Opening event: October 13, 5pm

Daily opening times:
5 – 24 October, 2023
Monday – Friday 10am – 4pm / Saturdays 11am-3pm / Sundays CLOSED

Phillip England explores the nature of the photograph as image object using the arcane, wet plate collodion tintype photographic process, which draws attention to its own materiality as much as it does to the subject in front of the lens.

In IMAGE / OBJECT Phillip England explores the nature of the photograph as image object, using a medium that draws attention to the physical photograph itself as much as it does to the photographic subject, subverting our tendency to confuse the two.

The tintype, also called the ferrotype or melainotype, was invented in 1856. It consists of a thin layer of photographic emulsion (traditionally collodion) coated onto a blackened sheet of metal. This plate is exposed directly in the camera and developed immediately while still wet. The resulting negative image appears positive against the black support.

The tintype greatly democratised photography because it facilitated, for the first time since the invention of photography, the production of cheap and durable photographic portraits and scenes.

The 21st century revival of the wetplate collodion tintype technique exemplifies a reaction to the digital, high-tech “perfection” of contemporary photography and represents a return to authentic, hand crafted, analogue image making. The beguiling materiality of a tintype is rarely encountered in modern photography.

The arcane, antique chemical process of tintypes renders contemporary subjects with an altered psychology of space. Tintype portraits in particular have an arresting power that haunts. The long exposure times Phillip uses force the sitter to concentrate on their own stillness and gaze, investing the photo portrait with gravitas and an ineffable aura.

With the works in this exhibition, Phillip investigates the potential of analogue photographic techniques, which once were so potent, precious and ceremonial, to say something new, important and alchemical in an age of ubiquitous digital and infinitely computer-manipulatable imagery.

The works comprising IMAGE / OBJECT span the eight years the artist has been practicing this technique and include still lifes, landscapes and portraits.

Daily opening times:
1 – 30 September, 2023
10am – 4pm

A contemplative journey of abstract landscape paintings by Hannah Blackmore.

In the hustle and bustle of our modern lives, we often find ourselves yearning for moments of serenity, for a chance to pause, and simply breathe. In Breathe, my upcoming exhibition of contemplative landscapes, I draw inspiration from the principles of minimalism, embracing the notion of creating space by shedding the superfluous and embracing what truly matters.

Within the canvas, I strive to capture the essence of calmness, inviting viewers to immerse themselves in a tranquil world where simplicity reigns supreme. Through my exploration of landscapes and seascapes, I seek to liberate the viewer’s mind by introducing ample white space, providing room for contemplation and introspection.

Warm, neutral tones and pristine whites become the focal point of my latest body of work, as I embark on a journey away from vivid blues. I eagerly delve into new techniques, refining my palette knife work to create textural intricacies and employing pencils to introduce delicate linear marks that dance across the surface.

Every stroke, every shade is carefully orchestrated to evoke a profound emotional connection with the audience, guiding them towards an oasis of inner peace. The absence of explicit geographical references allows each viewer to weave their own narrative, transcending physical locations to reach a realm of pure emotion and self-reflection.

As I draw inspiration from the ethereal Tasmanian light that has captivated my senses since my arrival, the paintings radiate with a subtle familiarity, an echo of the tranquillity that resides in the depths of nature. Organic shapes and layered compositions, constructed through thin washes of paint, form the foundation of each piece. Gradually, the paintings unfold into areas of thicker palette knife work, beckoning the viewer to embark on a journey of intrigue and exploration.

Within these contemplative landscapes, a profound sense of solitude beckons, inviting the viewer to stand in that space, peer into the horizon, and connect with their own inner stillness. Each artwork becomes a portal to escape the relentless cacophony of the outside world, offering solace and an opportunity to reconnect with the essence of existence.

Breathe is an invitation to let go, to release the burdens that weigh us down, and to immerse ourselves in the purity of simplicity. It is a reminder that amidst the chaotic hum of life, we can always find moments of tranquillity if we pause, take a breath, and embrace the space within.

Join me on this contemplative journey through abstract landscapes, and together, let us find solace in the art of breathing.

Daily opening times:
Friday 12 May – Sunday 25 June 2023
Mon – Fri 9AM – 5PM

Sonder – noun. the realisation that each random passerby is living a life as vivid and complex as one’s own

SONDEROUS is an annual showcase of works by Salamanca Arts Centre’s Resident visual artists, with works created as part of their Studio practice.

The works presented range in mediums including but not limited to photography, painting, collage, printmaking and more.

Featured Artists:
Catherine Arsaut
Halima Bhatti
Emma Bingham
Hannah Blackmore
Michaye Boulter
Belinda Casey
Katherine Cooper
Antoinette Ellis
Phillip England
Joe Fazackerley
Jamin Kluss
Donna Oakford
Julie Payne
Emily Snadden
Linda Veska
Richard Wastell

Friday 31 March – Wednesday 3 May 2023
Mon – Fri 9am – 5pm
Sat – 9am – 3pm

Rivulets and tarns define pathways in landscapes that we can trace.

