Using recycled milk containers and drypoint etching needles, we will illustrate the legend of sunken treasure in the Derwent River! Together we will create the legend, then we will all make a print that tells part of the story. We will put the prints together and make a zine. This workshop is run by John Robinson, who also runs Moving Creature Studio — where prints and zines are made.

Thurs 1 Oct, 10am–3pm, $30
Register>>

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

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

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

Toe-tapping fun for everyone! Buzz along with songs such as the “Busy Bees”. Slip and slide along with the “Slow Old Snail”. Sip on “De Nectar” and wrap ourselves in a “Silk Cocoon” before we transform into “Bee..utiful Butterflies”. But “Hey Big Spider” watch out for the “Mosquito”. What a “Buggy Old World” it will bee in the world of MAKEBELIEVE!

Fri 2 Oct, 1–2pm, $10/child, parents free
Register>>

Music, performance, comedy — online — on Fridays in October at 7pm.

Watch on YouTube>>

Tune in on Facebook or Instagram, or binge them all on YouTube

MAC’s Friday Nights Live concert series was cancelled by COVID — but you can’t stop these music makers from making music! We’ve been working hard behind the scenes, recording a series of performances by stellar local acts. Expect music, performance, comedy and more!

2 videos will be released each week.

Recording these videos has helped MAC to support local performers during a difficult time for the industry. Show your support by liking, sharing and commenting.

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

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

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

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

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

Harness the power of the sun to create beautiful blue prints from found objects! Cyanotype printing is one of the oldest photographic print-making processes. Steve Lovegrove will show you how to make images from found or treasured objects by placing them on paper and exposing them to sunlight.
It’s a simple process involving coating sheets of paper with the required chemistry, drying, placing objects in contact with the paper and exposing in sunlight. Development is done in water and no darkroom is required.
Please wear old clothes as the non-toxic chemical that we’ll be using can stain. Gloves will be provided.

Thurs 8 Oct, 10am–3pm, $30
Register>>

Combine the powers of dance, circus, theatre games, yoga, meditation, chi gong and wayapa — to hone your superhuman Jedi skills! Felicity Horsley’s playful workshop is designed to cultivate physical, emotional and mental wellbeing. The focus is on fun and creativity, as well as deeper training for the mind and body to be strong, balanced, vibrant humans.

Thurs 8 Oct, 10–11:30am, ages 4–7, $20
Register>>

Thurs 8 Oct, 12:30–2pm, ages 8–14, $20
Register>>

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

Music, performance, comedy — online — on Fridays in October at 7pm.

Watch on YouTube>>

Tune in on Facebook or Instagram, or binge them all on YouTube

MAC’s Friday Nights Live concert series was cancelled by COVID — but you can’t stop these music makers from making music! We’ve been working hard behind the scenes, recording a series of performances by stellar local acts. Expect music, performance, comedy and more!

2 videos will be released each week.

Recording these videos has helped MAC to support local performers during a difficult time for the industry. Show your support by liking, sharing and commenting.

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

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 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Etienne Boura uses collage to explore innermost thoughts, interests and ideologies.

What is our connection with Reality? What is the universe? What did we forget? What is the scope of human intelligence?

We have been searching and seeking answers to deep questions since forever in order to reach higher levels of knowledge and consciousness — questioning all things on earth and beyond.

Etienne’s work visualises his feelings about the connection between human, reality and the universe. The characters in the collages are witnesses or actors of their own discoveries and realisations.

“The mystery of life is not a problem to be solve, but a reality to be experienced” — Alan Watts.

Image: Etienne Boura, “embodying what is” (detail), 2020, analog collage

Exhibition dates: Fri 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

An exhibition of original comic art from Joshua Santospirito’s work-in-progress graphic novel Swallows Part Two — a book about searching for ancestors.

In 2018 Josh returned for a holiday to the Aeolian Islands, North of Sicily, from where his father’s family migrated from. His visit filled with snippets of history, amusing family anecdotes and mythology — weaving a story through which Josh attempts to understand what (if any) connection he might have to that place.

With his parents in tow, Josh tries to find out what drove his ancestors to leave those islands for Australia — and why human history is filled with stories of humans constantly on the move.

Swallows is an ambitious but heart-warming episodic storytelling project. It has its origin in 2013 when Tony Santospirito, Josh’s father, created a homebound booklet about Josh’s grandfather Antonio and his relationship to the city of Melbourne over the 20th century. The series investigates the stories of all human migration.

Conversations with the artist

Sat 24 Oct, 1pm

Join Joshua Santospirito for a conversation about his exhibition, and about the process of creating a graphic novel.

