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Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

Our top 5 exhibitions to see this week:

'RISING' Melbourne, Victoria. @rising.melbourne
Image: Australian Dance Biennale, RISING, images courtesy of Common State.

Kent Morris 'Flower Power' at Vivien Anderson Gallery, St Kilda, Victoria. @kent_morris_artist @vivienandersongallery
Image: Kent Morris, Flower Power #1, 2026, digital print on aluminium, 120cm x 120 cm.

Abdul-Rahman Abdullah 'Undying' at Chau Chak Wing Museum, Camperdown, New South Wales. @abdul_rahman_abdullah @ccwm_sydney
Image: Installation view of the exhibition ‘Undying: Abdul-Rahman Abdullah’, 2026. Photo: David James, Chau Chak Wing Museum.

Leonard Brown 'PAINTING THE CELESTIAL: A RETROSPECTIVE EXHIBITION' at Ipswich Art Gallery, Ipswich, Queensland. @ipswichartgallery #LeonardBrown
Image: Leonard Brown, 'to annihilate all that’s made to a green thought in a green shade', 2015, oil on Belgian linen, 120 x 120cm. Photography: Mick Richards.

'Poetry goes no further than language' at Buxton Contemporary, Melbourne, Victoria. @buxton_contemporary @darceybellaarnold
Image: Darcey Bella Arnold, 'Fruit of Chance 10', 2025, polystyrene foam, polyurethane polymer, synthetic polymer, cotton fibre, flocking, varnish. Courtesy the artist.

High above Melbourne’s Flinders Street Station, a heritage-listed ballroom lying dormant reopened to the public in May. First built in 1910 for dancers to meet and socialise until midnight before getting on the last train home, the space now fills with bodies learning the 90s rave-inspired Melbourne Shuffle, Bollywood dance sequences, voguing, ballet—entry-level classes taught by award-winning choreographers and world champions that typically sell out before the festival’s opening week. It's one of the numerous art, music and performance programs at contemporary festival RISING 2026 that lets art embody ideas and identities through movement, space, and energy.

Read the full article by Nathania Gilson via the link in our bio. ‘RISING 2026’ takes place across Melbourne from 28 May—8 June.

@rising.melbourne #RISINGFestival #RISINGMelbourne #NathaniaGilson

Images:
1. Australian Dance Biennale, RISING, images courtesy of Common State.
2. Cannupa Hanska Luger, Hamer Hall, images courtesy of Common State.
3. Australian Dance Biennale, RISING, images courtesy of Common State.

High above Melbourne’s Flinders Street Station, a heritage-listed ballroom lying dormant reopened to the public in May. First built in 1910 for dancers to meet and socialise until midnight before getting on the last train home, the space now fills with bodies learning the 90s rave-inspired Melbourne Shuffle, Bollywood dance sequences, voguing, ballet—entry-level classes taught by award-winning choreographers and world champions that typically sell out before the festival’s opening week. It's one of the numerous art, music and performance programs at contemporary festival RISING 2026 that lets art embody ideas and identities through movement, space, and energy.

Read the full article by Nathania Gilson via the link in our bio. ‘RISING 2026’ takes place across Melbourne from 28 May—8 June.

@rising.melbourne #RISINGFestival #RISINGMelbourne #NathaniaGilson

Images:
1. Australian Dance Biennale, RISING, images courtesy of Common State.
2. Cannupa Hanska Luger, Hamer Hall, images courtesy of Common State.
3. Australian Dance Biennale, RISING, images courtesy of Common State.

High above Melbourne’s Flinders Street Station, a heritage-listed ballroom lying dormant reopened to the public in May. First built in 1910 for dancers to meet and socialise until midnight before getting on the last train home, the space now fills with bodies learning the 90s rave-inspired Melbourne Shuffle, Bollywood dance sequences, voguing, ballet—entry-level classes taught by award-winning choreographers and world champions that typically sell out before the festival’s opening week. It's one of the numerous art, music and performance programs at contemporary festival RISING 2026 that lets art embody ideas and identities through movement, space, and energy.

Read the full article by Nathania Gilson via the link in our bio. ‘RISING 2026’ takes place across Melbourne from 28 May—8 June.

