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.
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.
Curators Martyn Jolly and Tony Oates’ Light Source, brings together ten artists whose work incorporates combinations of light projection and performance at Drill Hall Gallery in Canberra.
Gabriela Burkhalter’s The Playground Project at Incinerator Gallery reinvents the typically serious installation space, inviting children to play, reminding us of its importance within the arts.
In the cavernous spaces of Hobart’s Museum of Old and New Art, the large-scale kinetic sculptures of Arcangelo Sassolino are teetering on the brink.
Inspired by the ways in which nature informs creativity, the exhibition Material Nature, now showing at Drill Hall Gallery, aims to encourage viewers to think deeply about the human connection to the natural world.
Described as “a space for reflection, remembrance, and the sharing of truth”, Kattidj Nagãr, now showing at John Curtin Gallery, is dedicated to the Aboriginal people who once resided at the Carrolup Settlement in Western Australia.
Waanyi artist Gordon Hookey has been creating artwork for more than three decades. Describing his style as pictograms of a scenario, with images and symbols connecting a sprawling narrative, Hookey’s work, which is now showing at Plimsoll Gallery, is imbued with elements of activism, pop culture and lived experience.
With a current survey exhibition at Rockhampton Museum of Art chronicling 23 years of painting and photography, Julie Fragar talks about creative influences and what it’s like to observe a Supreme Court murder trial.
Equal parts monumental and fleeting, the sand sculptures of French artist Théo Mercier chart the histories—beyond our lines of vision—that a landscape reveals and conceals. Mercier’s MIRRORSCAPE is now showing at Mona.
Using a hand coil pinch technique, the pots created by the Hermannsburg Potters of Western Arrarnta in Central Australia illustrate the lived histories of the artists and their surrounding Country. Their latest creations are now showing at Bett Gallery in Hobart.
Wanda Gillespie’s handcrafted sculptures embody ideas of the sacred.
Her latest exhibition, Of Counting and Devotion, is now showing at Craft Victoria’s Vitrine Gallery.
When times are hard, we often turn to art to remind ourselves that beauty and hope persist. An exhibition at Murray Art Museum Albury brings together nine artists from varied disciplines to examine how art can be used as an agent for good.
