined. My prints make use of ink, pigment and paper in ways that allow materials to converge through their own volition. As wet paper suctions to a backing board, ink and pigment bleed into the compression: as the liquid media coalesces into a dry sediment, as stains permeate through the page, an entity slowly evolves, becoming fixed or permanently suspended in its material transformation. Similarly my miniature watercolours hold the trace/residue of a process that was in flux, to record a moment that is both arriving and on the verge of slipping away. Within my small sculptures I form tenuous connections between materials in an attempt to suspend them in a state of near-collapse.

My works could be viewed as macrocosms and microcosms of nature. Large variegated surfaces are like aerial maps: fine lines drawn over or cut into these impressions are like fragile constellation paths. Other pieces conjure ideas of the miniscule: breath dissolving into the atmosphere, walls in a state of dematerialisation, watercolour miniatures that draw the eye in through an unfolding of detail within detail. Often, the macro and the micro converge: a bottle of dandelions which reminds us of a cluster of stars for example. The works reveal momentary impressions of ephemeral encounters which lie beyond one’s grasp.

Over recent years my practise has been grounded in the solitude of two Tasmanian wilderness residencies in Lake St. Clair (winter 2010) and Queenstown (winter 2011). Living in remote locations and amidst vast and unpredictable terrains, I was constantly reminded of my links with the ephemeral natural world. This was compounded by the prospect of losing my mother and grandmother to serious illness.

Some memories become permanently etched into the psyche, as if to remind us of something essential within. I draw on such memories when I am working alone in my studio, late at night, in suburban Hobart. In this atmosphere, I come to recognise moments when mental and physical landscape can be imagined as one terrain. - Sara Maher, 2012

Sara Maher

SARA MAHER
Terra Firma, 2012
Ink and pigment on paper
141 x 111cm
$4,500 framed   Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Canopy, 2012
Ink and pigment on paper
116.6 x 82cm
$4,500 framed  Available on the COLLECT Art Purchase Scheme
Location: Room 108
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Mushroom and shadow (Lake St. Clair), 2011
Ink on paper
36 x 26cm
$2,900 framed  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Wake, 2007
Mixed media on paper
107 x 130cm
$4,500 framed  Available on the COLLECT Art Purchase Scheme
Location: Room 108
In association with Bett Gallery Hobart

Born in Sydney, Sara is a Hobart based artist who works within and across the disciplines of painting, printmaking and sculpture. Her work seeks to suspend materials in their transformation and states of flux. It reflects on the evanescence of materials as they evolve/dissolve, highlighting the transitory nature of life.

Sara completed a Master of Fine Art and Design in printmaking at the Tasmanian School of Art, University of Tasmania (2005), and a Diploma in painting and drawing at the Sydney Institute of Technology (1995). She has undertaken two Arts Tasmania wilderness residencies (Maria Island 2006 and Lake St Clair 2010), and one self-initiated residency at Queenstown, Tasmania (2011).

Her recent solo shows include Night Air (2012 - Catherine Asquith Gallery, Melbourne, Victoria), Inland (2011 - Landscape Art Research Queenstown, Tasmania), Memories of Space (2011 - Arts Tasmania, Hobart), Passage (2008 - Moonah Arts Centre, Hobart) and Impossible Boundaries (2007 - Ten Days On The Island Festival, Maria Island). Sara has also participated in numerous group exhibitions including Shotgun (2010 - Contemporary Arts Spaces Tasmania, Hobart), and the City of Hobart Art Prize (2009 - Tasmanian Museum and Art Gallery, Hobart). She was awarded the Salamanca Collection Islington Art Prize (2007 - Salamanca Collection, Hobart). Sara's work has been selected to exhibit in the 2013 Burnie Print Prize (Burnie Regional Art Gallery, Tasmania).

Sara's works are held in private collections both nationally and internationally.

