Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Free workshop for ages 3–6

Come and join performers Leigh and Kirsty in an adventure you can experience in your own home.

Families will be sent a video link and materials the week prior to the workshop.

This will inspire children to create their own puppet character. These characters will come to life and interact with others in an online storytelling adventure. Your dining tables can become landscapes and your living room a different world in this unique interactive experience.

Registrations close: Wed 2 Sep

Live zoom workshop session 1: Fri 11 Sep, 10am–11am  — workshop full

Live zoom workshop session 2: Fri 11 Sep, 11:30am–12:30pm — register online>>

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Process, reflection and routine are the basis of Catherine D’Orazio’s art practice. Her non-objective colour-field watercolours express the emotional psyche and illuminate internal conditions.

Catherine has a highly ritualistic practice — laying down and pulling back highly pigmented watercolour layers and creating delicate fields of colour. With the addition and subtraction of paint on paper, Catherine visualises the pouring out of her emotions in an attempt to control them.

These works are imbued with emotionality and encourage the viewer to have a personal response through immersion and contemplation.

Process Proves Perfection uses artistic process to explore the nuances of emotion. The exhibition offers a visual representation of the many ups and downs by pushing process to its limits.

View online extras>>

Image: Catherine D’Orazio, Unknown, 2020, watercolour on paper. Photo: C. D’Orazio

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

Impending climate catastrophe has turned even the atheist to prayer. Please, spare us Lord. And in return, we promise to lead a more just life.

At the conclusion of Andrei Tarkovsky’s last great cinematic masterpiece The Sacrifice (1986) its lead character, convinced of a nuclear endgame enters a prayer to God. Spare my family and I will sacrifice all my worldly belongings. When the end fails to arrive, he does just that. A huge pyre of house and belongings, executed in exquisite detail by an artist-filmmaker over six excruciating minutes.

The question of what to spare, what to sacrifice, has taken on new sets of values and spaces since the war games of the 1980s. We find ourselves driven to petition, and yes, sometimes to prayer, for those things that we believe in.

Thanks to collaborations with Tasmanian Aboriginal Centre and Tasmania Fire Service, artist Toby Juliff has re-imagined Tarkovsky’s last great moment using locally sourced audio recordings of hazard reduction burnings. These burnings have managed and maintained this precarious and precious landscape for thousands of years. Transported into a cinematic masterpiece, the sound of fire becomes a locus for us to meditate on loss and necessary sacrifice.

View online extras at glenorchyarts.com.au>>

Podcast Series

Toby Juliff interviews artist, faith leaders, and experts in hazard reduction burning. This short series of podcasts delves into the question of sacrifice and petition from three distinctly different perspectives.

Series of 3 podcasts, released 1 per week during the exhibition.

Listen online now>>

Image: Andrei Tarkovsky, The Sacrfice, 1986, 142 minutes

Exhibition dates: Fri 21 Aug – Sat 12 Sep
Open Tue — Fri 10am – 5pm, Sat 11am – 3pm, free entry

In “1998-2011 / ١٩٩٨-٢٠١١”, Nadia Refaei explores how family photographs and other records act as vestiges of ‘homeland’ — and how they can be reworked and re-contextualised to express loss and longing for place.

Using processes of destruction and reconstruction, the artist’s family records are reinterpreted into new forms.

Situated within the context of forced distance caused by the Syrian conflict, this work questions how — and to what extent — place and ‘homeland’ is mythologised by diasporic communities.

View online extras>>

Image: Nadia Refaei, 2020

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Cary Littleford’s ‘living pictures’ capture Tasmanian subjects — nature, science, mechanical, people, city and rural — using light-field photography.

Light-field photos capture a 3D light map of a space. This data can be presented in various ways including large 3D prints, interactive touch screen and touch wall installations, videos and lenticular prints. The results capture depth and perspective in fascinating ways.

The light-field camera’s ability to animate focus, introduces a storytelling element to Cary’s works.

Cary Littleford (also known as live video performer ‘VJ Smucklepod’ in the Tasmanian rural music underground) experiments with and mixes various digital technology with physical media to create performance and interactive installations. His eye for niche and unusual tech has drawn him to the quirky world of digital light-field photography.

In this — Cary’s first exhibition — light-field photographs presented in a variety of forms invite you to experience and explore the qualities of light, dimension and depth in a whole new way.

Image: Cary Littleford, Tarkine — 3D Light Field (detail), 2019, light-field photograph

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Miranda Rogers artworks are inspired by Esmeralda — the dancer from the novel The Hunchback of Notre-Dame.

The linoprints and pen and ink drawings in her exhibition “Stained”, fill the walls with narrative. Repeated forms are layered with different colours and on different papers exploring themes of dance, architecture and light. Coloured inks stain the paper like the stained-glass windows of Europe.

The series was developed over a period of years, and it documents Miranda’s changing relationship to Esmeralda’s character and Notre-Dame. At first, the cathedral and its mythology were a bright and colourful muse, but it has become a building cast in political fire — staining and destroying — changing the project to a document of a past love.

Image: Miranda Rogers, Stained Glass (detail), 2019, ink and linoprint on Japanese paper

Exhibition dates: Fri 18 Sep – Sat 10 Oct
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Jennifer Ayton’s exhibition Tenderness explores the intimacy between maternal and paternal bodies (mothers/partners) and their children. Her ceramic sculptures are inspired by empirical data gathered as part of two University of Tasmania research projects in 2015 and 2019, which explored parental narratives about feeding young children.

Jennifer’s work represents the silent spaces in these narratives — the tenderness encountered between bodies. The work plays on the ‘everydayness’ of familial lives, while also representing the invisible vulnerability of intimate acts such as breastfeeding.

Clay is both vulnerable and strong. Hand moulding and wrapping the works around the artist’s body has allowed Jennifer to physically connect with the data and to embody the ache of intimacy encountered in the narratives.

The work sits silently with dignity, filling the space with purpose. The sculptures act as physical evidence — recognising that everyday acts such as using our bodies to feed our young, is more than just nutrition.

The sculptures are objects of tenderness, offering a mechanism to bond and generate intimacy and trust. The work invites the viewer to acknowledge the spaces between — to feel the power of tenderness as the invisible thread connecting us with our own vulnerability and everyday acts of feeding.

Jennifer Ayton’s exhibition is supported by the University of Tasmania

Image: Jennifer Ayton