SHORTLISTED ARTISTS
Andrew McDonald with Simone Lobbia
Jam Trees on Fire
Video hand animation with original soundtrack composition
$5,000
Developing from 2D series of rubber stamp relief prints, Jam Trees on Fire is a hand animated video with a custom composed music soundtrack. It is designed to be the absolute opposite of AI. The hundreds of rubber stamp prints were all hand printed and individually animated. The piece was completely shot and edited in a still camera. The Artist Andrew HC McDonald worked with Italian born Australian resident, composer Simone Lobbia to create a work showing the progress of a bushfire in the wheatbelt of Western Australia.
Daniel Shiosaki When Cultures Collide
Wood carving
900cm x 300cm x 250cm. $3,000
My ancestry carries the connection of two worlds: my Grandmother’s Aboriginal spirit born in the Kimberley, on the red earth of the Tanami Desert, and the tides of Broome, where my Grandfather’s Japanese story is carried on the salt wind. The work before you is a contemporary Coolamon; an artefact vessel reimagined and purposed on Yamatji Country. This piece is born from the tree, cut from a hollow and coaxed into form, its surface bearing the memory of time, its shape a vessel of both tradition and renewal. Across the grain runs another story, that of Kintsugi, the Japanese art of golden repair. Here, fractures and flaws are not hidden but honored. Broome Mother-of-pearl and threads of 24-carat gold leaf nestle into the timber’s imperfections, transforming scars into ribbons. This Coolamon tells a story of rebirth and resilience, imperfection reborn to cultural preservation and traditions transfigured into light.
Annie Enslin
Connections
Ceramics and mixed media
100cm x 100cm x 100cm. $1,500
Cherished memories of my South African childhood formed deep connections to the bushland and abundant daisy fields and found bird feathers.
Now, living among the luscious wild flowers and daisies of Western Australia has evoked a sense of my rich childhood and a sense of belonging to this land of the Midwest.
Cam Fitzgerald
Planes of Thought
Charcoal and paper
98cm x 98cm x 18cm. $3,500
This work investigates the instability of perception and the layered nature of social ideas. Charcoal’s raw texture and fragile butterfly forms unfold across a fractured surface, resisting resolution and blurring the boundary between drawing and sculpture, the real and the imagined. The butterfly, as a symbol of transformation, reflects the impermanent and provisional quality of knowledge and experience. Through shifting tones and multiplied imagery, the work positions itself between order and disintegration, asking how meaning is constructed through fragment, perspective, and repetition, where the static image becomes a site of continual change.
Charmaine Ball
Dearth and Abundance
Acrylic on Belgian linen
81cm x 81cm. $3,000
The painting explores the capricious weather events of excessive flooding and devastating droughts which have become noticeably more frequent with climate change. The spatial arrangement contrasts static landscape forms with the arcs and curves of flooding water. The coalescing landscape is geometrically distilled to investigate interactions between visual elements - line, shape and pattern - with an earthy organic palette elucidating the colours of the physical phenomenon. The grid-like interpretation provides a calmness to the picture plain, creating both order and sensitivity - affording space to contemplate the significance of these events.
Adam Hisham
The owl in daylight MK-1
Mixed media
100cm x 100cm x 10cm.
$1,600
This work is a lament. A prayer mat is a compass, a quiet architecture of belief. To cut it, roll it, and mount it as waste is to speak of what has been done to bodies, homes, and rituals across occupied lands. The owl in daylight cannot see - it is disoriented, exposed. So too are the sacred objects and stories of those caught in the machinery of war.
Barbara O’Donovan Remnant
Acrylic on vintage army stretcher canvas
176.5cm x 60cm x 1cm. $1,200
By definition, a remnant is a small remaining part, a surviving trace, or a fragment of cloth left after the greater part has been used. This work embodies all three meanings. Painted on a vintage army stretcher, the canvas is itself a remnant - a material marked by age, use, and memory. I worked with secondhand brushes and old paint, allowing the rawness of these salvaged tools to shape the image. to allow the material’s history to remain present in the work. Every imperfectionevery crease, scrape, and uneven stroke - becomes part of the story.
