CURRENT Exhibitions

Catherine O'Donnell in NOW Contemporary Art Prize 2019

- Shoalhaven Regional Gallery

5 October - 23 November 2019

NOW Contemporary Art Prize is the biggest art prize on the South Coast of NSW. 2019 is the fourth time the prize has been run and artists were asked to respond to the exhibition theme 'pushes boundaries, responds to our world, is dynamic and personal'.

Catherine O'Donnell is presenting her work While you were out, a drawing installation of charcoal on paper and tape on walls.

Link to NOW Contemporary.

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Todd Fuller at the Lyn McCrea Memorial Drawing Prize 2019

- Finalist at Noosa Regional Gallery

1 November - 1 December 2019

Represented artist, Todd Fuller, has been named a finalist in Noosa Regional Gallery's Lyn McCrea Memorial Drawing Prize 2019 with his work, 'My brother calls this place God's Country.'

Link to Noosa Regional Gallery

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Catherine O'Donnell in 'The Director's Cut'

- Mosman Art Gallery

2 - 24 November 2019

Represented artist Catherine O'Donnell is featuring in the inaugural Director's Cut exhibition at Mosman Art Gallery curated by John Cheeseman. The Director’s Cut is the first of a series to share hidden gems unearthed during a comprehensive review of the vast collection that recently took place while they were being moved into a new off-site archival facility.

This first Director’s Cut exhibition has been coined The Paper Cut and features works on paper by other artists such as Ken Done, Peter Kingston, John Crothers, Tracey Moffatt, John Brack, Augustus Earle, Lloyd Rees, Judy Cassab, John Olsen, Marlee Naparula, Brett Whiteley, Ruth Faerber and Ann Cape.

More information click here.

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Al Munro

- Pattern Fold, 2019

6 to 24 November, 2019

‘This exhibition develops my interest in the intersections of textile patterning and mathematics to explore the effects of folding and crumpling on grid-based patterns through painted abstraction. This work began with research into various textile patterns during a residency at the Royal School of Needlework, Surrey, UK in January-February 2019 where I worked with archival materials and learnt technical skills related to the gridded patterns of traditional blackwork embroidery. The work also looks to a long term interest in distorting or disrupting regular two-dimensional patterned surfaces through folding, pleating, weaving and other textile practices. The concertina folded forms of the works in this exhibition also reference the tightly pleated textiles of the Hmong communities I visited while undertaking an Artist in Residency at Chiang Mai University in Thailand. These elastic pleats distort the original woven pattern of the fabric and create a dynamic surface.

The exploration of textile patterning and folding through the act of painting offers a means of recording or ‘diagramming’ the disruption of the pattern in a way that offers some distance. The painted/translated pattern retains something of the original textile ‘text’ but also offers the opportunity to be free of certain aspects of textile materiality - colours, textures, surfaces, spaces can be flattened out, reconsidered, or seen under a different lens.’

- Al Munro, 2019

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Todd Fuller

- A place not like home, 2019

6 - 24 November 2019

‘A place not like Home’ features two new bodies of work created in response to the regional towns and stories of Port Macquarie and Branxton in the Hunter Valley.

Elements of the first exhibition, To see the ocean for the first time were created through a residency with the Glasshouse Regional Gallery where Fuller worked with the story of local identity, Harry Thompson; a man who won the lottery, bought a caravan, got bogged on Shelley's beach and ended up staying there for forty years. He is the namesake of Port Macquarie's iconic Harry's Lookout. The second body of work, My Brother calls this place God’s Country uses the town of Branxton to explore the language of regional Australia, its culture, architecture and urban identity, the mundane, the uncanny, the absurd and the ubiquitous.

According to Fuller, there is a special type of magic in the towns and communities outside of Australia's metropolitan centres. These places, often remote, sometimes shrinking in population, sprinkled with architectural structures of the past and communities rich with quirk and charm, are a catalyst for uniquely Australian stories. These stories, and in a way these places, are a delicate balance of the bittersweet, the resilient and the bleak.

A place not like home brings together two recent hand-drawn animations which draw from regional rural experiences as the stimulus for storytelling and considering the Australian fringe experience.
— Todd Fuller, 2019


'My Brother calls this place God's Country' - A poem by Todd Fuller

'Branxton' - by Charles Croucher

'Beneath the Band Aid' - by Aaron Dries

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Catherine O'Donnell at Grace Cossington Smith Gallery, 2019

- Cité Spinoza, Paris - Solo Exhibition

7 November to 5 December 2019

An exhibition by Catherine O'Donnell at Grace Cossington Smith Gallery, awarded for winning the Grace Cossington Smith Acquisitive Art Award in 2018.

