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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

In a world increasingly tethered to velocity—to feeds, follows and the flick of the thumb—a quieter current is gathering force. Across three distinct painting practices, Mythra Schwartz, Kate Wallace and Tessa MacKay are returning to something slower, softer and more searching. Each begins with the image-saturated conditions of contemporary life; each interrupts them. In different ways, their works are subverting the scroll.

Two of the trio present new bodies of work come mid-2026: Schwartz’s ‘I just bought a caviar spoon’ at Melbourne’s FUTURES, and Wallace’s ‘Between Trees’ at LON Gallery, also in Melbourne. MacKay’s recent solo show ‘Social Realism’ at Sydney’s LAILA continues to resonate through conversations around how images are made, shared and valued. Together, these practices suggest a renewed appetite for intimacy, ambiguity and slower, more nuanced reflection. It’s less retreat and more recalibration: a way we can process the present at a more human pace.

Read the full article by Camilla Wagstaff via the link in our bio. Mythra Schwartz’s ‘I just bought a caviar spoon’ is on display at FUTURES Gallery in Melbourne until 6 June, Kate Wallace’s ‘Between Trees’ at LON Gallery in Melbourne until 23 May and Tessa MacKay’s work will be on display alongside Ben Reid and Anthea Duffy at LAILA in Sydney from 3—25 July.

@mythraschwartz @futures_gallery @kate_ewallace @longallery @tessamackayart @laila__sydney @camilla_wagstuff

Images:
1. Tessa McKay, 'Deep Chats', oil and sakura paint marker on pet fur sized loomstate, 122 x 213cm, 2026. Image credit: Lucida Studio.
2. Mythra Schwartz, 'Small Plates', 2026, oil on canvas, 137 x 92 cm. Courtesy the artist and FUTURES.
3. Kate Wallace, 'On Water', 2024, oil on linen, 25 x 20cm.

In a world increasingly tethered to velocity—to feeds, follows and the flick of the thumb—a quieter current is gathering force. Across three distinct painting practices, Mythra Schwartz, Kate Wallace and Tessa MacKay are returning to something slower, softer and more searching. Each begins with the image-saturated conditions of contemporary life; each interrupts them. In different ways, their works are subverting the scroll.

Two of the trio present new bodies of work come mid-2026: Schwartz’s ‘I just bought a caviar spoon’ at Melbourne’s FUTURES, and Wallace’s ‘Between Trees’ at LON Gallery, also in Melbourne. MacKay’s recent solo show ‘Social Realism’ at Sydney’s LAILA continues to resonate through conversations around how images are made, shared and valued. Together, these practices suggest a renewed appetite for intimacy, ambiguity and slower, more nuanced reflection. It’s less retreat and more recalibration: a way we can process the present at a more human pace.

Read the full article by Camilla Wagstaff via the link in our bio. Mythra Schwartz’s ‘I just bought a caviar spoon’ is on display at FUTURES Gallery in Melbourne until 6 June, Kate Wallace’s ‘Between Trees’ at LON Gallery in Melbourne until 23 May and Tessa MacKay’s work will be on display alongside Ben Reid and Anthea Duffy at LAILA in Sydney from 3—25 July.

@mythraschwartz @futures_gallery @kate_ewallace @longallery @tessamackayart @laila__sydney @camilla_wagstuff

Images:
1. Tessa McKay, 'Deep Chats', oil and sakura paint marker on pet fur sized loomstate, 122 x 213cm, 2026. Image credit: Lucida Studio.
2. Mythra Schwartz, 'Small Plates', 2026, oil on canvas, 137 x 92 cm. Courtesy the artist and FUTURES.
3. Kate Wallace, 'On Water', 2024, oil on linen, 25 x 20cm.

In a world increasingly tethered to velocity—to feeds, follows and the flick of the thumb—a quieter current is gathering force. Across three distinct painting practices, Mythra Schwartz, Kate Wallace and Tessa MacKay are returning to something slower, softer and more searching. Each begins with the image-saturated conditions of contemporary life; each interrupts them. In different ways, their works are subverting the scroll.

Two of the trio present new bodies of work come mid-2026: Schwartz’s ‘I just bought a caviar spoon’ at Melbourne’s FUTURES, and Wallace’s ‘Between Trees’ at LON Gallery, also in Melbourne. MacKay’s recent solo show ‘Social Realism’ at Sydney’s LAILA continues to resonate through conversations around how images are made, shared and valued. Together, these practices suggest a renewed appetite for intimacy, ambiguity and slower, more nuanced reflection. It’s less retreat and more recalibration: a way we can process the present at a more human pace.

