Upcoming Exhibition

Sally Atkinson

Saturday 21 November – Thursday 24 December, 2015.

See more work by Sally Atkinson.

Past Exhibitions

Tony Ameneiro

Saturday 23 May – Sunday 3 July, 2015.

See more work by Tony Ameneiro.

Annette’s Place

22 – 23 November, 2014

Tony Ameneiro

31 August – 20 October, 2013

Public viewings: 31 August – 1 September and 7-8 September.


Andrew Antoniou

22 June – 2 August, 2013

Public viewings: 22-23 June and 29-30 June.

See more work by Andrew Antoniou.

Sally Atkinson

6 April – 17 May, 2013

Public viewings: 6-7 April and 13-14 April.

The landscape in and surrounding Young continues to be an endless source of inspiration to Sally. Looking closely at the shades and gentle contours of this diverse farming region Sally’s very unique stylized interpretation is full of colours that paint a very rhythmic and graceful response to her surrounds.

“This body of work continues to reflect the environment in which I live and what has always inspired me.”

The paintings in this exhibition not only reflect Sally’s fascination with the local rural landscape – the lines and shapes created by machinery, fences and livestock; but also her love of painting with oils on canvas. The ever changing local landscape has always inspired Sally, and the process of using thin layers of oils over a canvas, which gives and moves with each stroke of the brush, to create an image of the landscape is relaxing and stimulating at the same time.

“Investigating and developing ways to express myself through my art that continues to represent the space and environment which I love – including the use of layering of colour and other mediums such as pastel and printmaking.”

“Although my greatest inspiration will always be the rural landscapes that surround me, to be able to develop and create artwork from inspiration in my urban backyard or on my morning walk through town has been exciting.”


Sandra Hendy – “Australian Journey”

13 October – 17 November

Tony Curran – “Face Value”

4 – 31 August

Face Value was produced as part of the artist’s PhD research exploring the notion of self and the role of the self in contemporary visual art. It responds to a variety of changes in how concepts of self have been constructed and represented, and the value of the face in representing self.

The face is where the mind meets the body. It is where the inner world shapes the surface, revealing to others our thoughts and desires. It is where our self can be read, the private made public. It links your subjectivity with countless others. For this reason the face is simultaneously public and private. It is on display for others to see and it is up to us to control how much of our inner world we express to others. A quick scan of a wallet reveals the value we place on the face as a signature of identity evident on official documentation that give us access and privilege in the community. We need facial identification to drive a car, to exit and enter countries and workplaces. It is our property but we also must share it, and guard it.

For centuries, artists have studied the face to learn about the soul, the self or identity, producing mixed results. The works in Face Value look at how the mind, the body, and society are represented in the face. They explore how the self is expressed and performed, via the face, to reflect the values of the individual as well as the customs of the community to which it belongs.

In Face Value, four works have been shown together to contemplate ideas about self and to activate the sense of self of the viewers. Being in a space filled with pictures of faces instantaneously facilitates a social encounter between the viewer and the subjects of the work. The viewer’s own physicality in the space is integrated through the enveloping structure of Scrutiny, the overhead placement of Watching over you and the intimate scale of Finding Arthur Wicks: Portrait miniature series.

The works stand as objects or installations that are dependent on the viewer’s physical placement in relation to them. In Scrutiny, the use of mirrors creates a looped rotation by repeating the pictorial sequence infinitely. Upon approach the viewer’s own face is incorporated into the work, reflected back into view. The viewer becomes object unto their self. Watching over you particularizes the viewing position, while revealing itself as an illusion of space and perspective.

The psychological effect of the Rorschach inkblot is explored in Finding Arthur Wicks: Portrait miniature series. The intimate scale of the miniatures invites close inspection, provoking embodied and reflective responses. As the viewer moves closer, two-dimensional pictorial clarity is lost to an inky ghost like form painted three-dimensionally. An imagined or psychological engagement with the subject matter is crucial, and this incorporates the viewer’s reflective self. One of us creates a sense of the uncanny. When viewed from afar it appears to be a collection of portraits of the same individual, but when approached a little closer the story grows more complicated and varied. The gestural brush strokes in Scrutiny and Watching over you create a psychological sense of energy counterbalanced by the stillness of an expressionless head. The use of gestural ink work reflects the fluid nature of the self, emerging and shifting through time. The dimensions of self are blurred together as the viewer encounters a trace of the artist’s body – a drawing. Reflection, relation and materiality are seen to be inseparable and dependent on one another.