Sara Maher

SARA MAHER
Eternal Past, 2007
Mixed media on paper
133 x 113cm
$4,500 framed  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
In association with Bett Gallery Hobart

These rubbings explore historic walls as surfaces / boundaries imbued with time & place. They took form against ruin walls on Maria Island. Obtaining impressions from ruin walls on Maria Island was, for me, a process of discovery…one that led me through the passage of time & beyond the boundary of a wall. Impressions became clues, leading me into Maria’s past & present. I imagined each wall as if it were a kind of map; one that became an intuitive process of navigating spaces beyond the wall. Within these works I approach boundary as if it were a permeable space; an intimate site of discovery from which greater meaning unfolds.

I focused on ‘ruins’ as spaces imbued with time, place & human presence, where intimate discoveries can lead to a greater ‘sense of place’. Many of the pieces took form as rubbings against the surfaces of ruin walls. Working against walls, & within the confines of ruins, led me to question the notion that boundaries are divisions.

Within this body of work I approach ‘boundary’ as a permeable space where incongruous links can be made (such as between self & nature, mind & body, inside & outside, past & present, dreams & consciousness).

This work preceded a suite of images made in response to selected locations in Hobart where history has left its mark in visual & tactile ways (for example, graffiti & other markings along the bike path & in the tunnels, old buildings & historic walls). This body of work will explore & further develop ideas & concepts concerning ‘boundary’ in relation to developing a ‘sense of place’. - Sara Maher

Sara Maher

SARA MAHER
Whale Call, 2007
Mixed media on paper
118 x 112cm
$4,500 framed  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Inside and Out, 2012
Watercolour on paper
20 x 20cm
$750 framed
Location: Contact Art Liaison
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Stray, 2012
Watercolour and pen on paper
19.5 x 15cm
$750 framed
Location: Contact Art Liaison
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Dysphoria, 2012
Watercolour and pigment on paper
19.5 x 15cm
$750 framed
Location: Contact Art Liaison
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Gap in the Forest, 2010
Mixed media on paper
140 x 114cm

SOLD

Sara Maher

SARA MAHER
Untitled, 2007 
Mixed media on paper
132 x 114cm

SOLD

The spaces we create & inhabit, which, over time, erode & become desolate or have a shift in their use, become evidence of the life lived by those who once resided in them by the way we view them in their current state.

Upon entering an old historic building, one can immediately feel emotions of nostalgia, familiarity or even a sense of deja-vu. Whether we are inherently able to make connections with our past generations through these spaces or whether through teachings of our history, we are constant in our affection & yearning to protect & hold on to these spaces for future generations. We cannot deny we are emotionally attached to buildings.

In 1825, convicts & political prisoners were transported to Darlington on Maria Island, which lies off the East Coast of Tasmania. After Port Arthur was established in 1842 the settlement at Maria Island ceased. The remnants of the original Maria Island buildings are captured by the beautiful works by Sara Maher on exhibition in The Peacock Terrace. Much like the sealant on the Hotel walls, her work enables an insight into the physical state of the buildings as they are now, yet presents a visual mapping of the history of Tasmania in the early years of settlement. The pieces are intuitive interpretations of Maria’s past & present. They are the sharing of an intimate dialogue with place, in response to particular locations over time. The works of art become artefacts, unique interpretations that cannot be duplicated due to the nature of the eroding buildings & the direct method of rubbing media on paper overlaying an old ruin wall. - Sara Maher

Sara Maher

SARA MAHER
Dawn (Lake St. Clair), 2011
Ink and pigment on paper
68 x 73cm
$3,900 framed  Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison
In association with Bett Gallery Hobart

Sara Maher

SARA MAHER
Absence, 2007
Mixed media on paper
63 x 112cm

SOLD

Sara Maher

SARA MAHER
Hum note II, 2008
Mixed media on paper
147 x 110cm

SOLD

Hum note — The Hum note is associated with bell ringing. It is a deep soft note that persists long after the strike note has died away. Hum notes do not end but rather carry off into the distance.

A sound can be described as a series of disturbances or vibrations in matter. It may be represented as a wave motion. Sound cannot travel through a vacuum.

Written Sound — Written sound, comprising the many notes, each having its own form, are like a cast of characters.

