On Belonging(s) – Opening Speech by Kristen Lang

2 August 2019


I think we “belong” in multiple and often contradictory ways. A single person may be, for example, an artist, a parent, a spouse, a catholic, a vegetarian, a netballer, a vase collector, an Australian-born Italian, a renovator, a singer, a cook, and so on. This one person may hold attachments to particular objects and places associated with any one and any combination of these identities. And not just attachments – aversions too.

What is clear, I think, is that we do not always know about all of the attachments and aversions we live by, nor do we often acknowledge the conflicts inherent in how and to what we belong.

Our conscious sense of belonging, as merely the skin of things, needs to be dug into, probed, explored. What are we not acknowledging. What are we turning away from. We might not include the ripped couch or the cracked plaster wall in our sense of belonging if our myths and ideals describe such things as signs of abandonment rather than intimacy. We can be blind with our eyes open.

We can be blind for a variety of reasons – over-familiarity, cultural or political bias, emotional bias, guilt, ignorance. We tend not to include Tartrazine in our sense of belonging, despite its presence around us as the yellow colouring of many of our foods and products. It’s not that our senses of self are immune to our incessant immersion in man-made colour. But perhaps it’s nicer for us not to think about the realities of our desire for it – the environmental impacts, the health impacts of our chemical play.

So what does it mean to belong? There are many things all of us belong to – gravity, the sun and moon, Earth itself, thirst, hunger, the urge for belonging, the fact of other life – trees, animals, birds, bacteria. Perhaps humans are too successful at bypassing these commonalities, these truths of the Earth, many of which are increasingly in need of our joint and dedicated care – it would be heaven, I think, if identity and belonging revolved around regard for our shared home.

There are many other experiences and objects the majority of us belong to – electric light, pop music, the principles of modern medicine, atomic bombs, consumerism, slave labour, trash, habitat loss, all the conditions of our current state of being. How do we digest and come to terms with what it is we belong to amid so much and amid such discomfort?

We’re selective. We belong in these large ways – to Earth, to shared knowledge – but we want, it seems, something more particular. In part, we want difference: I belong but you don’t. I belong, we say, to this nation, this religion, this brand, this club; I belong on this side of the wall, on this side of the water… These powerful belongings are at once, of course, powerful conflicts, that we embrace, one way or another, or suffer from, one way or another, through the stories we selectively tell.

To belong need have nothing to do with truth or kindness, with justice or equality, with right or wrong. I might belong to a terrorist organisation as readily as to a flat-earth cult or a football club. I might belong to the idea of the sun-baked Aussie battler, or I might champion the traditions and connections of Country, or I might raise my arm to the concept of an Earth where people are brief visitors in a vastly longer story of life…

There is that we belong to but have forgotten to acknowledge.

There is that we belong to but turn from for the discomfort it causes.

There is that we believe we belong to through our inheritance of certain ways of seeing, even when it clashes with our actual surroundings.

There is that we belong to in one form but not another – in a vase, perhaps, but not in its natural habitat. We belong to ideals, myths, stories, more than realities.

There is that we say we cannot belong to simply through our failure to understand it – wild places, for some, or cultures not quite like our own.

There is that, too, which we are embarrassed to belong to for its failure to meet the fashionable standards of the mainstream, of the cities, of the crowds.

So the list goes on.

In the mess of belonging, in the tangle that surrounds what we think of as our honest connections, art can draw our attention to our blind spots. Art can demand that we confess, that we reconsider, that we look again. It can encourage us to question, to find new relevancies, and to dig for that which is, we hope, genuinely worth sustaining.

I hope you will give this exhibition the time it deserves. I hope you will allow it to ask, of yourself, what it is you belong to. What are the stories inside your belongings? I hope you will enjoy, and be challenged by, the answers you find.

-Kristen Lang, Poet

Visit Kristen’s website here


On Belonging(s)

Alex Davern, Liam James, Amber Koroluk-Stephenson, Jessie Pangas

On Belonging(s) brings together four Tasmanian artists who are exploring how we attach value to objects, and the role they play in the stories we tell about ourselves, both individually and communally. On Belonging(s) is a reflection on how we construct our identity, connect ourselves to place and engage with our possessions, both nostalgically and idealistically, as extensions of the self.