From this weathered ground emerges a lone lighthouse, its pale form standing against a moody, unsettled sky. Misty gulls drift across the distance, fleeting yet persistent. The work becomes both object and metaphor: a fragment carried forward, transformed into light.
This work is both object and memory - a salvaged fragment given new life. It reflects on endurance, the transformation of the discarded, and the beauty that remains when time and weather have left their mark.
Caroline Christie-Coxon Wheatbelt
Video. Edition of 3
$10,000
Set in a rare pocket of untouched bushland in Western Australia’s Wheatbelt, this video artwork explores the tension between cultivation and ecological survival. Flour, a symbol of agriculture and human cultivation, is laid as a fragile gesture across an ancient granite outcrop, a site spared from ploughing only by the resistance of stone. The act marks a threshold between what endures when land is left untouched, and what is erased when value is defined solely by use. This site responsive ephemeral work becomes a meditation on humanity’s relationship with Nature, survival, and remembrance beyond extraction.
Clare McFarlane
A distant dread
Acrylic on board
60xm x 120cm x 4cm. $4,400
This work continues my exploration of our relationship with the natural world and my relationship with the land and farm on which I grew up. My art practice has become an important part of renewing my relationship to the rural landscape: the harshness and beauty I find there.
This work is in part a mediation on the ever-present danger and menace of fire in the landscape. The dread in this work is two-fold.
Every summer as the landscape dries out and the threat returns anew.
And as our environment slowly dries out as the climate changes, the threat increases.
Debbie Crothers
Medicine Man
Mixed media, found objects.
60cm x 70cm x 5cm. $500
Medicine Man never saw this coming.
Dominque Coiffait
Love Your Bush; Geraldton to Mount Magnet Road, by MullewaOctober
Multi block lino print [employing more than 100 hand carved lino blocks] over monoprint background. Unique state print. Oil based inks on paper.
102cm x 148cm x 6cm. $9,800
Coming from Europe I am fascinated by the unique WA plantscapes, while my husband, from WA, sees just ‘bush’. All the remarkable, resilient plants; surviving the heat, the dry conditions, poor sandy soils, wind, even fire.
WA is a precious world biodiversity hot spot, but in parts of the Midwest intensive farming has resulted landscapes with as little as 7% of native plant species. This artwork is from my “Love Your Bush” series- random roadside scenes illustrating the beauty and diversity of the plant forms, within their environment, at various times of the year. This is an ongoing project.
Jacob Mangan
Choko
Watercolour
20cm x 20cm. $500
My watercolour lingers in the quiet presence of the humble choko plant. Through subtle shifts of light and colour, I seek the beauty of calmness, an everyday grace that often goes unnoticed. The choko, plain and unassuming, becomes a vessel for contemplation, a meditation on stillness and simplicity. In its tender form I find poetry: the soft radiance of light, the quiet breathing of colour, the serenity of what is near at hand.
Are thylacines still alive?
Oil on board
22.5cm x 31.5cm x 1cm. $600
What are we looking at? I don’t know, but the Thylacine Awareness Group of Australia believes this is camera trap evidence of a female Tasmanian Tiger. Capturing a fleeting moment of an unidentifiable animal running away from the trail camera. Landscape impressionism can be timeless however this painting is set in the present with the context of digital media and time stamps. Viewing this landscape through digital technology comments on my, as well as modern society’s removal from nature. With ongoing sightings and continuing evidence for the survival of the thylacine, it begs the question, are thylacines still alive?
Donelle Halligan
Eliza Thomas
Resilience
Eucalyptus, cotton on wire
100cm x 100cm x 10cm. $5,000
To survive is to endure. The Australian Eucalypt is testament to the sustainability and resilience which exists in nature. It thrives in a harsh climate through remarkable adaptations. One such adaptation is the operculum which is a protective cap that shields the developing flower and seed capsule until the moment it is shed, revealing the bloom beneath.
Collected gumnut caps have been hand stitched and sculpted into circular forms which resemble the rings in a tree trunk, each ring a record of time and endurance. The sculptural rings in this artwork embody the continuing cycle of growth and adaptation, capturing the functionality and beauty of the Australian Eucalypt.