Pause — Pause, a sign in musical notation used to lengthen the time value of a note. The length of time is at the discretion of the player. - Sara Maher

Sara Maher

SARA MAHER
Ghost in the Coffee Palace, 2007
Mixed media on paper
130 x 113cm

SOLD

Sara Maher

SARA MAHER
Limbus, 2007
Mixed media on paper
190 x 114cm

SOLD

Sara Maher

SARA MAHER
Charm, 2007
Mixed media on paper
56 x 49cm

SOLD

Sara Maher

SARA MAHER
High Tide, 2008
Mixed media on paper
100 x 107cm

SOLD

Sara Maher

SARA MAHER
Whiteout (Lake St. Clair), 2010
Ink and pigment on paper
120 x 93cm

SOLD

Sara Maher

SARA MAHER
Shadow Lake (Lake St. Clair), 2010
Ink and pigment on paper
120 x 93cm

SOLD

Sara Maher

SARA MAHER
Untitled, 2011



SOLD

Sara Maher

SARA MAHER
Looking into the Moon, 2012
Watercolour and pigment on paper
19.5 x 15cm

SOLD

Sebastian Galloway

SEBASTIAN GALLOWAY
Potmide, 2014
Oil on linen
137 x 213cm
$7,500  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor
Courtesy of Despard Gallery

Steph Houstein I

STEPH HOUSTEIN
Echoes of Place 3, 2016
Screenprint & mixed media on paper
76 x 56cm
$950 framed
Location: Room 118

ECHOES OF PLACE

Artists are influenced by the many things that can assault the senses – a melody, a much-loved piece of writing, the aroma of a favourite food, a memorable landscape. All these things can evoke an individual creative response. The abstract triptych, Echoes of place, depicts my fondness for the coastal landscape of the Bay of Fires. The colour palette is a reflection of the intense light on clear waters and the fabulous orange lichen covering the foreshore rocks. - Steph Houstein 2016

BIOGRAPHY

Steph Houstein (born Hobart 1961) is an emerging artist living and working on her print practice in Hobart.

In 1983 Steph began working as a graphic designer and art director within the design, publishing and advertising industries both in Sydney and Milan, Italy. In 2002 Steph joined the Warringah Printmakers Studio in Sydney primarily exploring the media of collagraphs and linocut.

Returning to Hobart in 2006 Steph commenced her studies with The University of Tasmania School of Art and graduated with a Masters of Fine Art and Design (MFAD) majoring in Printmaking in 2012.

Commencing July 2015, Steph embarked on a printmaking residency within the TCotA Printmaking Department as part of the AiR (Artist in Residence) program.

Steph has been selling and exhibiting her work since 2010 through the Henry Jones Art Hotel, Hobart. She is also represented in Melbourne by PG Printmakers Gallery, Fitzroy.

Steph Houstein I

STEPH HOUSTEIN
Echoes of Place 2, 2016
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Echoes of Place 1, 2016
Screenprint & mixed media on paper
76 x 56cm
$950 framed
Location: Room 118

Steph Houstein I

STEPH HOUSTEIN
Liminal Lineage 1, 2015
Screenprint & mixed media on paper
76 x 56cm
$990 framed
Location: Room 118

Steph Houstein I

STEPH HOUSTEIN
Liminal Lineage 3, 2015
Screenprint & mixed media on paper
76 x 56cm
$990 framed
Location: Room 118

Steph Houstein I

STEPH HOUSTEIN
Bonescape 111, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 110, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 109, 2016
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Bonescape 108, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 100, 2016
Screenprint & mixed media on paper
120 x 80cm
$1,800 framed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 99, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 98, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Print Rack

Steph Houstein I

STEPH HOUSTEIN
Bonescape 96, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 95, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Contact Art Liaison

Steph Houstein I

STEPH HOUSTEIN
Bonescape 94, 2015
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Wabi-Sabi Bones 3, 2015
Screenprint & mixed media on paper
76 x 56cm

SOLD

ARTIST STATEMENT

I have an ongoing interest in the conceptual exploration of memento mori. For my MFAD I developed a body of work titled Bonescapes, each work originating with an abstraction of skeletal form. With the application of additional layering, the transience and impermanence of life is explored through the energetic gestural movement of line and colour.