Catherine will be exhibiting a suite of drawings based on the Brutalist architecture of the Cité Spinoza, Paris and a wall drawing and a small series of prints based on her research of the Sirius building in Sydney. 

Click here for GCS Gallery

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Ruth Ju-Shih Li at Yingge Ceramics Museum, 2019

- Florilegium, 2019

8 November to 29 December 2019

Florilegium, a Solo exhibition by Ruth Ju-Shih Li at Yingee Ceramics Museum, Taiwan.

Link to Yingee Ceramics Museum

Helen Mueller

- nowhere to go, 2019

27 November to 21 December, 2019

Mangrove ecosystems are critical to our shorelines. They form a buffer between land and water, providing protection from erosion, filtering runoff, and are primary sea life nurseries. They are highly efficient carbon sinks. Chronic pressures on these environments from land clearing, the use of herbicides and pesticides, global warming and associated drought and severe storms are endangering them with potentially catastrophic consequences for the health of land and sea.

I spent a week working with a citizens’ science project that monitors the mangrove forests of the Daintree in far North Queensland. I had the privilege of venturing into a terrain where humans do not routinely go and to viscerally experience an environment of gritty beauty and intricate interrelationships. The work in this exhibition is my response to the mystery, majesty and fragility I was exposed to in this environment, one tragically and fatally often written off as a ‘swamp’.

- Helen Mueller, 2019

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Loribelle Spirovski at The House of Fine Art London

- Love Death and the Time I Knew You

27 November - 11 December 2019

'Contemporary portraitist and surrealist painter, Loribelle Spirovski, is set to have her first Solo Exhibition in London at HOFA Gallery. Titled Love, Death and The Time I Knew You, this solo show will assemble select artwork from her most successful collections, showcasing her prolific talent and remarkable growth as a contemporary artist.

Born in the Philippines in 1990, this Australian artist has fascinated audiences at home and abroad with her distinctive style and approach to contemporary portraiture. Though admittedly intuitive, Loribelle's artistic style is also decidedly cerebral, rooted in the myths, music, literature, pop culture and experiences that inspire her and make her art resonate with viewers.'

Click here to see House of Fine Art

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Janet Tavener

- Seedless, 2019

27 November to 21 December, 2019

Seedless, looks at the threat climate change poses to the humble seed and the catastrophic cascading effect it will have on our complex food chain. In the previous body of work, The Last Seed, frozen fruit and vegetables floated alongside tiny seeds encased in balls of ice. In the new chapter, the primary subjects are the seeds, whose ice cocoons are melting away. Now golden, to denote their preciousness, the seeds, hemmed in by air bubbles, appear suspended in gently effervescing poolssuggestive of both the petri dish and the cosmos – microbiology and the lunar surface. These connections between macro and micro worlds highlights just how precious and precarious life on earth is.

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Catherine O'Donnell and Todd Fuller in M16 Drawing Prize 2019

- Finalist, M16 Artspace, Canberra

28 November to 13 December 2019

Represented artists Catherine O'Donnell and Todd Fuller have been selected for the 2019 M16 Drawing Prize.

'The M16 Artspace Drawing Prize, established in 2006 has become highly acclaimed and sought after, attracting a record number of high calibre entries nationally and internationally. A wide array of work is submitted on diverse surfaces and using diverse media, both traditional and non-traditional materials and techniques. The annual exhibition seeks to examine, challenge and open up a dialogue concerning definitions and perceptions of what drawing can be'.

Awards and prize winners will be announced on 28 November 2019.
Exhibition runs from 28 November to 13 December at M16 Gallery, Canberra ACT

Click here for M16 Artspace

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Catherine O'Donnell at KAAF Art Prize 2019

- Finalist, Korea Australia Art Foundation Art Prize

29 November 2019 to 24 January 2020

Represented artist, Catherine O'Donnell has been named a finalist in the Korea-Australia Arts Foundation (KAAF) Art Prize for 2019. The Art Prize is run annually in cooperation with the Korean Cultural Centre and the Korean government to bring together artists and enhance cultural communities. 

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Nicole Welch at Shoalhaven Regional Gallery, 2019-2020

- Altered States - curated group show with Tamara Dean

30 November 2019 – 8 February 2020

The exhibition will explore Australian identity and our changing relationship with our natural environment through landscape photographs which have been modified by the hand of the artist. By adjusting the expected vista, with the addition of foreign objects, figures or projections, the artists cause us to look twice at their works and question the land we inhabit and how we relate to it, now and throughout history.