Jane Grierson
Artefact
Oil
32cm x 32cm x 5cm. $900 artefact
/a:.ti.fækt/ noun plural noun: artefacts
1.1. An artifact or artefact is a general term for an item made or given shape by humans, such as a tool or a work of art, especially an object of archaeological interest.
Anthropocene circa 2025
Although my still life, artefacts, will have degraded long before they are archaeologically interesting, the museum-style arrangement elevates the found objects to a historical significance.
Jeana Castelli
On that day the world awoke from it’s slumber...
Acrylic on canvas
100cm x 100cm. $2,500
In this painting I am inspired by the colours and shapes that appear in a aerial perspective of the West Australian landscape. I begin spontaneously applying two or three colours of paint, random lines, a pattern and narrative begins to emerge. The connection to the storytelling become’s evident as I work with the symbols, choice of colour, brush strokes, marks and movement. The blood red represents the end of life, the green and blue symbolises rebirth and new beginnings. The meandering line represents the constant but often deviated and interrupted in our journey seeking a purpose in our lives and not just simply becoming an endless path to a life unfulfilled.
Home
Mixed media mobile
90cm x 40cm x 50cm. $500
HOME: The passage of time and memories laid down
Each little house represents a story, and the movement implies the passage of time. Maps and envelope imply time and place whilst photographs weave together a picture of memories.
All these collected envelopes, maps and photos printed onto treated papers using repurposed materials from around the home all connect to belonging.
Chris Bolton
Unhoused/Unheard
Hand-stitched textile
94cm x 70cm. $5,000
This hand embroidered pillowcase explores the quiet crisis of women’s homelessness in Australia. Using domestic materials and traditionally feminine craft, I want to confront the tension between softness of form and the harshness of the subject. The tension between comfort and stability, on what it means to lack safety, rest or refuge. Every stitch is an act of empathy, each thread holds the weight of stories often hidden such as women fleeing violence, ageing into poverty or surviving without shelter.
Burrup Peninsula
Monoprint collagraph
87cm x 68cm x 5cm. $1,250
Burrup Peninsula is a place of deep spiritual, geological and archaeological significance. Scattered throughout the rock formations is an collection of petroglyphs that have been dated at over 40,000 years. Having recently been awarded UNESCO World Heritage listing, the importance of the site cannot be overestimated. Yet the impact of mining and development continue to place this precious legacy at risk. While art has an important role to play in raising awareness about it’s vulnerability, I chose not to represent any of the rock art due to cultural sensitivities.
Caroline Arnold
Claire Lawson
Jane Ryan
My Mothers Flower Garden
Acrylic on canvas
80cm x 65cm x 4cm. $500
These paintings are imaginings of my mother’s garden, painted from memories of her, the flowers she grew, and our home in New Zealand.
“I’m missing her a wee bit.”
I like to paint with colour, and with these happy memories.
Kayla McMillan
The Pattern Remains
Ink on paper
50cm x 62cm x 5cm. $1,200
Growing up in a fishing family along the coast of Western Australia, the ocean has always been central to my life. Through ink and mark making, I depict fish whose intricate patterns reflect both individuality and connection. As we shift between closeness and distance, an invisible thread holds us together, woven from our history and the lives we share. This work honours the enduring ties that shape identity and belonging.
Jennifer Cochrane
Impossible Shadow #51
Painting on flashing tape on steel cube frame
93cm x 101cm x 1.5cm. $4,400
Impossible Shadow #51 began as a steel cube referencing a shadow of a sculpture from my past. I have revisited this work many times and it has become a record of processes and different approaches to my work over the years. It is a self-portrait that reveals layers of intent from precision and time consuming acts to the most recent freedom of spray can in hand.
Jo Wood
Yallingup Siding
Screenprint
50cm x 39cm. $400
I am drawn to the quiet drama of everyday moments. Working across multiple printmaking techniques, I’m especially interested in how light and atmosphere shape memory and place. This 7-colour screenprint is based on a photograph I took during late afternoon while staying on a rural property near Dunsborough. It was already cool and the shadows long. A curious herd of black steers trotted over expecting something extra to eat I suspect. They came to a stop, all turning their heads towards me in perfect unison. Behind them, a single golden tree blazed in full sun against a background already deep in shadow.
