For millions of years, caves have symbolised sanctuary, reflection, and creative experimentation. In Cave, Tara Marynowsky draws from this metaphorical space to explore femininity, suburbia, pop culture, and nature through chaotic energy, layered humour, and vivid colour.
The exhibition features works ranging from delicate watercolours to large oil and acrylic canvases, created over the past six months—many painted in the darkness of early morning. These richly textured paintings serve as a visual diary and psychic release, blending solitude with subversion and introspection with intensity.
Highlights include pieces like Bat Woman 2025, a 122 x 92 cm oil and acrylic painting that speaks to Marynowsky’s fascination with female icons. One recurring figure, Wilma Flintstone, reappears as a symbol of domestic rebellion—busy, agitated, and possibly on the verge of escape.
Cave builds on Marynowsky’s past work, including her video series Coming Attractions, where she defaced 1990s film trailers. Her visual language continues to blend intuitive mark-making with emotional depth, peeling back layers of cultural memory and inner narrative.
Tara Marynowsky’s process is emotive, intuitive, and steeped in symbolic resonance. Her painterly interventions and watercolours explore feminine power, myth, and nostalgia—balancing delicate detail with bold, subversive gestures.
Artist Bio
Tara Marynowsky is a graduate of UNSW School of Art and Design (Honours) and currently Senior Curator of Content and Interpretation at the National Film and Sound Archive of Australia. Her work has been exhibited widely, including The National 2019 at Carriageworks and Femme-Maison at Macquarie University. She is a recipient of the Marten Bequest Scholarship for Painting and has shown video works internationally at Filmmuseum Düsseldorf and The Centre Pompidou.
Image: Bat woman2025, oil and acrylic on canvas, 122 x 92 cm