Image: Joshua Santospirito, “Cover” (detail), 2019, watercolour on paper

Exhibition dates: Fri 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Emily Jones sets her scenes in familiar commercial and public spaces. Her work comments of the positive and negative effects of consumerism on our society. It digs a little deeper into the layers of our social fabric.

Emily looks to her ordinary surroundings for inspiration. The communal spaces where people flock daily and perform common routines. A crucible of humanity, our local shops are familiar by necessity if not by choice. All at once: busy, exciting, aspirational and sometimes depressing — crowds gather but not for connection. In contrast, she explores simple moments of wonder that cannot be bought.

She is also curious about the recent popularity of SUVs and luxury utes; and considers their impact on urban aesthetics, social status, safety and the environment.

Monster Trucks in the Suburbs: Observations on Wonder and Consumption explores themes of the isolation and connection; wonder and nostalgia; the recent coronavirus upheaval; and the impact of consumerism on relationships, quality of life and the environment. It’s an invitation to identify with the imagery — take a moment to pause, think and talk.

This exhibition is supported by the Australian Government’s Regional Arts Fund

Image: Emily Jones, “Lunch Time”, Oil on board

Music, performance, comedy — online — on Fridays in October at 7pm.

Watch on YouTube>>

Tune in on Facebook or Instagram, or binge them all on YouTube

MAC’s Friday Nights Live concert series was cancelled by COVID — but you can’t stop these music makers from making music! We’ve been working hard behind the scenes, recording a series of performances by stellar local acts. Expect music, performance, comedy and more!

2 videos will be released each week.

Recording these videos has helped MAC to support local performers during a difficult time for the industry. Show your support by liking, sharing and commenting.

Exhibition dates: Fri 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Etienne Boura uses collage to explore innermost thoughts, interests and ideologies.

What is our connection with Reality? What is the universe? What did we forget? What is the scope of human intelligence?

We have been searching and seeking answers to deep questions since forever in order to reach higher levels of knowledge and consciousness — questioning all things on earth and beyond.

Etienne’s work visualises his feelings about the connection between human, reality and the universe. The characters in the collages are witnesses or actors of their own discoveries and realisations.

“The mystery of life is not a problem to be solve, but a reality to be experienced” — Alan Watts.

Image: Etienne Boura, “embodying what is” (detail), 2020, analog collage

Exhibition dates: Fri 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

An exhibition of original comic art from Joshua Santospirito’s work-in-progress graphic novel Swallows Part Two — a book about searching for ancestors.

In 2018 Josh returned for a holiday to the Aeolian Islands, North of Sicily, from where his father’s family migrated from. His visit filled with snippets of history, amusing family anecdotes and mythology — weaving a story through which Josh attempts to understand what (if any) connection he might have to that place.

With his parents in tow, Josh tries to find out what drove his ancestors to leave those islands for Australia — and why human history is filled with stories of humans constantly on the move.

Swallows is an ambitious but heart-warming episodic storytelling project. It has its origin in 2013 when Tony Santospirito, Josh’s father, created a homebound booklet about Josh’s grandfather Antonio and his relationship to the city of Melbourne over the 20th century. The series investigates the stories of all human migration.

Conversations with the artist

Sat 24 Oct, 1pm

Join Joshua Santospirito for a conversation about his exhibition, and about the process of creating a graphic novel.

Image: Joshua Santospirito, “Cover” (detail), 2019, watercolour on paper

Exhibition dates: Fri 16 Oct – Sat 7 Nov
Open Tuesday to Friday 10am–5pm, Saturday 11am–3pm, free entry

Emily Jones sets her scenes in familiar commercial and public spaces. Her work comments of the positive and negative effects of consumerism on our society. It digs a little deeper into the layers of our social fabric.

Emily looks to her ordinary surroundings for inspiration. The communal spaces where people flock daily and perform common routines. A crucible of humanity, our local shops are familiar by necessity if not by choice. All at once: busy, exciting, aspirational and sometimes depressing — crowds gather but not for connection. In contrast, she explores simple moments of wonder that cannot be bought.

She is also curious about the recent popularity of SUVs and luxury utes; and considers their impact on urban aesthetics, social status, safety and the environment.

Monster Trucks in the Suburbs: Observations on Wonder and Consumption explores themes of the isolation and connection; wonder and nostalgia; the recent coronavirus upheaval; and the impact of consumerism on relationships, quality of life and the environment. It’s an invitation to identify with the imagery — take a moment to pause, think and talk.

This exhibition is supported by the Australian Government’s Regional Arts Fund

Image: Emily Jones, “Lunch Time”, Oil on board