Joyce James
All My Little Gang
Tjanpi (native desert grasses), acrylic wool, raffia
44cm x 74cm x 22cm. $1,600
These five dogs are my pets. Snowflake thinks she’s human, understands Ngaanyatjarra, and watches the water for fish when I’m gardening. She adores my husband Milton and waits at the door when he’s away. Lemon, the retired adventure dog, survived three weeks lost out bush! Milo, the eldest, is my son’s loyal friend and sad when he’s gone. Missy, a “teen mum”, plays endlessly with her pup Tinkerbell, annoying Milo. Snowflake and Missy are sisters, Milo their uncle. They all know me well; some stay close, while the younger two cause mischief, tangling in my raffia as I make Tjanpi!
Judy Rogers Tic-Tac-Toe
Mixed media on board
126cm x 126cm x 2cm. $6,000
I assembled an imaginary game, set in Western Australia. In this game of Tic-Tac-Toe the rules are simple. X starts and can win two ways by placing the last X on the ninth square. The arrangement can be changed to achieve a different result.
Born in Hungary, my botanical research focuses on examining the relationship between myself and Australia. The primary objective is to enhance public awareness regarding contemporary environmental issues and ecological challenges.
Mark Miragliotta Colander sympathetica
Found objects
50cm x 50cm x 30cm. $550
Colanders, depending on size and shape and number of perforations, will allow some things through and other things to remain. Either it’s in or it’s out. This should provide some objective certainty, but observations in the field have noticed otherwise. Researchers found that at certain points in the heat of the kitchen, the colander erred at the normally automatic action of filtering. Perfectly good food was left in the sink contaminated, they observed patterns of empathy, lifting its status beyond ordinary vessels. It shows disdain for the Thermomix, and rejects the label “pasta strainer” whilst in their environment. If inactive, please press the square switch on top until some response appears.
Diana Neggo Salt I-III
Acrylic and mixed media
32cm x 96cm. $750
This triptych is my response to the salt lakes of Western Australia, landscapes that stir both sorrow and admiration. While they reveal the environmental toll of agriculture and rising salinity, I’m also drawn to their stark beauty: the sculptural forms of dead trees, the quiet emptiness, the subtle colours. Painted in layers of acrylic and oil pastel, these pieces reflect the tension between loss and resilience in the land.
Kathleen Maree Sorensen Tuwa (Sandhills)
Acrylic on canvas 76cm x 152cm. $3,055
Went with Martumili. Old Jigalong. Judith’s nanna Country, where Judith nanna was born. Went from old Jigalong to Jigalong to right through Parnngurr, Camped the night and then Judith’s pop went to pick him up. His name is Mr Rowlands and I call him brother. He showing me where my nanna’s Country started from Parnngurr towards Lake Disappointment. We camped the night. Judith’s nanna was getting cheeky bossing him (Mr Rowland) around; “we not married anymore that’s why I left him.” Between Lake Disappointment and Durba Springs (Pinpi) there were these beautiful rolling sand hills, we winding through them over top, we stopped half way and I looked out to the sunset saw all the glistening spinifex. The orange from the sunset lit the sand dunes up. When I do the Tuwa paintings I think of that day.
Kennedy Finlay
Driving Marble Bar to Oakover River
Acyrilic on canvas
46cm x 61cm. $490
Kennedy starting painting in Nullagine and sold his first painting to the nurse there. He enjoys painting landscapes and Dingo dreaming stories from his father’s country around Kunawarritji. His father handed those stories down to him, now Kennedy is sharing with the next generation so that they can hold on to their dreaming.
Kimberly Stuart Feels Like Home
Gravity formed glass drop out vessel, silver inclusions, scorched timber 50cm x 20cm x 60cm. $4,500
Growing up in the Midwest, the delicate Geraldton Wax flower became part of my sense of home and belonging. In this work, I have coated wax blossoms in silver clay, sintered, polished, and then permanently encased them in glass. Using heat, time and gravity, the glass is shaped into vessels, later refined through cold working. These forms hold both fragility and permanence, evoking memory and place. The flowers are preserved, yet transformed, echoing how memory reshapes our connections to home. This piece is both a personal homage to home and a meditation on resilience, beauty, and remembrance.
subqueana II 2
Giclée print of digital photograph, paper collage, on textured cotton rag
95cm x 95cm x 4cm. $950
The sea is a constant source of inspiration. I love to create playful works that give everyday things a new sense of mystery. In this underwater scene the sea becomes the sky, the marine plants become a woodland - or have rising waters enveloped the land and its creatures? I encourage you to zoom in, to explore and discover what is hidden in this impossible, imaginary world.
