Liz Priestley’s Origins and destinations is an interpretation of both the immediate physical landscape, and that of the internal landscape. Her work explores the subject, viewed through a nostalgic lens, often using memory to create an emotional connection to a place – landscape as a conduit to the physical. Working in encaustic, Priestley builds up layer after layer, carving and scraping in a very physical process to create this tender body of work.
Now showing at Home of the Arts (HOTA), the sophomore Gold Coast Triennial, Here and Now, brings together 42 contemporary artists to represent the depth and dynamism of the city’s artistic community.
For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead.
In an expansive show at the Chau Chak Wing Museum, seven leading Australian ceramic artists have reinvigorated one of Australia’s oldest museum collections by creating a contemporary potter’s quarter—known as the ‘kerameikos’ in Ancient Greece.
Movement and stillness are driving forces in the video and sculptural works of Cate Consandine. This is particularly true of RINGER, the artist’s new three-channel film work currently premiering at Buxton Contemporary. In conversation with Amelia Wallin, Consandine talks about RINGER, the female gaze as a continual point of exploration, film as sculpture, and the viewer as an active and embodied agent.
Lismore Regional Gallery is reopening to the public following extensive closure resulting from the devastating floods in 2022. The redesigned space will host a number of new exhibitions opening this weekend.
Congratulations to Hannah Gartside, who has won the 2024 Woollahra Small Sculpture Prize for her work #19, a piece in her ongoing series Bunnies in Love, Lust and Longing, 2024.