@rising.melbourne #RISINGFestival #RISINGMelbourne #NathaniaGilson

Images:
1. Australian Dance Biennale, RISING, images courtesy of Common State.
2. Cannupa Hanska Luger, Hamer Hall, images courtesy of Common State.
3. Australian Dance Biennale, RISING, images courtesy of Common State.

For her forthcoming show at Warrnambool Art Gallery, Claire Lambe categorises her work into three parts: ‘Part Interior, Part Object and Part Feeling’. This carries on from an established practice, engaging the history and flexibility of sculpture to unsettle class and gender conventions.

A tension forms when sculpture meets everyday objects. Currently living in her studio, Lambe notes, “everything is an object: the table, the chair, my records.” Growing up in the United Kingdom, she recalls, “going out at night, we needed to read the room. It’s a skill… taking it all in, knowing where the exits are.” With no separation between home and studio, Lambe has been constantly reading the room. Amid other sculptural interventions, a glass case sat atop her dining table, at the time of making. Considering the table, vitrine, and what might go inside, Lambe has been straddling where home, studio, institution and history meet.

Read the full article by Josephine Mead via the link in our bio. Claire Lambe’s solo exhibition ‘Part Interior, Part Object, Part Feeling’ is now on display at Warrnambool Art Gallery in Warrnambool until 28 June.

@lambe.claire @thewarrnamboolartgallery @josephinemead #ClaireLambe #WarrnamboolArtGallery

Images:
1. Claire Lambe, Original family photograph, study for encasement, The production of a large glass box encasing family dynamic.
2. Photographic Print, Part feeling, central attitude for the installation.
3. Claire Lambe, study for encasement, the production of glass box encasing domestic objects.

For her forthcoming show at Warrnambool Art Gallery, Claire Lambe categorises her work into three parts: ‘Part Interior, Part Object and Part Feeling’. This carries on from an established practice, engaging the history and flexibility of sculpture to unsettle class and gender conventions.

A tension forms when sculpture meets everyday objects. Currently living in her studio, Lambe notes, “everything is an object: the table, the chair, my records.” Growing up in the United Kingdom, she recalls, “going out at night, we needed to read the room. It’s a skill… taking it all in, knowing where the exits are.” With no separation between home and studio, Lambe has been constantly reading the room. Amid other sculptural interventions, a glass case sat atop her dining table, at the time of making. Considering the table, vitrine, and what might go inside, Lambe has been straddling where home, studio, institution and history meet.

Read the full article by Josephine Mead via the link in our bio. Claire Lambe’s solo exhibition ‘Part Interior, Part Object, Part Feeling’ is now on display at Warrnambool Art Gallery in Warrnambool until 28 June.

@lambe.claire @thewarrnamboolartgallery @josephinemead #ClaireLambe #WarrnamboolArtGallery

Images:
1. Claire Lambe, Original family photograph, study for encasement, The production of a large glass box encasing family dynamic.
2. Photographic Print, Part feeling, central attitude for the installation.
3. Claire Lambe, study for encasement, the production of glass box encasing domestic objects.

For her forthcoming show at Warrnambool Art Gallery, Claire Lambe categorises her work into three parts: ‘Part Interior, Part Object and Part Feeling’. This carries on from an established practice, engaging the history and flexibility of sculpture to unsettle class and gender conventions.

A tension forms when sculpture meets everyday objects. Currently living in her studio, Lambe notes, “everything is an object: the table, the chair, my records.” Growing up in the United Kingdom, she recalls, “going out at night, we needed to read the room. It’s a skill… taking it all in, knowing where the exits are.” With no separation between home and studio, Lambe has been constantly reading the room. Amid other sculptural interventions, a glass case sat atop her dining table, at the time of making. Considering the table, vitrine, and what might go inside, Lambe has been straddling where home, studio, institution and history meet.

Read the full article by Josephine Mead via the link in our bio. Claire Lambe’s solo exhibition ‘Part Interior, Part Object, Part Feeling’ is now on display at Warrnambool Art Gallery in Warrnambool until 28 June.