- Bridget Macleod, Curator, Shoalhaven Regional Gallery, 2019

Link to Shoalhaven Regional Gallery

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Nicole Welch at Manly Art Gallery & Museum

- Manly Dam Project

6 December 2019 - 23 February 2020

Represented artist, Nicole Welch will be in a group exhibition at Manly Art Gallery & Museum for the Manly Dam Project.

'The Manly Dam area is a unique landscape rich in natural biodiversity, shaped by the interventions of engineering and science. Once the source of drinking water in Sydney's north, freshwater continues to flow from the catchment to the sea.
Along with a rich Aboriginal cultural significance, the area's European history is layered with stories of social and recreational activity.
Adjacent to this area, now known as the Manly Warringah War Memorial Park, is a hub of international research through the work of the Water Research Laboratory (WRL), a facility of the School of Civil and Environmental Engineering, UNSW Sydney.
Eight contemporary artists from a variety of practices have created new work inspired by place, history, water management and engineering.'

- Curated by Katherine Roberts and Ian Turner

Click here for Manly Dam Project

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Ruth Ju-Shih Li at CC Gallery, Taiwan

- Solo Exhibition, 2020

14 January to 29 February 2020

A Solo exhibition by Ruth Ju-Shih Li at CC Gallery, Taiwan.

Hendrik Kolenberg & Evan Salmon

- Urbanscapes, 2020

29 January to 16 February 2020

Evan Salmon and Hendrik Kolenberg share an interest in making paintings of their suburban environment – streets & traffic, houses & rooftops, cranes, telegraph poles & wheelie bins, domestic and industrial settings, the working harbour, parkland & waterways. They find their subjects in the familiar everyday or commonplace, the city & suburbs as well as further afield. For Evan that includes landscape near at hand; for Hendrik, Rotterdam, his birthplace. It isn’t place that matters to them as much as the power of light to transform, intensify or surprise them.

This selection of recent paintings  features subjects close to home for each of them, around Warrawong, south of Sydney and Eastwood in Sydney’s north west, each typical of modern urbanism and its unencumbered spread north, south and west of metropolitan Sydney. Painting En Plein Air has preoccupied Evan for some years now, while Hendrik constructs his paintings from drawings and studies in pen & ink, charcoal and oil on paper.

Evan and Hendrik draw together (which is how their friendship developed) and with others but painting is a private occupation for them. This is their first exhibition together.

(images on the previous page)
Top: Evan Salmon, Truck depot, Port Kembla 1, 2019, oil on linen, 51.5 x 61cm
Bottom: Hendrik Kolenberg, House fronts, First Avenue, Eastwood, 2019, oil on gesso on linen on plywood, 63 x 72cm

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Kevin McKay

- Eastern Suburbs Streetscapes, 2020

29 January - 16 February 2020

This suite of paintings explores the back streets of Sydney's Eastern Suburbs where a gritty working class history and village charm lingers despite the gloss of gentrification and the encroachment of high-rise development. Kevin enjoys finding ready-made compositions in urban environments and applies the formal concerns of compositional design with the particularity of place as he seeks a theatrical intensity in the ordinary.  Stillness and transience compliment each other in his road-based paintings where architectural forms provide a fixed point in contrast with the flux of light; a momentarily parked car; or randomly placed 'street furniture' (wheelie bin, witches hat, road sign etc); or indeed the conduit of the road itself, a constant in the ever changing city.

Catherine O'Donnell, at Tweed Regional Gallery, 2020

- 'Fibro Façade', An installation by Catherine O'Donnell

31 January to 28 June 2020

> Tweed Regional Gallery & Margaret Olley Art Centre, 31 January to 28 June 2020.

     “Catherine O’Donnell’s draughtsmanship skills are some of the finest this country has even seen. Rather than create static replications of sites, she imbues her houses with a pathos and resonance which reveals her talents as a storyteller. It is this strength that draws audiences beyond the awe of her life-like drawings, evoking the shared experience of home...” - Lizzy Marshall, curator of 2168: Estate of Tomorrow
     Fibro Façade
is an installation comprising eleven meticulous charcoal drawings of elements from common fibro housing and an architectural tape outline connecting them. O’Donnell’s installation was commissioned by Casula Powerhouse Arts Centre and was on display there in 2018 in the solo exhibition 2168: Estate of Tomorrow.
     O’Donnell leaves the screen door ajar, pulls back the curtain, opens the window and shows the uneven lines of the venetian blinds to reveal that her renderings are equally about the occupants as they are about the structures that they call home.