Read the full article by Camilla Wagstaff via the link in our bio. Mythra Schwartz’s ‘I just bought a caviar spoon’ is on display at FUTURES Gallery in Melbourne until 6 June, Kate Wallace’s ‘Between Trees’ at LON Gallery in Melbourne until 23 May and Tessa MacKay’s work will be on display alongside Ben Reid and Anthea Duffy at LAILA in Sydney from 3—25 July.

@mythraschwartz @futures_gallery @kate_ewallace @longallery @tessamackayart @laila__sydney @camilla_wagstuff

Images:
1. Tessa McKay, 'Deep Chats', oil and sakura paint marker on pet fur sized loomstate, 122 x 213cm, 2026. Image credit: Lucida Studio.
2. Mythra Schwartz, 'Small Plates', 2026, oil on canvas, 137 x 92 cm. Courtesy the artist and FUTURES.
3. Kate Wallace, 'On Water', 2024, oil on linen, 25 x 20cm.

Perth Institute of Contemporary Arts (PICA) displays significant pieces by ten Kimberley-based artists, for 'All That Country Holds'. The exhibition includes paintings, drawing, photography, ceramics and mixed media. Presented by Kimberley Aboriginal Art and Culture (KAAC), representing the six leading art centres of the Kimberley (Warmun Art Centre, Warlayirti Artists, Waringarri Aboriginal Arts, Mowanjum Aboriginal Art and Cultural Centre, Mangkaja Arts Resource Agency and Kira Kiro Artists), the works explore the enduring strength of First Peoples of the Kimberley and their connection to Country.

View the full suite of images via the link in our bio. ‘All That Country Holds’ is at the Perth Institute of Contemporary Arts (PICA) until 14 June.

@pica_perth @john.prince.siddon #BenWard #EvelynMalgil #LeahRinjeewalaUmbagai #PerthInstituteofContemporaryArt @warmunart @warlayirti_artists @waringarri_arts @mowanjum_arts @mangkajaarts

Images:
1. John Prince Siddon, 'Families Party By The Pool' 2025. Image courtesy of the artist and Mangakaja Arts Centre.
2. Ben Ward, 'Jimoordboord', 2022. Photo courtesy of the artist and Waringarri Arts Centre.
3. Evelyn Malgil, 'Winuba', 2024. Photo courtesy of the artist.
4. Leah Rinjeewala Umbagai, 'Wodoi & Djingun (spotted nightjar & owlet nightjar)'. Photo courtesy of the artist and Mowanjum Arts Centre.

Perth Institute of Contemporary Arts (PICA) displays significant pieces by ten Kimberley-based artists, for 'All That Country Holds'. The exhibition includes paintings, drawing, photography, ceramics and mixed media. Presented by Kimberley Aboriginal Art and Culture (KAAC), representing the six leading art centres of the Kimberley (Warmun Art Centre, Warlayirti Artists, Waringarri Aboriginal Arts, Mowanjum Aboriginal Art and Cultural Centre, Mangkaja Arts Resource Agency and Kira Kiro Artists), the works explore the enduring strength of First Peoples of the Kimberley and their connection to Country.

View the full suite of images via the link in our bio. ‘All That Country Holds’ is at the Perth Institute of Contemporary Arts (PICA) until 14 June.

@pica_perth @john.prince.siddon #BenWard #EvelynMalgil #LeahRinjeewalaUmbagai #PerthInstituteofContemporaryArt @warmunart @warlayirti_artists @waringarri_arts @mowanjum_arts @mangkajaarts

Images:
1. John Prince Siddon, 'Families Party By The Pool' 2025. Image courtesy of the artist and Mangakaja Arts Centre.
2. Ben Ward, 'Jimoordboord', 2022. Photo courtesy of the artist and Waringarri Arts Centre.
3. Evelyn Malgil, 'Winuba', 2024. Photo courtesy of the artist.
4. Leah Rinjeewala Umbagai, 'Wodoi & Djingun (spotted nightjar & owlet nightjar)'. Photo courtesy of the artist and Mowanjum Arts Centre.

Perth Institute of Contemporary Arts (PICA) displays significant pieces by ten Kimberley-based artists, for 'All That Country Holds'. The exhibition includes paintings, drawing, photography, ceramics and mixed media. Presented by Kimberley Aboriginal Art and Culture (KAAC), representing the six leading art centres of the Kimberley (Warmun Art Centre, Warlayirti Artists, Waringarri Aboriginal Arts, Mowanjum Aboriginal Art and Cultural Centre, Mangkaja Arts Resource Agency and Kira Kiro Artists), the works explore the enduring strength of First Peoples of the Kimberley and their connection to Country.

