Contemporary Works on Paper
PAPERMADE Contemporary Works on Paper
April 3rd - April 27th, 2025
Salt Contemporary
33-35 Hesse Street
Queenscliff, Victoria
Front: Natalie Anderson, Meroo Head, 2025, oil on paper, 38x58cm
Left: Martin King, then, now, 2025, watercolour, pencil, pigment and tempera on paper, 57x73cm
EXHIBITING ARTISTS
Bridgit Thomas
David Beaumont
Eleanor Millard
Kay Gibson
Martin King
Natalie Anderson
Romany Mollison
Sue Anderson
ABOUT
There is something quite lovely about paper. Its organic nature, its malleability, the feel, the touch, even the smell!
Used by artists for millennia, paper responds very differently to the brush, pen, graphite, charcoal and collage, compared to canvas or linen.
Working with paper is like passing a baton through art history. From the early Chinese calligraphic works, to beautiful rendered chalk drawings of the Renaissance artists, to work the likes of Rauschenberg - pushing the boundaries of how the medium may be used. Or closer to home, Bernhard Sachs’ worked and reworked dense, paper manipulations.
And of course let’s not forget printmaking in all its glorious technical permutations. Such history embedded within this media.
‘Papermade: Contemporary works on paper’ showcases the work of eight artists, all very different in their approach to working in paper. Through their practice they have found a way to make the medium bend to their creative desires.
We invite you to take to time and enjoy the diversity of practice and the commitment by the artists in this fresh, new exhibition.
Bridgit Thomas
Influenced by a lifetime of drawing and living by the sea, Bridgit Thomas’ work explores fish and marine themes infused with the richness of coastal environments, natural flora and fauna.
Focussing on the environment in which she finds herself, Bridgit brings a rich, multi-layered approach as she interprets what she has experienced through a palate of both natural and manmade elements.
Bridgit Thomas, Queenscliff Beach, 2025, watercolour, 70x89cm | $3,800
Left: Bridgit Thomas, Fishing Boats 2025, watercolour on paper, 52x39cm | $950
Right: Bridgit Thomas, Ship Spotting, Australia Day 2025, watercolour on paper, 52x39cm | $950
Bridgit Thomas, Portland Harbour 2025, watercolour on paper, 52x39cm | $950
David Beaumont
As a painter I am interested in a sensory interpretation of the Australian landscape.
I would spend a great deal of time, whether it be in the outback or by the ocean, quietly observing, watching the shifting light, the influence of weather, the overall terrain and in particular, my response to those experiences.
Back in the studio, these experiences begin to find their way into a painting. The references are often abstracted but endeavor to maintain the fabric of the experience; if you like, a kind of truth in what has been observed and felt.
The usual suspects of colour, pictorial space, surface and composition are a constant, haunting companion.
David Beaumont, Water and Chocolate #1, 2025, oil on paper, 63x50cm | $2,450
Left: David Beaumont, Water and Chocolate #2, 2025, oil on paper, 63x50cm | $2,450
Right: David Beaumont, Water and Chocolate #3, 2025, oil on paper, 63x50cm | $2,450
David Beaumont, Water and Chocolate #4, 2025, oil on paper, 63x50cm | $2,450
Eleanor Millard
Eleanor Millard is known for her haunting paintings depicting Victoria’s rural and coastal landscapes.
Based in Port Fairy, a fishing village on Victoria’s Shipwreck Coast, Millard’s lexicon of imagery is drawn from combined fragments of real, imagined and remembered places that hover between abstract renditions and more representative forms: rugged rocks and coastlines, rolling hills, seaside cottages, lighthouses, and old buildings, set against vast shifting skies.
Millard’s harmonic, tonal paintings capture the emotional resonance of a landscape – the quality of late afternoon light or the sound of wind across a paddock. Composed in swift, intuitive brushstrokes that form abstracted fields and patchworks of colour, her affective paintings evoke memories that are at once familiar yet impossible to place.
Eleanor Millard, Blue Bag, 2025, acrylic on paper on canvas, 56.5x52.5cm | $3,600
Left: Eleanor Millard, The Beach Women, 2025, acrylic on paper on canvas, 55.5x47cm | $3,600
Right: Eleanor Millard, Sun Gazing, 2025, acrylic on paper on canvas, 54.5x47cm | $3,600
Eleanor Millard, On the Beach, 2025, acrylic on paper on canvas, 49.5x46cm | $3,600
Kay Gibson
Paper is the basis of all my work. I love its endless versatility. I have used it to draw on, paint on, emboss, collage and sculpt. In these works I have used a fumagé technique to emulate the role of fire in the natural environment.
