Polynesian wayfinding is alive in the Solomon Islands
“We are the crew of Lata, the Polynesian culture-hero who built the first vaka (oceanic voyaging canoe) and navigated across the Pacific. We use only the ancient designs, materials, and methods of Lata, and from Lataʻs story we learn how to avoid making big mistakes. We invite everyone to reconnect with ancestors and sustainable lifeways. Join us in the real Moana!”
Films & Screening Times Sunday 12 February 2023@ 4:00pm (57 minutes)
Free Event
Image courtesy of Clipper Ship City of Adelaide
Launched in 1864, the City of Adelaide is the older of only two surviving composite clipper ships. The other is the world famous Cutty Sark.
The derelict vessel faced being broken up in Scotland when in 2000 an Adelaide group of volunteers started a campaign to save it.
This film showcases the engineering task of designing how to lift the ship, its actual move from Scottish soil and its relocation to Port Adelaide.
Films & Screening Times Sunday 12 February 2023@ 3:00pm (35 minutes)
Free Event
Image courtesy of Garry Kerr
A triple feature by Australia’s premier maritime history documentarian, Gary Kerr.
Watch just one film or stay for all three! Enjoy a 10 minute Q&A with Garry Kerr after each film.
Films & Screening Times Sunday 12 February 2023 10:00am : Trading Out of Hobart (67mins) 11:30am : The Last Cape Horners (73mins) 1:00pm : Two Men in a Punt (96mins)
Saturday 11 February 2023, 10:00am – 11:00am Duration : 60 Minutes | No Interval
Join women sailors from WWSA — Women Who Sail Australia — for a fun and informative hour sharing practical knowledge, stories, and friendship about sailing.
If you’re already a member of WWSA you will know how inclusive and supportive this group is … if you’re not a member yet come along to learn about our great group.
WWSA is a mix of skippers, cruisers, racers, and women just starting out enjoying wooden boats as well as modern production boats. Two accomplished Tasmanian skippers will share some of their tips and experiences on the day. They will also share some of the special places here in Tasmania to take your boat, accompanied by lots of great photos.
In addition, there will be hands-on advice and demonstrations of rope handling and shorthanded berthing.
Roger Imms. Bow Wave 2 Crossing Storm Bay, Sailing Fast
Artists across Tasmania present their own interpretation of the broad theme of water in any medium.
As an island we are surrounded by water so there is ample opportunity to capture its mood and beauty.
The Water Ways exhibition has artwork across all styles and media including painting, sculptures and photography. The works range from representational and abstraction to environmental commentary.
Art is for everyone. All artists create in an individual way and viewers will connect with a work for a very personal reason. Reflecting this unique but valid bond the major prize of $2000 will be decided not by judges, but by people’s choice vote. We invite visitors to engage with the art by voting for their favourite art work.
Prominent members of our community are asked to select their favourite artwork and give a reason for their choice. The diversity of choices is interesting to see.
Diane Casimaty. Spring Bay
Maggie Rees. Clydes and Shells
Rick Crossland. Blunnies on the Beach
Opening Event Friday 20 January 2023 6:00pm – 7:30pm Opening address by Dr Toby Juliff, Lecturer in Art at the School of Creative Arts and Media, UTAS
Chaos and order are two fundamental elements of lived experience, the two most basic subdivisions of the Self. The spaces between these elements are where life exists and where identity rests.
Experiences of Being is a group exhibition by Romany Best, Donna Bergshoeff and Skye Mescall exploring the concepts of order and chaos as they are linked with the creative identity. Through the mediums of painting and photography Best, Bergshoeff and Mescall explore how three different artists represent order and chaos within their work.
Best utilises her studio as a manifestation of her inner chaos, bursting with abandoned paintings, half-finished projects and canvases all in states of preparation. Her life, overflowing with unmanaged baggage, is represented by the anarchy of her studio.
Mescall works with stacks and files of images, lists and notes hoarded over years, layered and replicated, trying to find small glimpses of beauty in mess, order in chaos, finding how her creative identity exists within the liminal spaces.
Bergshoeff utilises photographic diptychs to play with the viewers’ way of seeing and our natural proclivity to create order out of chaos. She finds scenes where images of chaos exist next to scenes of order and plays with the spaces between asking the viewer to examine one state, then the other and finally the two as one image. Together these works explore how it is to inhabit shifting liminal spaces between order and chaos.
