25 November 2022 In NEWS
Breeze - by Matt Bromhead, Charcoal, ink, rice paper, Kozo paper on board, 153 x 123cm Breeze - by Matt Bromhead, Charcoal, ink, rice paper, Kozo paper on board, 153 x 123cm



In Alphabetical Order of Artists' Names




Dimensions include frame (if any)







The Britney Spears Freedom Galaxy Endowment


51 x 76                         Mixed media on paper                       $2300

A group of starfish are called a galaxy, ‘The Britney Spears Freedom Galaxy Endowment’ is a safe galaxy for Britney Spears after her stardom and #freebritney outcome from the conservatorship, despite the expectations of hyper-celebritism and cultural expectation.










Still Life with Dog


76 x 102                      Acrylic on paper                      $1950

Some of my favourite things.










Surprise Party


86 x 138                     Charcoal                      $8000

In my work I seek to explore the relationship between dream, myth & imagination.
These themes have been informed by my interest in symbolism and the unconscious life over many years. My love of theatre has given me the format of the stage and its accompanying language of props, sets and costumes on which to compose these characters that represent aspects of the psyche.
These aspects can take many forms.
From the heroic to the angelic, the magician to the trickster. the dreamer to the warrior and beyond.










Macae' River


81 x 122                     Oil on board                    $2800

At a distant quiet breeze
Rolling wind
Swaying to the right
Swaying to the left
A welcoming harbor
cheering up serendipity
being that which holds
Navigates through water
And lets one swim…
It'll all flow downstream into one ocean.










Winter Landscape 1


73 x 91                  Acrylic on canvas                   $5500

The sky seems lower and the colours softer. A feeling of intimacy surrounds me in my relation to the landscape. After spending time in South Korea, the difference in intensity and scale of Australian vistas became apparent to me during the creation of this painting. I relate to the landscape, to the light, the sky and the land, it all seems familiar to me.













153 x 123        Charcoal, ink, rice paper, Kozo paper on board


Breeze is constructed using layers of mulberry and rice paper, bound together with rice paste. Each layer responds to the one previous until a kind of aggregate image is formed, showing both the history of its making and a final posture.










Heart Strings - Cot Sheet


20 x 14                 Damaged cotton cot sheet, cotton thread

$590 (SOLD)

This work is made out of a cotton cot sheet that both my daughters slept on as babies. We don't need it anymore but I still felt unreasonably sad when I accidentally dyed it mottled pink in the wash. And so this work feels very close to my heart - all the memories of those sleepy bunnies making a mockery of me while I tried to get the girls to sleep - creating it felt like honouring their babyhoods and the labour of my motherhood.










An Author's Devotions


120 x 60           Oil on American oak panel              $2500

Women who create inspire me, and Emily Bitto is dedicated to her craft.
Bitto's debut novel, The Strays, won the Stella Prize. Last year, she released her latest novel, Wild Abandon.
One of the experiences that assisted her in writing her second novel was undertaking an artist residency in Italy. Here, she threw herself into writing and while doing so collected silver ex-voto offerings from street traders who sat beside churches and cathedrals. For this portrait, I have depicted Emily with a collection of ex-votos, but instead of being the ones she collected while in Italy, I have modelled them off elements of her life and from her stories. Tigers, cocktails, pens, coffee beans - and an eye and sacred heart to symbolise her constant fascination and devotion to her craft and with the world.










Portrait in the Studio


78 x 61            Oil on canvas              $3000

A portrait of a fellow artist in the studio. Her posture and clothing are exaggerated to blend in with the orthogonal shapes that make up the furniture and fixtures inside the studio. In this manner, the subject of the painting is less so the sitter - rather it is about the atmosphere of the studio.










Dangar Jetty


104 x 124                Oil on canvas                  $7800

The older wooden jetties of the Hawkesbury River are crumbling structures, in the process of returning to the elements from which they came.

For me, their beauty lies in their broken, calligraphic lines that emerge from fields of space and colour, while their impermanence hints at the temporary nature of human endeavour.










The Dog Walkers


105 x 140             Polymer ink and paint on canvas               $9000










The Future


147 x 79               Ink on rice paper                $3800

I can regard a bifurcating road arrow, its paint gradually succumbing to weather, as a visual metaphor for collective or individual choices, when contemplating the future, as well as their outcome.