The TCotA ( Tasmanian College of the Arts) Printmaking Department was interested in the development of my emerging art practice, especially in the medium of screen-printing. My current practice has evolved into what could be best described as ‘Hybrid Printmaking’, a combination of mixed media and silkscreened works on paper. Over the last four years I have been experimenting with these processes incorporating the use of wood. The AiR program gave me the opportunity to further my experimentation with non-toxic print process and with the progression of my image making.

Over the five months that I was engaged with the AiR program, I had the luxury of time and facilities to develop new bodies of work alongside progression of the original Bonescape series: Wabi-Sabi Bones, Liminal Lineage and Osteology.

I have never outwardly used my art practice as an expression of my disability or the way I address my MS on a daily basis. However works and imagery like Wabi-Sabi Bones and the very nature of the process, imagery and naming, do refer to my awareness of physical decline and limitations. Wabi-Sabi is a Japanese aesthetic, which loosely means 'embracing the imperfect'. This sums up the way I now have to approach my practice and my daily life. I prefer my imagery not to be didactic for the viewer but let them come to their own conclusions.

Steph Houstein

2016

Steph Houstein I

STEPH HOUSTEIN
Wabi-Sabi Bones 2, 2015
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Wabi-Sabi Bones 1, 2015
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Bonescape 66, 2015
Screenprint & mixed media on paper
56 x 38cm

SOLD

Steph Houstein I

STEPH HOUSTEIN
Bonescape 86, 2015
Screenprint & mixed media on paper
56 x 38cm

SOLD

Steph Houstein II

STEPH HOUSTEIN
She found the cool kids far more interesting
Screenprint, edition 7/7
50 x 70cm
$300 unframed
Location: Print Rack

Friends are mindful of my interest in all things skull like and I was lucky to be given fascinating reference from Hallstatt, Austria.

The Hallstatt tradition of painted skulls dates back to the 1700’s. After being buried for 10 to 15 years the skulls and bones are cleaned and placed in the community ossuary or ‘bone house’ (Beinhaus). This was primarily due to lack of space in the local graveyard. As you would decorate a grave with flowers, skulls could be painted with the owners name, profession, flowers, ivy and crosses. You would then be neatly stacked with your next of kin. - Steph Houstein, 2010

Steph Houstein II

STEPH HOUSTEIN
Too Cool for School
Screenprint, 2nd state, edition 2/4
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Too Cool for School
Screenprint, edition 4/9
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Friends felt she needed a pet
Screenprint, edition 3/10
50 x 70cm
$250 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
So many choices, so little time
Screenprint, edition 1/10
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
All dressed up and nowhere to go
Screenprint, edition 5/10
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
She wore her Heart on her feet
Screenprint, edition 2/10
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Until now she couldn't get her head around Halloween
Screenprint, edition 3/9
70 x 50cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
The Dark Side was looking a lot more fun
Screenprint, edition 1/6
56 x 76cm
$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
The Dark Side was looking a lot more fun
Screenprint, edition 2/8
50 x 70cm
$200 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Stick a Bird on It, 2013
Screenprint & gold leaf
70 x 56cm
Edition of 8

$300 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
If I die before I wake
Screenprint, edition 2/8
70 x 50cm
$200 unframed
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Grateful to be dead
Screenprint, edition 5/10
70 x 50cm
$200 unframed
Location: Print Rack

Steph Houstein II

Screenprint
Edition of 6
70 x 50cm

SOLD

Friends are mindful of my interest in all things skull like and I was lucky to be given fascinating reference from Hallstatt, Austria.

