Keepsakes is a series of painting which looks at little pieces of everyday life in the home. It shows daily belongings that are grabbed on the go and trinkets posing in corners. It's the comfort of the ordinary things in my cycles of time.

Sarah is an artist based in Orange, NSW. Her work is informed by a Bachelor of Creative Arts, Wollongong in 2013, Masters Fine Art (coursework), RMIT in 2015 and Grad Cert of Art History, from the University of Melbourne. She has completed residencies in Tasmania, Thailand, Vietnam, South Korea and Ireland where her paintings have been collected publicly and privately. In 2018, she exhibited as an Australian artist in the Jeonnam International Sumuk Biennale (Mokpo, South Korea), following a residency in the Bank of Fishermen Building. In 2019, she was a finalist in the Calleen Art Prize, STILL in 2021, as wells the Lloyd Rees Memorial Youth Art Award. In 2025 Sarah has an artist in residence with the State Library of NSW and has been awarded a residency in 2026 at Bundanon through the William Fletcher Foundation.

CATALOGUE

GROUP SHOW :

I Waited for You (Winterlong)

Exhibition Dates : 12 - 24 August 2025
Opening Reception : Wed 13 August 2025, 6:00 - 8:30pm

I Waited for You (Winterlong) is the fourth and final chapter in our year-long series of group exhibitions inspired by the seasons. This concluding exhibition turns to Winter—a time of retreat, reflection, and quiet transformation. It invites both artists and audiences to consider the emotional weight and poetic beauty of the coldest months in our calendar.

In this show, we proudly showcase a diverse group of Melbourne-based artists, each bringing their unique voice and vision to the theme. Through a range of mediums—drawing, painting, photography, and ceramics—the works explore the layered meanings of Winter. Some pieces evoke stillness and solitude, others capture the stark beauty of dormant landscapes or the comfort of interior spaces. There are reflections on longing, endurance, and the slow rhythms of time passing.

I Waited for You (Winterlong) speaks to the way Winter slows us down, asks us to notice the subtle, and challenges us to find warmth in unexpected places. This exhibition celebrates not just the season itself, but the richness of creative interpretation it inspires.

Curate by Tegan Iversen

Exhibiting artists: Aleisha Earp, Angela Cornish, Ann Iversen, Annie Walter, Bonnie Williams, Carly Candiloro, Chloe Shao, Claire Anderson Woolley, Darin Frankpitt, Deb Garrett, Diana Story, Elizabeth Nicholls, Emma Sjaan Beukers, Emily Van Der Molen, Fabiola Ibanez, Fiona Davey, Freya Alexander, Grace Audrey, Grace Taylor, Gracie Wright, Guste Sakalauskaite, Holly Gregory, Jen Selmore, Jess Hall, Jiyu Hwang, Kat Weir, Katie Geppert, Lisa Han, Loupcho, Mark McCarthy, Meg Kolac, Mia Emily Freeman, Misu Juju, Monica Tran, naomi meg, Nea Valdivia, Ruby Bovill, Ruby MacKinnon, Sarah McDonald, Sarinrat Sornkam, Savi Ross, Scarlet Sykes Hesterman, Shelley Spangler, Sunny Tandoc, Tegan Iversen, Tim Sta-Ana, Tom Civil, Vess Bong, Viet-My Bui, Vonne Beyer, Yan Yan Candy Ng, Yiying Lee, YJ Chun

CATALOGUE

“The advent of AI is a call to arms for photographers”

Today, more than ever before, the photographers’ duty to document the real world is critical. In his debut exhibition, Kip (of Studio Kalava) explores the beauty and tranquillity seen in often overlooked everyday settings. His approach is steeped in teachings of the godfathers of street photography, and applied to the environments around us today. Kip seeks to create art through mere observation of his surroundings. Together with an intentionality in composition, this exhibition shows many moments of tranquillity in our busy world. From bright hues to muted tones, a painting-like quality is achieved in his photography. A style that evokes an almost conflicted sense of introspection and calm. 