Pool Flat No 3


101 x 84                Oil on canvas                $7500

I love the way Angophoras articulate in space.
I am interested in the unique rhythms of the Australian landscape where feelings, not facts, dominate my work.
I am prepared to sacrifice details, insisting on the reconstruction of my experience of place, in an attempt to pin down the quintessentials of my subject.
My work is a combination of the real and the imagined, the inspiration for
which is taken directly from life around me.
The marks in my work are completely spontaneous and intuitive.
I am always interested in transcending appearances in order to discover
new pictorial truths.










Roadside Bouquet


120 x 107               Hand rubbed lino block print on Wenzhou paper editioned by artist


‘Roadside bouquet’ is one of a series of lino block prints made to acknowledge Ben and Hazel Broadhurst’s bequest of their Gymea home and garden, Hazelhurst, to the Sutherland Shire community. The cottage built in 1946 has been restored and remains on the site of the Hazelhurst Art Centre. It contains artist-in-residence accommodation, an art library and a friends and volunteers meeting room.
In 1945, the Sydney Metropolitan area ended at Tom Uglies Bridge. Attracted to this rural setting, Ben and Hazel found …. “Flannel flowers, banksia, ti-tree, freesias, gum-tips, calliopsis, and blackberries all grew in profusion at the roadside, where many small farms sold their produce at stalls as well as sending it to the markets”. *
This print re-imagines a flower arrangement made up of these roadside plants.
*The Hazelhurst Story courtesy Hazelhurst Arts Centre










A New Landscape Imagined


70 x 20            Glazed ceramic and Casuarina tree branchlet

$360 (SOLD)

The Calligraphy brush has the power to materialise thought and make abstract ideas legible. This brush object with its bark-like handle and Casuarina branchlet brush evokes the beauty of a single tree. Australia’s rate of land clearing is aggressive, and as a society we must better value the trees we have still standing in our rich and varied landscapes. Additionally, if everyone ‘created’ just one tree by planting one; a forest could be reimagined in places where there is none.










Choose the Future: Electrify!


62 x 15               Ceramic               $650

The future world is reliant on electrifying our grids as soon as possible with renewable energy sources and phasing out fossil fuels. We must decarbonise the world to achieve a net zero in greenhouse gas emissions by 2050 to have any future at all. Just as a tree or plant needs wind, sunshine, and water to grow, we too will need to enhance our harnessing of these resources to build our capacity to cope with more than twice the electrical energy we use today. Plug in like a plant and choose a better future.










This Fish with The Ghost of Breathing


50 x 35               Watercolour and pigments on paper            $520 (SOLD)

To be a fish means apprehending the world through bodily sensations, which provide a different map pf the ocean world than that of human vision. I like to think that all actions are embedded in the water, and that fish know what has been: each birth, each death, each breath.










Global Bodies


100 X 100               Acrylic on canvas                $8000

My painting 'Global Bodies' depicts our bodily interaction with nature (represented by flowers) and technology (represented by robots) at a global crossroads in which the balance of our bodily relationship with the natural world and with each other is critical for humanity's future existence. Overwhelmed by the current environmental, economic and health crises, our once sublime and arrogant bodies have become fragile, disoriented, fragmented and threatened as the circulation of the ecosystem is destroyed and our wellbeing is affected. On this crossroads to the global future, our bodies’ interaction with the natural world hangs in the balance and this state is a wakeup call for us to rethink the balance between humanity and nature and to re-examine the environmental, technological, economic and societal developments that are crucial for our future survival.










Banyan: Tree of Life


90 X 100          Night photograph printed with archival pigment on canvas, acrylic paint


Known across cultures as 'The Tree of Life' the giant Banyan (Fig) Tree symbolises wisdom, power, calm and longevity - even immortality. Flourishing since the era of the dinosaurs, fossilised examples date to 9400-9200 BCE. This particular Banyan tree lives in Bankstown in Western Sydney. The work has been embellished with stencilled images that symbolise the Tree of Life, using acrylic paint. The small dashes on the edges of the canvas are a language, known as Ogham, or the Tree Alphabet- which describes what trees give humanity. Known as the Tree Venerator, I am an environmental artist who has devoted my life to the protection of trees. I venerate trees with light, illuminating them both physically and metaphorically. By framing the tree with darkness the specificity of the tree is revealed.










