Old school photographic magic in a throw away digital world.

In Phillip England‘s photographic studio you can sit for your tintype portrait or arrange one for someone you care about. Wet plate collodion tintype photography, invented in the 1850s and commonly used for portraiture until the end of the 19th century, exemplifies a return to hand crafted image making. The beguiling materiality of a tintype photograph is unique in modern photography. Philip’s artistic practice also embraces other analogue and digital photographic media.

Black and White tintype photograph of a person with long hair wearing a black fedora hat.
Phillip England. Dexter (2016). 5 x 7 inch collodion tintype photograph.
Black and White tintype photograph of a man holding a banjo. The man is wearing a dark jacket and white shirt, and has a beard.
Phillip England. Fred (2019). 5 x 7 inch collodion tintype photograph.
Black and White tintype photograph of a man's face. The backgroud is very dark and the only light is on the left side of the face.
Phillip England. Ryk (2016). 5 x 7 inch collodion tintype photograph.

Abigail Rothery is an emerging artist and recent graduate of the Hunter Street School of Creative Art.

Abigail Rothery‘s work forms an ongoing visual investigation into the human experience of identity, memory, and place based on photographs and constructed scenes of both personal and vicarious visual experiences. She uses distinct dualities and textures through a combination of drawing, painting, printmaking, and collage techniques that continue to be developed and expanded upon in the studio.

Abigail also makes up one-third of the newly-formed Risoprinting press Moon Press, with Leigh Rigozzi and Joshua Santospirinto.

Drawn to worn, textured surfaces, colour and pattern, Antoinette Ellis works primarily in mixed media and collage.

Often using hand coloured papers and found materials, Antoinette seeks to recreate scenes in an alternate form.

Catherine Arsaut is a French-Australian artist and printmaker, working primarily with linoleum, with the most recent focus being the creation of multi-layered relief prints.

Having moved from Europe to Tasmania over a decade ago, Catherine’s prints are a direct reflection of her surrounding environment and depict an endless wonder at Australia’s and most particularly Tasmania’s unique and bountiful fauna and flora.

Emily Snadden is a contemporary Jewellery designer / manufacturer

Emily Snadden’s practice includes production works inspired by Tasmanian flora, contemporary wearable art pieces and one of a kind commission works.

Emily completed a BFA (with Honours) at the University of Tasmania in 2003 before embarking on training to become a qualified manufacturing Jeweller. She graduated from the JAA accredited BA (Jewellery) in 2006 and completed a Master of Arts Practice (Jewellery) with High Distinction in 2009. Emily has worked in the Jewellery industry for over 11 years, both in sales and subsequently as onsite manufacturing Jeweller in a respected high end Jewellery store in Hobart. For the last two years she has concentrated on establishing a small business – Emily Snadden Design. Emily works in precious materials and natural gemstones; my range includes contemporary production works, exhibition pieces and one off commissions.

Emily’s work is heavily influenced by the natural beauty of the Tasmanian landscape and our native flora. She takes inspiration from the unique natural forms within the local environment. Emily is intrigued by the variety of flora, its abundance and the proximity of it to the built up environment. She spends a lot of time wandering in the native bush land collecting specimens to sketch or work from directly through the process of lost wax casting. Her work is both organic and structured – a reference to the proximity and integration of flora and infrastructure within the built up environment. Emily often combine handmade and machine made/cast components which reference the contrast of the forest to the architecture of the city. Her work is both delicate and whimsical; Emily hopes to capture the intricate details, textures and geometry within the Tasmanian environment.

Established in 1994, Hammer & Hand Metal and Jewellery Collective is a working Metal collective with the Workshop and Gallery

Displaying works ranging from forged iron pieces, contemporary jewellery, hand cut and set gems, stainless steel utensils and sculpture, with the emphasis on Metal, recycled or new, and always designed and made by the Members of the Collective.

Every day of the week you will find a different Member in Hammer & Hand, at the bench, working on their own creations.

Creating landscapes and seascapes, Hannah Blackmore‘s work allows her to continually explore new places and painting techniques, inviting the viewer to see nature in different ways.

Hannah Blackmore comes from a creative family and has made art all her life. Working primarily in acrylic, her work has significantly evolved over the years since completing a Fine Arts degree. Hannah is passionate about helping artists succeed and has created a membership site and community for artists called This Business of Art.

Jock Young is a contemporary landscape painter whose main interest is the sea, particularly the interface between sea and land

“I am a full time artist with a career spanning 30 years. I paint in watercolour, gouache and oil paint and makes prints using linocutting. I have had over 30 solo exhibitions in Hobart, Sydney and Melbourne. I have traveled widely to make plein air paintings that I then develop in the studio. Highlights include painting trips to Europe, Asia and mainland Australia.”
– Jock Young

Josef Fazackerley is a Tasmanian emerging artist working in painting, drawing, sculpture and sound.

Julie Payne is nationally recognised artist in the fields of sculpture and drawing

Julie Payne has exhibited nationally in the fields of sculpture and drawing and has been shortlisted for many prestigious art prizes nationally.

In her arts practice, Julie utilises a diversity of materials and techniques to devise rich visual stories. Themes range widely and include interests in Dutch Masters symbolism, Renaissance art practice, material and drawing studies, and contemporary observations of Tasmania. Her background in sculpture and architecture influences many of the works. Recent work has included the creation of site specific text gardens and drawing journals focusing on natural and man made history.