In 2019 the Australian Design Centre invited ceramicist Prue Venables to exhibit a new collection of her enigmatic, metal-augmented porcelain objects as part of their Living Treasures series. The exhibition is still touring the nation and has recently arrived at Design Tasmania.
Ruth Burgess filters the work of a 17th century astronomer and her own youthful career as an experimental composer through a decades-long printmaking practice in her latest solo show, The Music of the Planets at Grace Cossington Smith Gallery.
From cute to uncanny, absurd to naughty, Matthew Harris talks about camp aesthetics, growing up in a country town, and his latest show The Simple Life at Galerie pompom.
For three decades Janet Laurence has been lauded for her simultaneously conceptual but also emotive approach to nature. In our interview she talks about being a female artist dealing with nature, and what it means to create ecological art in a time of great environmental threat.
Painter Jack Lanagan Dunbar uses copper and gestural mark-making to capture both the folly of humanity and the awesome power of nature in his solo show Signal, part of Art Month Sydney.
Curator Tim Riley Walsh talks about bringing together Queensland artists to picture climate disasters that are beyond the limits of perception for On Fire: Climate and Crisis at the Institute of Modern Art (IMA).
Carla Adams, who is showing alongside the late painter Albert Tucker at AGWA, uses pencils, paint, textiles and lots of pink to take on the messy business of online dating.
Whether filming her parents, making casts of precious family objects, or screen printing her mother’s hummus recipe onto a stack of Bunnings rugs, Lara Chamas’s work resonates with humour, warmth and tenderness.
The intricate art of lace-making might bring to mind your grandmother’s tea-table, but it’s long been used to tell grand tales of war and passion, gods and kings.
Over many months, Olga Cironis has been recording personal stories about love and connection. She talks about working collaboratively with strangers, and the intimate catharsis of speaking one’s experience out loud.
What happens when slogans and catchphrases are treated as instructions? In 2020, a year riddled with new phrases and contradictory messaging, Michelle Hamer has had plenty to work with.