CATALOGUE

This exhibition presents three paintings—Intersection, Photo Studio, and Levels—that reflect my interest in how urban spaces are emotionally charged and fragmented through digital perception. Rather than depicting real places, I reconstruct imagined environments shaped by signage, lighting, and architectural rhythm. In Intersection, fleeting stillness and movement converge. Photo Studio evokes nostalgia tinted by artificiality. Levels explores spatial layering and psychological depth. Using oil paint, I build textures that mirror the tension between connection and distance in everyday life. These works suggest urban experience not as a static image, but as a shifting emotional state, filtered through memory and light.

Dabin Moon is a Korean-born painter based in Melbourne. Her practice focuses on emotionally charged cityscapes shaped by digital culture, artificial lighting, and mediated memory. Working primarily in oil on canvas, she constructs imagined urban environments that feel both familiar and distant. Through bold color, layered composition, and architectural fragments, Moon explores the psychological dimensions of everyday spaces. She holds a Bachelor of Fine Arts from RMIT University and has a background in visual arts education in both Sydney and Melbourne.

CATALOGUE

PROJECT ROOM :
PHIL HAYES

Exhibition Dates : 12 - 24 August 2025
Opening Reception : Wed 13 August 2025, 6:00 - 8:30pm

THE BOUNTY YEARS

Phil Hayes is an Australian artist whose diverse practice spans painting, printmaking, sculpture, and drawing. Since the early 1980s, he has exhibited nationally and internationally, with works held in public and private collections from Japan and the USA to Lithuania. Influenced by both Western and Asian popular culture, his 13 years living in Hong Kong helped shape a distinctive visual language, merging modernist structure with the bold energy of pop art.

A hallmark of Phil’s practice is his use of symbolic imagery, particularly the recurring figure of the ‘Dog’. Originally conceived in the late 1980s as a social commentary on Australian suburbia, it has evolved into an instantly recognisable motif, rich with layered meaning. Alongside his fine art career, Phil spent 18 years as an artist and designer in the global surf industry, working with prominent brands such as Rip Curl and Quiksilver. This experience deepened his connection to ocean culture and the visual language of commercial design.

Phil completed postgraduate studies at the University of Tasmania, later lecturing there for several years—a formative period that continues to shape his artistic vision. It was during his time in Hobart that he developed a deep and lasting fascination with the thylacine. More than an extinct species, the thylacine functions in his work as a potent symbol of loss, myth, and resilience within the Australian psyche. Over time, it has become a personal totem: part cautionary tale, part ghost story, part emblem of wildness lost. Through this lens, Phil explores themes of mythology, disappearance, memory, and the fragile boundary between nature and culture.

CATALOGUE

Music to My Eyes

Drawing and painting was my thing, and I thought art teacher was to be my career. However while still at school I started playing guitar in rock bands and that led instead to a career in music. And later another in vintage furniture retail. In between I kept doing art, but always part time.

Finally in recent years I’ve been able to go back and finally realise my painting dreams. 

This exhibition of new work draws its subjects from what’s most important to me.. the people I’ve loved, the cats I’ve known, and my guitars, a source of endless material and inspiration.

The sensual shape of the guitar in all its forms has for me totemic power. Whether as two or three dimensional images rendered impressionistically “real”, or abstracted into stylised overlapping shapes where colours rule, or in juxtaposition with the female form. 

The images of people I’ve chosen to evoke an emotion in the viewer.. hopefully joyful. 

It’s the fleeting moment in time that I’m wanting to save and savour. 

And cats.. well, what can you say?

Tony Faehse (pronounced Fayzee) as guitarist and songwriter is best known for his work with Jo Jo Zep & the Falcons 1977-1983 (ARIA HALL OF FAME 2007), before that London 1973-1977 including touring Europe with Alvin Stardust. 1996-2019 with wife Wendy trading in Mid Century Modern furniture and design at their shop Retro Active in Northcote, Melbourne. 

CATALOGUE

Emma Richelle Caird’s work explores themes of death, depression, suicide and rebirth. Meditating on her past fantasies of death and trauma, Emma's paintings draw inspiration from romanticism, renaissance traditions, tattoo art, 80s horror and Yūrei-zu.

Born in Melbourne Australia in 1981, but raised in far North Queensland, Emma grew up with a distinct feeling of duality. Early childhood influences and trauma caused a natural comfort in the morbid and horrifying. Having studied a Bachelor of Fine Art at James Cook University in her teens, and an Advanced Diploma Graphic Design in her early thirties, Emma’s true voice only started emerging after facing her demons and incorporating her shadow self with the joyful exterior of her personality.

