Lisa Adams

My paintings never come easily and always have autobiographical significance.  I mine my subconscious and the natural world for subject matter to create images which express an emotion or experience. My technique is painstaking and exacting making every painting a big commitment so I must be sure of the image and believe in it.

For more information please visit the – Artist Website


Image: ‘Icebreaker’ (2014) oil on canvas,  83.5 cm x 49.5 cm, Private collection.

Kim Guthrie

There are a number of themes, which are central within the greater body of my work. The predominant subject matter is quintessentially Australian and it reveals the ways in which Australian myths are deeply ingrained and yet constantly changing, signifying the cultural diversity that we, as a country, continue to experience. The deeply ingrained, sardonic, Australian sense of humour is evident throughout many of the images, but there is also a sombre aspect to some images, which point towards a darker side. It’s my job to report back to the general population on the cultural landscape as I see it.

As much of my subject matter deals with the Australian national character and Australian landscapes etc., I believe that, for the audience, there will be a strong recognition-factor at work. The work transcends mere documentary photography and presents the ‘everyday’ within a high-art context.

Kim Guthrie 2015


For more information please visit the – Artist Website

Image: War of the Roses,  120cm x 69 cm​, Giclé e print​

Holly Bates


Holly Bates is a Brisbane-based artist, working individually and as one half of the collaboration Parallel Park with artist Tayla Haggarty. Working across a range of mediums such as painting, installation, performance and video, her practice currently seeks to challenge pre-conceived notions of female sexuality depicted by patriarchal culture. Using feminist approaches to art making, the practice explores personal narratives that are formed by the artist’s position as a lesbian feminist, and reflect on body insecurities, sexual fantasies, pleasure, relationships and social stigmas.

Holly has recently completed her Bachelor of Fine Arts (Honours) degree at the Queensland University of Technology in 2015, graduating with first class and two academic prizes.  Holly has exhibited within showcases at QUT, The Block, Metro Arts, The Hold and through local artist run initiatives in Brisbane.

For more information please visit the – Artist Website

Rachael Archibald


An important part of Rachael Archibald’s practice involves playing with the conventions of artistic categories and conforming them into an all inclusive art form through the use of digital technologies. Departing from traditional ways of making art, Archibald is more at home in the digital environment, an accessible and flexible space that allows her to explore an expanding range of creative possibilities and outcomes. With these digital processes at hand, trackpad and keyboard, her ideas can be produced rapidly, multiplied infinitely, and disseminated instantly. ………………….

Since completing a Bachelor in Fine Art from the Queensland College of Art, Rachael Archibald has established herself firmly within the global digital arts community. Although living and working in Brisbane, Australia, the majority of her work has been exhibited both overseas and online. Her foray into the online art community was in the 2014 New Digital Art Biennale – The Wrong, held at various sites across the web.


From this, she gained increasing attention and opportunities throughout the year with printed fabric works shown in Venice for the group show, Venturi Effect, videos in Bristol for Bending Light and another shown on office shelves simultaneously in New York and Dresden forOfficial Office. This year her artwork flew high in the form of a flag, alongside 15 other notable digital artists’ in Berlin for Long Distance Gallery at the Transmediale Festival. Currently she is expanding her practice into graphic arts and visual communication; having already designed posters, cover art and promotional media for other artists, musicians and galleries.

For more information, please visit the – Artist’s Website

Nicola Moss

Nicola Moss’s work observes how people connect, shape and interact with the natural environment through development, conservation and culture. Moss celebrates the uniqueness of flora and habitat, and aims to raise awareness of the natural environment by looking at issues of balance between human and environmental dependence and domination. Moss develops her work through numerous site visits and engagement with community groups. The work provides visceral references alongside personal, social and heritage stories of the environments connected history and ecology. The portable and tactile qualities of paper allow Moss to capture elements of actual place, in geological rubbings, textured frottage and staining, incorporating burnished sand, fire ash and ochres from site visits.


Nicola Moss was born in Melbourne, Australia in 1968. She now lives and works on the Gold Coast hinterland. Moss’s artistic practice is highly awarded in 2014 she recieved highly commended at The Waterhouse Natural Science Art Prize, Commended at the Sunshine Coast Art Prize, Highly Commended at the Noosa Art Award, Finalist in the Calleen Art Award and Highly Commended at the Milburn Art Awards. In 2012 Moss won the Moreton Bay Region Art Award. Moss has also been a finalist in numerous art awards prior to 2014 including: The Gold Coast Art Prize (2013), the Geelong Contemporary Art Award (2012), Waterhouse Natural History Art Prize (2012), The City of Albany Art Prize (2011) and The Clayton Utz Art Award (2011). She has also completed several residencies including: The BigCi, New South Wales (2012); Hill End Residency, New South Wales (2012) and Montsalvat Artist Colony, Victoria (2011). She has also completed a year long residency at the Brisbane Botanic Gardens Mt Coot-tha (2009).

