Event Type: Exhibitions

Opening Event :
Wednesday 20 August 2025, 5:30pm – 7:30pm

Exhibition Dates :
Wednesday 20 – Sunday 25 August 2025
11:00am – 4:00pm daily

Improvised Performances @ 1:00pm daily

Palimpsest-as-Process by Andrea Breen questions the processes of art-making, in the gallery and by showing work that has already been ‘transformed’.

Palimpsest-as-Process will interrogate how we make decisions around discarding or reinventing art & how art practices might celebrate the processes of creativity. Andrea Breen has spent the past twelve months re-inscribing & reimagining extant texts from her oeuvre of previously shown creative work, including paintings, collages, drawings, poetic texts & acoustic compositions. 

The exhibition will include sound installations (in the gallery space and on headphones), and ‘in-gallery’ change processes. Visitors will be invited to offer contributions.

Improvised performances (collaborations and solo) are programmed for 1:00pm each day in the gallery. 

Recordings and art work will be available for sale on request.

Exhibition Dates :
Thursday 5 – Monday 23 June 2025
10:00am – 4:00pm daily 

The Tasmania Ceramics Associations‘s Full Circle exhibition is an opportunity for members to showcase their personal growth in the context of their ceramic practices. Every artwork exhibited begins as a piece of clay. Ceramics is an craft which was borne out of necessity has now become the sophisticated artform we see today.  

Current members of the Tasmanian Ceramics Association (TCA) specialise in a range of ceramics processes which create a diverse range of artworks. While ceramics may be considered as a purely functional form of art, there is a wide array of artists that practice the sculptural forms of ceramics.

Sculptural ceramics incorporates the fundamental building and finishing techniques that are the basis of all ceramics – turning clay into its ceramic form by firing with heat. Although this is a process that has been used for thousands of years, today’s ceramicists have made numerous advances in each stage of the process with the help of modern technology. 

TCA members are continually experimenting with different forms of glazing and firing methods to create their unique works. The Full Circle exhibition explores the varied range of ceramics that can be created and produced using combinations of these age-old techniques to produce evocative modern day, three-dimensional works of art that are being created by Tasmanian ceramicists. 

The Full Circle exhibition draws inspiration from all forms of ceramics which have now developed into an aesthetic sculptural forms of art – sometimes using practices that have come full circle with its ancient beginnings.

Daily Opening Times :
Tuesday 13 May – Saturday 28 June 2025
Monday – Friday 9:00am – 5:00pm
Public Holidays CLOSED
Weekend Opening Hours are TBC

Opening Event :
Friday 16th May 2025, 5:00pm – 7:00pm

CONTOUR is an annual showcase of works by Salamanca Arts Centre’s Resident Visual Artists, with works created as part of their Studio practice.

Works range from photograph to painting; drawing to sculptural; figurative to abstract; from Artists in the Willis, Stanmore and Morrison Studios, as well as Cottage Artist’s in Residence throughout 2024.

Featured Artists :
Emma Bingham
Hannah Blackmore
Michaye Boulter
Jack Braudis
Lada Dedic
Kirra-lea Caynes
Laura Cope
Antoinette Ellis
Katelyn Geard
Jon Kudelka
Marlize Myburgh
Catriona Pollard
Julien Scheffer
Jo Soszynski
Julie Stoneman
Michelle van Pelt
Fiona Verdouw
Zoe Sernack

Opening Event :
Friday 18 July 2025, 7:00pm – 9:00pm

Exhibition Dates :
Saturday 19 – Sunday 27 July 2025
10:00am – 4:00pm daily

Join us once again for the unstoppable force that is Art From Trash! 

One of the largest community exhibitions in Tasmania, AFT explores every possible aspect of creative re-use, displaying an incredible range of talent from a range of artists from every walk of life.

Art From Trash is an annual exhibition that encourages the reuse of discarded materials in the production of amazing visual art.

Established in 1993, the Art From Trash exhibition has become an iconic and much loved exposé of creativity. Attracting over 120 artists and 5000 visitors annually, this event has proved itself as a powerful and much needed change agent for a better future.

