Presented by The Colour Circle

5 – 10 October 2023


Oct 5, 2023 – 6.30pm

Opened by the Lord Mayor, Anna Reynolds


10:00 AM – 4:00 PM

Variations to Daily Opening Times :

10 Oct – Closing at 1pm

Join The Colour Circle as we explore the connections we make through creating and engaging in art. We share our artwork, sketchbooks and inspiration.

Kaleidoscope –  Art connections

An exhibition by members and tutors of The Colour Circle

This exhibition addresses the connections that individuals build through engaging in art. The exhibition explores several degrees of connection within an open subject theme.

1. The connection between the artist and their chosen medium and subject.

Artworks are grouped by similar media and subject to allow the viewer to see the different ways that artists approach the same subject and manipulate the same medium. There will be a full range of media represented including watercolour, soft pastels, oils, acrylics, printmaking, drawing and mixed media. Traditional, contemporary, impressionist, graphic, botanic and abstract styles are all represented.

Brief written comments by the artist will accompany some artworks to share insights into their connection to the subject, style and medium.

2. The connection between mentor and student.

This connection is demonstrated to the wider community as visitors to the Long Gallery experience The Colour Circle tutors creating artwork live in a variety of media.

The Tutors will take questions, provide advice and discuss how their artwork develops and what inspires and informs their creativity as well as the methods they use to transfer knowledge and skills to students and guide them to finding their own artistic voice. These will be interactive sessions allowing for public input.

The Colour Circle tutor faculty is made up of a highly professional and talented team of artists  including:

Joan Humble OAM, Traditional Oils

Amber Koroluk-Stephenson, Contemporary Oils and Acrylics

Lynne Brown and Tony White , Watercolours

Lindy Whitton, Pastels and Collagraphs

Denise Hallett and Angela Cooper, Printmaking

Tanya Scharaschkin, Botanic Drawing

Mel Hills, Drawing and Plein Air

Felicity Lovett, Life Drawing

Engaging in art is a very therapeutic practice with many benefits to individuals and communities and this part of the exhibition is aimed at fostering an interest in engaging in art.

3. The connection between the artist and the wider community.

Meeting and talking with an artist can add another dimension of understanding and interest to an exhibition and gives greater insight to the wider community about how art impacts on individuals.

Throughout the exhibition member artists will be on the floor sharing their insights, working methods and art appreciation with interested visitors.

There will be QR codes next to some art works for viewers to scan and view a  video by the artist. These will range from a brief comment about the art inspiration, a look through the sketchbook of the artist to a timelapse video of the painting process.

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 us 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.

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.

Catherine Stringer

28 September – 8 October 2023

Opening event:

Friday 29 September – 5:30pm-7:30pm

Catherine’s exhibition will be opened by Seán Kelly. 

Seán is a Curator, Arts Writer and Re-emerging Artist.

Daily Opening Times :

9.30am – 5pm daily (Closing at 4pm on the final day)

Ocean Windows presents a series of luminous seaweed paper artworks inspired by the traditional rose windows of Gothic cathedrals and the universal symbolism of the circle.

‘Ocean Windows’ combines the delicate translucent textures of seaweed paper with the timeless appeal of traditional stained glass windows. Inspiration is drawn from the ornate rose windows that adorn European Gothic cathedrals, and the universal symbolism of the circle.

Tasmanian artist Catherine Stringer has been researching the making of paper from seaweed for over 10 years. This series represents a significant progression in her seaweed papermaking practice, with the development of new techniques and themes.

The artworks in ‘Ocean Windows’ are all circular in design and depict various marine themes. Each one is constructed from many different seaweed papers, handmade from a wide range of Tasmanian seaweeds. They are framed and displayed in a manner which allows light to filter though from behind, illuminating and enlivening the images.

The circle’s symbolic significance has traversed diverse cultures and religions throughout history, embodying themes of unity, wholeness and the cyclical nature of existence. It is evident in prehistoric petroglyphs and megalithic structures, the Eastern Yin-Yang symbol, the Native American medicine wheel, Celtic knots, and in the religious mandalas of Hinduism and Buddhism.

More recently, Jungian psychology recognises the circle as a powerful archetype originating in the collective unconscious. Jung saw mandalas as portals to the inner world, and manifestations of the psyche’s efforts to integrate and balance the conscious and unconscious aspects of the self. Meditating on mandalas was thought to promote self-discovery, healing and personal transformation.

The intricate stained glass panels within the awe inspiring rose windows of Christian cathedrals often depict spiritual themes and religious teachings. However the geometrical design and powerful radiant light mediate a profound effect on the viewer which transcends words. They can be viewed as metaphorical gateways between earthly and heavenly realms and expressions of humankind’s highest aspirations towards wholeness and coherence. They continue to resonate with viewers today, surpassing cultural boundaries and speaking to the deepest aspects of human experience and spirituality.