Images by Silversalt Photography, courtesy of the Artist and MAY SPACE Sydney

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Sybil Curtis at Childers Art Space

- Bundaberg Regional Galleries

5 February - 29 March 2020

Sybil Curtis has been invited to exhibit a solo show with Bundaberg Regional Galleries, exhibiting at Childers Art Space in Childers, Queensland.

Julian Laffan

- Voyages, 2020

19 February to 8 March, 2020

     My work is a voyage through rooms, selecting moments upon which to reflect as hand-carved meditations.  These images depict remnants and mementos of significance, alongside objects that are ordinary or everyday. The process of selecting, carving and hand-rendering is a means of remembering, gathered and arranged as new understandings. Both the momental and the seemingly insignificant are united in a single frame. A red snuff bottle evokes recollections of conversations in a Mongolian ger beside the red matchbox for the evening's fire. A can from a wharf in Mapua, New Zealand sits alongside a sweets container from Verona, Italy.  Each work exists as an unintentional relationship, as reflections of multiple places in a single captured moment, suspended as a carved and painted image in timber.
     These works connect to the historic period when illuminated manuscripts were replaced by that of the printed image. Each work is a return to the notion of hand-coloured individual pieces, working in direct opposition to their potential as a replicated image in the digital age, signifying the importance of knowledge. This journey through an interior is an investigation into daily spaces, a new voyage of discovery for both the artist and the viewer.

Merrick Belyea

- Anthropocene Landscapes, 2020

11 - 29 March 2020

Merrick Belyea’s paintings are deeply focused on the curious human appetite for destruction. Environmental concerns are central to his recent paintings, referring to a potential for devastation, pointing to a future of mechanical scarification of the landscape. Paring back the veneer of previously prepared paint layers reveal the detritus of process and the fragility of surface.

Merrick will have his inaugural solo exhibition with MAY SPACE in 2020.


- A curated exhibition selected from members of Sydney Printmakers

1 to 26 April 2020

Sydney Printmakers is a self funded, self directed, independent organization successfully spanning nearly 60 years. Members are practicing artists and art professionals who have a specific focus on print, however continue to work across all media including digital and more experimental approaches. The group shows regularly in NSW, across Australia and overseas.

The following is an except from the intro essay for the 50th Anniversary Exhibition catalogue, by Professor Sasha Grishin AM, FAHA, The Sir William Dobell Professor of Art History Australian National University

"Sydney Printmakers is a unique phenomenon in Australian art with few parallels anywhere in the world.  Although numerous exhibiting associations of printmakers have cropped up from time to time in Australia, what distinguishes Sydney Printmakers is three things.  Firstly, no other exhibiting organisation of printmakers has so effectively represented the best printmakers of a city and has done this so comprehensively.  Secondly, no other organisation of printmakers in Australia has managed to sustain itself independently over such a prolonged period of time without becoming a de facto filial of an institution, such as an art school.  In other words, Sydney Printmakers have remained truly independent.  While thirdly, no organisation of printmakers has managed to survive for fifty years without extensive periods of dormancy".

Ruth Ju-Shih Li at Kyoto Ceramics Centre, Japan

- Australian Flowers Exhibition, 2020

17 to 29 April 2020

Australian Flowers Exhibition, a group exhibition with Ruth Ju-Shih Li at the Kyoto Ceramic Centre, Japan.

Catherine O'Donnell and Waratah Lahy at Canberra Museum + Gallery (CMAG) 2020

- A group exhibition curated by Mark Bayly

1 August to 7 November 2020

Communities are formed by people and the built environments they construct and reside in. This exhibition examines imagery derived from, or alluding to, the built environment and ways of living in specific locations with particular identities. These material and social constructs take multiple forms - from high-rise, high-end apartments to prosaic suburban divisions, to locations where people have endured the collapse of their communities.

The focus of this project is how contemporary artists and designers translate their responses to the built environment. In doing so, the exhibition tells individual stories of the resilience and imagination of the human spirit.

Ruth Ju-Shih Li - Taiwan Ceramics Biennale, 2020

- Featuring represented artist, Ruth Ju-Shih Li, 2020

9 October 2020 to 11 April 2021

Represented artist Ruth Ju-Shih Li has been selected to participate in the Taiwan Ceramic Biennale and International Competition for 2020.

Established in 2004, the Taiwan Ceramics Biennale is organised by the New Taipei City Government and hosted at the New Taipei City Yingge Ceramics Museum.