@lambe.claire @thewarrnamboolartgallery @josephinemead #ClaireLambe #WarrnamboolArtGallery

Images:
1. Claire Lambe, Original family photograph, study for encasement, The production of a large glass box encasing family dynamic.
2. Photographic Print, Part feeling, central attitude for the installation.
3. Claire Lambe, study for encasement, the production of glass box encasing domestic objects.

Sound and art’s symbiosis was the seed that grew The Vinyl Factory. The independent label began in 2001 when it took over an EMI record pressing plant in Hayes, West London which had once mastered, pressed and distributed almost 20 million records a year—including those of the Beatles, the Sex Pistols and Pink Floyd.

“By the time we inherited the plant and reshaped it as The Vinyl Factory, it had become something of a craft—the detail, the passion, everything you associate with making art,” says Sean Bidder, creative director of the company that today presses about two million records a year, including albums by Radiohead, Björk and The xx.

In 2024, Bidder curated the exhibition Reverb at the London cultural centre 180 Studios, offering up the company’s storied history of music while crafting a synaesthesia of mixed senses with associated film and installations from visual artists, bringing people together to listen while they look and engage.

Now, Reverb is coming to the Australian Centre for the Moving Image for Melbourne’s RISING festival, restaging most of the exhibition’s earlier London iteration.

Read the full article by Steve Dow via the link in our bio. 'The Vinyl Factory: Reverb' is at the Australian Centre for the Moving Image from 22 May to 31 August.

@acmionline @stevedowjournalist @virgilabloh @julianknxx @carsten.nicolai #Acmi @rising.melbourne #RISINGFestival

Images:
1. Virgil Abloh, '12-inch Voices', 2019.
2. Julianknxx, 'Untitled (ɔl bɔdi na sta)', 2024.
3. Carsten Nicolai, 'Bausatz Noto', 1998.

Sound and art’s symbiosis was the seed that grew The Vinyl Factory. The independent label began in 2001 when it took over an EMI record pressing plant in Hayes, West London which had once mastered, pressed and distributed almost 20 million records a year—including those of the Beatles, the Sex Pistols and Pink Floyd.

“By the time we inherited the plant and reshaped it as The Vinyl Factory, it had become something of a craft—the detail, the passion, everything you associate with making art,” says Sean Bidder, creative director of the company that today presses about two million records a year, including albums by Radiohead, Björk and The xx.

In 2024, Bidder curated the exhibition Reverb at the London cultural centre 180 Studios, offering up the company’s storied history of music while crafting a synaesthesia of mixed senses with associated film and installations from visual artists, bringing people together to listen while they look and engage.

Now, Reverb is coming to the Australian Centre for the Moving Image for Melbourne’s RISING festival, restaging most of the exhibition’s earlier London iteration.

Read the full article by Steve Dow via the link in our bio. 'The Vinyl Factory: Reverb' is at the Australian Centre for the Moving Image from 22 May to 31 August.

@acmionline @stevedowjournalist @virgilabloh @julianknxx @carsten.nicolai #Acmi @rising.melbourne #RISINGFestival

Images:
1. Virgil Abloh, '12-inch Voices', 2019.
2. Julianknxx, 'Untitled (ɔl bɔdi na sta)', 2024.
3. Carsten Nicolai, 'Bausatz Noto', 1998.

Sound and art’s symbiosis was the seed that grew The Vinyl Factory. The independent label began in 2001 when it took over an EMI record pressing plant in Hayes, West London which had once mastered, pressed and distributed almost 20 million records a year—including those of the Beatles, the Sex Pistols and Pink Floyd.

“By the time we inherited the plant and reshaped it as The Vinyl Factory, it had become something of a craft—the detail, the passion, everything you associate with making art,” says Sean Bidder, creative director of the company that today presses about two million records a year, including albums by Radiohead, Björk and The xx.

In 2024, Bidder curated the exhibition Reverb at the London cultural centre 180 Studios, offering up the company’s storied history of music while crafting a synaesthesia of mixed senses with associated film and installations from visual artists, bringing people together to listen while they look and engage.

Now, Reverb is coming to the Australian Centre for the Moving Image for Melbourne’s RISING festival, restaging most of the exhibition’s earlier London iteration.

Read the full article by Steve Dow via the link in our bio. 'The Vinyl Factory: Reverb' is at the Australian Centre for the Moving Image from 22 May to 31 August.