Sally Capewell Interdependence
Wood, rafia and inflorescences
80cm x 73cm x 5cm. $350
This work situates Mother Nature at its centre, positioning the natural world as the essential source of life and continuity.
Encircling this core is the human community, depicted as a protective fringe whose role is to safeguard and nurture the environment.
The connective lines radiating across the composition emphasize interdependence, illustrating the delicate balance between humanity and the natural systems upon which it relies.
Root-like structures anchor the piece, reinforcing themes of resilience, stability, and long-term survival.
Collectively, these visual elements articulate an urgent reminder: the endurance of ecological systems depends on the strength of human stewardship.
Maria Campbell
A Step in Time - Greenough Settlement
Photography - framed photos printed on Hahnemuhle Photo Rag 308.
Framed in dark oak, white matting and Ultra Clear RC UV70 Glazing. 29.7cm x 42cm x 2cm. $2,300
Walking through the Greenough settlement I envisioned life in those early days. How the township was formed and how people lived in this tiny town. The beautiful old buildings of this little town, so perfectly preserved for us to enjoy a glimpse into the past of this stunning and diverse region. These photos are meant to speak to the celebration of history of this region, evoking a feeling of past.
Richard Aitken
Connection
Mixed media 52cm x 86cm x 2cm. $1,500
Connection explores the coming together of our multicultural identity. Although we come from diverse backgrounds, a shared thread weaves through us all forming bonds that go beyond our difference.
Tatiana Amaral
Echoes Within
Acrylic painting, sand, Japanese rice paste on rag paper
104cm x 135cm x 6cm. $6,200
My work is a reflection of my inner world, where nature becomes both guide and language. I do not try to reproduce nature, but to carry its spirit and energy through colour, texture and repetition. In this piece, water meets the strength and stability of earth, two different elements equally precious. Paper has been part of my life since childhood, and I sculpt its flat surface into forms that hold emotion and depth. Each work grows from the last, a continuous journey of self-discovery, where the imperfect becomes perfect and the spiritual is revealed through creation.
Tineke Van der Eecken
Keep the sheep?
Resin
12cm x 15cm x 45cm. $10,000
Sheep are a symbol of rural Australia. By representing the vasculature - a process of corrosion casting performed in a lab - I present sheep as vulnerable to today’s challenges including climate change and ask the question: Do we keep the sheep?
Wiggy Mitsuda
Influencers Sharing Goat Stories
Ceramics/textiles
24cm x 100cm x 100cm. $1,200
This current installation of artwork is a parody on how I see the oddity of life today. The disfigured people sitting around the oval table boasting to each other with their (GOAT) greatest of all time stories, each with their mobile phone on the dark web and dressed in their sponsored influencer wardrobe.
I want to hint at the absurdity and decline in the basic decency of today’s world. My choice of medium is not irrelevant I enjoy working outside of normal conventions to elicit an aesthetic commentary.
Geoffrey Wake
Scooter Crossing
Synthetic polymer on canvas 165cm x 120cm. $7,000
Scooter Crossing expresses a contemporary mode of transport through an open landscape.
The scooter itself is generated by line, or pathways to be journeyed through time. All parts of the scooter contain some element of the landscape all adding up tow marriage between machine and nature.
As this machine produces a singular result (motion) the components of the landscape add an element of natural magic.
The work balances structure and spontaneity where the colours and textures of urban and natural landscapes transform into bold abstract compositions.
Ron Bradfield Jnr In Safe Hands
Found objects: Riji (carved pearl shell), galvanised wire mesh, galvanised wire, aluminium knitting needle.