Self Portrait


30 X 30               Oil on panel                $500










The Magus


92 x 122               Oil on linen                 $5500

This painting found its beginning on The Esplanade, in Hervey Bay. It was at that special time, the gloaming, when dwindling light turns the everyday and the mundane into something else. After days of bushfires the skies were surreal, choked and poisoned with smoke. People like moths to a flame, flocked to the water’s edge for respite. Families hung towels and blankets on wooden structures to dry. There was a tangible sense of magic. Theatrical performances abounded accompanied by dissonant screeching flocks of rainbow lorikeets. There was no sense of distance or the faraway, only a theatrical backdrop in front of which spot lit thespians continued to act into the night.










Centaur (9)


111 x 87                Oil on linen                 $1500 (SOLD)










The Show Off 2022


112 x 122               Oil on linen                 $12000

This is a memory painting of a younger me doing a 'bomb' off the jetty trying to impress a girl. Summer days, summer haze.












149 x 90                 Oil on canvas                 $7000

Iris is one of the Goddesses of the Sea and God's messenger to humanity.
Modern, Western humanity seems to have forgotten its place in the world and how important the earth, animals and plants are to its very survival. The result being global warming and all the horror that that brings.
Iris is seen here in the sea surrounded by diverse sea animals and plants. She brings the message from The Gods that we need to nurture this wonderful earth.










Openwork Vase with Banksias


104 x 80                 Pigment print on 188gsm Hahnemühle photo rag paper


My contemporary botanical works explore the visual intersection and immersion between reality and technology, and the resulting responses to the real and the reconstructed.
By referencing flora, it is a creative approach rooted deeply in experience as a visual artist and horticulturist.
‘Openwork Vase with Banksias’ establishes a moment to pause and observe: objects that are culturally diverse, yet unified by composition, and a narrative of personal belonging...
Repetitive geometry and intricate details capture the viewer in an intriguing state of the familiar and the unknown.












124 x 62           Acrylic on paper mounted on scroll: calico, paper, wood


Australian native wildlife is an integral, yet rarely seen, part of the landscape. A combination of shyness and nocturnal behaviours means many animals go unobserved by humans, but signs of their presence can be found. The discovery of a pile of distinctive cube shaped wombat dung, led the artist to imagine this night-time scene.










My 5th Chinese New Year in Australia


68 x 88                Oil                  $5800

The difference in art and habits between cultures is undeniable. But in Australia, a beautiful country with a huge percentage of immigrants, people living on this land are gradually adapting to the cultural difference over time, and blending within the cultural differences. After my fifth year living in Australia, the food on the table become a mix of Chinese and Australian. It’s not perfect, nor it has to be, it has simply become my life and a part of me living in Australia.










The Modern Geisha


92 x 76                 Oil on canvas                 $2500

Before the pandemic, I visited Kyoto and dressed as a Geisha at a photo studio. On reflection, the tradition of Geisha is an antithetical representation of the modern-day woman. I tried to express this misnomer by painting in contemporary form.












77 x 93               Acrylic on canvas               $6600

Bee-verse is a work reflecting upon bees, their environment and their use of the hexagon. Currently there are around 2 trillion bees on the planet - bees are like stars in the universe. They are a symbol of wealth, prosperity and good luck. Without them we are facing the event horizon of our time...










Self-Portrait in Italian Renaissance Costume


40 x 30              Oil on wooden panel              $3000

As an Asian who migrated to a foreign country, I have always been fascinated by the mixing of people, languages and cultures. In this self-portrait, I imagine myself as an Asian who happened to be in Italy in the renaissance period. Would this be how I dress up? Would I be accepted into society?