@acmionline @stevedowjournalist @virgilabloh @julianknxx @carsten.nicolai #Acmi @rising.melbourne #RISINGFestival

Images:
1. Virgil Abloh, '12-inch Voices', 2019.
2. Julianknxx, 'Untitled (ɔl bɔdi na sta)', 2024.
3. Carsten Nicolai, 'Bausatz Noto', 1998.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Sriwhana Spong’s work traces the links between the body, language, mysticism and ritual. Through sculpture, film, performance and texture, the New Zealand-born, London-based artist explores her Balinese heritage, as well as resonances between the past and present. All of this coalesces in ‘HA HA HA’, the first Australian survey of Spong’s work.

The act of noticing was something Spong engaged in from childhood, poring over ballet journals and books belonging to her mother while learning to dance herself. She began to see the relationships between disparate things: sculptures by Isamu Noguchi being used as setpieces in Martha Graham’s choreography; painter Robert Rauschenberg and choreographer Merce Cunningham’s works similarly intertwining. “There was no separation between the movement and the costumes,” she says. “I was very young, looking without any knowledge… Doing one thing in one medium just makes you go, ‘What if this was done like this?’”

Read the full article by Giselle Au-Nhien Nguyen via the link in our bio. Sriwhana Spong’s solo exhibition ‘HA HA HA’ is now on display at Monash University Museum of Art in Melbourne until 27 June.

@sriwhana @mumamonash #GiselleAuNhienNguyen #SriwhanaSpong

Images:
1. Sriwhana Spong. Photo: Jens Ziehe.
3. Sriwhana Spong, 'Interior Castle (a blueprint)', 2019.
5. Sriwhana Spong, 'The painter-tailor', 2019.
7. Sriwhana Spong, still from 'AD', 2026, 16mm film transferred to digital, sound. Commissioned by Monash University Museum of Art, Melbourne and Te Pātaka Toi Adam Art Gallery, Wellington. Image courtesy of the artist and Micheal Lett, Auckland.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Our top 5 exhibitions to see this week:

'Old Days, New Days | Arlta-Imankinya, Arlta-errama' at Ngununggula, Bowral, New South Wales. @ngununggula #BettyConway
Image: Betty Conway, 'Ilara Creek, Tempe Downs', 2016. Art Gallery of New South Wales collection. © Betty Conway/Copyright Agency. Image © Art Gallery of New South Wales.

'Wangka Walytja: the Life and Times of the Papunya Literature Production Centre' at South Australian Museum, Adelaide, South Australia. @southaustralianmuseum #KulataDennisNelsonTjakamarra
Image: Kulata Dennis Nelson Tjakamarra, 'Mamu Malpa Mutu, (The stumpy devil)', 1988, author: Gina Nakamarra, digital print on cotton rag. Courtesy of Papunya Literature Production Centre.

'Vivid', various venues, Sydney, New South Wales. @vividsydney #VividSydney
Image: Courtesy of Vivid Sydney.

Leslie Eastman 'A Common Word' at Islamic Museum of Australia, Thornbury, Victoria. @museumofislamicartaustralia @leslie.eastman
Image: Image courtesy of the gallery.

'Intimacy' at Rockhampton Museum of Art, Rockhampton City, Queensland. @rockhamptonmuseumofart #IanFriend
Image: Ian Friend (b. 1951) 'Shore II', 2020, Indian ink, Zecchi ink and graphite on Khadi paper, 15 x 21cm. Image courtesy of the artist and Jan Manton Gallery, Brisbane. Photo: Carl Warner.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Even though ceramicist Alfred Lowe grew up next door to the Araluen Arts Centre, visiting daily to use the water bubbler, he didn’t think he could be an artist. While always creative, it wasn’t until he stepped foot into the APY Collective that he understood that “anyone was capable of making art”—including himself. Now, ahead of his solo show, ‘A GREAT AND WONDROUS SIGN’ at Hugo Michell Gallery, Lowe answers 20 questions on his first art love, his pivot to incorporating fibre into his practice, and how his connection to the Central Desert allows him to work intimately with landscape, reminding him of the beauty in imperfections.