Each of the four works developed as a result of other people’s participation. The head in Scrutiny and Watching over you was a bust of Arthur Wicks’ head. Wicks was a key figure of the Australian performance art landscape of the 1980s. Wicks loaned the bust in response to an invitation to be the subject of a portrait. It had been an original bust from his studio, which he used to make masks for his performances as his alter ego – the Solstice Voyeur. Finding Arthur Wicks: Portrait miniature series involved the participation of associates of Wicks as a map of Wicks’ social and professional history – a series of portraits while simultaneously a portrait of Wicks.

One of us connotes assimilation, or individuality amidst the crowd. It involved about 150 participants during a three-month residency at the Museum of the Riverina, titled Identify, Identity, Identikit (2012). In this residency the public of the Riverina were invited to donate a part of their face in a 5-10 minute sitting, offering up their eyebrows, eyes, nose or lips to be drawn. From this identikit, 42 facial composites were made, which became the basis from which a photograph of my face was altered to take on the character, emotions, and physicality of different individuals from the Riverina community. As a series they demonstrate how the individual self can be stretched beyond its comfortable limits into the collective or social self.

One of us and Finding Arthur Wicks: Portrait miniature series are a population with their own fates. The population of Finding Arthur Wicks: Portrait miniature series is a community that becomes dissolved as each work is purchased. The group slowly shrinks. Currently seven remain (on display) from the original series of ten with three having gone into private collections. One of us, on the other hand, will continue to unfold well after the production of the artwork. From the total bank of facial features in Identify, Identity, Identikit, approximately 3.2 million unique composite faces can be made. As works leave the studio into private collections other unique faces will be made, so that One of us continuously remains a population of 42 individuals, each individual only ever printed once. While these post-exhibition considerations are sentimental, they shape and maintain the context of the work as authentically original, unique and humanized artifact; they remain individual works yet they belong to a group.

Face Value is not a claim about self. It responds to ideas of self and considers a new aesthetic, modeled on the various characteristics and dimensions of self. The subjects in Face Value are selves, the viewer is a self and the artist is a self. The face value can be seen in how it links the innermost private thoughts, to the space we inhabit in society, simultaneously as a psychological, material, political and social object. The value of the face is that it is a site of self.

Annabel Nowlan – “The Biography of Things”

9 June – 13 July

The Biography of Things explores the relationship between the objects and things that become part of our lives. In doing so, they reveal much about our personal histories, culture, tastes and characters.

These works look particularly at the unique and special objects of rural life, and how their stories and memories evoke and define individual connection to the land. Collectively, they reveal how the objects we surround our lives with become part of us and in doing so, embody our essence.

This collection of Things refers to objects that I hold sacred, regardless of their lack of value, beauty or function. They may be symbolic, admired and preserved, or used, broken and thrown away, but all bear witness to how objects have shaped our world and how we have been shaped by them.

The Biography of Things has been inspired both by my personal connection to the land, and also by the British Museum’s “A History of the World in 100 objects”. Author Neil McGregor takes a fresh look at everyday objects and re-evaluates them as a significant part of human development and meaning.

Some of the works also have themes relating to the “Changing Nature of our Landscape”, and deal with my concerns about the impact of expanding mining and multi-national corporate agriculture that’s increasingly dominating rural landscapes.

See work by Annabel Nowlan.

Chris Rockley: Australian Insect Pollinators – in Pursuit of Nectar

15 October – 18 November

Chris Rockley is a Natural history artist with a passion for botany and entomology. Her artwork reflects the desire to investigate subjects in intricate detail through the aid of a microscope and/or a scientist. The artwork created aims to encourage original thinking and educate. This involves extensive research into an issue and presenting simple solutions to a broad audience through the beauty and simplicity of art.

Chris is currently doing a her Phd documenting Endemic flora of the Hunter Region, and has a Bachelor of Natural History Illustration with honours. She currently lectures at The University of Newcastle in Scientific Illustration and Field Studies and runs workshops on Drawing Native Plants throughout the state. Her taxonomic artwork hang in private collections across Australia and scattered across the globe as well as many scientific departments and institutes and publications.

April Glaser-Hinder, Michael le Grand, Chistoph Preussmann

Annabel Wallace Gallery is opening a dynamic exhibition consisting of two sculptors, April Glaser-Hinder and Michael Le Grand and drawer Christoph Preussman, on the 20th of August.