The Hallstatt tradition of painted skulls dates back to the 1700’s. After being buried for 10 to 15 years the skulls and bones are cleaned and placed in the community ossuary or ‘bone house’ (Beinhaus). This was primarily due to lack of space in the local graveyard. As you would decorate a grave with flowers, skulls could be painted with the owners name, profession, flowers, ivy and crosses. You would then be neatly stacked with your next of kin. - Steph Houstein, 2010

Steph Houstein II

STEPH HOUSTEIN




SOLD

Steph Houstein II

STEPH HOUSTEIN
Osteology 8, 2015
Screenprint & mixed media on paper
76 x 56cm
$950 framed
Location: Room 118

Steph Houstein II

STEPH HOUSTEIN
Osteology 5, 2015
Screenprint & mixed media
76 x 56cm

SOLD

Steph Houstein II

STEPH HOUSTEIN
Bonescape 94, 2015
Screenprint & mixed media on paper
76 x 56cm

SOLD

Steph Houstein II

STEPH HOUSTEIN
Bonescape 63, 2011
Screenprint, gold leaf & mixed media
120 x 80cm


SOLD

Steph Houstein II

STEPH HOUSTEIN
Bonescape 36, 2011
Screenprint, gold leaf & mixed media
120 x 80cm
$1,600 framed in acrylic
Location: 1st Floor Corridor

Steph Houstein II

STEPH HOUSTEIN
Bonescape 59, 2012
Screenprint, gold leaf & mixed media
76 x 56cm
$500 unframed 
Location: Contact Art Liaison

Steph Houstein II

STEPH HOUSTEIN
Bonescape 45, 2011
Screenprint, gold leaf & mixed media
76 x 56cm
$500 unframed 
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Bonescape 41, 2011
Screenprint, gold leaf & mixed media
76 x 56cm
$500 unframed 
Location: Print Rack

Steph Houstein II

STEPH HOUSTEIN
Bonescape 40, 2011
Screenprint, gold leaf & mixed media
76 x 56cm
$500 unframed 
Location: Contact Art Liaison

Steph Houstein II

STEPH HOUSTEIN
Bonescape 47, 2011
Screenprint & mixed media
76 x 56cm

SOLD

Steph Houstein II

STEPH HOUSTEIN
Bonescape 5, 2011
Screenprint & mixed media
76 x 56cm

SOLD

Steph Houstein II

STEPH HOUSTEIN
Bonescape 9, 2010
Screenprint & mixed media
76 x 56cm
$500 unframed
Location: Contact Art Liaison

Steph Houstein II

STEPH HOUSTEIN
Bonescape 8, 2010
Screenprint & mixed media
76 x 56cm
$500 unframed
Location: Contact Art Liaison

Steph Houstein II

STEPH HOUSTEIN
Bonescape 2, 2010
Screenprint, gold leaf & mixed media
76 x 56cm
$500 unframed 
Location: Print Rack

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 18, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: IXl Long Bar (display frame)

BARE BONES - ARTIST STATEMENT

My current practice is an ongoing fascination of the concept of memento mori, a Latin phrase that may be translated as ‘remember that you are mortal’. The works originate with an abstraction of skeletal form reflecting on the transience and impermanence of life within a contemporary western context.

The works all depict an imagined and intricate internal space, the connectivity of what binds our bodies together in dark and quiet complexity. Although we are all aware of our body’s internal mechanisms we can be alarmed at perceived changes in its workings. I am sure that we have all experienced fearful sleeplessness due to what may or may not be happening just below the skins surface.

Working with abstracted skeletal forms embodies the notion of Everyman. Whatever our standing, wealth, education, political or religious beliefs, we share the iconic imagery of death: the skull. I would like to invite the observer to reflect on, and ultimately consider our shared mortality. It is what we have in common.