Main Gallery, Devonport Regional Gallery, 3 August – 22 September 2019




Threads of Childhoods Past

Jennifer Frost and Jan Larcombe

In Threads of Childhoods Past, two artists with a shared childhood growing up in the remote area of Trowutta in the far North West coast of Tasmania in the 1950’s and early 1960’s have created art works based on their reflections of that time.

Little Gallery, Devonport Regional Gallery, 27 July – 1 September 2019


*Installation images from On Belonging(s) and Threads of Childhoods Past by Kelly Slater

The Robinson Youth Takeover – Statement by Katelyn Geard


When I joined the Droogs in 2016 I didn’t know much at all about the Robinson Collection. Since then through viewing exhibitions and being involved with the gallery I have learned that it is a collection of over 20,000 sets of photographic negatives taken in and around Devonport between the 1920s and 70s by father and son Bert and Albert Robinson. It has been regarded as a comprehensive visual record of Devonport’s history.

This information while correct can also be misleading in the sense that it can wrongly imply that the Robinson Collection is an example of work by documentary photographers; a form of photography described as “a style of photography that provides a straightforward and accurate representation of people, places, objects and events.” The Robinson Collection is mostly comprised of studio photography. The Robinsons used photography as a business therefore only those who could afford to pay for photographs could have them taken. Already this creates obvious gaps in the culture and environment represented in the collection. There is little to no representation of anyone who likely couldn’t have afforded to have their picture taken.

When I was invited to be involved in the youth takeover project I was mainly interested in seeing the collection first hand rather than just a few select images in an occasional exhibition. Even though I barely even made a dent in the collection in regard to looking at it I noticed that it isn’t as comprehensive as I once thought. While searching through the thousands of delicate negatives I realised there are a lot of holes in the supposed visual records of Devonport’s history. While it remains a brilliant historic resource for Devonport it is by no means complete.


For the Youth Takeover exhibition I’ve decided to draw attention to the aspects of Devonport’s history that are not represented by the collection. For example, stories that have the beginning documented but the ending is absent. An example of this is in the many images of world war two soldiers that I came across originally by looking through the catalogues of past Robinson exhibitions. There are over 70 portraits of soldiers before they went to war, but the collection is lacking in images of after the war. There are no returned soldiers, no photos of hospitals, no indication of the physical and mental scars such a conflict would have caused.

I have selected a number of portraits to exhibit. These portraits were selected randomly from the 70+ soldier negatives as I’m not interested in representing specific people but rather the lack of the second half of these peoples’ stories. The portraits are displayed in three rows, but I have deliberately cut the third row short to represent the missing piece of the story. Many of these men and women are young and almost all of them would have had families that they left behind. I’m interested in raising questions like did these soldiers return from the war? If they did, were they injured physically or mentally or both? What happened to the families they left behind? Why wasn’t it documented in the Robinson collection? I hope the unfinished third row will help to highlight the missing pieces in this collection.

-Katelyn Geard, Youth Takeover Participant

Facing Our Past, The Robinson Youth Takeover is on display at Devonport Regional Gallery until 10 March 2019

Images: Installation photographs from Katelyn Geard’s display of photographs from The Robinson Collection of photographic negatives, Devonport City Council

In Your Words – The Robinson Project

Catalogue essay by Erin Wilson, from the exhibition In Your Words on at Devonport Regional Gallery until 24th February 2019

In Your Words grid
Photographs by Bert and Albert Robinson, from the Robinson Collection

If I was to ask anyone familiar with the Robinson Collection to describe to me what it was, I believe most would say it is a collection of historic black and white photographs. This has been the public face of the Robinson Collection over the past twenty years, as photographic prints of the collection have been displayed annually in the Gallery. However, as the Curator of this magnificent collection, I would describe it slightly differently. To begin with, I would say this is a collection of photographic negatives – because it is in fact an archive of tens of thousands of negatives, rather than photographs, from the Robinson & Son Photographic Studio.

There is something special about archives, which rouses an entirely different experience than viewing fragments of archives, already interpreted, arranged and presented in a museum or gallery. While the photographic prints can be highly evocative, I have witnessed how viewing the archive itself can evoke an entirely different reaction. When the Robinson Collection is described by the period or region it covers, or the number of negatives it contains, it is still somewhat abstract. However, standing in front of row upon row, shelf upon shelf of archival boxes each containing hundreds of negatives; holding original, yellowing Kodak boxes; or catching the distinct smell of the nitrate negatives, has a power of its own. It is only when going to the source of the archive that you can get a sense of the magnitude of this collection, both in its scale and historical value.