One of Australia’s most progressive and bold female metal sculptors, April Glaser-Hinder who has work held in collections throughout Australia, Germany and Switzerland (where she lived for many years) now resides in Cootamundra, near where she grew up on her grandparents farm in Bethungra. April’s minimal geometric works have a beautiful quiet meditative quality about them. Her simple elegant forms capture your imagination; they possess an almost musical hypnotic rhythm that demands your awareness and thought. To complement her sculptures April has included in this exhibition a small collection of her abstract paintings that create a visual dialogue with her compelling metal works.

Murrumbateman sculptor Michael Le Grand has recently returned from exhibiting in Sculpture by the Sea, Aarhus, Denmark. Michael continues to excite and astonish us with his impressive daring works both in Australia and internationally. Michael’s work, which is predominantly in steel, examines sculpture through a lens of abstraction and conjures pieces of aesthetic poignancy. Given the work’s often large scale they appear surprisingly weightless and with a unity of colour that engenders great beauty.

Christoph Preussmann intrigues his audience with work that explores the intermediary zone between drawing/painting and photography. Christoph’s carefully crafted drawings use motifs largely derived from found images, film stills and polaroids. The technical brilliance of his work invites the viewer into a seductive world laden still with spontaneous and sensuous immediacy. His tantalising subjects combined with the mystery of medium create a state of wonder for the viewer.

Annabel Wallace Gallery is very proud to be able to exhibit the work of these three accomplished artists. The exhibition opens on Saturday 20 August from 4pm to 6pm. It is open until 30 September. Gallery hours are 11am – 4pm each weekend except the last weekend of the month or by appointment. Address and directions are at here.

Annette’s Place 2010 Exhibition

Through the use of less conventional materials such as aluminium, copper and stone the children have constructed their own trees. This work was inspired by a body of work that I did called “A constructed Landscape”. The idea behind that body of work was how we manipulate and construct the landscapes in which we live. Aluminium and copper lend themselves beautifully to the idea of manipulation being very soft and plyable metals. We began the process with each child drawing me a tree that was then cut out and traced onto a sheet of copper or aluminium, I then either cut with tin snips, or plasma cut that shape out. In the case of the plasma cutting, there was an excursion to the gallery where the children watched me cut out their drawn shapes. Stone was collected from my farm and cut so that the sculptures would slide firmly into the groove. The tension that is created by using two very different materials I find exciting and again supports the idea that we take bits from everything and mix them together to create our own experiences, and ideas.

The Still Life with Butterfly paintings were referencing an artist that I exhibit, Andrew Antoniou whose works hang on the stone wall as you walk in. Much of his work is inspired by his imagination, dreams and fantasy. I wanted to give the children something tangible to relate to such as a vase of flowers, but I then encouraged them to colour and create flowers that they imagined or had experienced in their own garden or the Annette’s Place garden. The addition of the butterflies was to add a fantastical element something that you wouldn’t necessarily expect to be in a formal composition and again I asked the children to make them as colourful and patterned as they liked.

“We have to convince ourselves that expressivity is an art, a combined construction (not immediate,not spontaneous, not isolated, not secondary); that expressivity has motivations, forms, and procedures; contents (formal and informal); and the ability to communicate the predictable and the unpredictable. Expressivity finds sources from play, as well as from practice, from study and from visual learning, as well as from subjective interpretations that come from emotions, from intuition, from chance and from rational imagination and transgressions. In fact, drawing, painting (and the use of all language) are experiences and explorations of life, of the senses, and of meanings.”

In the spirit of the studio.
Learning from the atelier of Reggio Emilia”

Andrew Antoniou

October 15 – 21 November 2010

“Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels.” Goya

I believe as an artist that my purpose is to present that which is unreasonable as reason itself. To fashion a vision that is beyond real to one that is credible. To bring the self to actualisation through images that speak of our paradoxes and our destinies set in the theatre of the absurd and in the language of the metaphor. We look to art to gain a sense of the other. It is where we gain communion with the vision of the individual. Their experience, their time, their dark and light. I have always believed that art for me is the business of self actualization. Where we meet ourselves in a space of our own making. To tell the story from its end to its beginning as in a dream, through a looking glass.

See more work by Andrew Antoniou.

Native Botanical Drawing workship with Natural History Artist Chris Rockley

Dates: 23 – 24 October

Cost: $35.00
RSVP: 19 October, 2010

A much anticipated weekend for those interested in both art and plants. A great opportunity to learn more about the Young District’s unique and diverse array of native plant species.

