Louise Martin-Chew is a freelance writer and PhD candidate at the University of Queensland (Creative Writing) where she is working on artist biography. Her most recent book is Linde Ivimey, published by UQ Art Museum, Brisbane, 2012.
“It’s really made me reconsider the way I work.” Lisa Sammut’s 10-decade practice spans sculpture, light, video, installation… and now glass. Her beguiling new creations are showing at Canberra Glassworks.
“You can’t overestimate watching films in Yolŋu language about you, your culture, your language and your life. It is epic.” Based in North East Arnhem Land, The Mulka Project is centred on sustaining Yolŋu cultural knowledge—and now their exquisite 60-metre projection will grace the National Gallery of Australia.
Known for his dynamic paintings created from reused materials, Bruce Reynolds is now making award-winning sculptures. It’s a busy time for Reynolds, with a survey exhibition at Brisbane’s Artisan gallery and work also showing across Canberra, Sydney and Rockhampton.
In 1966 in the Northern Territory, 200 Gurindji workers pushed forward the land rights movement in Australia. Known as the Wave Hill Walk-Off, the strike protested Aboriginal land dispossession and worker exploitation. Now, Still in My Mind at ANU Drill Hall Gallery examines this significant moment.
Departing from her training in figurative painting, Lucy Turnbull’s Riverside exhibition at Sauerbier House embraces how conversations with the local community give new artistic expression.
Famous for her exquisite large-scale installations created from thousands of delicate red and black threads, Chiharu Shiota’s largest survey show to date is showing at Brisbane’s Gallery of Modern Art.
Paul Gundry’s landscapes hover close to the ground, capturing the light, atmospherics, and the imaginary qualities available within the Tasmanian landscape—as shown in his latest exhibition at Colville Gallery.
With work probing the socio-cultural conditions which define our age, Karla Marchesi’s latest paintings at Jan Manton Gallery are a bright contrast of floral forms, both in tone and colour.
Solitude is a habit for Belynda Henry and, as an artist, immersion in the landscape drives her paintings. Her latest works at Edwina Corlette distil imagery which is vested in place, conveying its many moods and experiences.
Confined 13 shows how art can change lives. With 400 works created by First Nations artists either currently in or recently released from Victorian prisons, the exhibition is a tribute to how artistic expression strengthens a person’s connection to their story and culture, while giving further artistic possibilities.
“I am interested in my own psychology and how women survive our culture,” says Prudence Flint, whose latest paintings depicting women are on show at Fine Arts Sydney.
