Issue 29

It may not seem obvious that paintings – produced by the artist’s hand, and using his instantly-recognisable personal vocabulary of symbols and characters, and displayed...

In my studio in the Hawkesbury, I work in almost total solitude and I love it, so I’m sure these feelings were exacerbated by the...

Lauren O’Connor’s Twin Falls (Wodi Wodi Country), 2022, is tremulous: energetic, almost rapturous movements of the paintbrush across the canvas capture the vibratory energy of...

Grace Burzese’s energetic abstract work Cocoon, 2013, layers cobalt blue against wine red and white. The brushwork is gestural. The application of paint to the...

Across George Kennedy’s Skyline Trespass, 2022, something topographical is happening. Shadow and light shift across the picture plane, as if tracing the ridges and gullies...

There is an argument to be made that his work is a by-product of his very remarkable life; or that his paintings exist to support...

Mel O’Callaghan’s new exhibition art Sydney’s Carriageworks is titled with a capacious, and kind of porous, claim: All is Life. The very openness of this...

In an artist’s statement accompanying the exhibition of this body of work at Queenscliff Gallery, Klein writes that the show “addresses a particularly divisive period...

In Girlfriends, 2022, two young women stand shoulder-to-shoulder on a track running through a field of lush vegetation. They gaze directly into the camera. Their even eye...