Read the full article by Anna Carlsson via the link in our bio. Alfred Lowe’s ‘A GREAT AND WONDROUS SIGN’ is now on display at Hugo Michell Gallery in Adelaide until 20 June.

@hugomichellgallery @araluenartscentre @aforalfie @annacrlssn #araluenartscentre #alfredlowe

Images:
1. Alfred Lowe. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
3. Alfred Lowe, 'After-Party I', 2025, hand built stoneware with underglaze sgraffito and raffia, 120 x 80 x 70 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
5. Alfred Lowe, After Party XII, 2025, hand built stoneware with underglaze sgraffito and raffia, 32 x 60 x 15 cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.
7. Alfred Lowe, 'After Party VI', 2025, hand built stoneware with underglaze sgraffito and raffia, 45 x 34 x 10cm. Photograph by Andy Francis, courtesy the artist and APY Art Centre Collective.

Magic, mystery, cosmology and comics have all cast their spell on Waiben-born (Thursday Island) artist Brian Robinson, so much that his new commission for Newcastle Art Gallery is called Abracadabra, a word deployed by ancient Roman physicians through to vaudevillian magicians that seems perfectly positioned to encapsulate his spectrum of influences.

The large vinyl-cut print work consists of four panels, each two metres high by a metre wide, showing a series of shelved mythological objects that supposedly contain magical powers, from skulls and traditional Torres Strait objects sourced from the Newcastle University ethnographic collection through science fiction iconography and proton energy packs made famous in the Ghostbusters films.

“The detail in the print, in the cutting, is quite tight and intricate,” says Robinson, 52, in his home studio in Cairns. He laughs: “It’s taken me bloody forever to carve this work, mate.”

Read the full article by Steve Dow via the link in our bio. ‘Multiverse’ is at Newcastle Art Gallery from 23 May—30 August.

@newcastleartgalleryaustralia #BrianRobinson @stevedowjournalist

Images:
1. Portrait of Brian Robinson. Photo: Marinco Kojdanovski, courtesy of AGSA and the artist.
2. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Urban oasis', 2017. Newcastle Art Gallery, Australia, purchased through the Gil Docking Bequest 2017 © the artist.
3. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Bedhan Lag: Land of the Kaiwalagal', 2019. Newcastle Art Gallery, Australia, gift of the Newcastle Art Gallery Society 2019 © the artist.
4. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Picasso’s lagau minaral', 2016. Image courtesy the artist and Mossenson Galleries, Perth © the artist.

Magic, mystery, cosmology and comics have all cast their spell on Waiben-born (Thursday Island) artist Brian Robinson, so much that his new commission for Newcastle Art Gallery is called Abracadabra, a word deployed by ancient Roman physicians through to vaudevillian magicians that seems perfectly positioned to encapsulate his spectrum of influences.

The large vinyl-cut print work consists of four panels, each two metres high by a metre wide, showing a series of shelved mythological objects that supposedly contain magical powers, from skulls and traditional Torres Strait objects sourced from the Newcastle University ethnographic collection through science fiction iconography and proton energy packs made famous in the Ghostbusters films.

“The detail in the print, in the cutting, is quite tight and intricate,” says Robinson, 52, in his home studio in Cairns. He laughs: “It’s taken me bloody forever to carve this work, mate.”

Read the full article by Steve Dow via the link in our bio. ‘Multiverse’ is at Newcastle Art Gallery from 23 May—30 August.

@newcastleartgalleryaustralia #BrianRobinson @stevedowjournalist

Images:
1. Portrait of Brian Robinson. Photo: Marinco Kojdanovski, courtesy of AGSA and the artist.
2. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Urban oasis', 2017. Newcastle Art Gallery, Australia, purchased through the Gil Docking Bequest 2017 © the artist.
3. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Bedhan Lag: Land of the Kaiwalagal', 2019. Newcastle Art Gallery, Australia, gift of the Newcastle Art Gallery Society 2019 © the artist.
4. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Picasso’s lagau minaral', 2016. Image courtesy the artist and Mossenson Galleries, Perth © the artist.

Magic, mystery, cosmology and comics have all cast their spell on Waiben-born (Thursday Island) artist Brian Robinson, so much that his new commission for Newcastle Art Gallery is called Abracadabra, a word deployed by ancient Roman physicians through to vaudevillian magicians that seems perfectly positioned to encapsulate his spectrum of influences.