The seaweed paper artworks in ‘Ocean Windows’ meld organic materials with spiritual inspiration, tradition with innovation. Although not of the scale or grandeur of the Gothic rose windows they share their luminosity and circular design. Similarly, these ‘windows to the deep’ may allude to things that are ‘beneath the surface’ or usually hidden from view, but the ethereal evocative imagery promotes an initial visceral or intuitive response and invites contemplation and reflection.

Andrea Jordan & Sallee Warner

15 – 25 September 2023

Opening event:

September 15 – 5pm

Daily Opening Times :

Weekdays 10 – 4pm
Saturday 9.30am -4.00pm
Sunday 10am – 4.00pm
Monday 25th September 10.00 am – 4.00pm

STILL is an exhibition by Andrea Jordan, painter and Sallee Warner, ceramicist, revealing the humanity and beauty found in the simple objects of everyday life.


    Andrea Jordan Painting

    Sallee Warner Ceramics

This exhibition is a collaboration between two good friends: a painter, Andrea Jordan and a ceramicist, Sallee Warner, exploring a common approach in our separate disciplines. We share a love of art that is quiet and dignified, with intrinsic humanity and beauty. These qualities are reflected in the work that we each bring to this exhibition.


The paintings are intended to be calm, quiet and contemplative – a still life, investigating the intrinsic value of everyday objects and celebrating the human touch. I have long admired that quality in Sallee’s ceramics, some of which can be found in my paintings.

I surround myself in the studio with my paintings and other collections, taking pleasure in composing the subjects and exploring the contribution of their shadows, seeking balance and harmony in the conversations between subject, lighting and shadow.

I have developed the techniques employed in these paintings over many years, based originally on those of the master painters of the Renaissance.

The simplicity of subject matter in these paintings and the calming, muted colour palette allow the objects to speak quietly of their worth.


“Something beautiful to behold in the form of an object you can use.”

My work is about making purposeful pots, using soft clay thrown on the pottery wheel, enhancing the throwing lines and ridges that reside in the memory of the making.

The simplicity of the form engages you not only in the function of the vessel, but in the unique textural quality of being handmade.

Things, things that we use every day surround us. By bringing this concept to the table and experiencing the contact of living with and using hand made pots we can elevate the ordinariness.

While using hand made pots you may notice a signature, maybe a shell imprint, subtle contours and character of forms. Traces of knowing it has been considered and thought through.

You may even know the maker, bringing a little bit of joy into your day.

Presented by Anna Brooks

Daily opening times:

September 21 – October 2, 2023

9.30am – 5pm
Closing at 2pm on October 2

This exhibition explores the impact of bushfire on vegetation and landscapes and aims to evoke a sense of ecological distress.

I have tried to distil my own experiences of being in burnt areas… charred trunks, blackened soils, smoke-laden air, and the ground naked of vegetation so that the rocks and geology show more definitively.  For me, burned landscapes evoke a sense of loss and sadness, of unease at the known world made unfamiliar, and empathy for the burned and maimed trees.

Australia is one of the most bushfire-prone continents and bushfires are culturally and environmentally significant.  In south-eastern Australia, the frequency and intensity of fires has increased since the 1950s and scientists predict this increase will continue due to climate change.  News stories focus on the effect of fires on people.  However, frequent and severe bushfires also seriously alter natural ecosystems, and will likely contribute to loss of species, and reduced genetic diversity.

Shanshan Ai and Xingming Wu

7 – 13 September 2023

Opening event:

7 September – 6.30pm

Daily Opening Times :

9am – 6pm daily

‘Entangled in Movement’ is an exhibition explores the connections between migration and traditional art memory. The exhibition brings together two artists to exploring these themes. Shanshan’s work focuses on the relationship between weeds and migrants, while Xingming remaining memory of Chinese painting to explore the concept of movement and migration.

Entangled in Movement: An Exploration of Beauty of Migration and Remembering


‘Entangled in Movement’ is a group art exhibition that explores the connections between migration and traditional art memory. The exhibition brings together two artists, each with their unique approach to exploring these themes. One artist’s work focuses on the relationship between weeds and migrants, while the other employs remaining memory of Chinese painting to explore the concept of movement and migration.


-Artist 1: Shanshan Ai, works are inspired by the idea that aims to explore a psychological expectation of migrants who survive harmoniously in the host country, in a similar manner as introduced weeds. This examination of migrancy and exotic plants, in the form of art might foster the emplacement and emotional identity of people who are living far from home.The artist creates intricate, layered compositions that invoke canvas materials and installation to create a sense of beauty and strength. Trying to find a close and positive connection which brings harmonious coexistence and mutual benefit, which are exists in both plants and humans. The artworks exploring the meaning of our existence and the direction of our common development.

-Artist 2: Xingming Wu, specializes in traditional Chinese ink painting techniques to explore the concept of dust-laden treasure and migration. The artists’ works are inspired by the ancient Chinese tradition of literati painting, which emphasizes the importance of the artist’s personal expression and interpretation.