90cm x 23cm x 12cm. $2,050
Here in WA, the “Aborigines Act 1905 (Western Australia)” was passed in which it proposed “AN ACT to make provision for the better protection and care of the Aboriginal inhabitants of Western Australia”. The word “protection” suggests safety and security, a shielding from danger, a want to safeguard something worth preserving, something of value. Instead, what happened in WA and across all of Australia, was anything but that.
I am the oldest son of a mother who has been stolen from her mother because of this Act. Her old mums were also stolen under this Act. Today I am the shield that attempts to protect my peoples. We are still trapped in the cage that surrounds us and we do our best to keep our cultures alive.
Elizabeth McLean
Biscuit
Mixed media
23cm x 11cm x 9cm. $895
Biscuit carries the quiet charm of loyal companion. l transform felt , vintage cloths, found objects into whimsical figures that feel both playful and tender inviting viewers to imagine the stories he could tell. I handcraft creatures that blur the line between sculpture and story book. Each creature is a one off and infused with character, a tilt of the head a playful detail or just a sorrowful gaze invites connection.
Geoff Overheu Swarming
Bronze, oil paint, brick
50cm x 25cm x 25cm. $1,600
This work explores themes of adaptation, resilience, and mutation in the Anthropocene through a surreal bronze tableau of insects, frogs and hybrid mutant creatures emerging from and clinging to a common house brick. The brick - an emblem of human construction and permanence - serves as both pedestal and battleground, anchoring the chaos of evolving life forms shaped by an increasingly unnatural world.
Jane Barndon Code Rage
Mixed media on paper
112cm x 133cm. $2,021
This painting channels fury into fractured code, where binary becomes a weapon instead of a system of control. Darkness erupts with ruptured order, zeros and ones unraveling into chaos. A woman’s rage pulses through every mark- raw, uncontainable, and unashamed, exposing unseen structures while transforming silence into defiance.
Samantha Dennison
Still life for a north west landscape
Oil on canvas
65.5cm x 103cm. $7,000
Making my own pots again has reshaped my still life paintings, and developing my own glazes using site-specific materials has expanded this practice. In the Pilbara I was encouraged to collect snakewood ash from our campfire, sparking a phase of making ceramic vessels with snakewood ash and black iron ore clay based glazes to reflect the Pilbara landscape. These are the vessels I have painted, coloured and textured with the inherent qualities of the north west. Rich with place-based histories, they contain the stories and creative experiences of the two artist residencies I shared in the Pilbara with artist friends.
Roadkill Chestpiece
Brass, barn owl remains on velvet 100cm x 80cm x 16cm. $1,700
Antique brassware holds the preserved remains of a barn owl, killed on and collected from one of WA’s truck-laden country highways. Reminiscent of Victorian-era mementos, the fully wearable chestpiece invites the wearer to overcome their initial repulsion towards roadkill and to hold the owl’s remains against their body. A bell made from the owl’s tail chimes quietly with the wearer’s movements, and the suspended wings are able to shift independently when worn. However, the intimacy and weight of the heavy chestpiece inevitably evokes the proverbial albatross around one’s neck and the burden of remorse.
Sara Walker
Shanti Gelmi
An echo of Tuesday, past Carbon and paper
49.5cm x 78.2cm x 8cm. $1,200
An echo of a Tuesday, past captures the essence of my return to the Pilbara - a place I once called home, yet hadn’t seen for 35 years. I wondered whether I would feel any connection, but hadn’t anticipated the depth of emotion that would surface - how profoundly early imprints of this landscape shaped me, physically, emotionally, and spiritually. Using a restrained palette, I engaged the threshold between perception and memory - a liminal space where the landscape is not only seen, but refracted through accumulated time and experienced anew.
Sheree Dohnt Self-portrait, Drained Watercolour on paper
64cm x 101cm. $2,500
This self-portrait references a moment my husband recently snapped of me one afternoon when he came home from work and found me passed out, clutching a Barbie doll, while my daughter had moved on to playing with something else nearby. It’s a vulnerable thing being an Artist, and painting a self portrait is also a very vulnerable act. My art practice is in the pursuit of making the invisible labours of love, visible.
Vania Lawson
TRACE
Oil on canvas
100cm x 150cm x 3cm. $6,800
I paint with both transparency and opacity, like a presence and an absence.