Makers of all ages, styles and stages, from emerging talent to established practitioners, schools and community groups exhibit alongside each other in an exhibition of increasingly accomplished and thought-provoking works of art.

Held in the historic precinct of Salamanca in the Salamanca Arts Centre’s Long Gallery, this exhibition is for everyone.

Opening Event :
Friday 11 July 2025 @ 5:30pm – 7:30pm

Exhibition Dates :
Thursday 10 – Monday 21 July 2025
10:00am – 4:00pm daily

Elevation is an exhibition of works on paper by Grace Gladdish, exploring the alpine landscapes of Tasmania.

“Elevation includes my recent printmaking and works on paper, exploring Tasmania’s wild alpine landscapes.  I create complex linocuts and paint them with watercolour, creating hybrids that straddle the disciplines of both painting and printmaking. I love the push and pull between the strong, stark linocut and the subtleties of watercolour. I enjoy the way the oil-based ink and water-based paint both repel each other, and work together to form an image. It seems to be resonant with the landscape I am portraying and it’s a satisfying process that keeps me curious to explore its possibilities. 

Alpine landscapes have captured my attention since moving to live on the foothills of kunanyi/Mt Wellington. The wonder of an alpine environment so accessible to a capital city, like the one at the summit of kunanyi, is one of the things that makes Hobart a special place to live. I am fascinated by the harshness of the place – wild and untamed; an unsafe environment where we would struggle to survive and yet close in proximity to our built environment. I find symbolism within the landscape that speaks to my own life and experience. Visually too, it seems to endlessly fascinate me with its colour, texture and quality of light. Most make a pilgrimage to the top of the mountain for the view of the land stretched out below. It is breathtaking! But I also love the landscape of the summit itself; treeless and patch-worked by the boulders and plants that make their home in that extreme environment. 

I’ve recently begun cutting and tearing up my lino prints which has as subversive feeling that I’ve enjoyed. I’ve found these destructive forces to be invigorating and creative, and a new series of collages has emerged. Cutting along ‘found’ lines in the ripped elements and re-fitting pieces of separate prints to create entirely new imagined landscapes is a process akin to drawing. I love finding ways that the ripped pieces connect, as if the landscape itself is dictating the journey the lines travel. These connections have had me thinking about my own connections with both the landscape and the people around me. The resulting collages can be seen as autobiographical, mapping paths both literal and poetic, re-fitting parts of my life and making my own new connections.”
– Grace Gladdish

“Grace’s linocut prints are meticulous and breathtakingly complex. They are reproductions of the environs of the mountain that Grace now lives upon, but the rich intricacy is also analogous of an intricate life. In her myriad leaves and trees, Grace sees the arc and shape of her own existence.

… She takes her beautiful intricate prints and tears them.

They are no longer images of the mountain; they are something else. The images on paper are not end points; they are sites and material for more experiments. She tears them, changes their alignment, moves them, and she sees something new. She cuts away edges, leaving forms, still recognizable as lichen-tattooed rock from an alpine scene, but changed. The torn edges are not hidden; they show that this is paper, worked on and shifted, made into forms like islands. Grace takes the mountain and her interpretation of it and makes an archipelago, makes islands out fragments on paper, and it’s as if she’s making her own new place to be, or a map of the place she finds herself in, made of the fragments and the moments and the shape of her life, literal and allegorical.

Grace makes maps, from the art she makes that she shapes and re-shapes and experiments with, making more art, making a space for herself. The works that emerge from this complex, deeply personal process are floating islands of calm wonder.”
– Andrew Harper, Arts Writer

Opening Event :
Thursday 5 June 2025, 6:00pm – 8:00pm

Exhibition Dates :
Friday 6 – Saturday 21 June 2025
10:00am – 6:00pm daily

Join us for Bob Brown Foundation’s Art for Takayna 2025 exhibition. A curated exploration of Takayna, combining artistic expression with environmental advocacy.

Featuring fine art and performance works inspired by the region’s diverse landscapes and ecosystems, this exhibition showcases artists’ work depicting the significant landscape of Tasmania’s Takayna.

This year, one hundred artists travelled from every state in Australia to Tasmania’s Takayna for the 11th annual Art for Takayna residency hosted by Bob Brown Foundation.

