Presented by Hobart College

Opening Dates :
May 8 – 19, 2024 
9am – 5pm daily

Opening Event :
May 10, 2024 – 5.30pm

An exhibition of visual art by Hobart College’s class of 2023.

Every year art students from across the state work hundreds of hours to produce art as part of their course, left unseen expect by peers and teachers.

HoCo Now aims to bring the astonishing talent and diligence of Hobart College visual art students into public, showcasing the skills and vision of our 2023 cohort across ceramics, photography, painting, drawing and everything in between.  



Opening Dates :
May 22 – June 3, 2024 
Monday – Saturday 10am – 4pm
Sundays 10am – 3pm

Opening Event :
May 25, 2024 – 11am

Crossing Kingdoms is a celebration of our visual and innate connection to fungi and the transformative power of decomposition.

Crossing Kingdoms is a celebration of our visual and innate connection to nature and the transformative power of decomposition. In particular, the unique ability of fungi to colonise decomposed organic matter will be a central thread throughout our work.

Our fascination of fungi and it’s ability to decompose organic matter, and to communicate and share nutrients throughout its mycelium threads, has opened up opportunities for visual exploration.

Megan’s wearable art and soft sculptures represent this fascinating connection between the human body, its decomposition as a natural matter, and the bodies visual similarities to the mycelium network. Natural and/or reused mediums have been utilised in this exploration to create playful and earthy pieces.

Jennifer’s paintings mimic the intricate patterns that are worked below the soil surface, from the branching patterns of the tree roots to the delicate mycelium fungi webs.

Inspired by the comparable visual and nutritional similarities of the fungi mycelium to the veins of the human body, Jennifer has illustrated these intricities in her works.

from the branching patterns of tree roots to the delicate mycelium structures of fungi.

Inspired by the comparable ability of the sharing of nutrients within the fungi mycelium webs and human veins, Jennifer also used thread like veins in her works.



Opening Dates :
Wednesday 17 – Monday 22 April 2024 
9:00am – 5:00pm daily

Opening Event :
Tuesday 16 April 2024, 5:30pm – 7:30pm

Light, water, peace and quiet.

Reflections is an open letter to sunlight. Through Poppy Robinson’s eyes, sunlight is its own creature; swimming through the water and bouncing softly from the skin. In her work, Poppy explores the inevitable feelings of peace and regeneration that come with a quiet moment alone.

With a focus on physical sensation, Reflections seeks to capture a feeling of tranquility and warmth. An understanding that in nature, reliability and impermanence are intertwined and hidden within every rock, plant and drop of water.


Presented by John Hodgman

Opening Event :
Friday 5 April 2024, 6:00pm – 8:00pm

Exhibition to be opened by Ian Jeanneret, photographer, digital artist and printer, framer and previous gallery director and the music of Tasmanian guitarist, Phil Lawler, from Bach to Brouwer and from Chet Atkins to Django Rheinhardt.

This exhibition of oil and acrylic paintings by John Hodgman attempts to capture various aspects of the Tasmanian landscape.

“I have always loved the variety of scenery, from the coast to the mountains.

My involvement in environmental design, architecture, photography and bushwalking have influenced my keen interest in the continually changing environment.

The spirit of the place, the changing weather, light and the variety of locations always amazes me and has a profound impact on my feeling for this wonderful unique island.

The work is centred around my interest in the changing shapes, shadows and textures that are created by different light. I am not interested in realism and pursue an image that relies on imagination.

As a designer and conservationist, I believe in the balance between appropriate development and conservation.”
John Hodgman

Rebecca Coote, Denise Hallett and Ange Cooper are three artists who share an unwavering passion for the Tasmanian landscape and yet, in dealing with the same concept, their work and perspective of the landscape is very different.

For a number of years Rebecca Coote, Denise Hallett and Ange Cooper have been printmaking together on a weekly basis at a community run (based) studio and sharing ideas about their work. They realised that, although their work is quite different, the landscape is their major concern and inspiration for them all.

The connection each artist has to their surrounding environment has been ever present over the years and articulated through their art practice in both printmaking and painting.

All three artists have their own personal encounters in the landscape and seek to demonstrate their responses by creating works that embrace these strong connections. Their intense reactions to a place or objects in nature are recorded through their observations by drawing, photographing and sometimes plein air painting. This gathered information is taken back to their own studios and expanded upon.

