Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Inspired by his work with at-risk young people, this is Daniel J Townsend’s compelling new spoken word show, featuring still image music videos by diverse artists.

One night only.

Presented by Move Slow Make Things and Joshua Maxwell De Hoog

Book tickets>>

Full Tickets: $20

Concession/Child Price $15

Fri June 4
Doors: 8:00pm
Show start time: 8:30pm
End time: 10:00pm

Audience advice:

Projected images contain nudity. Spoken word poetry contains low level coarse language

Additional Information

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Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

‘On memory’ is a couture performance by Sonia Heap that explores the pivotable place our memory holds in our identity, through the experience of dementia and loss.  In collaboration with Jason James (lighting and projection), Heath Brown (music composition), and Sophia Bender (filmmaker).

Book tickets>>

Tickets: $35

Full dress rehearsal, Friday 11 June, 5.30pm-6.00pm ($25)

Opening performance, Friday 11 June, 6.30pm-7.00pm

Matinee, Saturday 12 June, 4.00pm – 4.30pm

Final performance, Saturday 12 June, 6.30pm – 7.00pm

This activity was supported through Arts Tasmania

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website

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Covering the desire, pressure and uncertainty of the mainland, You Still Here? looks at dreams, the curse of history, and uncertain futures.

This play is based on research involving interviews with many young Tasmanians.

Book tickets>>

Full price tickets: $25 

Concession tickets: $20

16th June 2021, 7pm-8pm
17th June 2021, 7pm-8pm
18th June 2021, 7pm-8pm
19th June 2021, 2pm-3pm
19th June 2021, 7pm-8pm

facebook event

facebook

website

instagram

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Covering the desire, pressure and uncertainty of the mainland, You Still Here? looks at dreams, the curse of history, and uncertain futures.

This play is based on research involving interviews with many young Tasmanians.

Book tickets>>

Full price tickets: $25 

Concession tickets: $20

16th June 2021, 7pm-8pm
17th June 2021, 7pm-8pm
18th June 2021, 7pm-8pm
19th June 2021, 2pm-3pm
19th June 2021, 7pm-8pm

facebook event

facebook

website

instagram

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

A two-part work of speculative archaeology exploring car culture, consumerism, extinction and the after-life of objects.

The ingenuity of car engineering and design is honoured in four porcelain casts of found plastic car components. The social, industrial and ritual phenomenon of the motor car is examined in a documentary created by artificial intelligence in the post-human future. The video satirises British Museum director Neil MacGregor’s deeply earnest BBC radio series, A History of the World in 100 Objects, particularly the Ain Sakhri Lovers episode, in which a complex narrative of conjugal love is interpreted from a carved pebble.

Tasmanian artist Gabrielle Rish’s main medium is humour, in a practice that takes on the big issues of life, death and the things humans make.

View the Toyota Lovers video here

Image: Gabrielle Rish, Toyota Lovers

Friday 4 June – Saturday 26 June

Open Tuesday to Friday 10am–5pm, Saturday 10am–2pm

I grew up in Hobart and graduated from the University of Tasmania with a Bachelor of Arts (Japanese) and a Bachelor of Fine Arts (Printmaking). About a year and a half after finishing university I had a seizure, which led to the discovery of my brain tumour.

My tumour provided me with a wealth of experience for my art to draw upon. But there was one hurdle I struggled with. I wasn’t able to find a way to express my feeling about having a tumour in visual form, to exorcise my existential dread from my mind and onto the page in a way that was cathartic and healing. Then one night it came to me. I would make a comic about my brain cancer experience. I would apply my art and teaching background, and my sense of humour, to develop and share a digital art series of my responses to my diagnosis, including the humour to be found despite the darkness that I sometimes felt.

I made my tumour a relatable character, bereft of any malicious intent but drawn into the same maelstrom of confusion I face. I gave my tumour form and substance, a face and a voice. And eventually a name, Crowley.

Working in the digital format has built upon my painting and printmaking experience and challenged me to develop my artistic expression in this format. My initial Tumour Humour work was in black and white, but more recent works in the series use colour. In this, the works illustrate my development as a digital artist.

While the works track personal experience, they confront more universal themes such as medical treatment, dealing with relationships, coping with emotional stress, other people’s reactions to a person with cancer, the health impacts of a cancer diagnosis and facing death.

Image: Jai Sutton-Bassett, Haven’t Grown

Covering the desire, pressure and uncertainty of the mainland, You Still Here? looks at dreams, the curse of history, and uncertain futures.

This play is based on research involving interviews with many young Tasmanians.

Book tickets>>

Full price tickets: $25 

Concession tickets: $20

16th June 2021, 7pm-8pm
17th June 2021, 7pm-8pm
18th June 2021, 7pm-8pm
19th June 2021, 2pm-3pm
19th June 2021, 7pm-8pm

facebook event

facebook

website

instagram