For each negative selected and displayed in the Gallery, there are thousands of others that have only been seen by a few sets of eyes. My interest as the Curator of this collection lies in what is hidden and what is absent, and the potential of bridging these gaps. As this collection is cared for and displayed in an art gallery, there is a tendency to treat the photographs as fine art objects – particularly when so many are visually powerful and beautiful. However, these photographs were the snapshots of the day when owning a personal camera was rare, and this task lay with commercial studio photographers. It is significant that the Robinsons were commercial studio photographers – their aim was never to holistically capture life in the region, and as such the collection is not a complete or comprehensive historical record.

However, I do not see this incompleteness as a shortcoming, but as a starting point with immeasurable potential. What this incompleteness means is that the value of this collection is not limited to the physical archive. This collection already extends beyond the Gallery’s archive. Each of these negatives existed to produce an original print, and these original prints can still be found in countless photo albums and on living room walls across the region. What has become clear to me in considering this incompleteness is that the Robinson Collection is not only an amazing resource for the community, but likewise, the community are an invaluable resource for the Robinson Collection. These photographs capture snippets of a time now passed, but the knowledge of those times lies in the experiences and memories of those who lived them.

As such, I have begun a project which aims to strengthen the connection between the Robinson archive and its community. Traditionally, a Curator will select pieces from a collection for display in a gallery, and community members will visit the gallery to view the selected pieces. My aim is to disrupt this linear approach, so that the archive itself becomes more accessible, and the gallery is as much a site for the community to share their knowledge as it is for gaining knowledge. This desire is taking form in the design of a series of collaborative curatorial experiments under the banner of ‘The Robinson Project’. The first iteration, this exhibition, is titled In Your Words. This exhibition has been the first step in connecting members of the community directly with this archive: members of the community who lived and worked in Devonport and its surrounds in the period the Robinsons were photographing, whose knowledge and memories of this period are invaluable – and need to be recorded.

As I mentioned earlier, for every photograph displayed, thousands are not. It is important to critically examine what is shown, what is not, and how this process of selection could be approached differently. As such, for this exhibition I engaged nine members of different parts of the community, and their stories, as the starting point: simple stories from each about their lives and experiences in Devonport, which will be beautifully familiar and nostalgic for some, and a unique insight into a time now passed for others. After sharing these stories, each went through the archive to find photographs to pair with these stories; photographs which then played their own role, eliciting more memories and details to add to the richness of the stories told.

The experience of approaching the collection in this way, through the stories and perspectives of those who lived the archive, reinforced for me the limitations of individual curators such as myself speaking on behalf of the collection. There are countless simple, but important examples. If it were not for this process, I would have believed the Fruit Palace was simply a fruit shop – a reasonable assumption given the window display of fruit in the photograph. Without speaking with Judy and Joe I would never have known that there was a milk bar out the back that was the place to be for local high school students on a Friday night in the 60s. Similarly, without speaking to Janice about the fire station or Arden about the Haines whistle, I wouldn’t have any awareness of some of the sounds of Devonport which could never be captured in a photograph – nor would many others viewing these photographs.

The experience of gaining different perspectives on life in the region is also an invaluable result of this approach. This could be as simple as two perspectives of the same photograph or event, such as the Devonport Show, which Bill called for 17 years, and Stephen recounted attending as a child. Or more broadly, insights into the different experiences of Helen in East Devonport, Pat in Quoiba and Jim in William Street, who despite the differences in their childhoods each vividly recounted fond memories of Saturdays spent at the Star Theatre. Each of these personal recollections are made more vivid because of the Robinson photographs, yet also bring these images to life in a new way.

As you walk through the exhibition or read through the following pages, viewing these Robinson images and listening to the voices of those who have shared their stories, I hope you too are moved by the power of these simple but beautiful stories, and see the potential that lies in activating this archive as a site of shared memories, stories and the self-representation of the people of this region.

– Erin Wilson

*The Robinson Project is a series of collaborative curatorial projects involving community members and Curator Erin Wilson

Portal 2020 online exhibition

portal title for blog 2020

PORTAL enters us into the many moments that make up our lives on the North West of Tasmania. 

