Other-Worldly is a collection of oil paintings centered around the idea that home in its truest sense exists outside our walls in the great outdoors.

In Other-Worldly, Britt Fazey plays with the definition of home and connection to the natural world.  Could the practice of nurturing our connection with the natural world help us to re frame the overwhelming distractions of modern life? Could it help free us and make us more effective participants in our own lives?

Opening Event
Wednesday 7 September 2022
5:30pm – 7:30pm
Free to attend, subject to capacity.
The opening event for Other-Worldly is sponsored by Spotty Dog Brewers


A photograph of woman with blond hair standing on the foreshore. In the background are trees with twiated branches.
Photo: supplied by the artist

Britt Fazey

After travelling as far west as Shark Bay and as far north as Cook Town, Britt Fazey now resides in her hometown in Tasmania. Having spent her childhood on the waters of the Derwent river and its lower estuaries Britt again takes to the water to explore, reconnect and define home.

From marine algae to twisted trees, this exhibition by Anna Brooks explores a fascinating variety of plant forms.

An exhibition of works on paper, including printmaking, photography, drawing and collage. Intimate portraits show each plant, or plant part, as something precious and intriguing. The works emphasise form and pattern and the diversity of shapes and designs found in nature. They celebrate the mysterious nature of plants, and draw the viewer into the inner reaches of other organisms which may sometimes seem alien and sometimes familiar.

Anna Brooks has a great love of plants. This began when she was a child roaming around in bushland on the family farm, continued through a degree in Botany, and years of bushwalking in many wonderful places. Brooks completed her Honours in Fine Arts in 2021.  Almost all of her art is about the natural world.

A monochrome image of light blue pant shapes against a dark blue background.
Anna Brooks. Cystophora moniliformis (2022). Digital inkjet print. 25 x 25cm
A black and white line drawing of a twisted, knotty trunk of a white mulberry tree.
Anna Brooks. White mulberry (detail) (2022). Pen and ink. 29 x 118cm
A monochrome image of white pant shapes against a dark blue background.
Anna Brooks. Cystophora platylobium (2022). Cyanotype photogram. 40 x 38cm

Opening Event
Friday 9 September 2022, 6:00pm – 8:00pm

“In the light of the moon a little egg lay on a leaf.”
– Eric Carle, The Very Hungry Caterpillar

TasPride’s annual Artfully Queer Exhibition and Arts Program showcases the creative talents of emerging and fully fledged contemporary Tasmanian lesbian, gay, bisexual, trans and queer artists, designers, craftspeople and performers, responding to the theme ‘transform’. 

As always, interpret, challenge, expand or illustrate as creatively as you like.

Curated by Phoebe Adams. 


Be part of it!
Artfully Queer is open to all Tasmanian LGBTQ creatives and their families. All mediums and levels of ability are welcome. This years theme is ‘transform‘ and we ask exhibitors to consider the theme and respond to it in their work or choice of entry. For more details on how to enter your art, craft, design work into this years Artfully Queer exhibition at the Long Gallery at Salamanca Arts Centre, please see the link below.

Southern Light is a series of paintings depicting 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.

Life Drawing : charcoal studies, constructed objects, and photographs that draw on Medieval tapestries, industrial diagrams, wunderkammers, natural history collections, and maps to explore the multiple meanings of Drawing and Life, by Marinelle Basson.

“Life draws : squiggles, paw-prints, and traces – imprints of brachiopod shells from hundreds of millions of years ago in the mudstone of our garden. Less fixed are the flight-lines of insects and birds; harder to spot are the underground drawings of worms, roots, and billions of microscopic creatures. Life is everywhere, even in the darkest underwater. How it wriggles, squeezes out of tight spots, returns after disasters and thrives, or hangs by the thinnest of threads… fragile threads so easily cut: species lost, links severed.

We draw too : tens of thousands of years ago, our ancestors drew with charcoal and ochre on rocks and in caves. Humans have drawn with enormous stone structures, and tiny shell beads, with feet leaving footprints and tracks like wallabies do.  We continue to mark the world as we cut and build, dig and dredge. We remove mountain tops, re-route waterways, change everything… our marks getting bigger and bolder. 

For me, drawing is mark-making and conversation, listening and responding with charcoal on paper, or tearing, scrumpling, wrapping, pinning. It’s a way of getting to know intimately, distilling the essence of something;  a way to explore edges: animate|inanimate,  animal-self|human-self.  I draw upon life which has drawn me, which still draws me: not just the lines on my hands, but my whole way of being in the world, and what I cherish the most.”
Marinelle Basson 

Marinelle Basson. untitled (2021). Charcoal and collage on paper. 42cm x 58cm
Marinelle Basson. untitled (2021). Charcoal and collage on paper. 42cm x 30cm.
Marinelle Basson. untitled (2022). Charcoal on paper. 100cm x 80cm.

More than a century ago, Australia was introduced to the wonder of Antarctica by the great scientist and explorer Sir Douglas Mawson. 

Understanding the continent is key to a deeper understanding of climate, weather and sea level changes. As a nation, Australia has an enduring commitment to protect and preserve Antarctica for future generations.

