SEEN: Seeing What Is, in Its Quiet Truth

‘SEEN: Seeing What Is, in Its Quiet Truth’ 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 drawings 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.

*Please contact us to purchase the selected artwork.

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, Sigma Haque Angkan, Monirul Islam and Rafiqun Nabi.

Monirul Islam

Monirul Islam (b. 1943, Chandpur) is a renowned Bangladeshi-Spanish artist celebrated for his lyrical abstraction and pioneering contributions to printmaking. A graduate of the Faculty of Fine Arts, University of Dhaka, he moved to Spain in the late 1960s on a scholarship and studied at the Royal Academy of Fine Arts of San Fernando, Madrid. There, he developed a unique etching technique known as "Escuela de Monir" (Monir’s School), blending minimal forms, delicate lines, and textured surfaces. His works often use unconventional materials like coffee, brick dust, and handmade paper to evoke memory, nature, and inner emotion. Monirul Islam has received numerous honors, including Spain’s Cross of Officer of the Order of Queen Isabella and Bangladesh’s Ekushey Padak. His art bridges Eastern philosophy and Western technique, making him one of the most significant contemporary artists of Bangladesh. He currently divides his time between Dhaka and Madrid, continuing his creative journey.

CATALOGUE

Rafiqun Nabi

It is the arrangement of known objects and other elements taken from nature are the subjects of my paintings. I prefer to use drawings in my own way to break the totalities of those real forms. To avoid imitating nature’s usual beauty, I try to put a changed and new look in it in my compositions. The animals, birds, sunny-landscapes, riverscapes, seas and beaches, hills or the people around these are my main subjects for paintings. I try to amalgamate my own tastes, feelings, experiences, thoughts together to overcome the usual observations. I think these create a stylised essence in my works and that I enjoy doing this all the time.

CATALOGUE

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.

Catalogue

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

The Race - Human

Recently, having to frequent the CBD, I sensed a feeling of urgency and anxiety; everyone was in a hurry, to me it felt like there was a race, and the winners received the prize of a small reduction of anxiety. My series is highlighting the sense of urgency and the fact that we all now live without interacting with each other, yet there are more of us now than ever before, and we don’t feel safe using each other as support.

Daniel Butterworth is a professional artist who paints with emotion and meaning. His confident technique is seen through large brush strokes, resulting in a painterly appearance.

SPACE 1 : GROUP SHOW - StudioWorkings

Exhibition Dates : 21 October - 2 November 2025
Opening Reception : Wed 22 October 2025, 6:00 - 8:30pm

Artists:

Francesca McNamara, Kate McCracken-Bell, Linda Baker, Margaret Meadows, Marija Newbold, and Mercedes Wolfenden.

When six women meet…

What happens when six women artists are brought together by serendipity to meet weekly in a beautiful studio? Stories and laughter abound as they talk, think, dream about, and make art, while they encourage, inspire, and challenge each other. With printmaking as an initial common thread, each artist brings her own style and practice across a range of mediums including painting, mixed media, printmaking, collagraph, drawing, collage and ceramics. Whether from a representational or an abstract perspective, there is an enjoyment and exploration of colour, texture and pattern in the work.

In a short period of time, the six women have become an enthusiastic studio group who meet weekly to work on their own projects. The group environment serves to push each artist to stretch her practice and to grow in confidence and creativity. This is their first group exhibition together.

Fiona Barbetti. 'Loves the Sun', earthenware clay and acrylic on paper.

In winter, I follow the sun through my living room as I read, build Lego, and draw comics with my son. Like a houseplant, I rely on the winter sunlight to feel inspired and motivated. Female artists have long depicted domestic life, I find myself similarly bound, my child less eager for adventures or convinced to do the things I want. This installation gathers the visuals I lived with during winter: houseplants, sunlight and shadows changing, and fond memories of sunny Bendigo winters with my Nana’s gingham.

A continuation of her multidisciplinary practice, the work combines painting, sculpture, and shadow play—elements rooted in her early art school days—alongside a contemporary practice of text art. These layered pieces reflect the intersection of memory, motherhood and sunshine, within a domestic space.

SPACE 1 : VESSELS AND VIABILITY

Exhibition Dates : 4 - 16 November 2025
Opening Reception : Wed 5 November 2025, 6:00 - 8:30pm

Amanda Lugg

The word “vessels” is broad reaching. Conceptually it reaches from water going craft, to table ware. My own interpretation has taken me down the domestic route, so I have contemplated glasses and vases. They are practical objects, and generally have some longevity as well as recyclability.

In association with viability I have been encouraged to look into my rubbish bin. The materials I found there I have used to help create the papier mache vases with their wire and paper flowers.

There is something to be said for all art being recyclable in some form or other!

Fay Abromwich

In this body of work, I explore the concept of the ‘vessel’ and the myriad ways this object can be interpreted. Handmade vessels have been formed and reproduced by every culture throughout the history of life on Earth. I feel the subject matter has the ability to become a focus for meditation and deeper enquiry.

Earlier works include woven baskets made from plant material found in my garden. For me, the ‘vessel’ is able to change shape and adapt to many forms, to be empty or to be filled.