Why Do You All Look Away


120 x 90            Mixed media on boxed wood panel           $5500

In ‘Why Do You All Look Away,’ Kenez plays with notions of ‘seen’ and ‘unseen’ and highlights the toxicity of bystander culture and social issues being seen as ‘someone else’s problem’. Through this piece the artist implores the audience to reach beyond themselves and witness the people falling through the cracks of systemic support.
The artist is a passionate advocate for the rights of First Nations peoples of Australia, the ongoing climate crisis and the poor treatment of migrants and refugees who are still held in on and off-shore detention facilities.
Kenez has participated in over sixty exhibitions around Australia, Asia and Europe. Their sculpture ‘The Last Gasp’ was a finalist in the 2022 National Capital Art Prize, and shortlisted for the 2022 BAM Art Prize. In 2021 they were awarded a Guildhouse CATAPULT mentorship and was a finalist in the 2021 Adelaide Parklands Art Prize.










Home Away From Home


75 x 90                Oil on canvas                 $2500

Home away from home reflects the uncertainty and longing to return to a place of familiarity. Wanting to step outside my comfort zone, I stepped outside of Australia at the end of 2019. It wasn’t long before circumstances quickly changed and returning was no longer an option as borders closed.
The buildings echo the streets of Lidcombe, a suburb I once frequently visited. A familiar place that is constantly changing, a place that now feels foreign. Questions unanswered and unavailable, the work responds to this period of yearning for a place to call home. The feeling of excitement into the unknown is intertwined with the fear of creating a home, away from home.










Redfern Courtyard (Out Back of Rogue)


80 x 62             Acrylic, pen and coloured pencil on canvas paper


As the gentrification of the area increases, Redfern has managed to retain its unique local character and history where other suburbs have only token gestures to their past remaining in park or street names.
Sleek new towers are multiplying fast but the ramshackle buildings and dunny lanes of Redfern are still there for now.
I have used a rough comic book style to illustrate how the gentrification process and Redfern's character meet.










Red Door


66 x 66              Oil on canvas                $1600










Autumn Light, Kosciuszko National Park


76 x 95              Watercolour              $3750

Initially I was drawn to painting watercolour landscapes. There is a special alchemy that can take place when the transparency of paint pigments on paper evokes a sense of natural light and hopefully captures a fleeting moment or mood. My inspiration comes from my natural surroundings in inner-city Sydney, usually harbour views, and rural landscapes found on my trips. An important aspect of my watercolour landscapes is trying to capture and impart a sense of serenity, mood and particularly, the majestic view of the Kosciuszko National Park.










Quietness - Cool


92 x 66                 Oil on canvas                 NFS

This painting is a part of Dapeng Liu's latest artistic exploration. Focusing on colour, composition and perspective, this body of work consists of abstract landscapes and translucent geometrical shapes that resemble architectural space. These works aim at interrogating and depicting the tension between the natural and the manmade.










The Invisible Lake (No 586)


93 x 123               Acrylic and ink on aluminium               $10000

The idea of an invisible lake lying hidden beneath the surface of the water is both a compelling and contradictory image to imagine. It is a body of water that is concealed by water.
Lake Pedder was flooded in 1972 to create a hydro dam. The extraordinary thing is that it still exists lying intact beneath the current water level just as it was before. In the act of concealing something, its presence becomes so much more profound and significant. The invisible lake continues to exist in our memory, at the edge of perception and at the same time tantalisingly present.
This painting is intended as a meditation on the transience of light on shifting water. I hope to draw the viewer into an intimate and poetic contemplation of stillness and movement, to reflect and ponder the enigmatic mysteriousness both above and below the surface and threshold space of water.










The Charred Mosaic of an Ancient Landscape


105 x 81             Acrylic and pyrography on hand-cut plywood             $3000

This artwork documents a pocket of North Australian tropical woodland using acrylic, pyrography and hand-cut edges to create a portal into this unique landscape. A mosaic of burn scars adorns the land, a familiar pattern caused by frequent dry season wildfires.  Visually striking, it is a paradox of destruction and regeneration. Endemic cycads, ancient fire hardy species, sit resiliently in the blackened earth.












61 X 61              Oil and Humbrol enamel on canvas              $2800

Disruption uses a generative machine network to challenge my art practice from pre-conceived bias to the opening up of chance and surprise. The dataset was composed from photographs and paintings of disrupted bushland bordering the lower reaches of the Brisbane River. The painting mimics a neural network of vines both native and invasive. The painting is also self-referral regarding neural disruptions that occur within the human brain.










