In Issue 42, Robyn Sweaney spoke about her artistic journey from the interior realm of the still life to nostalgic suburban streetscapes.
In Issue 46, Artist Profile travelled to Bruce James' home and studio in Ayr, North Queensland, as the artist prepared for his first solo exhibition.
In Issue 45, Kevin Wilson visited Colin Pennock in his Noosa Hinterland studio to chat about the artist's incredible journey thus far.
Lisa Reihana draws from her own Maori culture to bring Maori histories to life, extending breath into contemporary and recent narratives.
Dale Frank’s work from the early 1970s to now appears to be without a beginning or an end, constantly evolving from one work to the...
Grace Blake’s installations are visions of ecologies that pose doubt and aporia, speaking to present-day realities and anxieties.
In the midst of COVID-19, many galleries have closed their doors to the general public. However, there is still art to be found.
There is a generosity to James Drinkwater’s work that lures you in.
Ann Thomson has been an important force in Australian art since she graduated from The National Art School over five decades ago.
In Issue 50, Laurie Nilsen told Michael Aird about his life and career – shortly before the much-loved artist passed away.
Known for her multi-media installations featuring a variety of hand-honed materials, Fiona Hall is focusing her energies on the fraught subject of war.
One gets the sense that if you peeled back the painted skin, layer by layer, you could come to understand the intricacies of Gemma Smith's...
Jacqui Stockdale works across photography, drawing, painting, collage and performance to explore the disparate and overlooked histories of Australia.
George Gittoes has been travelling the world for over forty years, visiting those regions that appear in brief, blood-spattered segments on the nightly news.
In Issue 39, John von Sturmer discusses how Pedro Wonaeamirri engages with ancient Tiwi teachings.
Josh Foley’s visceral paintings create visually complex worlds that question the materiality behind the painted image.
Debra Dawes’ paintings have a visceral effect on the viewer. Her work appears cerebral but derives from experience and emotion.
Australian artist Kelsey Ashe’s new film work stirs up hidden histories of post-colonial trauma endured by female indigenous pearl divers.
The textiles, installations, moving images and zines created by Raquel Ormella work on us in complex and contemplative ways
Murray Frederick's photographs flicker between representation and formalist abstraction to evoke a euphoria of space.
Dan Kyle's paintings are translations of what he sees – the beauty, the unique forms, the colours – articulating the bush in his own light....
Carolyn V Watson creates elliptical works that elude recognition. Our eyes search for form in fragments, familiarity in the foreign.