CATALOGUE

MARVELLOUS MELBOURNE AND BEYOND

Fyfe's unique perspective, rooted in his upbringing in Melbourne, breathes life into the city's landmarks, from Flinders Street Station and the Yarra River to its renowned laneways and beaches. Each print unveils a narrative that transcends the ordinary, inviting viewers to explore Melbourne's charm in an unconventional light. "Marvellous Melbourne By Fyfe" is a celebration of the artist's connection to his hometown, capturing the spirit of Melbourne with humour and imagination.

Andrew Fyfe is an Australian cartoonist and illustrator - best known for his live cartoons using the “pen cam” on the television show Hey Hey Its Saturday. For over fourteen years Andrew would spontaneously send-up the on screen action with but a few strokes of his pen.

CATALOGUE

‘A Rip In the Möbius Strip’

Stirling Caiulo creates paintings as sites of psychic and embodied transformation. His work is raw, symbolic, and rooted in a desire to fortify the spirit, exploring what it means to reclaim form from fragmentation, both personal and collective. With a deep curiosity for the unseen, his practice invites viewers to contemplate the meeting of the material and the mystical. Each piece acts as a threshold, a passage through which the fractured self might encounter wholeness, mystery, and renewal.

He has been a finalist in prestigious competitions, including the Lester Prize in both 2021 and 2022 and in 2023 the Bluethumb Portrait Prize and the Dean Cogle Prize. 

This work begins where continuity breaks: 

at the rip in the Möbius strip. 


A symbol of infinite loop and paradox, 

the Möbius strip forms a twisted surface without end. 


In its seamlessness lies a trap: 

an illusion of progress that circles back on itself. 


By tearing this loop, 

I explore what happens when we interrupt familiar cycles: 

of thought, identity, and inherited limitation. 

The rupture is both violent and liberating. 


To see oneself anew requires discomfort, 

and something new to hold sacred.

The Travel Notes

The "Travel Notes" exhibition conveys paintings from experiences throughout various moments of life, traveling to various places and meeting people. Including objects that reflect culture Conveyed through paintings or drawing in real places Which each work reflects the impression of important events in each moment These works have been collected to present to the audience in this exhibition.

GROUP SHOW

Colours of Bangladesh

Exhibition dates. 9 - 21 September 2025
Opening Reception : Wed 10 September 2025, 6:00 - 8:30 pm

Abinta Gallery of Fine Arts brings with it a reputation for curating promising exhibitions that resonate with audiences and spectators following international standards. Abinta Gallery team is committed to ensuring the success of this showcase through constructive planning, promotion, and execution of the exhibition to enlighten the art lovers of Melbourne with a diverse experience. Numerous master artists and renowned artists of Bangladesh conquered the world of art introducing versatile dimensions into the way of artistic expressions that coincided with the emotions of art spectators depicting the greenery, culture, and traditional significances of the lives of people of Bengal and various subject matters through colorful illustrations.

The exhibition is expected to derive the rich culture of Bangladesh as well as allow the audiences to connect with unique forms of artistic approaches conducted by the legendary and promising Bangladeshi artists.

Artists

Azmeer Hossain, Farida Zaman, Jamal Ahmed, Kanak Chanpa Chakma, Mohammad Eunus, Nazmul Haque Bappy, Nur Munjerin Rimjhim, Purnia Mrittika and Sigma Haque Angkan

Azmeer Hossain

My work often explores the multifaceted landscapes and cultural nuances of Bangladesh, which I articulate through distinct series. The 'Monsoon-Boat' series captures the dynamic interplay of water and vessels prevalent in our monsoonal climate. In contrast, my 'Playground-Buffalo' series offers glimpses into the rural heartland, focusing on the relationship of buffalo in their everyday environment. Furthermore, my 'Persistence-Buddha' series delves into more spiritual and introspective themes, reflecting an engagement with Buddhist philosophy and iconography. Through these series, I aim to offer a nuanced perspective on my surroundings and inner explorations, establishing myself as a dedicated Bangladeshi watercolorist with a layered and evocative approach".