Yenggiba (Paperbark - Underground Cooking)


90 x 60               Acrylic on linen              NFS










BBQ with Lightning Bolts and Burgers in the Sky


61 x 61                   Acrylic on plywood                   $770

The passenger airplane is the most prominent of many recurring motifs in my work. The planes are a universal symbol of our hopes and dreams, of capitalism and consumerism, both a target and a weapon, inspiring emotions ranging from dread to joyous aspiration. In this work the planes are substituted with giant cheeseburgers hovering in the sky like UFOs. My paintings are an examination and a critique of our bourgeois Australian existence in the twenty-first century.
I build all my canvasses by hand using plywood, masonite or MDF board, second hand when I can find it. The paints I use are all old, discarded house paints, mostly semi-gloss water-based acrylic.











White to Move


61 x 61                 Oil on canvas                  $1800

On the left, the white pieces, represented by the Vermeer painting in the open book are playing a classical opening. On the right, the black pieces, represented by Matisse, play the hypermodern king's Indian defence. It is white to move.











The Last Communique / A Self Portrait


136 x 144                Watercolour on paper                $8500

This image is about combining the past with the present
Looking at and into the ideas and things that brought you to the moment you are in now. An attempt to learn how to move forward.











Blue Sky


73 x 91                  Oil on canvas                   $7000

The deep sky-blue attacks my heart above the ocean.
I would like to open my mind up to breathe. It will bring me life.
The matière shows the order of the universe as providence.










Moving on with Window Wings


 125 x 125                  Oil on canvas                   $6000










Koala as Object


88 x 60                  Watercolour                  $2700

The ‘Animal as Object’ works have come about through my weekly visits to draw and document at the Queensland Museum over recent years. It has united my love and fascination of natural history and my long-standing art practice within the genre of still.
The ideas around the objectification of creatures first start out as very specific and unique taxidermy of endangered species which then devolve into generic caricatures or wildly inventive pop subspecies.
The natural world whispers renewal and hope in ways I can’t ignore. I continue to observe and ‘draw out’ the natural world to connect and offer the practice of mindful observation as a quiet antidote to consumption.
Through these mashups of early scientific taxonomy charts and illustrations, museum taxidermy, pop culture and the mass-produced souvenir, I hope questions are asked about artifice, collection, consumerism, mimicry, wonder and beauty.












122 x 52                Acrylic, ink and heated soldering iron on timber

$2800 (SOLD)

Walls Lookout has superb views encompassing much of the hinterland of the Grose Valley which is my home. It was after a recent bushwalk to the lookout that I completed this work on the one day that it wasn't raining. The mist was still cascading down rock faces and merging with trickling waterfalls before it caught up with the rocks and trees below.










A Burnt Match


150 x 122                 Acrylic on canvas                $7000

We are constantly seeking purpose and meaning and yet so many things are beyond our control. Life is messy and we tend to catastrophise when all we are trying to do is find an equilibrium between order and chaos.













78 x 58                Graphite pencil and charcoal on paper               $1200

Portrait of Patricia Cornelius.

This is a portrait of Patricia Cornelius. Patricia is an award-winning Australian writer. She is a playwright, screenwriter and novelist. I was fortunate enough to reconnect with Patricia earlier this year in Melbourne. I was so happy when she agreed to sit for me, to draw her portrait. At our sitting, I drew sketches of her & took photographs. Drawing Patricia was such an honour for me, Patricia has a warm, kind, honest, passionate, and confident presence. As a writer she has a strong commitment to class and her work often gives voice and examines the lives of the marginalised. This portrait drawing was developed from a combination of my sketches that I drew of Patricia at the sitting and the photographs l took of her.










Crispy Light


145 x 115                   Oil on canvas                   $5900

There is a wonderful park in the southern highlands NSW not far from me called Lake Alexander Reserve. I have painted Meany view from there at different times. This painting was done after the sky cleared and the sun shone.










