Presented by Stitching and Beyond Inc

A wonderful display of colourful and creative birds created by members of Stitching and Beyond to herald the coming of our Biennial Out of Hand exhibition.

Every two years Stitching and Beyond hold an exhibition to showcase the wonderful work of its member textile artists. Stitching and Beyond is a diverse group of textile artists exploring innovative approaches to textiles, fibre and mixed media arts. The Out of Hand exhibition is inclusive and open to all Stitching and Beyond members, whether they be professional or amateur artists.

Leading up to the Out of Hand exhibition, Stitching and Beyond create a themed display for the LightBox to help promote the exhibition. In 2023 the theme is Birds. This theme came about because many of our members were creating such beautiful birds and we decided that they needed to be displayed. The birds and nests on display are created from a variety of techniques and materials. Many are made from recycled fabric and other materials.

Step into the mesmerizing world of Tasmania’s Colonial and Federation period, where art, history, and symbolism intertwine to shed light on the aspirations, and interactions of individuals during a transformative era of exoticism, identity quest, and societal change..

Delve into the emotions and aspirations of Tasmania’s residents during this transformative era, where  the allure of the unknown opportunity were intertwined with the quest for a distinct Australian identity. Through a fusion of art, history, and symbolism, this exhibit sheds light on the complex lives and interactions of individuals during a time of great change.

Dominating the space is a sketch of an 11 metre tall Palm tree (Canary Date Palm Phoenix Canariensis), standing as a symbol of the allure and mystique associated with the faraway colonies. These non-native Palm trees, thriving amidst Georgian and Federation buildings, evoke a sense of foreign aesthetics that captivated the imaginations of European observers. Planted over a century ago, likely from seeds sourced from the Botanical Gardens, they now embody the visions of those who meticulously tended to them. At the base of the Palm tree, a collage reminiscent of 19th-century wallpaper depicts exotic motifs that were popular during that period.

An architectural marvel featured in this exhibition is the Trinity Chapel building in Brisbane street Hobart, which witnessed multiple transformations—from army and convict barracks to a prison and court. This structure exemplifies the aspirations of many to create an ordered and refined life in Tasmania, even amidst the chaotic and occasionally violent circumstances. Nestled amidst the breathtaking natural beauty and Georgian elegance, Trinity Chapel becomes a poignant symbol of the pursuit of a better future.

Beyond the realm of history and architecture, the exhibition hints at themes of choice, personal relationships, growth, and identity. It acknowledges the role of tourism in shaping Tasmanian society, where early settlers embarked on leisurely trips up the Derwent River to New Norfolk, basking in the scenic vistas and embracing a sense of relaxation. The closure of Port Arthur in 1877 propelled it into a popular tourist destination, solidifying the long-standing connection between tourism and places of suffering. This fascination with dark tourism, prevalent in Europe until the late 1800s, persists today, with ghost and prison tours captivating audiences worldwide.

Tourism allows for contemplation of the built and natural environment, fostering a deeper understanding of the past and shaping individual and collective identities. It becomes a lens through which social structures and hierarchies are observed and evaluated. Drawing inspiration from the grand European tours, originally undertaken by idle aristocrats but later embraced by the middle and upper lower classes, tourists partake in customs and acquire “relics” that define their experiences. These judgments manifest through clothing choices, accents, manners, and the depth of engagement with the surroundings.

The exhibition also explores the phenomenon of artefact and memento collection, an enduring tradition in tourism that continues to resonate worldwide. However, this practice has led to the depletion of natural resources, such as shells on beaches and historic convict bricks, and the influx of low-quality imported products, diminishing the significance of genuine artefacts. Amidst this discussion, a group of ambiguous figures symbolises the complexities of human interaction and affections, inviting viewers to reflect upon the intricate dynamics at play.