Portal 2020 continues a tradition of creating a photographic exhibition by local contributors from across the North West. The aim of Portal is to capture glimpses of experiences on a particular day on the North West of Tasmania. This year the capture day was set for Saturday 2 May.

The Portal exhibition has occurred annually since 2013. It is an exhibition that resonates with our community as it is generated by local community members, telling their stories which are similarly experienced by many who live in the North-West region.

Portal 2020 is unique in representing the current strange situation we find ourselves in – where lives are spent in isolation during a worldwide pandemic. Many of the of images demonstrate a profound appreciation of natural beauty, with photographs of landscape, seascape and sky featuring prominently throughout the exhibition. This appreciation for the beauty of the natural world around us is perhaps heightened for many, as we find ourselves confined to our homes. There are also snapshots into people’s lives in their homes, currently existing in isolation. It is interesting to see how this ‘time out’ has given many of us the chance to take a step back, slow down and gain a fresh perspective of what we have around us. This value and appreciation for home and place can be clearly seen in the following images…


danielle O'Brien
Danielle May O’Brien, Spirit of the Sea walkway, off Aikenhead Point, Devonport 5.24pm.
Emma Jones-Macuacua
Emma Jones-Macuacua
Evelyn Antonysen Spaceship landing Buttons Beach West
Evelyn Antonysen. “Walk From Home”. Buttons Beach West. During COVID lockdowns I started a Facebook page “Walks from Home” to encourage people to enjoy and wonder at the beauty of their own space and not yearn to venture further. My image is part of my “Walk from home” on 2nd May 2019.
Jan Larcombe
Jan Larcombe. “Isolation”. Coles Beach. Coastal life has been so different for us all this year and having decided to self isolate since March 21st, I have been exploring ways to record this experience. Walking daily along Coles Beach gives me a sense of being contained yet visible, alive yet disconnected in a time of uncertainty while being grounded in a timeless place. It feels as though nothing should have changed, yet reality of daily life shows otherwise. The glass bowl as a visual metaphor for isolation has us located onsite, visually connected yet removed and interrupted from our usual interactions with place, family and friends.
Kelly Slater
Kelly Slater, Taken from Foster street, Railton, near Railton Primary School 4.54pm. A bank of clouds hanging heavy above the hills with wisps of bright sunlit cloud rising behind the trees. Staying Home and Staying Local means I’m spending much more time walking around my immediate local area, normally on weekends I would take the opportunity to travel to a reserve, beach or different environment but that’s not currently possible, so I’m spending more time looking at what’s happening here.
kerrie Shurley
Kerrie Shurley. “A Blaze of Glory”. Taken from my front yard looking out over Ulverstone and the Dial Range. I feel like it’s the day going out in a blaze of glory.
Anon. Arboretum
Annie Thurlow. 
Catching the last of the autumn colours at the Devonport Arboretum. 
Phil Dickinson
Phil Dickinson, Sheffield 3pm. It’s eerily quiet in Sheffield with the parks and playgrounds closed. Mount Roland, however, stands uncaring and oblivious to the pandemic.
Bruce Cameron
Bruce Cameron. “History”. Photo taken at 11.29am.
Wendy Cameron
Wendy Cameron. “Afternoon Light”. Photo taken on the Don reserve track. Saturday May 2nd at 4:52pm
Valerie Hine
Valerie Hine. “Autumn Splendour”. Dell Luck Reserve 2.55pm. Taken with my iPhone at the Dell Luck Reserve where I park regularly when exercising around the Don River. Although it was a very cold day on Saturday there were plenty of adults and children about enjoying the scenic walk and beautiful colours of autumn.
Steve Bradley
Steve Bradley. Ridgley Highway Morreville Burnie. The inspiration for the photo was that the tough restrictions that our region in the North West have had in place for the last 3 weeks were coming to an end at midnight Sunday. So I thought this photo gives people hope and there is light at the end of the tunnel.
Peggy Hanlon
Peggy Hanlon. Squeaking Point. Taken at 11.01am Saturday 2nd May 2020. I captured these lovely fungi on my daily walk at Squeaking Point.
Karla Robinson
Karla Robinson. “Wilderness magic” Wilmot 10.10am.
Gerard Ennis Iso at Home
Gerard Ennis. “Iso at home”.  Chores never go away but help create normality in this uncertain world of COVID-19.
Li Ennis
Anon. Hawley Beach at home 12.46pm. Sent this photo to my sister (hairdresser) to show her my current hair colour so we could plan our next appointment…one day (hopefully!) soon!
Kylie Lunson
Kylie Lunson. Children learning how to play Chinese Checkers during COVID-19 isolation.
Liam Vayne
Liam Vayne, Penguin. My photo was taken of these Parrots (I think they are Rainbow) sitting in our apple tree. They have been eating our apples.