Rivers, tarns, rivulets and lakes define pathways in country that we can trace.
Vital information for maps, natural waterways are integral to  human  experience of ‘landscape’.
They are co-opted to become highlights on bushwalks, playgrounds for paddlers.
Our natural waterways are capillaries of ecosystems providing for all life.  So much so, that the metaphor of living waters transcends different cultures. Do we cherish them? Water, ‘pure’  water is a sacred thing. It is a dynamic landscape that we seek to carry our woes away. These oil paintings celebrate waterways  in Tasmania/Lutruwita.

Opening Event
Friday 3 February 2023
5:30pm  7:30pm

A whimsical, analogue, photographic reciprocation, along the river Seine, of the 1801 French voyage of exploration to Terra Australis and Van Diemens land led by Nicolas Baudin.
By SAC Resident Artist Phillip England.

“The French voyage of discovery, led by Nicolas Baudin to Australia, including van Diemens Land in 1801 produced some iconic artwork depicting the marine and terrestrial flora and fauna they saw, the coastlines they mapped and the First Nations people they met. The voyage departed from Le Havre, the mouth of the Seine River which flows through Paris.  My 2021 UTAS Rosamund McCulloch studio residency at la Cité internationale des arts in Paris became an artistic reciprocation of this voyage; an antipodean search for signs of life on the Seine river and documentation of my exploration of the river as it moves through Paris and where it meets the sea at La Havre. 

I used monochrome, medium format film, exposed in a lensless panoramic pinhole camera, at sites along the Seine in Paris and at its mouth at Le Havre to evoke the water colour panoramas of Australian coastlines produced by the Baudin voyage artists Lesueur and Petit. The long exposure times required in pinhole photography remove human figures from the landscape, evoking the legal travesty, Terra Nullius, which drove European occupation of Australia, an already occupied land.

While in Paris, during a one week residency in the Ithaque gallery/darkroom, I made silver-gelatin photographic prints from a selection of these pinhole panoramas. 

I also used instant film photography (Polaroid) to produce a series of triptychs at locations along the Seine River and I employed bleach reversal chemistry on medium format film photographs to produce monochrome, medium format positive slides, which are exhibited individually in light boxes. 

The works in Terra Nullius reflect two predominant themes in my practice: 1) how the materiality of analogue and antique-process photography alters the psychology of space in imagery and 2) finding constructive emotional responses to humanity’s loss of close connection to the natural world.”
Phillip England 

Phillip England. Île Saint-Louis, Paris (detail) (2021). Silver gelatin photograph from panoramic pinhole camera film negative. 12 x 36cm
Phillip England. Pinhole camera panoramas (various) (2021). Silver gelatin photographs from panoramic pinhole camera film negatives . 36 x 36cm
Phillip England. Untitled #2. Monochrome photographic transparency, LED lightbox. 30 x 30 x 5cm

Opening Event
Sunday 13 November 2022
2:00pm – 4:00pm

Featuring works by Nolan Art K-12 Students, this annual exhibition features ceramics, sculpture, fashion illustration, oil and acrylic painting, and drawing.

Simplicity and Serenity.
A collection of ceramic sculptures created to evoke a sense of calm, by Resident Artist Melly Frank.

“Meditation has become a vital practice in my life. It lessens feelings of overwhelm and helps greatly in bringing me back to a sense of focus, balance and calm.

With the knowledge that meditation has helped my mental health immensely, I feel compelled to create work that is inspired by the practice.

The act of hand building with clay for me is also a meditative practice. The tactile process slows my mind allowing it to become intensely focused on the task at hand, leaving no room for intrusive unwelcome thoughts and feelings.

My hope is that when you observe my sculptures, you may stop and take a quiet moment to perhaps experience a sense of calm yourself.”
Melly Frank

Southern Light is a series of paintings celebrating the unique light and beauty of Antarctica. Hannah Blackmore depicts this isolated environment through her indirect experience as the partner of an Antarctic expeditioner, and shares why we need to protect this natural wonder of the world.

Southern Light is intended to increase public awareness of the beauty of Antarctica, and the important work that takes place to protect this unique environment.

“I have not been to Antarctica. However, it has become an important part of my life over the past ten years. I have been married for ten years, and my husband has spent a third of that time in Antarctica. It has become part of our relationship, and we also have a close circle of friends who visit Antarctica regularly. It is a place I have developed a strong connection to, through my indirect experience as an artist.