Chris will take you on an artistic journey through different techniques of plant illustration. You will choose and draw your plant in its entirety in the field, then back to the studio to draw a cutting. Afterwards observe and draw your plant in much closer detail and discover its inner workings and reproductive elements.

More about Chris Rockley:

Christine completed the Bachelor of Natural History Illustration (BNHI) in 2006 and Honours in 2010. She currently lectures at The University of Newcastle in Scientific Illustration and Field Studies and runs workshops on Drawing Native Plants throughout the state. Her taxonomic artwork hang in private collections across Australia and scattered across the globe as well as many scientific departments and institutes and publications.

Biological science has been a lifelong passion and her artwork reflects the desire to investigate subjects in intricate detail. Mostly with the aid of a microscope and/or a scientist. Subjects range from botanical specimens to insects and marine life. Her repetoire includes traditional illustration, graphic design (print and digital), model making and textile art.

Sally Atkinson

Sat 14 August – 24 September

The landscape in and surrounding Young continues to be an endless source of inspiration to Sally. Looking closely at the shades and gentle contours of this diverse farming region Sally’s very unique stylized interpretation is full of colours that paint a very rhythmic and graceful response to her surrounds.

After having a break from exhibitions for the past two years while undertaking postgraduate studies, the works in this exhibition are about rediscovering and revisiting what she loves about creating her artworks, her inspiration and the processes involved in creating and developing each piece.

The paintings in this exhibition not only reflect Sally’s fascination with the local rural landscape – the lines and shapes created by machinery, fences and livestock; but also her love of painting with oils on canvas. The ever changing local landscape has always inspired Sally, and the process of using thin layers of oils over a canvas, which gives and moves with each stroke of the brush, to create an image of the landscape is relaxing and stimulating at the same time.

For this exhibition Sally has enjoyed taking the opportunity to return to some of her favourite places in the area including Broken Dam Rd, Colorado and Nubba Rd, and has also revisited the sketch books that she has filled over the last ten years since returning home to Young.

Creating the prints for this exhibition is a very exciting diversion to her painting. Sally has always enjoyed prints and printmaking but has been limited in her opportunity to experiment due to not having the facilities of her own to explore this medium fully. This changed when her mother, Margaret Atkinson, purchased a printing press – a very exciting purchase and inspirational in itself. Printmaking provides another opportunity to express line and shape, and is different to painting in that the surfaces are hard and the process unforgiving, and Sally is now enjoying investigating all the many possibilities that printmaking offers along with inventing her own.

See more work by Sally Atkinson.

A Constructed Landscape by Annabel Wallace

Sat 15 May – Fri 9 July

I enjoy the tension that is created when two very different materials are put together. Combining light metals with aged wood I assemble imaginary landscapes. The process begins with an aged piece of wood that I sand and polish. Once I have achieved a surface I am satisfied with, I then plasma cut plants, trees and fauna out of aluminium. My aluminium shapes are then painted and collaged together to create a constructed landscape that is filled with imaginary plants and settings. As well as the interplay between the materials I enjoy the soft irony of creating trees out of metal and then mounting them on timber.

I draw much of my inspiration from the landscape in which I live. Surrounded by grazing paddocks and bushland the question of what the landscape looked like before it was settled is constantly in my mind. Questions such as “how much of the land was cleared, how much of the vegetation is now introduced and the impact that foxes and rabbits have had”, are all considered. I have consciously allowed the metal subjects to extend beyond their frame to signify the reality that nature not only extends everywhere but also pops up in man made environments – it cannot be excluded or contained. I have also wrapped large stones in strap metal. By wrapping the stones they become a gift, symbolizing that nature and the landscape are indeed a gift that should be treasured.

See more work by Annabel Wallace.

Paintings by Beverly Filmer

Sat 3 Oct – Fri 27 Nov

The countryside is very grounding for Beverly and helps her to remember the importance of nature and where we come from. Lying in a paddock of grass, looking up at the sky and the hills, only able to hear the noises of the wildlife enables her to connect to an inner self so often neglected. Finding her subject matter from the nature around her, mainly from her farm in the south coast hinterland Bemboka, Tilba and Candelo, Beverly continues to explore the subtle changes in colour and form of her surrounds. Beverly depicts the beauty that she sees at a given moment, capturing a fresh and original vision. Taking her paints and canvases outdoors, she begins her work in the picturesque settings of her paintings so that she can closely observe nature more directly and set down its most fleeting aspects, especially the changing light. Beverly then takes her work back to her studio for completion.