Catalogue

Farida Zaman

Why do I play with color? Colors express emotions, and my inner self sometimes exaggerates colors to enhance my vision. Once I started observing colors with my artistic vision, everywhere I looked I started noticing colors which never existed before…colors have become and intrinsic part of my journey as an artist my canvases are now incorporating various shades of color to create interest and pleasure for the naked eye… second, perspective of my artistic journey is a language created by my surrounding environment and characters intertwined in my personal growth... Having been born in Bangladesh, a nation of…water, land and sky are essential parts of surviving and in my youth, these three elements were mainly present in my everyday life… they have fueled my imagination, creatures of the sea and land are often present on my canvases taking their shape and forms… exaggerated necks, arms, legs all take flight in my storytelling… a cat is no longer a mere cat … he/she is a character from my past childhood roaming around my Dada Bari’s yard looking for fish bones … human character such as Sofia is a reflection of the women who have inspired my personal life as a teacher, mother and homemaker. Coming full circle in my artistic journey has taught me to appreciate and love myself and my existence on planet earth, and specifically my land of the lush green and my rivers of blue waters.

Catalogue

Jamal Ahmed

I try to show the beauty of simple moments — like a child playing, a woman working, or a boat floating on the river. I use soft colors and delicate lines to express peace and emotion in my paintings. My goal is to connect with people through art, no matter where they come from. Over the years, I have worked with different styles and mediums, but watercolor and oil painting are my favorites. I often paint scenes from rural Bangladesh, because I feel close to that life and culture. I believe art can speak quietly, yet powerfully, to the human heart. Through my work, I want to remind people to slow down, observe, and appreciate the world around them. Art is my language, and I speak through color and form.

Catalogue

Kanak Chanpa Chakma

As a member of the Chakma community, she draws from her heritage, focusing on the strength and resilience of these women. In 2023, she was awarded the "Ekushey Padak", one of the highest civilian honours in Bangladesh. Her work has gained international recognition, with exhibitions worldwide and numerous accolades, including Best Woman Artist of the XXI Century (2001) and the Olympic Fine Arts Gold Medal, Beijing, China (2008). She also received the American Alliance Fellowship in 1994 at Penn State University, further enriching her artistic and academic growth. These honors have affirmed her status as one of Bangladesh's leading artists and a tireless advocate for indigenous women’s labor. Kanak's art centers on the often-overlooked contributions of indigenous women, portraying their inner lives, struggles, and beauty. Her vibrant work, full of colour and texture, captures their resilience and emotional depth. Alongside her art, Kanak is committed to championing indigenous rights and supporting animal welfare.

Catalogue

Mohammad Eunus

Inspiration is essential to my process, often arriving unexpectedly and guiding me to explore ideas through internal sketches and experimentation until an image resonates deeply. Nature is a powerful force in my work, both gentle and fierce. I aim to capture its inner essence rather than mere forms, seeking to evoke emotion and provoke thought. My "Wall" series exemplifies this approach, where the changing surface of a wall symbolizes the layered transformation of society, sometimes marred, sometimes repaired, always evolving. I paint for joy, but never with satisfaction. Contentment can stall growth, so I embrace the unfinished, stopping only when the piece speaks for itself. I see artistic grammar as essential; only by knowing the rules can one break them with intention. While I may not always articulate a painting’s meaning, I invite the viewer into the emotional current that birthed it—to feel, reflect, and discover their connection.

Catalogue

Nazmul Haque Bappy

My work mainly focuses on nature, and I love using traditional Chinese ink and Oriental painting styles to express my thoughts. Over the years, I have tried to blend these classical techniques with new ideas to create something meaningful and fresh. I’ve held 11 solo exhibitions and taken part in many group shows in Bangladesh and abroad, including in Italy and the UK. My work has been honored with several awards, such as "The Best Award in Oriental Painting" from the University of Dhaka, the Berger Young Art Award, and international recognitions from China, South Korea, and more. Recently, I received the SM Sultan Foundation Award and the Grand Award at the 10th Oriental Painting Exhibition – 2025. Through my art, I hope to keep sharing the beauty of Oriental traditions with the world.