The residency hosts each year’s artists to sit and gather inspiration for 5 days in this incredible landscape under threat from logging, mining and recreational vehicle use. 

From the windswept dunes on the west coast, to the rugged mountains and Gondwana rainforest valleys, artists were led by Bob Brown Foundation’s campaigners and scientists on a deep immersion like no other. 

In a unique and breathtaking installation, for the first time in Australian arts history, a grand piano was placed in a threatened forest for pianist Dave McEvoy to compose music to help save Takayna.

Pianist Dave McEvoy travelled from South Australia to compose and record music every day on the grand piano in an untouched rainforest on Forestry Tasmania’s logging schedule.

“My experience making music in this ancient place has given me an overwhelming sense that the forest is holding out a lifeline to us as a species. Takayna is home to one of the world’s last great temperate rainforests—a globally significant ecosystem—and I think we need to do everything we can to preserve it for the well-being and survival of future generations” – Dave McEvoy

Also joining the residency was one of Australia’s most famous political cartoonists, Jon Kudelka, who spent four days immersed in the rainforests threatened by mining company MMG’s proposed tailings waste dump.

“Takayna is a miracle of nature which the original owners managed to avoid clearfelling or poisoning with mine tailings for tens of thousands of years. Having been diagnosed with terminal brain cancer, I feel a certain affinity with it, though I could hardly be described as a miracle of nature.

A few days in the rainforest making art was a tonic for me and I understand why people are willing to devote their lives to protecting it. Unlike my particular strain of cancer, which would require a medical miracle to cure, Takayna can be protected with a World Heritage listing and becoming a National Park, an entirely achievable result requiring basic good faith and a small amount of imagination.

If I manage to beat the odds and survive another twelve months, and Takayna hasn’t been vandalised beyond recognition for toilet paper and a tip, I would love to visit again. If you’re not convinced, go and take a look” – Jon Kudelka.

“The global heirloom of Takayna must have parliamentary leaders declare it a World Heritage-listed National Park. Our artists’ residency has recruited another cohort of ambassadors who will broadcast the urgent call for its protection through their art” – Jenny Weber, Bob Brown Foundation Campaigns Manager

10 -25 May, 2025

Opening event:

Friday 9th May 2025 | 5pm – 7pm

Opening hours:

Mon- Fri | 9.30am – 4pm
Sat | 10am – 4pm
Sun | 11am – 3pm

2024 welcomes the 30th year of ArtRage; showing a selection of the best 2024 Southern Tasmanian College Students’ art work.

Developed by QVMAG, ArtRage delivers an annual curated showcase of eclectic and diverse works by students in years 11 and 12 from across our island.*

Since its launch in 1994, this exhibition continues to provide an important platform for students studying art as part of their Tasmanian Certificate of Education (TCE), while supporting and celebrating the creativity and talent of budding artists state-wide.

QVMAG is proud to have developed a statewide reputation for fostering student artistic growth and enabling many perspectives, stories, and experiences to be shared with communities across Tasmania through ArtRage each year.

*Please note, although this is a statewide exhibition, works in the Long Gallery this year are a selection of the best 2024 Southern Tasmanian College Students’ art work.

Opening Event :
Thursday 5 June 2025, 6:00pm – 8:00pm

Exhibition Dates :
Thursday 5 June – Sunday 15 June 2025
10:00am – 4:00pm daily

Come celebrate the talents of queer artists in Lutrawita / Tasmania

Hear Us. See Us. Know our Names. is an art exhibition dedicated to celebrating and showcasing the diverse talents and unique perspectives of gay, lesbian, gender diverse, and trans artists based in Tasmania. This exhibition seeks to highlight the cultural, social, and personal narratives that influence and shape the work of these artists, providing a platform for visibility, dialogue, and appreciation within the wider community.

Exhibition Dates :
Friday 16 – Saturday 24 May 2025
9:00am – 5:00pm daily

Panel Discussion :
True Crime False Narratives : A Panel on Wrongful Convictions in Australia
Saturday 17 May 2025

DENIED is a research-led portrait project by Brisbane based artist Sky Parra that responds to miscarriages of justice through a series of intimate oil paintings.

