For Isobel Knowles and Van Sowerwine the still-nascent artistic medium of virtual reality (VR) is the perfect fit for exploring themes of dislocation, disorientation, alienation and culture shock.
Laurie Anderson and Hsin-Chien Huang are redefining VR in contemporary art.
In the group exhibition Hi Vis, fashion is used to arrest attention and focus it onto complex political ideas.
Misfit features the work of 11 contemporary queer artists from Australia and abroad who use some form of “expanded collage” in their practice.
It is the deftly-crafted dialogue between the works of 15 artists in the exhibition that reveal the connections between the two wildly different, but similarly slippery, concepts of rococo and colonialism.
Sounds of Pacing places early-career artists in lively conversation with each other.
Kate Baker is known for works which combine glass and photographic processes to poetic effect.
Phaptawan Suwannakudt brings Thailand’s Wat Pho temple to Australia through her multi-sensory installation Knowledge in your hands, eyes and mind at the Arts Centre Melbourne as part of Asia TOPA: Asia-Pacific Triennial of Performing Arts.
Yhonnie Scarce has been awarded the second Yalingwa Fellowship, an initiative designed to foster career development opportunities for Aboriginal and Torres Strait Islander visual artists living and working in Victoria.
Even Agatha Gothe-Snape struggles to define her art.
As an abstract painter with an enduring interest in modernism, John Nixon has always enjoyed exploring and absorbing material from allied fields.
“Without science we would not understand the body, without the body fashion would not become alive and without art, how can we express the bodies we have?”
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
Mitch Cairns’s latest solo exhibition Restless Legs, now showing at the Wollongong Art Gallery, draws on symbols—from literature, mythology, nature, and home life—to find new pathways into painting.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
Desert Mob is a critical platform for the cultural and creative authority of desert artists—with artists driving new ways of making, collaborating, and innovating on their own terms, ensuring cultural knowledge is not just maintained but continually expanded through practice.
