Pamplemousses Garden
When Adelaide-based artist Sue Kneebone visited Mauritius it was not for the blue sky and beaches, it was for family.
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When Adelaide-based artist Sue Kneebone visited Mauritius it was not for the blue sky and beaches, it was for family.
Joseph Banks is painted in the late afternoon under moody dark clouds in a landscape better suited to board shorts and thongs.
Populated by new worlds that bring alternative mythologies to life, Feedback Loops playfully invites audiences to question preconceived structures within society.
“In some ways I don’t think of my life and art as separate things, I think it’s one in the same thing,” says artist Louise Weaver when speaking of her creative pursuits.
Seeking out inhospitable environments, Eloise Kirk is drawn to the unpredictable.
“Art is more enjoyable if you look at it hard and long, than if you look at it idly and in passing.”
With a practice spanning three decades, Louise Weaver is well-known for her meticulously crochet-encased animal forms.
Given the growing spectre of man-made global warming, artist Amrita Hepi says it is important to consider First Nations knowledge of land and sea.
Artists work with scientists to explore the environment of Manly Dam.
In her solo show Losing Home, Finding Home, Mika Nakamura-Mather examines both the fragmentary nature of memory and the quest for belonging.
At the heart of the group exhibition FEM-aFFINITY is intersectional, inclusive feminism.
Fostering a relationship between art, architecture and design is the long-term goal of the Lyon Housemuseum Galleries.
The paintings of Betty Kuntiwa Pumani form a part of a larger, living archive on Antaṟa, her mother’s Country. More than maps, they speak to ancestral songlines, place and ceremony.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Auckland-born and raised artist Lisa Reihana is ever the optimist, creating two new works signifying social cohesion to hang outside two Australian arts venues—Ngununggula, and Sydney Contemporary at Carriageworks —just as dark divisions seek to undermine the value of migration and Indigenous sovereignty.
Language folds into form in the poetic yet monumental light sculptures of Welsh artist Cerith Wyn Evans, whose solo exhibition … in light of the visible is at the Museum of Contemporary Art, Sydney.
Grace Wood’s new exhibition for Heide Museum of Modern Art intertwines personal, familial, and artistic archives. Consisting of textile and digital collage, Wood traces lines of inheritance and influence to position the garden as a site of both personal and artistic cultivation.
Gaypalani Waṉambi has just won the 2025 National Aboriginal and Torres Strait Islander Art Award (NATSIAA), Australia’s longest running and most prestigious art awards of its kind.
