The annual Hunter Island Press (HIP) Mini Print Exhibition and Sale showcases the different printmaking techniques and variety of subjects undertaken by its members. 

The fine art prints are all a uniform paper size of 21cm x 21cm and are affordably priced at $40 each.

The work is pegged around the room and customers are encouraged to help themselves to the print they would like to purchase in an untraditional gallery style way. As a print is sold, it is replaced with another by the same printmaker. This may not necessarily be the same subject or technique as participants are unrestricted for this Exhibition. Sales are made on a first come, first serve basis.

Rowena Bond. Dorian. Collagraph
Artwork by Jeanie Edwards
Cath de Little. Magellanic Woodpecker. Linocut, hand-coloured.

Join us for play-readings by the writers of the 2022 FRESH INK National Mentoring Program.

This skills development program is co-presented by Archipelago Productions and Australian Theatre for Young People (ATYP), and supported by Salamanca Arts Centre.

Mentored over nine months by Belinda Bradley and directed by Natalie Venettacci, join us to celebrate the work of Amelia PondNoah CaseyMostafa Faraji and Milla Chaffer

Opening Event
Thursday 8 December 2022
5:30pm – 7:30pm

Double Sun is a series of illustrations and sculptural works by Jamie Edward inspired by childhood drawings. In attempt to find a simple beauty in both process and outcome, the exhibition offers a light-hearted examination of our world and the significance of the sun.

The selection of sculptures and drawings in the exhibition capture both the small cycles of plants turning to the sun, and the longer cycles of the turning seasons. Double Sun illuminates the loose mess of making art, and the joy of living with nature. 

The works in Double Sun developed in response to an attempt to make sense of the political and environmental turbulence of recent years. Through open and exploratory work – where a loose and tactile approach allowed for a narrative to gently develop – the sun emerged as a unifying symbol that shapes and informs the human experience. The exhibition orients itself towards the sun, as an essential site of nature, joy and pleasure; as well as part of a cycle of darkness and light. 

From the temperate climate of Bruny Island, the works were produced from a location where the presence of the sun is always welcome. The relative remoteness of the island encourages a creative attention with shifts in the weather and light, and the works in Double Sun reflect how the sun provides this vitality and energy. The sun falls on the petals of native orchid flowers that turn towards the light through the day, tomato plants grow tall towards it, people stretch their limbs into it. 

These artworks capture personal experiences of the sun, and also reflect on the significance of the sun in art, philosophy, astronomy and literature throughout history. While there is warmth and joy in this work, Double-Sun also references the cold and darkness experienced in the sun’s absence as we turn and transition into night and move through the seasons. 

Double Sun attempts to document the intrinsic nature of the sun, through a simple and raw form of ark making. The exhibition is a celebration of the messy, naive and uninhibited expression of creativity. The process of allowing for mistakes and exploratory techniques results in work that catches a glimpse of an elusive moment or idea through abstract representation. Both the subject matter and the art making process are honest, natural and unfiltered. 

The exhibition expands upon the artist’s previous work that repeats a simple idea through showing a motif at scale. The every-day quality of the sun – an essential but seldom considered part of  daily lives – is brought into focus through this repetition and isolated attention. Double Sun continues the artist’s distinctive approach of using a lighthearted and humorous energy that is underscored with themes of waste and darkness. The works are both bright and grubby, but always joyful in their murkiness.

This exhibition is supported through Arts Tasmania.

Jamie Edward. Double Sun Phase 6 (2022). Oil, Pastel, Charcoal, Graphite.
Jamie Edward. Double Sun Phase 8 (2022). Oil, Pastel, Charcoal, Graphite.
Jamie Edward. Double Sun Phase 10 (2022). Oil, Pastel, Charcoal, Graphite.

Opening Event
Wednesday 21 December 2022
5:30pm – 7:00pm

An evolving annual exhibition of around 45 Tasmanian artists, with links to the University of Tasmania’s School of Creative Arts and Media in its various incarnations, where artists present engaging mini exhibitions in a wide variety of media and approaches.

Images of Tasmania (IOT) It is the brainchild of Jan Peacock and Betsy Gamble, who saw the potential of presenting a collaborative show in the Long Gallery and Sidespace Gallery over the Christmas – New Year period.  Hobart is buzzing with visitors at this time. The first IOT exhibition was held in 1998, as the initiative of artists and art educators who trained together in the late 1950s.  Over the past decades, IOT has evolved into a high-quality exhibition of 40 – 45 artists, each with an individual display space in which to showcase the development of their ideas over a wide range of approaches and disciplines.  Some artists have been exhibiting in IOT for many years, but the exhibition is annually infused with ‘new blood’ drawn mainly from art school graduates.  The exhibition is entirely self-funded, and all costs and tasks of mounting the exhibition are shared by participating artists. 

This year marks the 25th Anniversary of this thriving, co-operative venture and will include touches of silver throughout, a Rogues Gallery of participants (past and present) and various activities to encourage visitors to learn more about the artists in their local community.