The Clay Carving project

clay carving title page for blog 2

When the virus struck and the gallery had to close its doors, the participants of the galleries creative programs such as Youth Arts and Create and Make, received some art materials packages delivered to their door to be able to continue their art classes from isolation. For their third project they received a block of leather-hard clay for carving. This was a challenging project that introduced participants to working with 3D forms using the subtraction method. Participants used their own tools found at home to carve  away their clay blocks to create a three dimensional object.  See below for the project details and instructions and the following participant results…

CLICK HERE for instructions to Clay Carving project


Jeremiah Stott in action
Jeremiah Stott carving in action
Cassandra-Stott-patiently carving
Cassandra Stott patiently carving
Jeremiah and Cassandra Stott carving their clay
Cassandra and Jeremiah Stott using objects as a reference for their work
Cassandra and Jeremiah Stott clay carving finished pieces
Jeremiah and Cassandra Stott finished pieces

Home is where the art is: Nature’s Paintbrushes

natures paintbrushes title page with my paintbrushCLICK HERE for Natures Paintbrushes activity instructions


Cassandra and Jeremiah collecting materials
Cassandra and Jeremiah Stott collecting materials
cassandra and jeremiah collecting materials 3
Cassandra and Jeremiah enjoying some time outside
cassandra and jeremiah collecting mateirals 4
Cassandra and Jeremiah gathering materials
cassandra and jeremiah collecting materials 2
Cassandra and Jeremiah collected materials
cassandra and jeremiah sorting the collection
Cassandra and Jeremiah’s sorting their collected materials
cassandra and jeremiah paintbrushes
Completed paintbrushes Cassandra and Jeremiah Stott
cassandra painting
Cassandra trying out one of her paintbrushes
jeremiah painting
Jeremiah experimenting with his paintbrushes
cassandra painting 2
Cassandra painting
cassandra and jeremiah painting 2
Cassandra and Jeremiah creation in action
cassandra and jeremiah finished paintings
Cassandra and Jeremiah Stott. Finished Natures’ Paintbrushes paintings

Home is where the ‘art is. Home Sweet Home Project

Home Sweet Home Project title pageCLICK HERE for instructions for Home Sweet Home Project

Some participant creations…

Cassandra and Jeremiah Stott Home Sweet Home 1
Cassandra and Jeremiah Stott
Cassandrah and Jeremiah stott home sweet home 2
Cassandra and Jeremiah Stott
cassandrah and Jeremiah Stott home sweet home in action 1
Jeremiah hard at work
cassandrah and Jeremiah Stott home sweet home in action 3
Cassandra enjoying the messy Paper Mache
Ezra and Anais Jones-Macuacua Home Sweet Home 2
Ezra and Anais Jones-Macuacua
Ezra and Anais Jones-Macuacua Home Sweet Home 3
Ezra and Anais Jones-Macuacua
Ezra and Anais Jones-Macuacua
Ezra and Anais Jones-Macuacua
Jade Danielle and Amber Kroon Home Sweet Home
Jade, Danielle and Amber Kroon
Mason Harris 14 Home Sweet Home
Mason Harris
Oscar Astell 2 Home Sweet Home
Oscar Astell