Fire management is crucial to help preserve old growth trees for around 300 species of birds and mammals in Australia. Owls seed tree hollows to breed and raise their young. The large hollows they need usually take a long time to form in trees that are at least 100 - 150 years old.
Kay Gibson, Little Night Owl, 2025, gouache and fumage on embossed Hahnemuhle paper 60x59cm, | $2,400
Left: Kay Gibson, Etheral Barn Owl, 2025, gouache and fumage on embossed Hahnemuhle paper 105x82cm, | $4,900
Right: Kay Gibson, Masked Owl, 2025, gouache and fumage on embossed Hahnemuhle paper 105x82cm, | $4,900
Kay Gibson, Young Tawny, 2025, gouache and fumage on embossed Hahnemuhle paper 60x59cm, | $2,400
Martin King
Martin King has held over 50 solo exhibitions throughout Australia and has exhibited in many group exhibitions both in Australia and Internationally. His practice includes, drawing, watercolour, printmaking, artist books and animation.
He has worked as a lecturer in Printmaking and the VCA, Melbourne and, in 1994, was appointed Senior Printmaker at the Australian Print Workshop in Melbourne.
Martin King, Secret Life of Birds, 2025, watercolour and tempera on paper, 89x124cm | $5,500
Left: Martin King then, now 2025, watercolour, pencil, pigment and tempera on paper 57x73cm | $4,500
Right: Martin King, ghost dance X, 2025, watercolour on drafting film and paper 60x89cm | $3,500
Martin King, study for wren and fantail, 2025, watercolour, pencil and tempera drafting film 34x43cm | $3,500
Natalie Anderson
Natalie Anderson’s representational oil paintings offer a celebration of the spectacular Australian landscape, expressed through her experience of, and connection to, the environment.
Anderson’s compositions are often framed around the horizon line: where the ocean meets the land or the sky.
In some, she zooms in to capture the wild, untamed beauty and strength of the ocean: powerful waves, swirling tides, sea foam, and the sun reflecting off the surface. In others, she turns her focus inland, depicting infinite skies above hills, rolling grassy plains and crop fields.
Natalie Anderson, Connewarre’s Edge, 2025, oil on paper, 71x52cm | $2,200
Natalie Anderson, Meroo Head, 2025, oil on paper, 52x71cm | $2,200
Natalie Anderson, Zealy Bay, 2025, oil on paper, 52x71cm | $2,200
Romany Mollison
Romany Mollison’s atmospheric landscape paintings convey the vast beauty and emotional resonance of her surrounds.
Captivated by the emotive qualities of changing light, shifting seasons, and the movement of shadow and mist, Mollison continues the tradition of classical landscape painting in her continuous quest to capture magical moments of stillness.
From intimate postcard sized to large-scale, immersive paintings, Mollison’s works elicit a sense of quiet, restorative calm.
Romany Mollison, Mornings by the Dam 1, 2025, oil on paper, 83.5x65cm | $3,600
Romany Mollison, Mornings by the Dam 2, 2025, oil on paper, 83.5x65cm | $3,600
Left: Romany Mollison, Mornings by the Dam 1 (study), 2025, oil on paper, 40.5x32cm | $1,600
Right: Romany Mollison, Mornings by the Dam 2 (study), 2025, oil on paper, 40.5x32cm | $1,600
Sue Anderson
Expressionistic landscape painter, printer and ceramic artist Sue Anderson lives and works on Wadawurrung country, Victoria. Anderson’s unique visual language is inspired by days out in the Australian landscape absorbing, observing and drawing.
From her earliest immersions into the Big and Little Deserts, and the volcanic grassy plains of Point Cook, her landscapes have included the coasts, deserts and forests of Australia. Her love of the bush is equally balanced by her affinity for the sea.
Her artworks express her joy in witnessing the birds, plants and animals within these environments; celebrating their unique character as well as her concern seeing the destruction of the natural world caused by human impacts and development.
Sue Anderson, Chance Meeting, 2025, watercolour, conté on paper, 71x52.5cm | $3,200
Sue Anderson, Sail Race, Queenscliff to King Island, 2025, watercolour, conté, gouache on paper, 71x52.5cm | $3,200
Left: Sue Anderson, Terns at Rockpools, 2025, watercolour pencil on paper, 71x52.5cm | $3,200
37. Sue Anderson, Hello Dolphins, 2025, watercolour, conté on handmade paper, 58x43cm | $2,900
Salt Contemporary
info@salt-art.com.au
+61 3 5258 3988
+61 439 353 624
salt-art.com.au
33-35 Hesse St, Queenscliff, VIC, 3225