Catalogue

Nur Munjerin Rimjhim

My work primarily revolves around acrylic painting, where I use bold compositions, expressive figures, and layered symbolism to explore themes of gender, identity, and social justice. I draw inspiration from real-life struggles, particularly the silent yet powerful resilience of women. Each piece reflects personal and collective narratives, challenging deep-rooted societal norms. Art, to me, is a powerful voice; one that can question, disrupt, and inspire change. My emphasis lies on the overlooked narratives of women, shedding light on their struggles and sacrifices. By portraying these experiences on canvas, I seek to elicit empathy and highlight the profound injustices embedded within our society. I believe art should unsettle, provoke, and ultimately push society toward change.

Catalogue

Purnia Mrittika

I am Purnia Mrittika, born in 1993 in Bangladesh. I earned both my B.F.A. and M.F.A. from the Department of Drawing & Painting at the University of Dhaka, and my paintings have been featured in national and international exhibitions. To me, art is more than just beauty or form—it is a powerful language of expression. Through colors and brushstrokes, I reflect the injustices, struggles, and chaos that shape our society. A deep sense of social awareness flows through my work, giving voice to the unheard and holding space for the possibility of change. Bangladeshi culture, heritage, and identity are also profound sources of inspiration for me. I find joy in portraying our roots with care, affection, and reverence making each piece of art feel deeply soulful and meaningfully connected.

Catalogue

Sigma Haque Angkan

I am a Bangladeshi sculptor and painter, Sigma Haque Angkan, and I have 25+ years in the field of visual arts. I completed a B.F.A. & M.F.A. degree from the Department of Sculpture,  University of Dhaka. I did two solo exhibitions and more than 65 major group exhibitions & workshops nationally and internationally. The prime topic of my sculpture is the life of women, Mother & Child, women’s love, affection, limitations, and responsibilities are reflected in my work. Bronze, Brass, and aluminum are the preferred media of my sculpture. Art is my passion that makes me feel alive. As a freelance artist, I am also the founder and director of Su Angkan Academy, Dhaka.

Catalogue

Thosaporn produces stunning artwork on canvas and various special materials. Her unique style mainly focuses on abstract and minimalistic designs that capture the viewer's imagination. Each artwork is crafted with meticulous attention to detail, inviting viewers to explore a realm of endless interpretations. Thosaporn's use of vibrant colors and harmonious textures brings depth and vitality to her pieces, drawing the audience into the artist's distinctive viewpoint.

Catalogue

Vayupad Ruttanapet was born in Bangkok in the year 2000. His parents work for the Thai government's Office of the Traditional Arts. He spent his childhood sculpting and assisting in the creation of monuments and Thai sculptures under the care of experts in the field. Vayupad studied Khon, a traditional Thai performance, during middle school at The College of Dramatic Arts. He then studied fine arts at Saowabha Vocational College. In 2024, Vayupad received his Bachelor’s degree at the Faculty of Painting, Sculpture and Graphic Arts from Silpakorn University, majoring in Sculpture. Currently, he is also a part-time lecturer at the same institution. Vayupad’s sculptures explore the balance between realism and idealism, drawing inspiration from classical Western and traditional Thai influences while embedding a distinctly personal sensibility. Each figure becomes a study in form, memory, and the human condition.

Catalogue

PROJECT ROOM: TASMINA K MAJLES

Exhibition Dates : 23 September - 5 October 2025
Opening Reception : Wed 24 September 2025, 6:00 - 8:30 pm

Pichutaan (পিছুটান) in Bengali : The entanglement with past memories, emotions and experiences

Pichutaan delves into the profound theme of entanglement with past memories through the lens of Tasmina K Majles, artist living in diaspora. Tasmina is a Bangladeshi-born migrant living in Australia for over a decade now. The landscapes of her adopted country evoke both familiarity and strangeness, blurring the boundaries between the known and the unknown.The body of work is an exploration of the complex emotions arising from straddling two worlds—one of her birth and another of her chosen home. The work offers a deep and introspective exploration of the artist's personal journey, navigating the complex terrain of identity, longing, memories of her home country and a sense of disconnection in everyday life as a migrant. She uses metaphoric tropes such as birds, nests, and stones to depict her migration journey and to symbolize the weight of memories she carries within. The work serves as a conduit that intricately intertwines time, memories, and connection.