This is Us

This is Us, an exhibition by local youth in Devonport was on display the Little Gallery in the Devonport Regional Gallery from Friday 20 until Tuesday 24 March, after which we had to close our doors due to the pandemic.
In 2019 the Devonport Regional Gallery invited local young people to explore Australian cultural identity and its relationship to young people using imagery and text with the idea of creating an exhibition in the Gallery.
The resulting artworks – by some 100 local students from Devonport and Reece High Schools, Don College and Space for Learning – investigated personal symbolism and language to communicate self-identity and being Australian.
The young Artists utilised a range of media including lino prints, ceramics, drawing, painting, pyrography, sculpture, photography and animation to get their messages across.
This exhibition is both by young people and about young people.
Some of the artwork is a direct response to the theme of Australian identity, whilst other artworks are about what images represent the interests and self-identity of young people currently.
There are two things going on in this exhibition – ideas of what we imagine as cultural identity and the reality of being a young person today.
We have good reason to wonder how relevant traditional ideas of Aussie identity will hold in the future. Some of the artworks reveal that increasingly our contemporary self-identity tends towards more global interests such as brands of clothing and shoes (which we buy and wear to show aspects of our self-identity), and digital media such as the characters and worlds of games and animations.
There are some very insightful works in this exhibition.
Young people have some very important things to say. Have a listen.
The Gallery and Debbie Qadri would like to extend a very special thank you to Luke Viney, who developed the theme of this exhibition, Meg Lutwyche, Moene Sneyders, Tina Melbourne and Lisa Garland for their contributions, and the students for contributing to the cultural life of Devonport.
Photography: Kelly Slater

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North West Art Circle: 2020 Annual Community Exhibition and Awards, Public Vote

Devonport Regional Gallery has for many years presented this popular community exhibition by some 60 members of the North West Art Circle. Sadly, the exhibition was cut short this year due to the COVID-19 outbreak and very few visitors got to view the wonderful exhibition, which this year had a very high and even standard.

The Public Vote would have been awarded at the conclusion of the exhibition, but we took the voting online. Voting closed on 7 May 2020. 

The main awards were awarded to the following entrants:

Emerging Artist AWARD: Lois Chriss, Waiting for Daddy to Come Home, colour pencil

Highly Commended 2: Sandra Jenkins, Road to Moorlands, oil on canvas

Highly Commended 1:  June Wilson, On the Wing, pastel

Major Award Winner: Jacki Murphy, Moody Afternoon, watercolour

Public Vote Winner: Lois Chriss, Waiting for Daddy to Come Home, colour pencil

All of the entries can be seen below. 