Steph Houstein, 2017

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 16, 2016
Screenprint & mixed media on paper
56 x 38cm
$800 framed in acrylic
Location: 1st Floor Corridor

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 15, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 (unframed)
Location: IXL Long Bar (in display frame)

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 14, 2016
Screenprint & mixed media on paper
76 x 56cm
$950 framed
Location: Location: IXL Long Bar

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 11, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Print Rack

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 6, 2016
Screenprint & mixed media on paper
76 x 56cm
$950 framed
Location: IXL Long Bar

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 4, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: Print Rack

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 3, 2016
Screenprint & mixed media on paper
76 x 56cm
$600 unframed
Location: IXL Long Bar (display frame)

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 2, 2016
Screenprint & mixed media on paper
76 x 56cm
$800 framed in acrylic
Location: 1st Floor Corridor

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 1, 2016
Screenprint & mixed media on paper
76 x 56cm


SOLD

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 7, 2016
Screenprint & mixed media on paper
76 x 56cm
SOLD

Steph Houstein III

STEPH HOUSTEIN
Bare Bones 9, 2016
Screenprint & mixed media on paper
76 x 56cm
SOLD

Steve Woodbury

STEVE WOODBURY
Three Graces, 2017
Gunpowder in paper
125 x 195cm framed
$9,900  Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Polyglyph, 2017
Gunpowder in polystyrene
123 x 153cm framed
$15,000
Location: Foyer

Steve Woodbury

STEVE WOODBURY
Portrait 1, 2017
Gunpowder in linen
94 x 78cm framed
$5,500 Available on the COLLECT Art Purchase Scheme
Location: IXL Long Bar

Steve Woodbury

STEVE WOODBURY
Portrait 2, 2017
Gunpowder in linen
94 x 78cm framed
$5,500 Available on the COLLECT Art Purchase Scheme
Location: IXL Long Bar

Steve Woodbury

STEVE WOODBURY
Formative Years I, 2017
Gunpowder in paper
96 x 76cm framed
$2,750 Available on the COLLECT Art Purchase Scheme
Location: Reception

Steve Woodbury

STEVE WOODBURY
Formative Years II, 2017
Gunpowder in paper
96 x 76cm framed
$2,750 Available on the COLLECT Art Purchase Scheme
Location: Reception

Steve Woodbury

STEVE WOODBURY
Formative Years III, 2017
Gunpowder in paper
96 x 76cm framed
$2,750 Available on the COLLECT Art Purchase Scheme
Location: Reception

Steve Woodbury

STEVE WOODBURY
Art of War I, 2017
Gunpowder in linen
86 x 100cm
$7,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Art of War II, 2017
Gunpowder in linen
86 x 100cm
$7,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Art of War III, 2017
Gunpowder in linen
86 x 100cm
$7,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Black Tuesday 1, 2017
Gunpowder in linen
143 x 187cm
$15,000
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Black Tuesday 2, 2017
Gunpowder in linen
143 x 187cm
$15,000
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Neural 1, 2017
Gunpowder in linen
53 x 43cm framed
$2,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Neural 2, 2017
Gunpowder in linen
53 x 43cm framed
$2,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Neural 3, 2017
Gunpowder in linen
53 x 43cm framed
$2,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Neural 4, 2017
Gunpowder in linen
53 x 43cm framed
$2,500 Available on the COLLECT Art Purchase Scheme
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Apparition 1 (Warrior), 2017
Gunpowder in linen
187 x 143cm
$15,000
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Apparition 2 (Warrior), 2017
Gunpowder in linen
233 x 195cm
$25,000
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
Apparition 3 (Warrior), 2017
Gunpowder in linen
187 x 143cm
$15,000
Location: The Packing Room

Steve Woodbury

STEVE WOODBURY
String Theory, 2017
Gunpowder in linen
30 x 170cm unframed
$3,300 Available on the COLLECT Art Purchase Scheme
Location: Contact Art Liaison

Steve Woodbury

STEVE WOODBURY
Powderwork 2, 2016
Gunpowder on paper
100 x 70cm paper size
$7,500 framed  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
In association with Colville Gallery, Salamanca

Steve Woodbury

STEVE WOODBURY
Powderwork 1, 2016
Gunpowder on paper
100 x 70cm paper size
$7,500 framed  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
In association with Colville Gallery, Salamanca

Steve Woodbury

STEVE WOODBURY
Powderwork 2, 2013
Gunpowder on paper
100 x 70cm paper size
$7,500 framed  Available on the COLLECT Art Purchase Scheme
Location: 1st Floor Corridor
In association with Colville Gallery, Salamanca