Skye Mescall. Through a glass (2022). Oil on board. 40 x 50cm
Romany Best. Mo Pussy (2022-23). Oil on canvas. 76 x 91cm
Donna Bergshoeff. Liminal 3 (2021). Fiber based gelatine print. 81 x 51cm
Lynn Kelly. Awash (2021). Oil on canvas. 90cm x 90cm
Opening Event Thursday 2 March 2023 6:00pm – 8:00pm
Waterforms is a series that investigates natural design. The paintings are impressionistic interpretations of segments of water views from Tasmanian places visited by emerging artist, Lynn Kelly.
Natural elements interact to control energy and atmosphere. Conditions can change quickly. Our environmental experiences are affected by times of day, weather and our points of view.
Likewise, in a painting the visual components are combined and arranged to express mood and movement.
These works are sections from water views removed from their scenic contexts. They are square in format, making them somewhat ambiguous.
Rather than making pictures the aim was to explore how colours and shapes can be composed to evoke a feeling and create the impression of a place.
Lynn Kelly. Seethe (2022). Oil on canvas. 100cm x 100cm
Lynn Kelly. Quietude (2022). Oil on canvas. 100cm x 100cm
Lynn Kelly. Under the Bridge (2021). Oil on canvas. 90cm x 90cm
Rachel Bremner. Song 5 (2021). Atone, venetian smalti. 30 x 30cm
Opening Event Thursday 16 March 2023 5:30pm – 7:30pm
An exhibition of contemporary mosaic works by Rachel Bremner, created to encourage the viewer to find personal meaning that resonates emotionally, without prompts, like listening to songs without words.
“From early childhood leading up to my life as a visual artist, I trained and performed as a professional violinist. I continue to be fascinated by the similarities, and the differences between the two forms of artistic expression.
I had never conceived of music as an art form that needed words to provide background or convey what I meant to express.
Expressing myself in words has never come easily to me, I can rarely find the right ones for my purpose, music was always a perfect medium for my intense sense of privacy. In music performance I could present my inner world to the audience, all my thoughts, reactions, emotions without having to describe the background story.
When I started to put my mosaic work out into the world, in contrast to music-making I struggled with the obligation in the art world to use words when presenting to an audience. I felt a growing conflict with the wordless immediacy with which I wanted to engage and how much words can interfere with that engagement.
I present this exhibition as an offering to the audience to pause, observe each work and examine emotional reactions in their own terms, with no titles, no accompanying prompts.” – Rachel Bremner
Rachel Bremner. Song 20 (2022). Stone, venetian smalti. 30 x 30cm
Rachel Bremner. Song 3 (2021). Stone, smalti, shell, bone, ceramic, 24k gold. 30 x 30cm
Rachel Bremner. Song 6 (2021). Stone, 24K golds. 30 x 30cm
Peter Rudd. Plate Glass, Elizabeth Street (detail) (2022). Oil on canvas. 61cm x 83.5cm
A pictorial journey through Hobart en plein air by Peter Rudd.
“My recent cityscapes depict the streets, buildings, parks and docks of Hobart. I like to paint outdoors because I am drawn to the colour of light at different times of day, and in different weather, and I want to translate my experience of looking at it into paint.
Painting these pictures has been my way of getting to know Hobart. I have chosen subjects which produce an emotional response in me, and which I feel express the charm of the city. I have especially enjoyed observing the layering of old and new architecture which can be seen in Hobart wherever one goes.” – Peter Rudd
Peter Rudd. Houses by the Brooker Highway (detail) (2022).Oil on panel. 58cm x 50cm
Peter Rudd. A View through a Window on Macquarie Street (detail) (2022). Oil on cardboard. 44.5cm x 65.5cm
Peter Rudd. A View from Paviour Street, New Town (detail) (2021). Oil on panel. 41.5cm x 50cm
Christian Little. In Passing (2023). Digital Image.
A window into the influence of the natural world on our urban experience through light and our perception of time.
The installation, In Passing by SAC Resident Artist Christian Little, thematically explores time and our collective perception of the natural environment as ‘other’ in the urban landscape through a site-specific investigation of Salamanca. Utilising photographic imagery based within a systematic process of recording spaces throughout Salamanca repeatedly across months, documenting the natural change of weather, bloom, and decay.
Born from time in studio observing light cascade through the window from the courtyard outside. This installation draws attention to those unintentional moments spent in passing, encouraging an awareness of the ambient presence of the environment in our lives. Constructed using translucent acrylic sheets and paper, the materials and composition echo the original window experience of the artist. This collaboration with natural light changes the viewer’s perception of the installation throughout time of day and climate. Whilst the ephemeral quality of the semi-translucent photographs benefits from multiple viewings from different perspectives and an acute observation of nature’s aesthetic influence. Ultimately, ‘In Passing’ encourages a more intentional relationship with the surrounding processes of nature in the urban environment.