Tasmina K Majles is a Bangladeshi-Australian multidisciplinary artist based in Naarm/Melbourne, Australia. Her creative practice rigorously interrogates the multiplicity of human perspectives and the intricate interplay between nature, the subliminal, and the constructed realities we inhabit. Drawing from her lived experiences in diaspora, she engages with critical themes of transnational identity, assimilation, and self-realisation, particularly as they pertain to her identity as a first-generation female immigrant.

WINDOW ROOM: JEN SELMORE

Exhibition Dates : 23 September - 5 October 2025
Opening Reception : Wed 24 September 2025, 6:00 - 8:30 pm

Creating paper entomology and the idea of using something so small, beautiful and seemingly innocuous such as a hand drawn butterfly, to commentate on societal issues is a main focus for the artist. Hints to the key messaging are subtly shared in the artwork title, positioning or condition of the hand drawn insect/s.

Using vintage materials, often reminiscent of fabrics and colour palettes from her childhood- helps create a nostalgic longing- an escape to simpler times past while giving new life to reused materials making the pieces truly ethical and sustainable. These materials, not only help to give a home to the creations but also hopefully cloak their messages in the warmth of nostalgia.

‘Living on Mute’
Pencil on toned paper & wire with vintage frame 34cmwx114cmh

Living.on.Mute explores the strength found in self-acceptance. Hundreds of hand-drawn butterflies, rendered in delicate pencil on toned paper, cascade downward—spilling beyond the frame and into the viewer’s space creating a flow and momentum.

Each butterfly represents a moment of transformation, a whisper of identity once suppressed, now released and joining force. The vintage frame evokes a sense of containment or expectation, while the paper butterflies break free from it, symbolising liberation and growth.

This piece invites reflection on the tension between silence and expression, and the beauty that emerges when we allow ourselves to be fully seen. It is a visual metaphor for reclaiming voice and space in a world that often asks us to shrink.

GROUP SHOW: GLASS COLLAB 5

Exhibition Dates : 23 September - 5 October 2025
Opening Reception : Wed 24 September 2025, 6:00 - 8:30 pm

Glass Collab 5 comprises a group of Melbourne based glass makers primarily working sculpturally. Pushing glass-making techniques into a contemporary practice as emerging artists, each has adopted an individual and idiosyncratic approach working glass to express their observations, thoughts and responses to what they see and experience around them.

Andrew Pauley

Andrew Scott Pauley is a glass artist with kiln forming being his preferred process. He has completed several glass courses in the last six years exploring different techniques.

Andrew began his journey under the tutelage of Brenda Page from Blue Dog Glass.

Andrew is inherently curious and has a passion for nature and the relationship between all living things within our biosphere.

Exploring mixed media Andrew likes to use sculpting to mimic the natural world and replicate, primarily in glass. He also has an interest in combining the formation of geology using texture to create functional & ornamental glass works.

Colleen O’Loghlen

Colleen O’Loghlen works in kiln formed glass and as a silversmith working mostly with recycled silver, where possible and copper. Currently she is aspiring to combine these two mediums to create dynamic and unique jewellery.

After completing an Associate Diploma of Architectural Drafting and some subjects from the Diploma of Interior Design which was her introduction to glass and its early beginnings.

In 2010 she entered the Blue Dog Glass studio where her fascination with glass was fuelled.

Inquisitiveness has led Colleen to master classes at the Blue Dog Glass studio and overseas glass studios to broaden her knowledge of specific glass techniques. She continues to extend and refine her knowledge in the diversity of fused glass techniques

Colleen has exhibited her glass and silver jewellery in studio exhibitions, artist trails,  galleries, and retail outlets. Also working in the arts sector in a local gallery as a gallery retail shop coordinator, highlights some understanding in the workings of a gallery, with artists and spaces.

Neil Brenton

Neil Brenton is a glass artist, creating through slumping and kiln forming and has been exploring glass art under the tutelage of Brenda Page for over 10 years. He has also participated in a rolled glass masterclass in Canberra.

Neil is inspired by his travels of recent years, of sea, sky and how a human designed structure can blend into natural landscapes. He is currently working on pieces inspired by the ocean, from his journeys as a sea kayaker.

Neil continues to seek inspiration for his art, travelling through rural and coastal landscapes.

Elizabeth Cleland

Elizabeth has explored many aspects of kiln formed glass for over 20 years more recently focusing on kiln casting, and mark making through engraving and line.