The term ‘black swan’ meaning an unlikely or impossible occurrence is used here

As part of this experience, the exhibit  offers a little Trinity Chapel paper model, following the tradition of tasteful tourist mementos, these provide an opportunity for reflection on one’s journey and make perfect gifts for those who were unable to attend the exhibition but wish to capture its essence. Available for renowned French Loire Valley castles and major European cathedrals, these educational and portable keepsakes offer a tangible memory of a visit to Hobart Town.  


“Tourists” by Lucy Lethbridge

“Hobart Town” by Peter Bolger

“Van Diemen’s Land” by James Boyce

Materials: Cartridge paper, watercolour, transparent film, LED lighting 

Model kit available at Miss Bond Salamanca and National Trust Penitentiary Chapel Site Campbell. Street Hobart $22

plural noun: Interstice; a space that intervenes between things; especially one between closely spaced things.

Everything breathes in of itself. We separate for our minds. The space around things is connected as much as the things themselves.

When learning new skills. Everything was separate, needing its own time, place, and category. It needed to stay within these categories, or chaos would quickly follow.

Now, it all needs to merge. The Artist, Florist, Model, Mother. In spite of the possible chaos and the definite unknown. Because the comfortable categories are no longer necessary. I can no longer play different roles. I just need to be whole.

“It’s always 5 o’clock somewhere…”

A tiny soiree of elegant new works inspired by the glamour and fun of Happy Hour. Inspired by Tasmanian native flora, this custom set of handmade cocktail picks ornately reference the delicate and fragile nature of the plants they are inspired by in Emily’s signature botanical style.     

They are functional objects, perfectly suited to the most fabulous of occasions. A beautifully decadent garnish for your glass – after all “it’s always 5 o’clock somewhere”.

Emily is a multi-award winning Tasmanian studio Jeweller & SAC resident artist.

A window into the influence of the natural world on our urban experience through light and our perception of time. 

The installation, In Passing by SAC Resident Artist Christian Little, thematically explores time and our collective perception of the natural environment as ‘other’ in the urban landscape through a site-specific investigation of Salamanca. Utilising photographic imagery based within a systematic process of recording spaces throughout Salamanca repeatedly across months, documenting the natural change of weather, bloom, and decay.

Born from time in studio observing light cascade through the window from the courtyard outside. This installation draws attention to those unintentional moments spent in passing, encouraging an awareness of the ambient presence of the environment in our lives. Constructed using translucent acrylic sheets and paper, the materials and composition echo the original window experience of the artist. This collaboration with natural light changes the viewer’s perception of the installation throughout time of day and climate. Whilst the ephemeral quality of the semi-translucent photographs benefits from multiple viewings from different perspectives and an acute observation of nature’s aesthetic influence. Ultimately, ‘In Passing’ encourages a more intentional relationship with the surrounding processes of nature in the urban environment.

A graphic art installation featuring The Tree of Life with geometrical patterns, floral motifs, and Arabic Calligraphy by visual artist Halima Bhatti.

The Arabesque art coupled with geometrical patterns, motifs and Arabic Calligraphy made on The Tree of Life symbol, which is used by many cultures. This Turkish floral version captures vibrant colours often used in architecture in the Ottoman era.

The work is a manifestation of cultural Islamic art that artist has deep connections with, which focuses on the spiritual representation of objects and beings, made with the Tree of life symbol, which is a metaphor for the interconnectedness of all beings.

“Only by recognizing our roots, we can flourish in life, with wisdom, power and prosperity” – Halima Bhatti 

Works by Halima Bhatti.
Works by Halima Bhatti.

A sculptural installation featuring a giant balloon, light and some amount of pressure by visual artist Julien Scheffer.

Cell is an installation featuring a giant red balloon stuck inside the confined space of the Lightbox.

The balloon, jabbed by a needle-shaped metal tube, pushes against the windows of the gallery and appears to be on the verge of bursting. It is unchanging during the day and emits pulses of light at night. The work is a material representation of the feeling of being on the edge. We live in times of change and don’t know what’s coming. How long before our bubble bursts?