In 2012 Moss was commissioned to work on a public art feature for the new Griffith University Gold Coast Hospital. Moss’s work is included in public collections around Australia, including: Moreton Bay Regional Art Collection, Bathurst Regional Art Collection, Gold Coast University Hospital, Redland Art Gallery, Brisbane Botanic Gardens, Mater Adults’ Hospital (Brisbane), Mater Mothers’ Hospital (Brisbane), Greenslopes Private Hospital (Brisbane), and Montsalvat Artist Colony, Victoria. Her work is also represented in various corporate collections throughout Queensland including: Sealy of Australia, Gadens Lawyers (Brisbane), BDO (Brisbane), the Social Securities Appeals Tribunal (Brisbane) and Suncorp (Brisbane).

For more information please visit the – Artist Website

Image: Synergy – Roots, 2015, 35 x 37.5cm. Hand cut and pieced papers, natural ochre, synthetic polymer paint, rust stain, charcoal frottage

Paul Mumme

Paul Mumme is a multidisciplinary artist born in Brisbane. His work deals with the paradoxical aspects of human thought and behaviour, often articulated in terms of the philosophical absurd. Usually performative, it stresses the presence of a protagonist that is sometimes present as a suit-clad figure. His work has been included in numerous group exhibitions at venues including the Institute of Modern Art, Australian Centre for Photography, QUT Art Museum, Chalk Horse and Canberra Contemporary Art Space.  He has held solo shows in spaces including Queensland Centre for Photography, Metro Arts and Independent Exhibitions Brisbane as well as numerous regional galleries.  He has participated in festivals such as Art & About Sydney, Freerange Brisbane, PhotoLA and the Queensland Festival of Photography. His work is held in several private, corporate and government collections.  He currently lives and works in Sydney.

For more information please visit the – Artist Website


Image: Slapstick (2014) Commissioned by Brisbane City Council for the Vibrant Laneways Public Art Program. Curated by CREATIVEMOVE

Carly Kotynski

Carly Kotynski is a practising artist working in the areas of sculpture and public art. Her artworks are largely inspired by society, the natural world and the interconnectedness of all living things. She creates sculptural forms that engage the senses toward the beauty, fragility and resilience of the natural world. These hand-woven pieces evolve slowly and demonstrate a sensitivity to the delicate balance of life.

After completing a Bachelor of Fine Art at the Queensland College of Art in 2008 she quickly established an extensive exhibition profile including ‘Natural Beauty’ at the Redland Art Gallery, ‘Intangible’ at Spiro Grace Art Rooms, ‘Drop’ in the Bundaberg Art Gallery and ‘Bucket Down’ at Artisan. Public art commissions include the Queensland Multicultural Centre, Robina Hospital, Wesley House, Brisbane Mater Mothers’ Hospital, Melbourne Crown Casino, Jezzine Barracks and the Hawken Drive, St Lucia. She has been selected a finalist in many art awards including the Churchie Emerging Art Award, the Sunshine Coast Art Award, the Moreton Bay Art Award, Scope Award and the Border Art Prize. Her works feature in various collections including Mater Private Hospital, Gadens Lawyers, St Margarets Girls’ School, Loreto College, Clayfield College, Gold Coast University Hospital, Toowoomba Regional Gallery and numerous private collections.


Image: Public Art Installation at Crown Casino, Melbourne

Based on botanical motifs, these relief sculptures were created to complement the garden theme within the area it is situated.

The radial designs were hand-formed and woven from copper wire and rod and wall-mounted on backing plates. Measuring just under 2m each in diameter, these three sculptures retain their natural copper colour and a delicate feeling of lightness.

For more information please visit the artist’s – Website

Alrey Batol

Born in Philippines and then immigrating to Australia at the age of ten, Alrey Batol is a multidisciplinary artist based in Brisbane whose art practice involves a rigorous and subversive critique of first-world and capitalist culture. Reflecting on the ubiquitous and omnipresent nature of capitalism, Alrey incorporates an assortment of media into his art-making; as far divergent as intervention art, paper-making, software and game design, sculpture, photography, to name just a few. All of which come together to explore the banality of first-world dilemmas.

Alrey holds a Bachelor of Communication Design from Queensland University of Technology (2007) and a Bachelor of Fine Art from the Queensland College of Art, Griffith University (2014) where he was selected to show in their annual Graduate Art Show (GAS) and awarded the Australian Decorative and Fine Arts Society (ADFAS) Prize for Sculpture. In 2013, he was curated into the Brisbane Emerging Artist Festival (B.E.A.F.). Alrey has exhibited locally and nationally, including Boxcopy, Metro Arts, Brisbane Powerhouse (all in Brisbane), The Walls Art Space (Gold Coast), Seventh Gallery (Melbourne), PACT Centre for Emerging Artists (Sydney) and Museum Of Contemporary Art (Sydney). In 2015 he was selected as a finalist in the Churchie Emerging Art Prize and will be holding his third solo exhibition at A-CH Gallery in Brisbane.