By casting thick, sculptural pieces, Elizabeth leverages the clarity, colours, imperfections, distortions, and weight of glass to express ideas, emotions, and concepts. The abstract nature of her work leaves the glass to speak for itself - showing off in its own right - whilst encouraging viewers to investigate their own responses to what they see.

Elizabeth developed her technical and artistic skills through workshops and masterclasses at Blue Dog Glass Artists’ Studio and Canberra Glassworks with local and international artists. She was accepted for a sponsored placement for the Conduit; Building Connections masterclass with Kirstie Rae and Dr Mel Douglas at the Canberra Glassworks in 2021.

Elizabeth has exhibited in group shows since 2008, including regular inclusion in the annual Merri-bek Summer Shows, held at the Counihan Gallery, Brunswick VIC.

Michelle Leeder

Michelle’s art is inspired by a childhood spent growing up in East Gippsland, admiring fabulous sunsets across the land and seascapes, as well as more recent years spent in the colourful Cool Country of Victoria’s Central Highlands, immersed in the wide array of colourful natural beauty.

Her formal education is in Engineering and Corporate Management. She worked and raised her family in Melbourne with her husband. She has always been actively involved in her community, volunteering for various community groups and projects, utilising her professional knowledge and skillset to assist with achievement of community goals.

Michelle is fascinated by the medium of glass. She finds joy in strong mid-century modern colours, as well as the effects of transparency with light traversing through glass, creating warm and energetic impressions. 

For over 20 years Michelle’s interest has been working with lead-lighting and warm glass. She now focuses her time as an emerging artist with the aim of create pieces that bring people a sense of joy and pleasure. 

MARIAN QUIGLEY

Exhibition Dates : 23 September - 5 October 2025
Opening Reception : Wed 24 September 2025, 6:00 - 8:30 pm

City and Country

During the last few years, my work has largely focused on Melbourne iconic buildings and structures. In this exhibition, however,  images are also drawn from Gippsland environments and are portrayed either separately or in juxtaposition with those of the city.  The paintings include both man-made and natural elements, sometimes in combinations which evoke the surreal.

Utilising acrylics, my style is characterised by a hard edge technique combined with elements of minimalist abstraction and strong colour/tonal contrasts.

CATALOGUE

THEA BATES

Exhibition Dates : 23 September - 5 October 2025
Opening Reception : Wed 24 September 2025, 6:00 - 8:30 pm

BRICOLAGE

With a mid-century childhood surrounded by dad’s professional photography and my mother’s hand colouring of his prints, my work reflects a re-interpretation of their skills and my own penchant to be a ‘bricoleur’. An intuitive abstract artist, my visual language is organic and constantly evolving. Mark making is as vital as finding innovative ways to translate those marks into new forms of expression.

I love to experiment, make things up and take creative risks whilst my knowledge of the elements of art and design is always there in the sub-conscious supporting my desire to make art that is personally satisfying.

Catalogue

Chippy Thief captures a familiar and mischievous seaside moment — a life-sized seagull triumphantly clutching a stolen hot chip. Hand-carved from timber using traditional tools and techniques, the work invites an immediate smile, evoking humour, nostalgia, and memories of salty air and open skies.

While playful on first glance, Chippy Thief belongs to the Shoreline Guardians series, which reflects on the delicate balance between human life and the natural world. These sculptures preserve fleeting scenes from coastal life, celebrating their charm while also acknowledging the rising tides and human interventions reshaping our shores.

Through this piece, I hope to spark both recognition and reflection: a reminder of simple, joyful encounters with nature, and an invitation to consider the changing landscapes in which they occur. Like much of my work, it seeks to pause time for a moment — encouraging viewers to protect the environments that hold their treasured memories.

Olivia O’Connor is a sculptural artist based in the rolling hills of South Gippsland, Victoria. Through the traditional craft of woodcarving, Olivia reveals forms hidden within timber, using a meditative process guided by the material itself to make her contemporary sculptures. Inspired by the lush landscape and vibrant wildlife around her, her work explores themes of space and connection to a landscape to which she does not have a generational bond, reflecting her personal journey of understanding and belonging. Recently, Olivia has expanded her practice to include works on paper, experimenting with wood engraving, woodblock carving, and printing. This exploration allows her to translate her connection to nature and her artistic themes into a new medium, enriching her practice.