Have you ever carried home some treasure found in the bush or by the sea? A shell, a rock, a feather. Displaying it in your home with as much pleasure as any expensive antique or artwork. In Far South Fossicking, artist Henrietta Manning conveys the joy in those finds and the pleasure she finds in reusing and repurposing items, whether from the natural world or the castoffs of others.

“My art practice predominately consists of painting from life in acrylics. As a Contemporary Realist I explore themes and ideas that comment and focus attention on attitudes and choices made on how we live today. Increasingly I have been incorporating mixed media into my work, either as a component of the work or as an installation piece in an exhibition. 

Far South Fossicking builds upon past work such as the Eastern Foreshores Series, time capsules recorded through the coastal detritus of the Sydney coastline. The title was inspired by a fossicking box [a collection of excavated objects from old home sites in a tin box] loaned to me during a residency in the historic gold mining town of Walhalla. Gathering / fossicking found objects, both natural and manmade, from the area in which I live, the resulting work is a variety of small paintings and handmade objects. Plant material, shells, fossils, rocks, seaweed, bones, feathers have been combined with discarded manmade objects or incorporated into the monoprint process. The small paintings depict the natural ephemeral items that anyone can collect and enjoy if they look around them.

Rejecting the throw away culture of western consumerism, the Lightbox has become my own fossicking box. I hope you enjoy the collection and get as much pleasure as I have from the materials that nature provides.”
Henrietta Manning

Work by Henrietta Manning.
All works by Henrietta Manning.
All works by Henrietta Manning.

Henrietta Manning will also have an installation at Off Centre (Ground Floor, Salamanca Arts Centre) from Friday 4 – Thursday 17 November 2022.

Installations in the Lightbox and at Off Centre of work made from, and inspired by, found objects from the Far South of lutruwita /Tasmania.

Studio Waterloo in the Huon Valley.

Open Studio

Visit the beautiful Huon Valley and Henrietta Manning’s Studio throughout November 2022:
Saturday 12 & Sunday 13 November 2022, 10:00am – 4:00pm
Saturday 19 & Sunday 20 November 2022, 10:00am – 4:00pm
Saturday 26 & Sunday 27 November 2022, 10:00am – 4:00pm

Studio Waterloo (57 Glocks Road, Waterloo) is in a historic apple packing shed with stunning views down the Huon River to Sleeping Beauty and Mount Wellington. See the artist’s creative space, what she is currently working on and examples from prior series. Fossick in the storage rack to find something you might like to take home!  

Henrietta Manning in her Studio. Studio Waterloo in the Huon Valley

Henrietta Manning

Henrietta Manning is an established artist exhibiting since 1984 and currently living in Tasmania. A Contemporary Realist a recurrent theme in her work is the passage of time and how we live with and build upon the past. A recipient of an Australia Council Visual Arts/Craft Board ‘New Work Established Grant’ and finalist in Australian art awards such as The Wynne, Portia Geach, Waverly, Alice, Fishers Ghost, Eutick, Waterhouse and The Summer Exhibition in England. 

This installation by Elizabeth Barsham, Betty Nolan and Rebecca Watson features ceramic and sculptural creatures, and is a preview of the upcoming exhibition FLOCK at Nolan Art throughout October 2022.

A abstract ceramic horse, glazed in organge with light blue stripes. Included next to the sculpture are design drawings of the construction of the horse.
Betty Nolan. Trojan Horse
A green creature suspended from a thin cord. The creature is made from found objects, including garbage ags and rubber gloves and has tufts of red sprouting from it's back.
Elizabeth Barsham. Sadie the Sanitising Saurian.
Two ceramic donkey's heads. The head on the left has curly hair on it's head and ears twisted to the side. Whilst the other donkey's ears are blowing in the wind.
Rebecca Watson. Asses