23 October - 10 November 2024

Opening Night: Wed 23 Oct, 630-8pm

The walls were coated with countless layers of white latex paint. Factory space. He knew this kind of room, this kind of building: the tenants would operate in the interzone where art wasn’t quite crime, crime not quite art. 

The title for the body of work is inspired by the book by William Gibson's Neuromancer, the first in the Sprawl trilogy and considered a Cyberpunk genre classic.

The works depict abstract figures who represent Cyber Hackers, present day bad actors with futuristic dystopian and artificial intelligent features, whose main objective is to cause major disruptions in various fields including political, economic and mostly societal.

We have all now become potential targets for this type of nefarious activity as our dependency on technology ever increases.

23 October - 10 November 2024

Opening Night: Wed 23 Oct, 630-8pm

In this exhibition, Paula McLoughlin explores the duality of clouds as objects that are both delightful and deceiving. 

Clouds have long held special place in our collective imagination. As children, lying on our backs, gazing up at the sky, playing games of discovery—finding the familiar and creating narratives, blissfully unaware that clouds serve as both subjects of beauty and destruction, symbols of impermanence and change. They can be threatening and divine. 

Through the exploration of artists who have also looked to the sky, each with their own interpretations to clouds, capturing their ephemeral beauty and inviting us to see beyond their surface, the artist employs methods of digital manipulation to disguise a cloud's origin as being natural or manufactured. Using print techniques of colour separation deconstruction and reconstruction, McLoughlin splits the images apart into their constituent marks or dots and brings them back together. McLoughlin's aim in these prints is to present clouds not as singular snapshots but as impressions of an ongoing transformation.

23 October - 10 November 2024

Opening Night: Wed 23 October, 630-8pm

This collection of works is a continuing study of nocturnal activities within a low-relief format. They represent celestial observations gleaned over the past two years. As with past work, Tagliabue has maintained a primary focus on recycling and minimal construction. Highly-crafted, these objects are framed under glass, which not only guarantees protection, but imbues each piece with a much desired museum-like quality.

13 November - 1 December 2024

Opening Night: Wed 13 Nov, 630-8pm

Painting suspends time; it grips the present, acknowledges the past and returns to that illusion of the present - a place where the clock has stopped…for a bit. 

These pictures are about that moment in time; a glance, a stance, a chance for continual growth into the next body of work. 

The work Beat (left) eludes to an internal journey rather than an external image. Impulsive, loaded with feeling and introspection; colourful, yet made during a time of immense sadness and isolation.

The works in this exhibition flips and turns in its subject matter, from the sensory to clarity, abandon and chance form alliance. Some hover between the ‘deliberately unfinished’ to works of many layers and revision over time.

13 November - 1 December 2024

Opening Night: Wed 13 Nov, 630-8pm

Empty  spaces, deserted buildings, old machinery, a chair left behind in a vacated house, a bath-tub, an old lime quarry, silos, textures, polyester curtains, pealing paint, vacant factories, a reminder of manual labour now replaced by technology, the  imagined energy as men and women had vision and creative purpose, and then closure: a slow dismantling inhabited now by a haunting beauty, memories, structures that still stand proudly defying progress until the very last breath.  

13 November - 1 December 2024

Opening Night: Wed 13 Nov, 630-8pm

We’ve all done it. 

From hot summer drives in the back seat of the family sedan to the beach. Long dusty trips to the country visiting Nan at Christmas. Youthful explorations of hiking and camping in the bush experiencing campfires, flies and mozzies. And finally, packing up the ‘van, to do the ‘lap’ and embrace a grey nomad lifestyle. 

These drawings are visions of places, scenes and animals realised in a biomechanical style as seen on the long drive northwards from the chilly south. Pack your imagination and travel from a suburban backyard, through cityscapes and deserts across country to the Queensland cane fields.