The Swing


40 x 30              Photo printed on acrylic in lightbox               $1750

Poised above the ocean at night, a woman stands on a swing. As she plays, her red dress glows against the foreboding dark landscape, like a glowing coal or a life-blood smear. This image is part of a series exploring neurodiversity, employing the swing as a metaphor for the uncertainty of growing up different. After a tumultuous life of not understanding why I struggled with learning and feeling estranged from my peers, this image represents the relief and freedom I experienced when my difference was named. The symbology of the land meeting the sea, is a poetic reference to the endless emotional tidal pull of being neurodiverse in a world that is still awakening to different ways of thinking. The Swing is a sonant to those who are on the journey of discovery and offers courage to disclose differences.










Atnwengerrp Country


91 x 123                  Acrylic on linen                  NFS

This is a creation story told to Charmaine by her mother Barbara Weir under a sacred tree on Atnwengerrp Country.  It shows the creation of Sun, the Moon and the Milky Way by Charmaine's spiritual ancestors. The lines in the painting depict the tracks that her people made as they trekked across the country in search of food and dry river beds. The large semi-circular shapes represent the sandhills and valleys. The dark colour represents the path of a fire that has swept across the land.










Reality T.V.


42 x 30                     Oil on wood                     $900

In a constant search of looking at the world in fresh ways; while looking over my shoulder at the past; I am interested in the wabi-sabi aesthetic of appreciating the imperfect in nature.
That applies to my self-portrait, where I ask the question of all the reality programs bombarding us with unrealistic concepts of what beauty is.
With lockdowns and rain, we spend a bit more time in front of the TV than we should. I worry as a woman of a certain age, when I see the plastic fantastic unattainable beauty of women on the screen.
Seeing teenagers with their phone screens always on with Instagram and what not, how are their concepts of beauty relating to their self-images and self-esteem?
My work shows that usually I will be asleep in front of the silver screen, happy with my wabi-sabi self.












48 x 38               Pen, watercolour and acrylic on paper              $850 (SOLD)











Bright Afternoon


33 x 45               Archival pigment inkjet print                $475

Exploring form, pattern and colour, “Bright Afternoon” is part of a series informed by the coastal rhythms and iconic structures of the communities and small towns south of Sydney.
Marta Romer started as a printmaker in the discipline of etching, but also embraces alternative practices and enjoys working across traditional and digital processes, the hybrid medium offering new creative possibilities. Her archival inkjet prints merge photography, collage, drawing and painting.
Marta was born in Budapest, grew up in Montréal and began her formal studies at the École des Beaux Arts in Geneva, before finding her way to Sydney. She holds two Masters degrees in fine art printmaking and for many years taught design and visual arts at the University of NSW and the University of Technology, Sydney. She exhibits widely and is a member of the Southern Printmakers Association, Sydney Printmakers, the Print Council of Australia and Atelier Circulaire (Canada).











The Swan Feeders of Centennial Park. Winter


85 x 85                  Acrylic on polyester                 $2000

Centennial Park is an artist's dream. The people, nature and change of season all provide endless subject matter to explore. Locals become famous, swans become as famous. Quiet rules. Concentration and relaxation for all.










You Can't See Me


43 x 42                 Oil on board                 $1950

The analogous and unprompted choice of the subject to place a laundry bucket on her head, gave way to a single moment of awkward curiosity. Henri Cartier-Bresson talked of capturing the decisive moment. This is true of photography but also true in painting. All minor choices leading up to the moment captured: the stance of the subject, the angle of the bucket and the colour of the jumper, cultivated a rich composition punctuated by a confused bathroom user.












43 X 43                Acrylic on carved woodblock                $2200

'Daruma' was created in a time of isolation in my studio to depict contentment and contemplation.
It was an attempt at escape to stillness by conjuring the spirit of everyday objects through compositions and mindfulness.
With a gentle, nurturing lens and a quiet state of mind, I arranged objects I have collected to amplify their presence and take me away from the moment - spiriting me away.
Daruma is a popular Japanese wishing doll. Instead of the word "Fortune", I wrote my name "Onn" on the doll instead. I imagined myself resting in stillness, perhaps a moment of enlightenment however fleeting surrounded by my indoor plants on top of a tea tray while the pandemic was at its peak.
'Daruma' prompts me to acknowledge and cherish the love around us all, to see the fun and brighter sides of life, and to be grateful, always, for our places of refuge.










