Current Exhibitions

February Exhibition

30 January to 25 February (Opening 3 February)

‘caelum et terram (sky and earth)’:  Martin King

In his large etching titled Overflow we see a cormorant silhouetted in stages of flight — the site could be anywhere, and it could be any bird flying in our field of vision, but it is, in fact, the Darling River.

The artist Martin King, believes that birds have a timeless quality and an ability to ‘carry all history before them’, in which they hold not one reality but many.  Images of birds have pre-occupied King for the past two decades, and his use of the darkened silhouette is both a romantic, temporal image of time or things passing, as well as an enigmatic or atmospheric play about distance, vision and movement.

As King has said, ‘I  am not concerned with ornithological accuracy; I want to convey the patterned elements, the texture and the shape, the physical lightness of the form’. But his art is also homage to the species.

Above all Martin King’s interest in birds, both as a printmaker and a lay ornithologist is about our connection with nature and the life of birds, between the earth and the sky.

‘Ebb and Flow’: Mandy Gunn

At Cassis the pebbles, the fish,
Rocks under a magnifying glass,
Sea salt and the sky,
Have made me forget human pretensions,
Have invited me
To turn my back
On the chaos of our goings on,
Have shown me eternity
In the little waves of the harbour
Which repeat themselves
Without repeating themselves.

This poem by one of the French Romantic Poets has been pinned on my studio wall for the last 25 years.  It sums up my feelings about landscape; communication with patterns, repetitions and rhythms of nature, something larger than one’s self and one’s immediate world, as well as solace, calm and connection with something ancient.

​I have learned a great deal  through working with and visiting indigenous people and their country.

The works on show have been completed over the past year or so.  I live next to a coastal park, I see the oceans; its colours, its movements, I hear its roar and its moods – it gets into your system.

I work flat so I am looking down on the work like the aerial image ​it shows; I use mainly palette knives and spoons to apply the paint, which I have premixed into a range of colours.  I paint from images in the mind and memories of constant looking.  It’s an exciting process: the materials often react in ways I don’t expect.