The large vinyl-cut print work consists of four panels, each two metres high by a metre wide, showing a series of shelved mythological objects that supposedly contain magical powers, from skulls and traditional Torres Strait objects sourced from the Newcastle University ethnographic collection through science fiction iconography and proton energy packs made famous in the Ghostbusters films.

“The detail in the print, in the cutting, is quite tight and intricate,” says Robinson, 52, in his home studio in Cairns. He laughs: “It’s taken me bloody forever to carve this work, mate.”

Read the full article by Steve Dow via the link in our bio. ‘Multiverse’ is at Newcastle Art Gallery from 23 May—30 August.

@newcastleartgalleryaustralia #BrianRobinson @stevedowjournalist

Images:
1. Portrait of Brian Robinson. Photo: Marinco Kojdanovski, courtesy of AGSA and the artist.
2. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Urban oasis', 2017. Newcastle Art Gallery, Australia, purchased through the Gil Docking Bequest 2017 © the artist.
3. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Bedhan Lag: Land of the Kaiwalagal', 2019. Newcastle Art Gallery, Australia, gift of the Newcastle Art Gallery Society 2019 © the artist.
4. Brian Robinson, Maluyligal/Wuthathi/Dayak peoples, 'Picasso’s lagau minaral', 2016. Image courtesy the artist and Mossenson Galleries, Perth © the artist.

Mook Simpson’s upcoming solo exhibition ‘Otherwised’ at Damien Minton Presents will feature the “monsters” synonymous with his practice—through a series of small ceramic works, interventions on reproductions of paintings by the likes of Tom Roberts, Frederick McCubbin and Arthur Streeton, and lithographs by John Gould.

Simpson starts with prints of the paintings or lithographs, which are digitally edited to make space for the creatures. He explains, “there’s a dance between the facts of the painting—where the figures will be and what they are doing—and my intervention. Stories build as they evolve.”

Simpson believes the monsters, “hold up to us the things we are afraid of. They warn us of danger.”

Read the full article by Josephine Mead via the link in our bio. Mook Simpson’s ‘Otherwised’ is now on display at Damien Minton Presents until 30 May.

@mooksimpson @damienminton #MookSimpson @josephinemead

Images:
1. Mook Simpson, 'Pampering Mum / Sudsing the arms', 2025, 123cm x 81cm, oil on canvas. Painted on a hand painted reproduction of “Shearing The Rams” 1890 by Tom Roberts.Presented in a reclaimed gilt frame.
2. Mook Simpson, 'The Ground Weirdo/ Terrifossor turbidus', 2026. 50cm x 40cm. Oil on canvas. Painted over an archival pigment ink reproduction of Dasyurus Viverrinus from The Mammals of Australia by John Gould (published 1845–1863). Presented in a reclaimed antique frame.
3. Mook Simpson, 'Swan Eater / Gelatinus furtivus', 2025. 64cm x 55cm. Oil on canvas. Painted over an archival pigment ink reproduction of Cygnus atratus (Black Swan) from The Birds of Australia by John Gould (published 1840–1848). Presented in a reclaimed antique frame.

Mook Simpson’s upcoming solo exhibition ‘Otherwised’ at Damien Minton Presents will feature the “monsters” synonymous with his practice—through a series of small ceramic works, interventions on reproductions of paintings by the likes of Tom Roberts, Frederick McCubbin and Arthur Streeton, and lithographs by John Gould.

Simpson starts with prints of the paintings or lithographs, which are digitally edited to make space for the creatures. He explains, “there’s a dance between the facts of the painting—where the figures will be and what they are doing—and my intervention. Stories build as they evolve.”

Simpson believes the monsters, “hold up to us the things we are afraid of. They warn us of danger.”

Read the full article by Josephine Mead via the link in our bio. Mook Simpson’s ‘Otherwised’ is now on display at Damien Minton Presents until 30 May.