 History Landscape 22-2


137 x 152                    Acrylic on cotton                    $9000

When I painted the landscape with Double Moon from an immigrant’s perspective, I felt like I was asleep in a desert far away from the city.
I think of Korea, a divided land, as a narrative of a double sense of disconnection underlying my work. I was always forced to choose one or the other when I was in Korea. It started from the ideological confrontation between the South and the North. Later it appeared from a legacy of collectivism within us.
My painting ‘History Landscape’ is a question of the dichotomy of the world. It is a poetic metaphor alongside politics. It is a dichotomy that everyone has, which is about good & evil, you & I, the self & the other, the enemy & our side, finally knowing & not knowing.










Tibooburra Emu


69 x 89                   Watercolour / earth on paper                 $3000










Still Life with Bottle and Flower


25 x 33                   Oil on canvas pad                    $400

Focusing on the familiar I seek to capture the beauty in seemingly simple objects in a painterly and contemporary way using limited colours and composition.










Hungry Ghost 2021


40 x 90                  Acrylic on board                    NFS

The painting reflects my experience of the pandemic.










The Safe Bubble I


122 x 84             Acrylic on canvas on aluminium composite panel           $5500

Living in a bubble that protects you, makes you happy and that you might share with others is wonderful, however it can also be a place of isolation, boredom and heartbreak. My bubbles are about how we bring nature indoors. Plants, flowers, but also patterns in curtains or rugs and paintings that depict nature on our walls, all of these things make our indoor living spaces cozy, interesting and bearable.










Breath Study


45 x 27        Glass beads, steel pins, silk ribbon, paper, copper nail


This small sculpture is an exploration of prayer beads, breath, repetition, and meditation. I pass individual beads through my fingers to manifest the votive form.










Contemplation of the Ocean of Everything


104 x 140                  Oil on polycotton                   NFS

A painting of observations, questions and thoughts on the meaning of existence. One is left with no answer, just a sense of wonder.










Desert Flower


53 x 73                   Acrylic on polycotton canvas                  $7200

This unassuming house, from a back street in Menindee, is sitting on Barkandji Country the traditional home of the Wilyakali people. These types of houses were part of the landscape I grew up in and are a significant part of our Australian story. A home can symbolise many things. They can represent security and safety but that illusion can be tenuous. I have depicted it almost floating like a mirage on multiple horizon lines on the edge of the desert. In today’s Australian context discussion of the concept of ‘home’ requires an acknowledgement of prior indigenous occupation and connection to land, meaning that the history of these dwelling also connects us to a time before settlement.












42 x 31                     Soft pastel                      $600

This was created as a follow up to 'Emerging' to express a new season of growth in my artistic pursuits and for the world as we have moved out of lockdown. It expresses joy and freedom in the falling branches.










So Did You Close The Deal?


61 x 46                Acrylic on wooden panel                $4400

“So Did You Close the Deal?”
…Yeah I closed the deal. Walking in heels, summer heat, getting lost, stupid google maps, sweating bullets, no lunch, elevator full, client late, didn’t offer water.
Life in the corporate world isn’t always as #glamorous as it seems.
After a day like this, I was once asked by one of these gentlemen “So Did You Close the Deal, Blonde?”
Don’t you hate these wankers? I know I do.












22 x 17                      Multi-media                    $1600

Born in Indonesia, Agus was subject to prejudice for his Chinese heritage. Since Dutch colonisation, an open mistrust and violence towards Chinese Indonesians has existed.
Now raising a family in Australia, Agus reflects on and seeks to reconnect with his cultural heritage. He draws on the beliefs from his home country – that he stayed away from, but came to realise – that despite everything, helps form him.
But being told he was not ‘real’ Indonesian, Agus felt unable to draw from Indonesian or Chinese culture. Eventually, in an act of defiance, he developed his own visual lexicon as a way to reclaim his identity.
His recent works are a multi-medium exploration of identification and dis-identification, of personal and cultural histories, of the bridges and glitches between ways of knowing and seeing. They were created through digital media, a method that has also faced bias for not producing ‘real’ art.





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Artists are welcome to place their artworks for sale. 

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