Rebecca Coote is very much influenced by her local setting and investigates the feeling and essence of a landscape through the use of colour.

Denise Hallett approaches her artwork with overtones of surrealism and evokes a sense of conflict between the urban interface encroaching on the natural environment.

Ange Cooper having recently moved from the city is now in a place surrounded by nature, wildlife and birds galore. The colour, fullness and vitality of this work reflects her love and appreciation for this haven she now lives in.

All three artists share an unwavering passion for the Tasmanian landscape and yet, in dealing with the same concept, their work and perspective of the landscape is very different.

Rebecca, Denise and Ange would love to share their most recent body of work consisting predominantly of painting with some printmaking to a much wider audience for all to enjoy.



Opening event:
Friday 8 March 2024, 6pm – 8pm

A duo show of cityscapes expressing silent order vs jazz like improvisation.

Oil painters Greg Ferry and George Kennedy present their latest cityscapes, demonstrating their opposing approaches to painting.

Greg Ferry’s field sketches lean towards tonalism and muted colour with rooftops and buildings that give a sense of the relentless drumbeat of time. They are quiet and contemplative works.

On a different polarity are George Kennedy’s works. Abstractions conveying an energy and randomness of line and succulent colour that one senses when encountering suburbia.

A refreshing duo show juxtopositioning silent order and jazz like improvisation.

Trees are inextricably entwined with life, producing oxygen, fruit, storing carbon, giving shelter, providing timber and bringing beauty into our world. I hope that these images will cause the viewer to look again at trees of the field, as they reach heavenward as if in worship.

A series of oil paintings by Ron Wilson

You will live in joy and peace. The mountains and hills will burst into song, and the trees of the field will clap their hands! (Isaiah 55:12). This metaphor of nature rejoicing is the inspiration for this series of images. The 24 representational oil paintings are supported by 15 small watercolour sketches.

I have always loved trees since boyhood – walking to school in a leafy Melbourne suburb, down two avenues, one lined with oaks and the other with flowering gums. At primary school, above the blackboard, hung a reproduction of the first painting I ever really noticed and have never forgotten. Every day I looked at the white gums of Australia’s heart, painted by Albert Namatjira, against a blue sky and folded hills. I wanted to paint.

My teenage years were spent in the Mallee, the land of little trees. I was fascinated by these hardy trees with their large roots and the birds they attracted. A houseboat trip on the Murray River was a love affair with the gnarled river red gums. When visiting Alice Springs in the red centre, I was struck by the gums growing in dry river beds and the survivors in the desert itself. Now, I often walk the Soldier’s walk on the Queen’s Domain where 520 trees are planted in remembrance of young Tasmanians who lost their lives in Europe in World War 1. While their bodies are interred in faraway places, evergreen trees, cypresses and cedars, from the northern hemisphere have been planted here in an otherwise Australian landscape.

In my front yard is a sixty-year-old red-flowering eucalyptus tree. When it flowers it is a blaze of orange-red, it is buzzing with bees and attracts parakeets and other birds. This is my ‘thank you’ tree; when I look at it I am filled with gratitude.

It is my hope that this exhibition will cause people to appreciate afresh the role trees play. Trees are inextricably entwined with life. They produce oxygen, fruit, use carbon dioxide, give shelter, provide timber and bring beauty into our world. I hope that these images will cause people to look again at trees, as they reach upwards and outwards as if in praise to their Creator.

PLEASE NOTE our lift is currently undergoing maintenance and repairs. Wheelchair access to levels 2 and 3 of the arts centre is currently unavailable.



