Contours is an interpretation of the natural world. This suite of works responds to the physical features witnessed on the earth’s surface and their relation to the underlying geomorphology and geological structures encountered.

The works explore the reiteration of reductive, elemental motifs in bas relief, using flat planes of colour to depict landscape; not in any conventional realistic manner, but to apply the visual language of hard edge abstraction based on organic and geometric forms.

Happy Places presents a new body of work by Katrina Barter that extends her established visual language through increased scale and a focused engagement with moments of heightened appreciation.

The paintings are developed from photographs taken on her mobile phone. These source images are treated as as points of departure. Through Barter’s process of abstraction into large grid-based compositions, the works move away from depiction toward sensation.

We are delighted to celebrate the life of Saeko Ogi a renowned Japanese tanka poet who at the age of 94 continues to create her works and happily resides in Canberra. She has won several cultural awards for her writing here in Australia.

Her recent publication Rock at the Roadside is our reference point. 13 artists have chosen to work in the traditional Japanese woodblock printing tradition of Mokuhanga to create an image in response to a selected poem.

Stone and Shadow explores the dialogue between stone, light, and perception. Rooted in the natural world, Senden Blackwood’s sculptural practice distills organic rhythms into abstract lines, textures, and forms. Working primarily with hard, unfigured stone, he investigates how illumination transforms weight into movement and solidity into quiet radiance.

As the day unfolds, shifting light reveals new dimensions within each work, inviting viewers to experience stone as a living, responsive material. This interplay of surface and shadow becomes a language in itself—subtle, temporal, and contemplative.

The exhibition is intended to showcase unique colour theory works from student days in both Sydney and London and prints from the years following graduation in London. Woodblock prints that evolved as a result of being the recipient of a Japanese Government Monbusho Scholarship 1985-87 at The National University of Fine Art, Tokyo which changed the course of my art practice.

Recent works to be included will show the ongoing technical and artistic development of the multi block complex woodblock prints which have created a very personal artistic language. 

Ginninderra Creek has been a constant presence in my life. I grew up just metres from its edge, in a home backing onto a reserve. My childhood unfolded in its rhythms, wandering among willows, paddling in ponds, and cycling the winding paths. Now living nearby with my own family, I return often, sharing this connection as we watch birds and insects, learn the shapes of trees, and trace ripples across the water.