I created Trace as a landscape in transition, with my technique of layering it mimics the rivers language, showing the process of erosion in the same way the river rocks are shaped by flow.
Our shifting water patterns are no longer an anomaly in Australia and there is a quiet stillness to my work, though I feel it carries weight.
I ask the question, what happens when our rivers stop running?
Hopefully Trace may be a reminder that what we lose, we also record.
Willow Mcauliffe Touch, Don’t Look
Photography multimedia 93cm x 162cm. $300
This is the anatomy of my religion. We’re forgetting that our bodies are made for worshipping one another, not looking at; behaving as if we are tiny glass sculptures, taught like toddlers to look, don’t touch.
But I met someone once who made me feel like I was born to put my finger on their pulse. My kind of religion is wondering if that beat, is the rhythm my life follows.
When I photograph people, I seek folds in the skin that hold churches. I’d rather be an altar to everyone I’ve ever loved than a smooth, untouched surface.
Emmaline James
Learning to Fly
Encaustic painting, collage incorporating personal photographs & drawings
4 panels, 25cm x 25 cm x 2cm. $1,500
“Art, like place, needs a little time, a little patience, and no little sensitivity” (Dean & Millar). Balancing life as an arts worker and artist has long been a challenge, so I was grateful to spend time in Vancouver, Canada mid-year reconnecting with my creativity. This series marks a new step into encaustics, mapping lived experience of place through relationships, memory, and community. Inspired by maps of consciousness, I came to see Vancouver as the place where my spiritual and creative practice entwined. By slowing down, I seek what lies beyond first awareness; moments of silence, truth, and shared human spirit.
Possum Rose
Solar Flare
Acrylic
154cm x 54cm x 6cm. $5,999
Energy bursts from the Sun’s heart
Awakening Mother Earth, and our spirits to start
The flare’s intense light, a call to walk the land
To explore the depths of our Dreaming, and the ancestors’ hand
As the Earth’s magnetic field begins to sway
We’re reminded of the songlines that connect us all the way
The solar flare’s energy, a catalyst for renewal
Awakening our hearts, and guiding us to follow the Dreamtime’s reveal
Jeremy Blank
The Days 025_01_25
Pinhole photograph
93cm x 73cm x 2cm. $950
The Days series, combines photography, digital media and painting. It marks a return to the self-portrait as a central focus. That move from painting to photography, evolved a photo documentary self-portrait project until digital photography became conceptually problematic. The 2012 return to pinhole camera work evolved from a meditation on Francois Laruelle’s writing on non-photography and the work of artists who directly reference selfrepresentation, time, ephemerality and age. Multiple exposures focus on the aging male body embracing ephemerality and time within a single frame where time is extended beyond a frozen moment.
Saskia Lopes
First light rains
Acrylic on canvas
45cm x 91cm. $1,100
First Light Rains captures a dry landscape touched by a fine, early rain - caught between downpour and dry, silence and sound. I am drawn to these liminal moments when the world is in quiet transition. The muted light deepens colours, softens edges, and invites stillness. This painting reflects my interest in the pauses that exist both in nature and in our lives; moments of waiting, of potential, where change hovers but hasn’t yet arrived. Using acrylic on canvas and loose, gestural brushwork, I aim to evoke the felt experience of these fragile, in-between states.
Joanne Fowler
Cape Peron Vessel
Felting - merino wool, silk, wet felted, stiffened
8cm x 13cm. $300
Infused with the vibrant hues and timeless essence of Cape Peron, this handcrafted bowl captures Shark Bay’s stunning contrasts. Born from ocean waters and shaped on the land that inspired it, it embodies the harmony of nature and artistry. Each curve echoes the seclusion and raw beauty of the bay, inviting you to experience its spirit.
Karin Tennberg
Zero Waste
Textile
150cm x 80cm x 30cm. $1,850
Weaving with discarded wool only, creating a garment challenging fast fashion, I invite the viewer to celebrate individuality and creativity without adding to the mountain of fabric waste the fashion industry generates.
