19 March - 6 April 2025

Opening Night: Wed 19 Mar, 630-8pm

This exhibition is inspired by the fascinating era of social change and popular entertainment.

The Roaring Twenties refers to the 1920s decade in music, fashion, design as it happened in a post-World War I western society and western culture. It was a period of economic prosperity with a distinctive cultural edge in the United States and Europe.

Jazz blossomed, the flapper redefined the modern look for women and art deco peaked. They would dance the Charleston, the shimmy and the bunny hug. The women would go out in public without chaperones and attended speakeasies where they drank and smoked. The liveliness of the period stands in marked contrast to the historical crises of the decades either side and there was a mood of exuberant optimism.

19 March - 6 April 2025

Opening Night: Wed 19 Mar, 630-8pm

This exhibition includes a progression between works that lean toward the abstract and works that lean toward the representational. 

The unifying threads throughout these works include, but are not limited to, my intrigue with colour and line, text and sound, and my love of the trees in the Australian bush. The messy Australian Bush. The unorganised, unordered and reaching-for-the-sky Australian bush with its horizontals and verticals, calmness, vastness, colours, textures and sounds. Landscapes of extremes. 

I make these works to remind me that there is beauty, intrigue and surprise in our world despite the ugliness, cruelty and fear that is also prevalent.

19 March - 6 April 2025

Opening Night: Wed 19 Mar, 630-8pm

Following on from the solo exhibition in August of last year, RhD+ II continues TJ Bateson's exploration of the creation of work looking into the altered states of difference.

19 March - 6 April 2025

Opening Night: Wed 19 March, 630-8pm

Group exhibition of Tacit-represented artists whose work featured is non-objective abstraction - immersive fields of abstraction without a specific, identifiable, quantifiable or observable focal point. A totality of aesthetic experience in its ethereal quiet.

Artists featured: TJ Bateson, Terri Brooks, Robyn Burgess, Claire Mooney, Brigitta Wolfram

9 April - 4 May 2025

Opening Night: Wed 9 Apr, 630-8pm

This collection of works demonstrates the development of Sarah Coffey's interest in the interplay of botanical materials, museological display and our place within the natural world. 

Coffey's concern about the increasing degradation of our environment is evidenced in the depiction of these imagined creatures as extinct, untouchable and revered. The works highlight the fragile beauty of the materials and remind us of the constant encroachment of the built environment on the natural world.

9 April - 4 May 2025

Opening Night: Wed 9 April, 630-8pm

Inspired by the sublime beauty of nature, Kylie Fogarty creates atmospheric drawings which evoke a sense of wonder and adventure. 

With a poetic response to time and place, her signature line work and expressive marks serve as a narration on the ever-changing natural world we share. Propelled by the possibility of new discoveries, Fogarty embraces a visceral approach, continually searching for the unexpected.

In this body of work, long gestural lines are employed as a connection to the terrain, while reflecting on the tranquillity found on mountainsides and near waterfalls. Revisiting past hikes in the mountains, treks through the rainforest and long walks, Fogarty is often transported back to discoveries when exploring the diverse ecosystems of Bundjalung National Park and Nightcap National Park around the Northern NSW area of Australia.

9 April - 4 May 2025

Opening Night: Wed 23 Oct, 630-8pm

Imagined, remembered or mythical - in the corners of our collective and personal memories, the vast space of inland Australia informs our national identity.

A recent road trip to Western Queensland where both my mother and I were born, a place of fading and shrinking towns of this marginal country. She is my link to our family’s colonial past and embodies the optimism and confidence of generations of Settlers.

With visions of Arcadian splendour, they imposed European farming practices onto the Australian landscape - blind to the sophistication of existing systems. In this new body of work, remnants of this vision appear like forgotten memorials being reabsorbed by the landscape. Rusting metal artefacts, faded signage and lost fence lines retain only traces of their original purpose. And between petrol stops, small towns laden with too many buildings and no services quietly disintegrate. Meanwhile, the population is still waiting for rain.

9 April - 4 May 2025

Opening Night: Wed 9 Apr, 630-8pm

Lynden Stone's current body of artwork questions the unique role human observation, or consciousness, might play in collapse of quantum superposition. Through the use of metaphor and installation, she intends to disrupt viewers’ expectations of material reality.

In exploring human consciousness as the possible agent of collapse of quantum superposition, Stone examines the role of the observer in creating observed phenomena, highlighting the fact that we may be in a participatory universe. She uses the Klein bottle as a metaphor for the possible creative relationship between ourselves and the material world.

The Klein bottle is a mathematical construct existing in four dimensions where it is: both open and closed; continuously one-sided; and without the need for self-penetration. In essence it is describing the continual creative dynamic and interplay of subject, object and space - the dynamic relationship between observation and creation.

Stone also uses marbles as a reference to Newtonian physics - that is to say, the way we ordinarily experience material reality of cause and effect and also of gravity.