With writing in English, Portuguese and Chinese, and artworks that speak a language of their own, 'Macau Days' began as a collaboration between artist John Young and poet Brian Castro on the transcultural history of the region.
Slightly larger than your hand-span ‘border lines’ is a tidy hermetic title that blends several stories and poems by Lloyd Jones with alternating pages of drawing by Ian North; only 200 copies produced.
Taking its name from the RGB colour model, ‘Red Green Blue’ examines video art and addresses the lack of accurate documentation of the medium in Australia since its emergence during the late 1960s and 70s.
'Burn City: Melbourne’s Painted Streets' is Lou Chamberlin's fourth publication focusing on vibrant spray painted murals, stencil art and paste ups which adorn the laneways and streetscapes of the city.
Bruno Leti’s devotion to the experience of landscape and passage of time is enriched by ‘historic consciousness’ and is core to his poetic non-figurative approach. In ‘Assonances’ we see the material outcome of these concepts.
Liz Williams (1942-2017) explored the realities and complexities of human emotion, movement and expression in her unique figurative coil-built clay sculptures. She captured grace and beauty in gesture and pose.
Promoting the value of art, institutions, art workers and public programs in our lives is admirable. At times off-key, 'Culture Heist' still provokes necessary conversation about transparency and support for our institutions.
Sydney-based photographer Bec Parsons' work has featured in numerous fashion publications. Her creative eye and skill behind the lens translates to a distinct style of raw, unfussed images that focus solely on the subject.
Gordon Hookey’s MURRILAND! (2015-ongoing), is a monumental series of 10-metre long canvases that capture the history of Queensland and the country’s still-prevalent narrative of dispossession from an Indigenous view point.