Photography: Kelly Slater

Terri Appleby Dopamine Mixed Media
Terri Appleby, Dopamine, Mixed Media
Tanya Matthews Mothers Love Watercolour
Tanya Matthews,Mothers Love, Watercolour
Sue Wignall The Bookshop Pastel
Sue Wignall, The Bookshop, Pastel
Sharon Halley Sticky Beak Watercolour
Sharon Halley, Sticky Beak, Watercolour
Sandy Michell Morning Light, Mersey Estuary Watercolour
Sandy Michell. Morning Light, Mersey Estuary. Watercolour
Sandy Michell Into the light Watercolour
Sandy Michell, Into the light, Watercolour
Sandra Jenkins Road to Moorlands Oil
Sandra Jenkins,Road to Moorlands, Oil
Sandra Jenkins Gum Leaves and Vase Oil
Sandra Jenkins, Gum Leaves and Vase, Oil
Sandra Henderson Pretty Boy Alcohol Inks
Sandra Henderson, Pretty Boy, Alcohol Inks
Sandra Henderson Dante’s Domain Alcohol Ink
Sandra Henderson, Dante’s Domain, Alcohol Ink
Sadhana Cook Regeneration Encaustic, wax, resin and shellac
Sadhana Cook Regeneration, Encaustic, wax, resin and shellac
Sadhana Cook A Breeze of Dandelions Looking for a Window of Time Encaustic, wax, resin and shellac
Sadhana Cook, A Breeze of Dandelions Looking for a Window of Time, Encaustic, wax, resin and shellac
Ruth Kemp Reflections on Rosebery Mixed Media
Ruth Kemp, Reflections on Rosebery, Mixed Media
Ruth Kemp Going Nuts Pastel
Ruth Kemp, Going Nuts, Pastel
Patricia Chaplin Renaissance Walk Pastel
Patricia Chaplin, Renaissance Walk, Pastel
Patricia Chaplin Flying Duck Pastel
Patricia Chaplin, Flying Duck, Pastel
Nita Pountney Summertime; Poppies and Corn Acrylic
Nita Pountney, Summertime; Poppies and Corn, Acrylic
Nita Pountney Springtime Bluebells Acrylic
Nita Pountney, Springtime Bluebells, Acrylic
Max Cowin East Wynyard Beach Watercolour
Max Cowin, East Wynyard Beach, Watercolour
Max Cowin Bathurst Harbour Watercolour
Max Cowin,Bathurst Harbour, Watercolour
Lyn McFadyen Oriental Bloom Watercolour
Lyn McFadyen, Oriental Bloom, Watercolour
Louise Daniels Binnalong Bay Acrylic
Louise Daniels, Binnalong, Bay Acrylic
Lois Chriss Waiting for Daddy to Come Home Coloured Pencil
Lois Chriss, Waiting for Daddy to Come Home, Coloured Pencil
Lexie Hine Wendy’s Garden Acrylic
Lexie Hine ,Wendy’s Garden, Acrylic
Kerrie Moss The Recliner Graphite
Kerrie Moss, The Recliner, Graphite
Kerrie Moss Bear Time Story Soft Pastel
Kerrie Moss, Bear Time Story, Soft Pastel
Kathleen Bentley Butler’s Island Gordon River Tasmania Pastel
Kathleen Bentley, Butler’s Island Gordon River, Tasmania Pastel
Kathleen Bentley Bay of Fires, Tasmania Pastel
Kathleen Bentley, Bay of Fires, Tasmania, Pastel
Katherine Tyson Black Sheep 3 Oil
Katherine Tyson, Black Sheep 3, Oil
Katherine Tyson Black Sheep 2 Oil
Katherine Tyson, Black Sheep 2, Oil
June Wilson Tidal Grass Battle Pastel
June Wilson, Tidal Grass Battle, Pastel
June Wilson On the Wing Pastel
June Wilson, On the Wing, Pastel
Julie Fielding Sisters, Watching with Cecily Bear Colour Pencil
Julie Fielding, Sisters, Watching with Cecily Bear, Colour Pencil
Julie Fielding Capturing that Brief Moment of Clarity Colour Pencil
Julie Fielding, Capturing that Brief Moment of Clarity, Colour Pencil
Jo Johnstone Jewels of the Pomegranate Watercolour
Jo Johnstone, Jewels of the Pomegranate, Watercolour
Jo Johnstone In the Presence of Mt Roland Acrylic
Jo Johnstone, In the Presence of Mt Roland, Acrylic
Jenny Overton Mother Mixed textile
Jenny Overton, Mother, Mixed textile
Jenny Overton I Shan’t Talk Mixed textile
Jenny Overton, I Shan’t Talk, Mixed textile
Jennifer G. Frost Wind Flowers Mixed pencil, watercolour and silver
Jennifer G. Frost, Wind Flowers, Mixed pencil, watercolour and silver
Jeanette Tyson Spotted Quoll Collagraph
Jeanette Tyson, Spotted Quoll, Collagraph
Jeanette Tyson Masked Owl, Tasmanian Collagraph
Jeanette Tyson, Masked Owl, Tasmanian Collagraph
Jacki Murphy Moody Afternoon Watercolour
Jacki Murphy, Moody Afternoon, Watercolour
Jacki Murphy Harmony Watercolour
Jacki Murphy, Harmony, Watercolour
Gillian Robrik Plovers Acrylic
Gillian Robrik, Plovers, Acrylic
Evelyn Antonysen Stratified Landscape Watercolour
Evelyn Antonysen, Stratified Landscape, Watercolour
Evelyn Antonysen Season Change, Forth Watercolour
Evelyn Antonysen, Season Change, Forth, Watercolour
Dianne Beveridge Red Alert Coloured Pencil
Dianne Beveridge, Red Alert, Coloured Pencil
Dianne Beveridge Grazing Coloured Pencil
Dianne Beveridge, Grazing, Coloured Pencil
Dawn Murray Autumn Slice Resin
Dawn Murray, Autumn Slice, Resin

Daniela Selir Lost Acrylic

Daniela Selir Outback Road Acrylic
Daniela Selir, Outback Road, Acrylic
Christine Matthews A Golden Day Ink and acrylic
Christine Matthews, A Golden Day, Ink and acrylic
Brenda Haas The Wollemi Pine Watercolour
Brenda Haas, The Wollemi Pine, Watercolour
Brenda Haas Protea Life Cycle Watercolour
Brenda Haas, Protea Life Cycle, Watercolour
Ashlee Griffiths Luminous Coloured Pencil & Pan Pastel
Ashlee Griffiths, Luminous, Coloured Pencil & Pan Pastel
Ashlee Griffiths Journey Coloured Pencil
Ashlee Griffiths, Journey, Coloured Pencil
Anne Brown After the Rain Pastel
Anne Brown, After the Rain, Pastel