Terence Munday

TERENCE MUNDAY
Riverscape 1, 2014
Archival digital print
80 x 120cm
$1,800 laminated & framed  Available on the COLLECT Art Purchase Scheme
Location: Outside Room 228

Terence Munday is a Tasmanian born artist. In 2007 he completed a Diploma of Arts, Crafts and Design at TAFE Tasmania. In 2009 he completed a Bachelor of Fine Arts and at the end of 2013 he was awarded a Master of Fine Arts, both from the University of Tasmania’s Tasmanian College of the Arts.

My practise investigates visual strategies for the photographic representation of natural phenomena. It seeks to re-sensitise the viewer to the significance of these phenomena through focusing attention on the detail and nuance displayed by local natural events. Currently my efforts are confined to a minimal number of sites to enable more detailed observation of variables that impact upon watery surfaces. In addition to available light, the aesthetic is also modified by wind speed and direction, tidal variation, river flow, time of day, cloud density, variation in swell pattern and the constant of local topography.

Ronald Hepburn describes how the modern artist has moved away from original concerns with the imitation and representation of the natural environment, to the creation of new objects that may be contemplated in their own right, and are more expressive of the inner landscape of the human psyche. My practise places an emphasis on returning to those original concerns with the imitation of nature, and at the same time, amplifies my subjective response through aesthetic choices involving framing, scale, and detail that is constantly modified by the passage of time. - Terence Munday

Terence Munday

TERENCE MUNDAY
Riverscape 2, 2014
Archival digital print
80 x 120cm
$1,800 laminated & framed  Available on the COLLECT Art Purchase Scheme
Location: Outside Room 228

Terence Munday

TERENCE MUNDAY
Riverscape 3, 2014
Archival digital print
80 x 120cm
$1,800 laminated & framed  Available on the COLLECT Art Purchase Scheme
Location: Outside Room 228

Wayne Brookes

WAYNE BROOKES
Gateway to Paradise III, 2003
Acrylic on canvas
270 x 169cm
$27,000
Location H.Jones & Co. Foyer
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Brookes is a painter and educator who has been practicing and exhibiting in Hobart for more than two decades. In that time he has built up a reputation as a talented and highly collected artist, a passionate scholar and one of Hobart’s favourite personalities. Brookes is a graduate of the Tasmanian School of Art. He holds a Bachelor of Fine Art, a Masters of Fine Art, and in February 2009 was awarded a PhD, all at the Tasmanian School of Art.

This may not be reality, but it is the parking spot next to it.
– Wayne Brookes, 2009

The space beneath this canopy encourages the navigation of personal agendas. The ocular encounter is merely the beginning of the adventure. While the extreme focal opus can be unbalancing, the codes are consistent; power radiates hierarchically from the centre earthwords, right down to your foot on that rung. The optical collision between architecture, stucco and anamorphic device begins my narrative…it is collage, it is abstract realism, it is awkward and it is confusing…I recognise that my replications are only postcard facsimilies of the actual space. But I look on them as a sort of Chinese Whisper, full of quotations that can be interpreted and misinterpreted by the viewer. I see the Quadratura awning existing in a parallel slipstream to the digital annexe of the Imax. And because the material I use is acrylic, I assume that I’m actually a plastic surgeon.
– Wayne Brookes

Wayne Brookes

WAYNE BROOKES
Gateway to Paradise II, 2002
Acrylic on canvas
270 x 169cm
$27,000
Location H.Jones & Co. Foyer
Courtesy of Despard Gallery, Castray Esplanade, Hobart

Yvette Watt

YVETTE WATT
Hybrid 2, 2005
Oil on canvas
80 x 60cm
$3,500  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Yvette has been lecturing at the Tasmanian College of the Arts, Hunter St since 1999, primarily in the painting department. She currently teaches painting at all levels from undergraduate through to postgraduate.

Yvette Watt completed a Bachelor of Education (Art) at Curtin University, Perth WA, in 1984. She was awarded a Master of Fine Arts in 2003 and a PhD in fine art in 2009, both of which were undertaken at the Tasmanian School of Art.