Reclaiming the Wild

My art is an act of surrender, of loosening the need for control and trusting the creative process to unfold on its own terms. Reclaiming the Wild is both a personal and artistic turning point: a body of work created in the ongoing practice of letting go, especially of perfectionism, something I wrestle with daily.

Working in mixed media, I begin each piece intuitively, building up layers of colour, texture and mark-making without a fixed outcome in mind. These paintings are shaped by presence; by listening rather than directing. What emerges is a visual conversation with freedom, curiosity, and emotional truth.

This exhibition reflects my journey from overthinking to allowing, from striving to simply being. Each work invites you to pause, breathe, and reconnect with your own sense of wonder and wildness. It is my hope that in witnessing these pieces, you’ll feel not just the art, but the freedom behind it.

EVERGREEN EMPRESS: THE DIVINE FEMININE

Remember. Reclaim. Rise.

Evergreen Empress: The Divine Feminine is an art exhibition and portal to remember, reclaim and rise by connecting to your soul essence, Source and the Universe.

Inspired by the Major Arcana of the Tarot, Linda Oy Ho reimagines archetypes through a contemporary lens.
Ho explores the divine feminine by listening to one’s inner wisdom, releasing self limiting beliefs, moving forward in trust and embodying truth. Her digital photo montage paintings invite a return to inner self-worth, intuition, courage and freedom through stillness, slowness and surrender.

Ho responds to the demands of capitalist and patriarchal society, exploring the collective “wounded masculine” of overwork, busyness and external validation which can suppress our multi-sensory awareness. “This exhibition is about coming home to ourselves — through self care, feeling, softening, spaciousness and simplicity — to access deeper love, peace, passion, abundance and higher purpose.”

ABOUT THE ARTIST

Linda Oy Ho’s art practice explores philosophy, spirituality and ecology. Her work creates a dialogue between ancestral memory, collective consciousness and present experience. Through digital artworks, painting, sculpture and digital media, she has combined materials such as metal, fibre, wood and textiles to form luminous works.

Since 2014, Ho has been selected as a finalist in eight art prizes including Yering Station Sculpture Awards for three consecutive years, Wyndham Art Prize, Brisbane Art Prize, among others.

SPACE 2: THE JOURNEY WE TAKE TOGETHER

Exhibition Dates : 7 - 19 October 2025
Opening Reception : Wed 8 October 2025, 6:00 - 8:30pm

THE JOURNEY WE TAKE TOGETHER

by Anette Chang and Pimpisa Tinpalit

This exhibition seeks to illuminate the multifaceted journey of breast cancer through powerful large-scale installations and sculptures. It offers a unique space where patients, their families, friends, and medical teams can express their thoughts, share their struggles, and send messages of hope.

The fight against breast cancer is never a solitary one—it is woven with the love and unwavering support of those around the patient, whose strength fuels the journey. The expertise and compassion of the medical team form the foundation of both the patient’s physical and mental resilience. The impact of this battle stretches far beyond the patient, touching everyone in their circle.

Through this exhibition, we create a vessel of communication—one filled with love, care, and understanding—that embraces the fight. Together, we walk through the darkest moments, emerging into the light of healing, unity, and shared courage.

This is a celebration of strength, not only of the individual but of the collective spirit.

Anette Chang

Annette Chang is a Taiwanese-Australian artist who has lived, studied, and worked in Melbourne since 1991. Born in Taipei in 1955, she creates multidisciplinary works across painting, collage, installation, and sculpture. Using recycled materials and everyday objects, her practice offers a satirical and critical view of consumerism and modern life. Influenced by her Asian heritage and Western experience, Chang explores cultural hybridity and reflects on contemporary social and cultural complexities.

www.annettechangartist.com

Pimpisa Tinpalit

Pimpisa Tinpalit is a Thai-born Australian artist whose work explores themes of death, transformation, and the tension between free will and determinism. Working primarily in sculpture and installation, she transforms everyday materials into powerful, meditative forms. With over 20 years of international exhibiting experience, her practice reflects a deep philosophical engagement with impermanence. Since arriving in Melbourne in 2009, she has become an active and respected voice in the Australian art scene.

www.pimpisatinpalit.com