Since 2021, Parra has travelled across Australia painting individuals who have been wrongfully convicted of serious crimes and justice advocates seeking reform. In consultation with these communities, she works collaboratively with participants to build meaningful relationships that inform her practice. With the support of leading legal scholar Dr Robert Moles and her research team, Parra’s portraits serve as poignant testimonies to the existence of wrongful conviction.

In Australia, convicted felons face profound restrictions: the loss of fundamental human rights, prohibitions on interviews by researchers and journalists, systemic censorship, and enduring visual records that permanently mark them as unlawful. They remain subject to discrimination that is not only socially accepted but legally permissible, perpetuating cycles of subjugation. DENIED acknowledges these individuals who, despite being extensively documented, remain overlooked, vulnerable, and unjustly tethered to criminality. Undermining the prevailing ideologies of incarceration, these portraits urge viewers to critically reflect on state-sanctioned systems that shape perceptions of guilt, innocence, and human worth.

Images are powerful conduits of knowledge and essential tools for recollection that influence how we understand the past and engage with the present. Visual archives, as repositories of imagery, determine which histories are recorded, how they are accessed, and the ways in which they are remembered. Institutions of governance and authority, such as prisons and museums, control these archives, ultimately deciding whose stories are told and whose humanity is recognised. While prisons reduce individuals to criminal labels, museums curate narratives of value through selective preservation. DENIED bridges this gap, acting as a counter-memorial to institutional erasure. By preserving the complex humanity of its subjects, the project challenges the criminal profiles perpetuated by news media, political rhetoric, and cultural representation.

Through the humanising agency of painting, Parra sensitively renders each sitter visible, restoring dignity and providing a platform to those whose identities and stories have been systemically marginalised. The project emphasises the importance of collective witnessing. By unifying our understanding and awareness of wrongful convictions, DENIED fosters an act of solidarity that disrupts passive spectatorship.

Encompassing cases of factual innocence and erroneous convictions, DENIED acknowledges individuals who have been exonerated, acquitted, or who maintain their innocence in relation to the crime where substantial supporting evidence has been published. While some have been released or granted parole, many remain incarcerated, enduring the shortcomings of our legal system. As the subjects of DENIED continue to grow, the project stands as a visual testament to both resilience and grace.

Exhibition Dates :
Friday 4 – Saturday 26 July 2025
Monday – Friday 9:00am – 5:00pm
Weekends CLOSED

Opening Event :
Friday 4 July 2025, 5:30pm – 7:30pm

The Meehan Range, Pontville and Surry Hills, Sydney, each gave rise to a visual puzzle.  How to depict the blue-teal spring growth of the Risdonii slopes against dull Stringybark? What would the resurrection look like at Pontville? How the dark cavern of street trees contrasts with the scorching Sydney  sun?

“Inspired by my landscape painting practice, recent classes with Jake Walker, and visiting my daughters, Three places explores the relationship between place and person. How our perception and depiction of place is redefined by its connection with people we know.

The works have their origin in three very different locations. The Meehan Range as a backdrop to Flagstaff Gully and Mornington, the historic township of Pontville, and the inner city, Sydney suburb of Surry Hills.

The Meehan range is partly suburban (my eldest daughter lives close by), partly tamed countryside. Mountain bikers cross it. Yet it is home to eucalyptus risdonii which seems to require a stony, dry, north westerly aspect. Only this allows it to survive and gives rise occasionally to a brilliant blue flush of growth amid the dull greens of other gum trees.

Pontville – Brighton is a mixture of historic graveyards churches, and emerald green sporting areas. Scenes enjoyed by our second daughter.

Surry Hills with its nineteenth century dock workers terrace houses is a place in transition. The street trees are a constant but add a dimension of change when providing deep shade or filtered light over the Victorian facades. Our youngest daughter’s home is here. 

I have used a less descriptive, partly abstract method to try to communicate the transformations these places show and their meaning for those who observe them.

“Transformation” and “meaning”, has taken me towards an attempted portrayal of the magic or spirit of the places, while speculating on the relationships between place, the people there and the observer. St Matthews Cemetery Pontville is the frame for the ultimate transformation, the resurrection!”
– Kevin Crowe