A photo of a group of people dressed in thick coats and hats in Antarctica. They are sitting on the ice, next to a weather pole, and in the background there are sevral vehicles for travelling in the ice and snow.
Photo by Andy Hung. Australian Antarctic Division

The debut solo exhibition by emerging Tasmanian artist Nick Hills.

Breathe pushes the themes of life and decay in the natural world to a new level. It’s a menagerie of characters and emotional states, everything from spiders tangled upon melting limbs to whimsically psychedelic animal portraits.

Originally inspired by a need to break through some mental health barriers, Nick’s work is a great insight into the artists mind and the 3-year journey involved in coming out of a difficult time and building up a whole new perspective on life.

Coming from a background in mountain biking and a love of hard metal music (the pieces are named after lyrics from Nick’s favorite bands and musicians), Nick’s unique style is both dark and brightly energetic.

All works are archival inkjet printed on 100% cotton rag museum grade paper by Papermill Printhouse (Melbourne) and Full Gamut (Hobart) and are all framed by Hobart’s finest Wagner Framemakers.
All prints are available for purchase.
Merchandise, stickers and other accessories are also available for sale down in Spacebar Gallery.

Two purple zombie hands float against a lavender background. The Palms of each hand are parallel, and there is purple dripping liquid running from the finger tips. A Redback spider is suspended between the hands, whilst another spider crawls on the top of a hand.
Nick Hills. Mind Over Matter.
A hand reaches towards the sky. From the palm of the hand a golden liquid, with spirals and swirls upwards. On the thumb on the hand perches a small black bird. Two other small bblack birds fly amongst the swirling liquid.
Nick Hills. Fade Away.
Two green zombie hands, touching forefinger and thumbs to create a heart shape. Hanging within the heart is a small sloth. All against a mustardy green background.
Nick Hills. Grind your teeth.

Photo by Stu Gibson.

Nick Hills

Nick Hills is an emerging artist based on Tasmania. Nick specialises in digital illustration, creating colourful thought-provoking works.

An exciting presentation of recent works by members of the Art Society of Tasmania.

The Annual Exhibition is the highlight of the Art Society of Tasmania calendar. Artists submit work created in the last 12 months to be judged for prizes from sponsors. Artworks include representation of all mediums and genres, and showcase the skill, talent and imagination of local artists.

A textural painting of a blue, open boat tied to a dock on a river. In the background are several other boats and moorings.
Rick Crossland. Blue Boat, Franklin
A paintings of a breakfast table setting seen from above. The table is covered with a yellow and blue patterned tablecloth and a red and shite placemat crossed the table diagonally. On the table sits a coffe plunger, a white milk jug, a white bowl of fruit (two lemons, one red apple and one green apple), a blue and white pattern china teacup and saucers, a yellow plate with an egg cup and a hard-boiled egg cut in half, and a green plate with an apple sut in half and slices again.
Judy Griffits. There is a Certain Slant of Light.
A landscape painting, looking down from hill on a hill. In the foreground is a twisted tree, covered in moss, in the midground is the canopy of trees. In the far distance in a mountain range.
Sally James. Above the Falls, National Park

The 138th Annual Exhibition is proudly supported by : Artery, ARCFramerite, The City of Hobart, Phil’s Framing, Lauder and Howard Antiques and Fine Art, Just Frames, Wagner Framemakers, AdArt.

New abstract works by Haetaek Choi comprising of a combination of Automatism, Serendipitous, coincidental expression and Eastern calligraphy.

Automatism
Through subconscious, automatic acts of creativity, l strive to express how one is able to visually put to canvas the subconscious visual reality that comes to mind without meticulous planning. Through brush strokes, this instant interpretation of the chaotic unconscious world explores the concept of automatism.

Serendipitous, coincidental expressionism
A coincidence is contrary to logos-centred rational thinking. This form of expression combined with automatism produces surprisingly serendipitous artistic results. Although I commence my artwork with a certain image or purpose in mind, I can’t help but accept the end result because it is a result of the convergence between the intentional and unintended.

Eastern calligraphy 
Amongst the oriental style of brushstrokes, the calligraphy handwriting, which is called chaucer, is a tool where one communicates a clear linguistic message. The varied strength of the brushwork on the canvas however, results in an amazing pictorial image that can be left to further creative interpretation.

“When the three visual elements of Automatism, Serendipity and Eastern calligraphy are combined, I float colours, blend and permeate the paint on canvas, which draws out the contrast between primary and complementary colours.”
Haetaek Choi, Hobart, September 2022

Abstract painting, with swirls of red in the upper half. A white swirl of paint separates the swirl of blue in the bottom corner.
Haetaek Choi. Untitled 2 (detail) (2022). Oil on canvas. 40cm x 50cm.
AN abstract painting of primarily blues, whites and sandy browns and yellows. Curly swirls and small brush shapes are reminiscent of water and bubbles.
Haetaek Choi. Untitled 4 (detail) (2022). Oil on canvas. 90cm x 160cm.
An abstract painting of primarily reds in the upper half and green and blues in the bottom half.
Haetaek Choi. Untitled 3 (detail) (2022). Oil on canvas. 60cm x 60cm.

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

Quietitude.
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).

“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.