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.


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.


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.


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.

Daily opening times:
29 November – 12 December, 2023 (Sidespace Gallery)
10am – 4pm

14 December, 2023 – 28 January, 2024 (Studio Gallery)
10am – 4pm

Pivotal.  Definition;  big moments and little moments of clarity that provide us with new perspectives and opportunities for change.

PIVOTAL, big moments and little moments of clarity that provide us with new perspectives and opportunities for change.

Works in watercolour, gouache and graphite featuring the everyday, a feather, a bird’s nest, to the rare and uncommon, the tiny Tasmanian Red Handfish.

We take much for granted and in doing so, we devalue it.  This response is not necessarily intentional, but life is busy, and there is an assumption, an acceptance what we view about us will always be there.

We live in pivotal times.  Do we need to reconnect; do we need to find ‘enchantment’ in the simple and uncomplicated to rediscover balance?  I think so.  

As Author Katherine May writes in her latest publication ‘Enchantment: Awakening Wonder in an Anxious Age’ – ‘Our sense of enchantment is not triggered only by grand things; the sublime is not hiding in distant landscapes. The awe-inspiring, the numinous, is all around us, all the time. It is transformed by our deliberate attention. It becomes valuable when we value it’.

Daily opening times:
25 January – 12 February, 2024
10am – 4pm

Tasmanian Totems is a timely reminder that life is a beautiful but ultimately fragile endeavor and memento mori. Kitsch but never vulgar, this collection will focus your mind on one universal truth: that all shall pass eventually, with beauty as the epicentre. In a philosophically way: death doesn’t exist.

Greta Diaz Ortiz has a Masters Degree in Fine Arts from the Polytechnical University of Valencia (2011), traveling extensively since to satisfy her intense interest in the natural world and the cultural fabric it supports.

Paying her peripatetic way for over a decade as a tattoo artist she landed in Tasmania in 2020 and immediately responded to the immense natural beauty of her new home. After participating in a number of art collaborations in Hobart she decided to create her first solo exhibition in Tasmania with a focus on her passions: art and nature.

Being disconnected from nature damages the human soul. Bringing pieces of nature to your intimate place evokes bucolic feelings while stimulating renewed connections. These pieces demand veneration for the natural world by emphasizing the dichotomy of perfect imperfection: perfection does not exist in nature, no matter how much we strive for it.

Totems historically are pieces of nature which connect individuals with their raison d’etre. Humans appreciate the spiritual significance, bringing totems to their ancestor’s memories. We believe and behave as though the earth belongs to us when in reality the equation is the other way around.

Tasmanian Totems as a collection seeks to stimulate your subconscious and reconnect you with your senses and spirituality.

The artist mixes media to create pieces which are unique and yet related. Visitors are invited on an organic journey through hidden memories to our tribal instincts via works forged from the elemental to stimulate the senses. Reflections of life and death await, with beauty existing in both phases. Beauty is the connection in this idiosyncrasy, the world is always full of beauty and even if we cannot appreciate it is stills there, the never ending love of Nature.

Manifesting her influences through repurposed discharged animal bones, sponges, feathers, wood, sand and diverse recycled material from across Tasmania affords these natural remnants a second life; beauty renewed.

Creating pieces which allow pure nature airs and graces befitting their existence, some of Greta’s important influences include: animism, shamanism, mysticism and the occult. Greta’s passion for nature springs from an exaltation of the elements: water meets earth meets air meets metal.

Flamboyant representations of the natural world in settings spannin the realm of fortune from majestic to morbid. To conjure reflections on the essence of life.

Daily opening times:
3 – 13 November, 2023
10am – 4pm

Variation to opening times:

On Monday 6 November, the exhibition will open from 1pm to 4pm.

On Thursday 9 November, the exhibition will be open from 12 noon to 4pm.

Uninnocent Landscapes is a research-based photographic investigation into the impact of invasion and dispossession on the landscape of Lutruwita/Tasmania, and the artist’s standing as a non-Indigenous person on this colonised land.

Uninnocent landscapes is a research-based photographic investigation into the impact of invasion, colonisation and dispossession on the landscape of Lutruwita/Tasmania. Without invasion and the near destruction of Lutruwita’s First People, I would not have had the opportunity to lead the rich and fulfilling life I have experienced on this island. This is a reality that, as much as we might try to ignore it, non-Indigenous Tasmanians cannot escape. How do we come to terms with our privilege and its Janus face, the violent and continuing dispossession of Palawa and Pakana.

Ten years in conception, Uninnocent Landscapes is the result of two years combining landscape photography and historical enquiry, seeking answers to the myriad questions that I found myself asking as I traced the path of George Augustus Robinson’s 1831 Big River Mission. Robinson’s ‘missions’ resulted in the removal of Lutruwita’s First People to exile at Wybalenna on Flinders Island. The questions I found myself asking included: What memories to the landscapes of Lutruwita hold? What stories are embedded in the rocks, the trees and grasses, the waters of rivers and lakes? What could the landscape tell me about invasion and the attempted destruction of First Peoples life and culture? What could it tell us about our own lives here on this island?

With Chelsea Watego’s observation that ‘on any given day, in any given place, you can guarantee that most if not all colonisers have no idea whose land they are walking, working or talking on’ (Another Day in the Colony, UQP, 2021) in mind, I sought to know this island and its First Peoples more deeply, to acknowledge their story of tens of thousands of years on this land. I do not attempt to provide a Palawa history of Lutruwita – that would be both inappropriate and impossible. Rather, the project uses monochrome photography paired with quotes from Robinson’s journals to tell one truth of our shared history and documents one of its impact on the land.

All proceeds from this exhibition and the accompanying book will be donated to the Aboriginal Land Council of Tasmania’s Giving Land Back fund. Giving Land Back, or donating to the fund, is one way everyone can help, knowing that land will be owned by the whole Aboriginal Community in perpetuity. You can find the Giving Land Back Program at 

Presented by Sean O’Connell

Daily opening times:

October 6 – 15, 2023

11am – 6pm

An exploration of hidden realms within the Central Plateau, as experienced by electrons moving through the internal structure of matter, revealed in image and sound.

Portals explores hidden energies and pathways within the humble materials that make up the grand landscape of Tasmania’s Central Plateau. Using electricity as the conduit, an alternate understanding of the environment is unfolded, energetically, from within the intimate interior realms of matter. These elements include dolerite rock brought to the surface and worn by wind and ice, limbs of snow gum slowly grown in the rocky ground, pale clumps of forking branched lichen, vials of cool clear tarn water, and decaying fragments and remnants from past human habitation.

The exhibition explores these samples, through electricity, in backlit images on analog photographic film, in collected samples from the environment, and in small sonic oscillators that use these same materials within their electronic circuitry. This exploration opens up alternate possibilities, and suggests an understanding of something unknown, as matter and electricity converse, to reveal hidden pathways within the mysterious highland landscape.