Karl Monaghan
Leaning Vertical
Fine art rag print
140cm x 100cm x 6cm. $4,990
Symmetry in nature can be found when we look further than the literal. The unique forms that nature provide when visualised outside the box transcend the Banal to the extraordinary , each branch and each leaf a mirror of itself, rotated to vertical transforms what we would normally see and challenges the viewer to re think how we look at nature. Moving ones head to one side reveals a mirror like view and transforms the viewing experience.
Lori Pensini
Farmyard Series #2
Oil on xanthorrhoea heart wood
61cm x 40cm x 31cm. $3,500
This is my ancestral story of stoic, no frills self sufficiency farming in the wheatbelt of WA. The nature of women’s farm work is often rendered invisible, dismissed as “domestic”, and “ordinary”, when the work is often the back bone in sustaining families, farms and communities. Observing early European influences in the form of Spode & Wedgwood earthenware, cobalt/ ultramarine blue cyanotype imagery reimagines my rural matriarchal storylines.
Olga Cironis
Sleeping Beauty
Textile and embroidery
200cm x 130cm. $4,400
My practice examines identity, belonging, and place within the framework of cultural globalization, informed by my migrant feminist perspective. Sleeping Beauty is made from a recycled bedcover embroidered with a fragment of my poetry, addressing global instability and environmental crisis. The work juxtaposes associations of warmth and safety with conflict, prompting reflection on corporeality and collective vulnerability.
Owen John Biljabu
Muuki Taylor
Oil on canvas
61cm x 91cm. $1,230
I painted Muuki because of what he did for KJ [ranger group, Kanyinyirnpa Jukurrpa], he took everybody back to where their ancestors were, where they have history. He told the history, he really knows every Martu family, every tribe, where they come from. Hundreds and hundreds of names and he knew it all, people past and present. He knows.
Peta
Riley
Why do you believe what you believe?
Ceramic
45cm x 30cm x 30cm. $4,500
An invitation to question; the more you look, the more you see. I once saw an octopus as bait, used to catch fish and put food on the table, a symbol of the simple life. Over time, I’ve come to understand, like life, they are so much more: intelligent, adaptive, complex. By transforming clay into shapeshifting forms layered with texture, colour, and repetition, I explore how the ordinary can reveal the extraordinary.
Rebecca Ryan
What Remains
Sewing pattern paper, singer drawer
50cm x 20cm x 15cm. $750
This Edwardian wedding dress asks what we choose to remember and forget. These materials - hold powerful stories that should be celebrated. Marriage was often the beginning of women creating households, and this reality deserves remembering. There was a gap between wedding dreams and married life: women managing alone, making do with whatever was at hand, turning necessity into creativity.
Shin-I Tang
Iron and Lace ‘Jugs’
Mid-fired stoneware clay with under glaze
41cm x 40cm x 40cm. $1,780
These ‘Jugs’ are my tribute to the fertility and identity of Australian women. This is a portrait of motherhood, the cultural assignment and adaptability of the modern day female. The contrasts between the tough weather-worn exterior and the traditional white lace interior is a depiction of societal expectations and conformity. The resilient corrugated cladding is inspired by Australian vernacular architecture, and its humble beginnings in the Outback.
Taileah Isaacs
Lady of the dreaming
Gouache, acrylic, dirt
90cm x 60cm x 2cm. $500
An Aboriginal Lady of the Dreaming connecting women to land, sea, flora and fauna.
Tania Corunna
Ancient Keeper
Watercolour
80cm x 67cm x 3cm. $1,650
This work explores focal elements and their traditional representation. Using wet-on-wet techniques, saturated colours form vibrant features and fluid transitions. The theme reflects the Dreaming, Bimarra, the Rainbow Serpent in the Southern Yamatji Nation. Influences include A. Namatjira, J.M.W. Turner, contemporary Aboriginal art, and my father J Curley. As a watercolourist, I embrace the medium’s unpredictability.
Valerie Schönjahn Now and Then
Pressed porcelain tiles, stitched on to old lace, draped over found timber branch 90cm x 70cm x 10cm. $4,500
Is a meditation on a personal history and context. Now and Then brings together 2 separate elements; grandmothers wedding veil, from 1941, Germany + small clay tiles with imprinted details of the artists current natural environment sit in stark contrast to each other. Both environments have played key roles in shaping the artists identity.