Events:

Opening Event – Thursday Feb 15, 5:30pm

Artist Talks – Sunday, February 18, 2pm – 3:30pm

Walk Through and Meet with the Artist – Saturday, February 24, 12pm – 4pm


Daily opening times:

14 – 25 February, 2024
10AM – 4PM

Variations to opening hours:

Fridays 10AM to 6:30PM

An exhibition of abstract aerial landscape imagery from remote regions of Australia and around the globe evoking figurative, symbolic and emotional interpretations  

Flying is a lot like dreaming. The world feels both familiar and alien. The concrete objects of everyday reality transform into abstract shapes and colours, frequently taking on dreamlike qualities. As one takes to the wing, a whole new perspective and relationship with the world unfolds and evolves.  Physical structures and hidden intricacies begin to reveal themselves with unanticipated complexity, majesty and depth. The true immensity of natural formations, their levels of interconnectivity and the impact of man are unveiled in ways that are simply not possible from the more linear perspective of the earth. The realization of our own and humanities insignificance becomes more apparent when the scale and diversity of nature’s creative capacity are revealed. Human created landscapes can also have their own distinct beauty and fascination. Yet, seeing the scale at which humans can and have altered the natural landscape provokes questions and concerns about humanity’s responsibilities toward the planet in which we live.

In this exhibition, Paul Hoelen and Tom Polacheck present a collection of aerial imagery captured throughout remote regions of Australia and around the globe. Often devoid of recognisable features or obvious visual cues, the images lose their sense of scale and take on more mysterious and illusionary qualities.  The viewer is invited to move beyond the literal into more fluid and figurative pathways of interpretation and into broader realms of emotion, symbolism and metaphor. Such is the magic, power and allure of abstraction. An echo of the dreamtime stories of the land’s creation might even whisper through the images if one listens closely enough


PLEASE NOTE our lift is currently undergoing maintenance and repairs. Wheelchair access to levels 2 and 3 of the arts centre is currently unavailable.

Daily opening times:
11 – 21 January, 2024

10am – 3.30pm

The elevation of Joy through artistic creation in the face of Climate Change.

Expressing colour, light, & beauty through visual creative expression, lifts our spirits to ‘higher ground’, and sharing with you, adds to our joy.

Maggi

We are 2 best friends, 2 creatives who met in the Northern Rivers region of NSW in the late 70’s…when there was a chance to avert the effects of Climate Change.

We have shared together 2 climate-caused calamities … the fearful threat of fire to Inara’s farm in 2019, … then the sadness & despair from the horrendous floods of February 2022 when the heart of our old town of Lismore was mashed with water and mud.

Despite the background hum of anxiety that remains & is now forever created by Climate Change uncertainties and traumas, we delight in creativity.  It lifts us to ‘higher ground’ within.

Making images of colour and light that are inspired by the beauty, shapes and bounty of nature on our beautiful planet, this, is joyful.

Having this opportunity to share, helps me remember how important it is to feel safe, with feet dry, in the company of good friends.

Inara

In these works my descriptions and awareness of the diverse aspects of the landscape of the Northern Rivers region of NSW are intended to be viewed as a perception of my emotional connection to place rather than a representation of a locality.

The art works are a portrayal of my being spiritually in tune with and connected to the land.  Respecting the relationship between spirit and matter as being the source of joy and wellbeing in my life, with a recognition of the divine; of something greater at work in our lives.

Using pattern. colour, collage and texture, the artworks attempt to reflect this kinship and relationship to the natural world.



Presented by Julia Castiglioni Bradshaw, Stephen Bond & Tim Price

Daily opening times:
20 December, 2023 – 6 January, 2024

Weekdays – 10am – 4pm
Saturdays – 10am – 3pm
Sundays – 11am – 3pm

Abstract Organics is an exhibition of 3 artists with a litany of years experience wrangling divergent processes, ways and means of incorporating abstraction into artwork.

Abstract Organics attempts to create an abstract meeting space to show similarities and differences across a bountiful “Paella” of skills gained over years of focus, neglect and loss of memory.

Price’s Urban flattening of walls and streets to the canvas, Castiglioni Bradshaw’s essence of vegetable chopped up into an abstract pastiche and Bond’s agonized organic sculptures from highly controlled action drawings all maintain vestiges of representational or “real” origins that prise their abstractified end products into existence.

Another important aspect that this show brings on stage is the use of motif, symbol or pareidolia. These strategies are employed thematically bringing rise to comments like “Is that a hare or a duck?” or “I’ve seen that Pacman motif on many a Persian carpet” or “That’s a nice cold-frame of Zucchinis”.

Inevitably Abstract Organics provides a nexus from where viewers can learn about the wide world of abstraction and what things can evolve from a trio that have a long history of its use in their arts practice.