@mooksimpson @damienminton #MookSimpson @josephinemead

Images:
1. Mook Simpson, 'Pampering Mum / Sudsing the arms', 2025, 123cm x 81cm, oil on canvas. Painted on a hand painted reproduction of “Shearing The Rams” 1890 by Tom Roberts.Presented in a reclaimed gilt frame.
2. Mook Simpson, 'The Ground Weirdo/ Terrifossor turbidus', 2026. 50cm x 40cm. Oil on canvas. Painted over an archival pigment ink reproduction of Dasyurus Viverrinus from The Mammals of Australia by John Gould (published 1845–1863). Presented in a reclaimed antique frame.
3. Mook Simpson, 'Swan Eater / Gelatinus furtivus', 2025. 64cm x 55cm. Oil on canvas. Painted over an archival pigment ink reproduction of Cygnus atratus (Black Swan) from The Birds of Australia by John Gould (published 1840–1848). Presented in a reclaimed antique frame.

Mook Simpson’s upcoming solo exhibition ‘Otherwised’ at Damien Minton Presents will feature the “monsters” synonymous with his practice—through a series of small ceramic works, interventions on reproductions of paintings by the likes of Tom Roberts, Frederick McCubbin and Arthur Streeton, and lithographs by John Gould.

Simpson starts with prints of the paintings or lithographs, which are digitally edited to make space for the creatures. He explains, “there’s a dance between the facts of the painting—where the figures will be and what they are doing—and my intervention. Stories build as they evolve.”

Simpson believes the monsters, “hold up to us the things we are afraid of. They warn us of danger.”

Read the full article by Josephine Mead via the link in our bio. Mook Simpson’s ‘Otherwised’ is now on display at Damien Minton Presents until 30 May.

@mooksimpson @damienminton #MookSimpson @josephinemead

Images:
1. Mook Simpson, 'Pampering Mum / Sudsing the arms', 2025, 123cm x 81cm, oil on canvas. Painted on a hand painted reproduction of “Shearing The Rams” 1890 by Tom Roberts.Presented in a reclaimed gilt frame.
2. Mook Simpson, 'The Ground Weirdo/ Terrifossor turbidus', 2026. 50cm x 40cm. Oil on canvas. Painted over an archival pigment ink reproduction of Dasyurus Viverrinus from The Mammals of Australia by John Gould (published 1845–1863). Presented in a reclaimed antique frame.
3. Mook Simpson, 'Swan Eater / Gelatinus furtivus', 2025. 64cm x 55cm. Oil on canvas. Painted over an archival pigment ink reproduction of Cygnus atratus (Black Swan) from The Birds of Australia by John Gould (published 1840–1848). Presented in a reclaimed antique frame.

"Ngank, the sun, warms a morning in Bunuru, the second summer season, on Boorloo Whadjuk Noongar lands.

I’m sitting outside the Art Gallery of Western Australia, here to see the I AM exhibition. This collection of Aboriginal artworks has been drawn from the State Art Collection by Carly Lane, a Murri woman from Queensland, and curator of Aboriginal and Torres Strait Islander art at the gallery.

A small crowd is now milling, waiting for the ten o’clock opening. One man cannot wait. I watch him walk to the locked glass doors, press his nose and the palms of his hands against the pristine pane, and stare longingly inside, trying to catch someone’s attention. He retreats, then returns, four times in as many minutes.

It’s a space he wants to enter, but he’s not allowed in – yet. I think about the traditional custodians of the land I’m on. They’ve been here for tens of thousands of years, yet from 1927 to 1954 they were restricted by law from being in this very spot without a permit.

Ironically, this segregation was instigated by the Chief Protector of Aborigines, who sought to create a refuge for white citizens. It’s within living memory for some and indelibly marked in the spirits of others through deep time.

Soon, we are all invited in. The man rushes to the front and disappears into the building." —Jennifer Moyle Ogbeide-Ihama for The Conversation.

Read the full article via the link in our bio.

@artgallerywa

This article was republished with permission from The Conversation.

Images:
1. Tamisha Williams, 'Chilling out Ngurra', 2019. Photographic print on cotton rag paper, 80 x 120 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased through The Art Gallery of Western Australia Foundation: COVID-19 Arts Stimulus Package, 2020. © Tamisha Williams, 2019. Photo: Bo Wong.
2. Queenie (Cararip) MaKenzie, 'Banana Springs', 1996. Oil on
canvas; 140 x 100.5 cm. The State Art Collection, The Art Gallery of Western Australia, Purchased 1996 © Queenie (Garagarag) McKenzie, 1996. Photo: Bo Wong.

