Briony Downes is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying Art History through Oxford University.
Radical Textiles, A new exhibition at the Art Gallery of South Australia, shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.
rhythm wRites, a new exhibition at QUT Art Museum, spans 30 years of Bigambul artist Leah King-Smith’s manifold art practice, covering painting, photography, sound and animation.
In GHOSTLAND, her new exhibition at the ANU Art & Design Gallery, Julie Gough continues her lifelong inquiry into gaps and silences—while conjuring the apparitions that haunt Tasmania’s colonial past.
Curated by Lee Kinsella, Stuffed, Bolstered and Upholstered—on now at Lawrence Wilson Art Gallery—looks at how woven and fibre objects align with the human form, encompassing the practices of over thirty artists working across textiles, painting, ceramics, sculpture and installation.
A Delicate Terrain, a new exhibition of works drawn from the Tweed Regional Gallery collection, looks at our relationship with the environment through the lens of contemporary art.
Rochelle Haley is responding to the need for safe spaces in a new public artwork at Randwick Health & Innovation Precinct, Lunar Sway, that blends light and colour to create a sense of calm.
The marine life of the Great Southern Reef is the landscape behind Vera Möller’s latest abstract paintings, now showing at Philip Bacon Galleries.
Described as a fair within the Fair, the PAPER sector of Sydney Contemporary—which encompasses prints, drawings, photography, artist books and zines—reveals the magic of the medium.
The latest in Holmes à Court Gallery’s Collection Focus series looks beyond the still life genre, with 21 artists from across generations offering varied interpretations of stillness in art.
In her latest exhibition at Arthouse Gallery, Belinda Fox invites friends and artists to contribute by reflecting on their sense of home.
Throughout her nine decades, Elizabeth Blair Barber used her vibrant social life as the wife of Charles Bunning (of the Bunnings hardware empire) to fuel her art practice and raise the profile of other female creatives by painting well-known figures from the West Australian art scene.
The assemblage of new motherhood, of shifting time and experience, is mirrored in Lillian O’Neil’s poignant artistic assemblages at UNSW Galleries.