As a painter, I am drawn to colour and light, and the light of Antarctica is something I have found captivating in the images I have seen. I have created a series of semi-abstract landscapes depicting the natural beauty of Antarctica, to show the importance of taking care of our Antarctic legacy. I do hope to travel to Antarctica one day, and capture the beauty I see with paint. For now, I shall share my interpretation and experience through the people in my life with you.”
– Hannah Blackmore

Expressive abstract painting, consisting of thickly applied impasto blues and greys. The painting represents the Southern Sea in Antarctica.
Hannah Blackmore. Southern Sea (2022). Acrylic on Linen. 75cm x 100cm
Expressive abstract painting, consisting of thickly applied impasto blues and greys. The painting represents the the frozen sea in Antarctica.
Hannah Blackmore. Frozen Sea (2022). Acrylic on Canvas. 45cm x 45cm
Expressive abstract painting, consisting of thickly applied impasto blues and greys. The painting represents the Southern Wind in Antarctica.
Hannah Blackmore. Southern Wind (2022). Acrylic on Canvas. 30cm x 30cm.

A state of stillness, calmness and quiet in a person or place.

An exhibition of paintings by Salamanca Arts Centre Resident Artist Jane Flowers.
In 2021, Jane Flowers completed a two-week Residency in the Short Term Studio (Space 238).

Opening Event
Friday 9 September 2022, 4:30pm – 6:30pm

“A love of nature permeates my work. 
I endeavour to find stillness and a sense of tranquility in landscape and seascape and convert moments in time and space to canvas. 
Bringing the outside in if you like.
Installing a quiet state of repose and serenity to the viewer.

During my Residency in 2021, one of the first things I did was head to Seven Mile, one of my favourite beaches. To clear my head for my residency. I love its vast expanses of tide washed sands; endless skies and expansive views to horizon. Beach combing for visual treasures and walking quiets and resets my mind.

Though I’ve visited Tassie many times, I hadn’t before visited the far reaches of the Huon, and was much taken with the beauty of the waterways. A beauty on the surface that I sadly discovered is being systematically eroded I discovered on reading Richard Flanagan’s Toxic at the end of my Residency. Ironically too – clearing a hillside and or putting through a road cutting allows a better view of the iconic shapes of Tassie’s tall timber. 

In this exhibition I’ve explored both the vignette and the wide expanse.  Subtle colours distinctive palettes and sheer beauty of southern Tassie’s coastline and hillsides. Previous studies in graphic design encourage my artist eye and the ability to see the landscape in its simplest form. To distill its qualities.

Themes I developed and explored in this show include sunlight on water, delights of beachcombing, the wonder of being at sea, gazing at skies and hillsides, the shape of a sail on the horizon, wind and water, sea and sky, the wonder of treescapes.”
Jane Flowers, August 2022

A painting of the ocean horizon, with the lower third of the picture depicting dark blue, green waves tipped with whitee. Whilst the upper two thirds is a pure white sky.
Mermaid’s Lair (2022). Oil on canvas. 61 x 61 cm.
A painting of a river, with sun reflecting on the water. In the distance there are rolling mountains. The sky is grey and cloudy but there are shafts of light coming through.
Cloud-break (2022). Oil on canvas. 91 x 86 cm
Painting of a small white sailing boat on a river. In the background loom mountains and a moody dark sky.
Off Fleurty’s Point (2022) . Oil on canvas. 51 x 61 cm

Jane Flowers

Jane Flowers is an award winning Australian artist who specialises in dramatic oils on canvas of nature, the ocean and the outback. Her unique interpretations create striking artwork that have gained a strong following among art lovers, collectors and interior designers. The landscapes and seascapes that Flowers creates have the ability to make a room come to life by subtlely transforming the natural beauty of the outdoors into a stunning interior space. Flowers draws inspiration from her regular travels to capture the essence of a time and place. A keen yachtswoman, diver, beachcomber and adventurer, Flowers is passionate about the beauty of nature and the natural environment. She has been a professional artist for 30 years following careers in teaching, advertising and graphic design.

The Long Way Home features new original paintings and limited edition prints by Alyce Bailey

“I believe that to long for home, is to be human. It is the ache to be whole, to be known, loved and understood. To be at home with oneself is one of life’s greatest challenges and to be considered someone’s home, one of life’s greatest joys.

For me, home isn’t just a place. It’s those feelings we experience once we’ve found what we have been searching for – whether that’s love, acceptance or peace and it is from these longings that my works have sprung.”
– Alyce Bailey (2022)

Opening Event
Friday 1 July 2022 @ 6:00pm

A sheep with a brown face against a white background.
Alyce Bailey. Marie (2021). Archival print on cotton rag. 60cm x 40cm
A wooly white sheep against a white background.
Alyce Bailey. Grace (2021). Archival print on cotton rag. 60cm x 42cm.
A sheep with a black face and large curled horns against a white background.
Alyce Bailey. Jack (2021). Archival print on cotton rag. 60cm x 42cm.