Yvette has held numerous solo exhibitions and has been the recipient of a number of grants and awards. Her work is held in a many public and private collections including Parliament House, Canberra, Artbank and the Art Gallery of WA.

Yvette is a co-editor of, and contributor to the collection of essays titled Considering Animals: Contemporary Studies in Human-Animal Relations (Ashgate, 2011) and was commissioned to contribute an entry on 'Art, Animal and Ethics' for the Encyclopaedia of Animal Rights and Animal Welfare, (Marc Bekoff ed., Greenwood Press, 2009).

Research Interests
Yvette's primary research interests are based in the burgeoning area of scholarly study known as human-animal studies (HAS). She has been actively involved in animal advocacy since the mid 1980s, and her artwork is heavily informed by her activism and her interest in the changing nature of human-animal relations. Her research also reflects an interest in the relationship between how nonhuman animals are depicted and what this might have to say about how these animals are thought about and treated. Related to this is an interest in the role that art can play in engaging the viewer with social and/or political issues.Yvette is a committee member of the Australian Animal Studies Group and the UTAS Animals and Society Study Group.

Yvette Watt

YVETTE WATT
Hybrid 1, 2005
Oil on canvas
80 x 60cm
$3,500  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

Yvette Watt

YVETTE WATT
Dumb Animal (Chicken), 2003
Oil on canvas
180 x 270cm

SOLD

Yvette Watt’s deadpan lineups of sheep, cattle, poultry and other domesticated creatures provide shrewd commentaries on the factory-farming industry’s heartless commodification of living creatures. That she expresses her deep concern for animal welfare not through angry polemic but by means of wry satirical humour - using mass-produced animal toys as anonymous substitutes for living creatures - makes it all the more convincing and emotionally effecting.

Yvette Watt – Artist’s Statement

These works are the result a long-standing interest of mine, in human-animal relationships and the representation of animals in art and popular culture. The use of photographs and models reflects my interest in the relationship between how we depict animals and what such depictions might demonstrate about our understanding of the animal/s depicted.

The Dumb Animals series takes four cheap, plastic model animals, but each model scaled up to the size that an actual animal of this type would be in reality. The title was chosen to reflect a number of issues to do with the representation and perception of farm animals. Firstly, it refers to the term of pity or contempt used when describing non-human animals, suggesting their inferiority to humans. Secondly, it reflects the perceived lack of language in non-human animals and thus their inability to speak for themselves to protest their plight, which has prompted some animal rights advocates to describe themselves as ‘a voice for the animals’. Thirdly it refers to the stupidity of the models, which, whilst apparently representing an actual animal, are so unlike the animal that they appear mutant. Finally, the word ‘dumb’ refers to the stripped back minimalism of the image itself, where the animal exists in a non-space, redolent of the seemingly empty, nihilistic ‘dumbness’ of some postmodern art.

The models and photographs used as source material for the work manifest the transformation of nature (the animal) into culture (the object/image representing the animal); a shift that also transforms the animal from sentient being into food. The use of cheap plastic model animals emphasises the object/commodity status of these animals within our society, while alluding to the mass production that is an important aspect of the modern animal agriculture industry. The strangeness of some of the models, so unlike the animal in actuality, points to our ignorance of them and prompts the viewer to consider the continual modification of their forms through selective breeding and genetic manipulation.

Yvette Watt

YVETTE WATT
Dumb Animal (Pig), 2003
Oil on canvas
180 x 270cm

SOLD

Yvette Watt

YVETTE WATT
Identikit (Pig), 2004
Oil on board
15 x 40cm
$8,000
SOLD

Yvette Watt

YVETTE WATT
Identikit (Sheep), 2004
Oil on board
15 x 40cm

SOLD

Zoe Grey

ZOE GREY
Here nor there, 2016
Acrylic on canvas
85 x 500m
$3,900  Available on the COLLECT Art Purchase Scheme
Location: 2nd Floor Corridor

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