Installation photo from Images of Tasmania 24.
Installation photo from Images of Tasmania 24.
Installation photo from Images of Tasmania 24. Artworks by Livia Bilsborough & Jenny Young.

Opening Event
Friday 9 December 2022
6:00pm – 8:00pm

The artistic talents of students and graduates from the University of Tasmania’s School of Creative Arts and Media (SCAM) will be on display at the Salamanca Arts Centre’s Long Gallery when the TUSA Painting Society presents its annual Not Just Paint exhibition for the eight time.

The exhibition will feature work from across all the disciplines including Photography, Printmaking, Sculpture and Painting. 

Besides the traditional presentation of attributed artworks, the exhibition contains within it, the ever-popular Salon des Refusés, where an eclectic assortment of very modestly priced unattributed works, are also offered for sale.

Joanna Postlethwaite. ‘Till Death Do Us Part (2022). Soft Pastels. 62cm x 85cm.
Anna Brooks. Allocasuarina Cones (2017). Monotype Print. 30cm x 30cm
Joanna Postlethwaite. Hunting Eels at the Lagoon (2022). Soft Pastels. 91cm x 120cm.

Opening Event
Friday 11 November 2022
6:00pm – 8:00pm

Featuring works by Nolan Art‘s Adult Students, this annual exhibition features oil and acrylic painting, watercolour and drawing.

Opening Event
Wednesday 30 November 2022
5:30pm – 7:30pm

If we don’t look, we can’t see, and if we can’t see, we can’t know, so how can we understand?

Dedicated to reflecting the diverse world we live in, The STARE celebrates difference, equity and diversity. Witness the rich history of Second Echo Ensemble’s artists in thought-provoking portraits, conversations, performances and artefacts.The STARE is presented concurrently with ON DISPLAY GLOBAL.

The STARE is an exhibition piece; simultaneously artwork and living history that addresses the uncomfortable and too often unspoken experiences of diverse artists. Through a series of portraits, audio/video recordings, collated personal artifacts and live performances given by the ensemble. 

Second Echo Ensemble (2020). Photo by Dan Cripps.
Second Echo Ensemble (2020). Photo by Dan Cripps.
Second Echo Ensemble (2020). Photo by Dan Cripps.

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.

Opening Event
Friday 2 December 2022
6:00pm – 8:00pm 

Traces, by Rhys Cousins and Lucy Maddox, explores the historical, emotional, and tangible encounters between people and urban materials. Through two- and three-dimensional works, the exhibition examines the signs left by human interaction with surfaces. Collaborating across landscape and visual art, the exhibition generates conversations about viewers’ relationship to place. 

The name connects to the ephemerality of objects, as well as of the lives of the humans that connect with them. These minute and often overlooked elements will take the fore in Traces, investigating the subject from both abstract and figurative perspectives. While the outcomes are often minimalist in outward appearance, the beauty of the work lies in the small details and textures. Moreover, the process of creating the work is a part of the work itself. Responding to the urban textural landscape of Hobart and its surrounds, the creation of Traces involves an interaction between the art and artists, both physical and conceptual. For instance, casts are made of surfaces in the local area, and the creation of these casts inevitably alters the material subjects, often in minute ways. 

Working under the collective Tangere, meaning “to elicit emotion through touch,” Rhys and Lucy are a transdisciplinary duo who challenge the boundaries between their practices for new artistic and creative outcomes.  

Rhys is a creative practitioner working across design, art and landscape architecture, exploring new possibilities of experience as informed by materiality, space and light in public space. Lucy is a visual artist working in a variety of modern and traditional mediums, including painting, printmaking, and digital art. Her practice investigates the emotional associations made through touch, body language and gesture.

They will respond to the concept of Traces through two different perspectives. Rhys will approach the concept abstractly through volume and space, his work unveiling the city narrative as texture. In contrast, Lucy’s painted and drawn works will capture the intimate, emotional experience of touch. These two artists’ works will be intermingled, conversing with one another to explore the richness of ‘Traces,’ but juxtaposed in technique, style and medium to challenge conventional viewership.

In addition to their individual work, they will also collaborate on an installation to explore the interaction between audiences and the work. By providing visitors with magnifying lenses, this visual dialogue will aim to allow audiences to respond personally to the local texture and signs rather than simply pass them by. 

Rhys Cousins. Grounding (detail) (2021). Plaster and urban material remnants. 3 x 2.5m. Photograph by Cassandra Hogan.
Rhys Cousins. Grounding (performance) (2021). Plaster and urban material remnants. 3 x 2.5m. Photograph by Cassandra Hogan.
Rhys Cousins. Untitled (detail) (2021). Plaster, stone.

A sculptural installation featuring a giant balloon, light and some amount of pressure by visual artist Julien Scheffer.

Cell is an installation featuring a giant red balloon stuck inside the confined space of the Lightbox.

The balloon, jabbed by a needle-shaped metal tube, pushes against the windows of the gallery and appears to be on the verge of bursting. It is unchanging during the day and emits pulses of light at night. The work is a material representation of the feeling of being on the edge. We live in times of change and don’t know what’s coming. How long before our bubble bursts?