View the full suite of images via the link in our bio. ‘All That Country Holds’ is at the Perth Institute of Contemporary Arts (PICA) until 14 June.

@pica_perth @john.prince.siddon #BenWard #EvelynMalgil #LeahRinjeewalaUmbagai #PerthInstituteofContemporaryArt @warmunart @warlayirti_artists @waringarri_arts @mowanjum_arts @mangkajaarts

Images:
1. John Prince Siddon, 'Families Party By The Pool' 2025. Image courtesy of the artist and Mangakaja Arts Centre.
2. Ben Ward, 'Jimoordboord', 2022. Photo courtesy of the artist and Waringarri Arts Centre.
3. Evelyn Malgil, 'Winuba', 2024. Photo courtesy of the artist.
4. Leah Rinjeewala Umbagai, 'Wodoi & Djingun (spotted nightjar & owlet nightjar)'. Photo courtesy of the artist and Mowanjum Arts Centre.

Perth Institute of Contemporary Arts (PICA) displays significant pieces by ten Kimberley-based artists, for 'All That Country Holds'. The exhibition includes paintings, drawing, photography, ceramics and mixed media. Presented by Kimberley Aboriginal Art and Culture (KAAC), representing the six leading art centres of the Kimberley (Warmun Art Centre, Warlayirti Artists, Waringarri Aboriginal Arts, Mowanjum Aboriginal Art and Cultural Centre, Mangkaja Arts Resource Agency and Kira Kiro Artists), the works explore the enduring strength of First Peoples of the Kimberley and their connection to Country.

View the full suite of images via the link in our bio. ‘All That Country Holds’ is at the Perth Institute of Contemporary Arts (PICA) until 14 June.

@pica_perth @john.prince.siddon #BenWard #EvelynMalgil #LeahRinjeewalaUmbagai #PerthInstituteofContemporaryArt @warmunart @warlayirti_artists @waringarri_arts @mowanjum_arts @mangkajaarts

Images:
1. John Prince Siddon, 'Families Party By The Pool' 2025. Image courtesy of the artist and Mangakaja Arts Centre.
2. Ben Ward, 'Jimoordboord', 2022. Photo courtesy of the artist and Waringarri Arts Centre.
3. Evelyn Malgil, 'Winuba', 2024. Photo courtesy of the artist.
4. Leah Rinjeewala Umbagai, 'Wodoi & Djingun (spotted nightjar & owlet nightjar)'. Photo courtesy of the artist and Mowanjum Arts Centre.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

The only way Clara Brack could write about her parents—the famous Australian artists John Brack and Helen Maudsley—was not through biography or art history but by imagining their psyche. It results in an improbable scenario: what would these deeply discreet artists divulge to their psychologist?

Brack’s recent book, ‘The Secret Landscapes: On Not Pleasing Your Mother’, reflects on her parents through biography, artist interviews, Brack’s memories, and speculative fiction. Grounded in factual events, it’s determined to overturn Maudsley’s dictum “private is private”.

As Brack expands in an interview with Art Guide Australia, “I had two voices in my head: Dad’s voice saying, ‘What do you know? You know nothing.’ And Mum’s voice saying, ‘The private life is out of bounds.’” Weighing both secrecy and inheritance, Brack first interrogates the question of whether her book should even exist.

Read the full article by Tiarney Miekus via the link in our bio. ‘The Secret Landscapes: On Not Pleasing Your Mother’ is out now via Upswell Publishing.

clara1949 @tiarneym #JohnBrack #HelenMaudsley #ClaraBrack @upswellpublishingau

Images:
1. John Brack, 'Collins St, 5p.m', 1955, oil on canvas, 114.8 x 162.8 cm. National Gallery of Victoria, Melbourne. Purchased, 1956 © National Gallery of Victoria. (cropped detail)
3. Clara Brack, 'The Secret Landscapes', cover image.
5. Helen Maudsley, 'How do we get permission for our innermost Selves?', 2019, oil on canvas, 42.5 x 33 cm. Courtesy of the artist and Niagara Galleries, Melbourne. Photography is by Mark Ashkanasy, Melbourne.
7. John Brack, 'First daughter', 1954, drypoint, 24.8 x 17.4 cm (plate), 32.5 x 26.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1954 © Helen Brack.

'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.