Video: Documentation of ‘Museum Pieces: Clock Radio’ 2014 at Museum of Contemporary Art (Sydney). Hacked and modified clock radios connected to studio speakers.

For more information please visit the – Artist Website

Abbey McCulloch

Abbey McCulloch holds a Masters in Fine Art from the Queensland College of Art, Griffith University. Named as one of Australia’s 50 Most Collectable Artists by Art Collector in 2009, 2010 and 2011, she has been a finalist in the Archibald Prize three times (with portraits of Toni Collette [2007], Nell Schofield [2009] and Naomi Watts in 2013). She has also been a finalist in the Redland Art Prize, the Paul Guest Drawing Prize, the Northern Rivers Portrait Prize, the Stan and Maureen Duke Prize and the Metro Art Prize.

Women as social beings: mothers, daughters, sisters – the manner in which the feminine might present itself when the public gaze is not present and perfection not a requirement – this is what concerns Abbey McCulloch. Her paintings of the female persona, while grounded in the tradition of self-portraiture, also act as vehicles for exploring emotions ranging from awe to frustration, from screaming abandon to resolute determination. McCulloch says she looks to create a “reflexive mirroring process” using her own image as a prop to lay bare contrivances necessary for emotional survival in our overly self-conscious culture. Her ease and facility in working with the face and figure lead to “a mix of theatre, a bit of softening, some exaggeration” and subsequently, an incisive glimpse into forthright, unsentimental observation.

Her palette favours complementary colours applied in thin layers, building to a sense of irony: opposites work against one another in disagreement and tension. “My work is an absolutely private pilgrimage. I want the viewer to feel the struggle between risk and hesitation”.


Image: Deeper (2015) Oil on canvas, 70 x 60cm

ABBEY MCCULLOCH is represented by Edwina Corlette Gallery

Karike Ashworth


Karike Ashworth is an interdisciplinary artist living and working in Brisbane. Her creative practice consists of time-based media, text, objects and installations. Her areas of interest include social practice, collaboration and the private-made-public. These broad areas of interest frame her more specific concerns with the way mutual implication, ambiguity and social (or emotional) discomfort in contemporary art can disrupt normative enculturation and/or aggravate the social conscious.

Karike graduated from the Queensland College of Art in 2013 with a Bachelor of Fine Arts where she was awarded the Godfrey River Medal for outstanding studio performance and was a finalist in the Graduate Art Show (GAS) at Griffith University Art Gallery. In 2014 she completed her Honours in Visual Arts at QUT where she was awarded First Class Honours and was a finalist in Excerpts: Visual Arts Showcase at The Block. Her solo exhibitionLamentation was shown at The Hold Artspace, Brisbane, in July 2014, and with the support of Arts Queensland, will be touring regional Queensland and NSW throughout 2015-2017. Her work has also featured in group exhibitions including The Proposal, Zammit Projects at Ryan Renshaw Gallery (2012), as one of three contributing artists at Redcliffe City Art Gallery’s Across The Threshold (2012), and the 2011 and 2013 Exist-ence Festivals. Other noteworthy projects include Shop Pty Ltd a collaboration with the art collective Pty Ltd in the James Street Precinct, Fortitude Valley (2012), and one in five, a public art project on the Goodwill Bridge, Brisbane (2012)


In Two Parts is an 8:12 minute single-channel video. In this work I am sitting across the table from myself, and I am reading out (to myself) responses I received from couples I had previously invited to perform in a couple-performance project Why was I so awful tonight?. In the work I am trying to figure out (with myself) what the responses mean socially and personally. I was interested in the stress and anxiety we feel as artists (and as people) when things are not going well, and there is this unproductive self-talk which goes on—two-and-fro—between the rational and the irrational sides of ourselves, and in our inner (and outer) subjective experience.

The work is strongly influenced by Andrea Fraser’s Projection (2008) and Kerry Tribe’sCritical Mass (2011). Projection (2008), is a large two-channel projection about the time Fraser spent in therapy in which, playing both herself and her therapist, she examines her increasingly ambivalent feelings about the art institution and her acceptance into it—of being in two minds about it. Critical Mass (2011) is a live restaging of Hollis Frampton’s classic 1971 film of the same title. Critical Mass (1971) was a ground-breaking experimental film which captures an argument between a couple, and cuts it up into a series of rhythmic, repetitive snippets. When I watched the Tribe film for the first time I was enthralled by the way the repetitive language thwarted the narrative, shifted the context, and transported me right back into that familiar and repetitive loop of inter-couple conflict; replicated many times in my own personal relationship. In Two Parts utilises the same rhythmic, repetitive techniques and contextual shifts used in both these work for similar aims—as a way to alter the context of the language-in-use, and to replicate the repetitive cycle of unproductive self-talk.

Curriculum Vitae

For more information please visit the – Artist Website