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Stefan produces works that focus on compositional elements like volume or colour, his oeuvre maps an attempt to capture the ephemeral spirit of his chosen medium. While somewhat unusual in the contemporary era, such bewitchment by the magic of painting is fundamental to the tradition that continues to inspire him. Indeed, like his predecessors, with

Donald Blue’s interest in Chinese culture began in the 1950’s when he lived in Taiwan with his family for a 3 year period.  He began making pottery in the early 70’s and soon after took up the brush as a pottery decoration technique.  A home-built clay slab-rolling machine and subsequent commitment to two-dimensional ceramic projects,

“The difficulty in painting has always included the transformation of pigment into light, and in these works the artist has shaped and balanced the colour so that the image lives in the mind. They are paintings that have begun from nature, from wild flowers that have grown in the Wallum country of the North Coast.

Heidi Yardly eschews the vast panoramas of contemporary painting in favour of intimately scaled compositions. Her oil paintings feature figures and settings that recall film noir or the eerie magic of the occult. And just like these influences, Yardley’s paintings are elliptical and infinitely suggestive – we, the audience, are called upon to complete the

Capital and country: the Federation years 1900–1914 celebrates the art of the newly federated Australia alongside the work of Australians working in Europe during these formative years of the new century. The paintings by 25 Australian artists invite viewers on a journey through the era and around the world, from patriotic visions of the Australian