Although across culture the art still rooted the traditional methods to bring art form in contemporary concept. Through delicate brushstrokes and subtle use of colour, the artist creates ethereal character that convey a sense of fluidity, motion and unfailing manner.

Exhibition Design:

The exhibition is designed to create a sense of beauty and eternity, a way of movement and flow, with the artworks arranged in a way that encourages visitors to explore the space two artists’ works. The exhibition space will be divided into two sections, with each artist’s works displayed in its own area. The First section will feature the mixed materials works of Artist 1 (Shanshan Ai), while the second section will showcase the traditional Chinese ink paintings of Artist 2 (Xingming Wu).


‘Entangled in Movement’ is a thought-provoking exhibition that invites visitors to explore the connections between migration and traditional art techniques. By bringing together two artists with their unique perspectives on these themes, the exhibition offers a rich and nuanced exploration of beauty, movement, growth, precious value and human experience.






作品的灵感来自于一个旨在探索在东道国和谐生存的移民的心理期望——就像引进的杂草一样。这种以艺术的形式对迁移和外来植物的研究,希冀促进生活在远离家乡的人们对身份的认同以及情感的依托。艺术家创造了繁密分层的作品,援引画布材料和装置来创造一种美丽和力量的感觉传递。试图找到一种紧密和积极的联系,带来存在于植物和人类, 不同种族之间和谐共存和互利。艺术家的作品探索了我们存在的意义和我们共同发展的方向。







Presented by Stitching and Beyond Inc

Opening times:
22 Sept – 2 Oct, 2023

Monday 2 Oct 10.00 am – 3.00 pm

Stitching and Beyond’s biennial exhibition celebrating the creative works of its members.

An exhibition by members of Stitching and Beyond showcasing the diverse and innovative approaches members have to fibre and textile arts. Stitching and Beyond is a diverse group of textile artists exploring innovative approaches to textiles, fibre and mixed media arts. The exhibition is inclusive and open to all Stitching and Beyond members, whether they be professional or amateur artists.

Textile art in all its forms will be on display, including functional, decorative, fine and wearable works. A Curator’s and 6 People’s Choice awards are on offer. Visitors can enjoy live demonstrations and member attendants will be on hand to assist with visitor queries regarding exhibitors and their works, fibre art processes and practices, and group membership.

The popular ‘Member Challenge’ pieces for 2022 and 2023 will be displayed alongside the exhibition. In 2022 the theme was ‘Threads of Life’ and in 2023 it was ‘Under the Microscope’. The 2022 Challenge pieces will be returning from its year travelling around regional Tasmania and the 2023 exhibit will be beginning its journey around the state.

Presented by Stitching and Beyond Inc

A wonderful display of colourful and creative birds created by members of Stitching and Beyond to herald the coming of our Biennial Out of Hand exhibition.

Every two years Stitching and Beyond hold an exhibition to showcase the wonderful work of its member textile artists. Stitching and Beyond is a diverse group of textile artists exploring innovative approaches to textiles, fibre and mixed media arts. The Out of Hand exhibition is inclusive and open to all Stitching and Beyond members, whether they be professional or amateur artists.

Leading up to the Out of Hand exhibition, Stitching and Beyond create a themed display for the LightBox to help promote the exhibition. In 2023 the theme is Birds. This theme came about because many of our members were creating such beautiful birds and we decided that they needed to be displayed. The birds and nests on display are created from a variety of techniques and materials. Many are made from recycled fabric and other materials.

Presented by Jay Sykes

Opening event:

31 August 2023, 6:00PM

Daily opening times:

1 – 25 September, 2023

10:00 AM – 4:00 PM

Variations to Daily Opening Times :

Closed Sundays

“In and Out of Focus” addresses emotion, visual impairment, memory and landscape, presenting oil paintings of Tasmanian scenes that are both emotionally in and visually out of focus.

“In and Out of Focus” addresses emotion, visual impairment, memory and landscape. The pieces involved are both emotionally in and visually out of focus – the brushstrokes are intended the capture the enigmatic ‘feel’ of a landscape, where as the departure from realism hints at the fuzzy appearance of a scene viewed without visual aids.

The medium of oils was chosen because of its tendency to build a three-dimensional surface for a two-dimensional work, lending a kind of realism to even extremely abstract depictions. Oil paint also has the advantage of extremely evident brushstrokes, which have been executed differently for each landscape to represent the emotional quality of the place. This technique also hints at the ‘texture’ with which short-sighted eyes perceive the world around them, which is always the impression left in the artist’s brain.

Among complete paintings are unfinished works, ‘fallen’ to the floor, some with only a fraction of the canvas covered in paint. This is intended to add to the impression that the exhibition occurs somewhere within the artist’s mind, the unfinished pieces representing the degradation of memory over time.