"Ngank, the sun, warms a morning in Bunuru, the second summer season, on Boorloo Whadjuk Noongar lands.

I’m sitting outside the Art Gallery of Western Australia, here to see the I AM exhibition. This collection of Aboriginal artworks has been drawn from the State Art Collection by Carly Lane, a Murri woman from Queensland, and curator of Aboriginal and Torres Strait Islander art at the gallery.

A small crowd is now milling, waiting for the ten o’clock opening. One man cannot wait. I watch him walk to the locked glass doors, press his nose and the palms of his hands against the pristine pane, and stare longingly inside, trying to catch someone’s attention. He retreats, then returns, four times in as many minutes.

It’s a space he wants to enter, but he’s not allowed in – yet. I think about the traditional custodians of the land I’m on. They’ve been here for tens of thousands of years, yet from 1927 to 1954 they were restricted by law from being in this very spot without a permit.

Ironically, this segregation was instigated by the Chief Protector of Aborigines, who sought to create a refuge for white citizens. It’s within living memory for some and indelibly marked in the spirits of others through deep time.

Soon, we are all invited in. The man rushes to the front and disappears into the building." —Jennifer Moyle Ogbeide-Ihama for The Conversation.

Read the full article via the link in our bio.

@artgallerywa

This article was republished with permission from The Conversation.

Images:
1. Tamisha Williams, 'Chilling out Ngurra', 2019. Photographic print on cotton rag paper, 80 x 120 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased through The Art Gallery of Western Australia Foundation: COVID-19 Arts Stimulus Package, 2020. © Tamisha Williams, 2019. Photo: Bo Wong.
2. Queenie (Cararip) MaKenzie, 'Banana Springs', 1996. Oil on
canvas; 140 x 100.5 cm. The State Art Collection, The Art Gallery of Western Australia, Purchased 1996 © Queenie (Garagarag) McKenzie, 1996. Photo: Bo Wong.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

Our top 5 exhibitions to see this week:

'Sky, Earth, Water' at Bundanon, Illaroo, New South Wales. @bundanontrust @glendanicholls
Image: Glenda Nicholls, 'I see Country' (detail), 2026. Sky, Earth, Water, 2026, Bundanon. Photo: Zan Wimberley.

Leo Bagus Purnomo 'Alas-alasan' at Incinerator Gallery, Moonee Ponds, Victoria. @incinerator_gallery @drawmelikeoneofyourasiangirls
Image: Leo Bagus Purmono, 'Alas-alasan' (detail), 2025, dye on silk-satin.

'Of This Earth: Transforming Culture and Country Through First Nations Ceramics' at Cairns Art Gallery, Cairns City, Queensland. @cairnsartgallery #RonaPanangkaRubuntja
Image: Rona Panangka Rubuntja, Western Arrarnta People, Ray Mudjandi, Mirarr/Western Arrarnta Peoples, 'Black Speed', 2024, National Gallery of Australia, Kamberri/Canberra, purchased 2025 © Rona Panangka Rubuntja and Ray Mudjandi/Copyright Agency 2026.

Sally Mumford 'Thirty-six views of Mparntwe' atAraluen Arts Centre, Mparntwe, Northern Territory. @araluenartscentre @sally_mumford
Image: Sally Mumford, 'Ankerre Ankerre', graphite on paper, 112 x 152cm.

'Time Moves Through These Walls: 40 years of Linden New Art' at Linden New Art, St Kilda, Victoria. @linden_new_art #mathieuvendeville
Image: Linden New Art / Mathieu Vendeville.

This weekend the Art Guide Bookstore @artguideau.bookstore will present a range of small press, artist books, monographs, exhibition catalogues, and more at the Melbourne Art Book Fair. Come and say hello at our stall.

Visit artbookfair.melbourne to view the full program.

Melbourne Art Book Fair
Friday 15 May–Sunday 17 May
10am–5pm

@NGVMelbourne #MelbourneArtBookFair #NGV #artguidebookstore