Through using rapid brush strokes and densely textured surfaces Beverly’s landscapes are fresh and luminous. In allowing her brushstrokes to retain their liveliness some of Beverly’s paintings have the spontaneity of a sketch while others a more detailed study. The overwhelming sense of her work is one of natural unlabored directness to her subject matter. Beverly’s work is motivated by the importance of our links with the earth and nature’s rhythms. Hence, the paneled presentation of her work not only reflects how she feels segments of a whole can be viewed but is also an attempt to create a rhythm, not unlike music, within the whole picture.

See more paintings by Beverly Filmer.

Inside Outside

Sat 24 – Sun 25 May 2009

John Payne – Ceramics

14 March – 3 May 2009

John Payne commenced his artistic practice with the production of domestic ceramics of great beauty but when he and wife Heidi felt like a challenge in the direction of John’s work, they made the decision to move from the Southern Highlands to Bingie on the South Coast. It was this sea change that brought about the birth of a very new and exciting approach to ceramics for John and the beginning of his venture into crystalline pots.

The lustrous, radiant glaze that John’s crystalline pots exhibit are truly exquisite and rare. Due to this very uncommon, wondrous finish they are all unique in their surface and texture and no pot can be repeated. The unique nature of these works renders them not just very beautiful but also highly prized and collectable.
See more work by John Payne.

Sonia Turner – Caught in a Still Moment

14 March – 3 May 2009

Sonia has been practising as a photographer for the past 10 years. A resident of Bungendore she regularly exhibits in the local area and Canberra. She most recently exhibited in Vivid the national photography expo in Canberra. She is on the board of Photo Access in Canberra and was the artist in residence there in 2005.

This body of work entitled Caught in a Still Moment continues Sonia’s dialogue with landscape and occasionally the people in it. Sonia is able to master the photographers’ art of managing light, time and space to create a world of reflection and wonder. Whether it be a broad landscape or simply a flower or leaf, Sonia creates a sense of calm that also makes the viewer question further the circumstances of the moment. The work is timeless and serene.

In works such as She and Staircase it is what is left out that creates such intrigue and wonderment and it is Sonia’s ability to find these subtleties that makes her so sensitive to her medium.

See more work by Sonia Turner.

Raylee Williams

1 November – 21 December

Opening: Saturday 1 November 4pm – 6pm

What a splendid thing watercolour is to express atmosphere and distance, so that the figure is surrounded by air and can breathe in it. – Vincent van Gogh

Watercolour painting is a medium where one must be accepting of the flows of chance, of what unfolds when the brush touches the paper, when wet meets dry. Norman Lindsay wrote “We find out methods by experiment and failure, and no one can lay down precise principles for a medium so fluid and accidental as watercolour. To this day I never sit down to a watercolour without enduring the suspense of an experiment designed to go wrong.”

Raylee’s still life compositions and outdoor garden scenes find inspiration and beauty in domestic interiors and everyday backdrops and transform these subjects into stunning pictorial imagery.

With the clear, vibrant transparency of watercolour, Raylee enjoys the fact that you are never quite in control of the medium and she welcomes the exciting adventures that the medium takes her on. Things happen when you mix water and pigment on paper – sometimes beautiful things which are wonderful and sometimes things which may not really be what you were hoping for and that’s the magic of it. Colour, tones, light and dark shadows become your constant companions, although in watercolour less is often more. Just giving the suggestion of something to the viewer is often all that is required and the eye of the viewer does the rest.

Raylee states, the only thing I want to convey through my painting is beauty, glowing colour and transparent light. I want the viewer to instantly know what I have painted, to enjoy and be uplifted.

See more work by Raylee Williams.

Penny Jacobs

Opening: 6 September 4pm-6pm
Exhibition dates: 6 September – 24 October

See more work by Penny Jacobs.

Big Art Small Viewer – Children’s Art Exhibition

Opening: Sunday 31 August 12 noon

Andrew Antoniou

Exhibition dates: 2008

Andrew Antoniou Workshop

Drawing from the self is drawing from the imagination, that which is remembered, invented and dreamt.

The specific aim of this workshop is to build your own personal narrative from a grouping of everyday concepts and objects.

In this class you will be looking at aspects of recall and how you affect those memories with your own particular vision and sensibility.

You will also be focusing on how we as people and artists interpret those things we see and read as well as remember. Working in simple materials you will explore mark making and image forming that is challenging and joyful. This weekend workshop will give you very simple processes to help you in your art practice in the future as well as providing you with a rewarding experience.