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kelly austin
"I am curious about the way we interpret things and how our understanding of one object may influence our perception of another. Some of my forms are grounded in utility and familiarity while others are more abstract and ambiguous. My work explores the composition of ceramic objects in still life compositions. Formal relationships between individual objects weave the constructed groups together. Quiet shifts in surface quality from matt to gloss enhance the work’s subtlety and detail."
- Kelly Austin, 2025
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Kelly Austin
Stilled Composition 119, 2004ceramic, glaze, collected earthen materials, glass, timber, acrylic paint
32 x 85 x 45 cm (overall installation size)AU$ 4,400.00 -
Pat Brassington
"I aim to pitch my images just off the verge of normality, into those dense patches where the commonplace goes awry."
- Pat Brassington, 2025
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Tim Burns
Tim Burns is a notable figure in contemporary Tasmanian painting. Living and working at Cloudy Bay on Bruny Island, his scapes are of a less familiar kind than perhaps one would expect. Cannily referent far beyond his picturesque surrounds, Burns’s works capture more than the geographic and the built, the physical or the cultural, more even than the transitioning weather, capturing instead something like transition itself.
Of surprising scale and variation, Burns’s abstract works drift impossibly between Expressionist joy and Japanese minimalism. Texture, depth and detail shift subtly beneath simple, organic lines and forms. At times they are map-like, at others almost hieroglyphic; there is something ancient in the pictographic markings. The eye traces, rests and returns lyrically, boldly and peacefully.
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Tim Burns
Cloudy Bay Lagoon mouth, 2025oil on linen
168 x 168 cm (stretcher size)AU$ 15,000.00 -
DAVID KEELING
"When I reflect on my painting over these years I think what stands out for me is my maturing relationship to place, how slowly the landscape moved from 'object' to 'subject' in the paintings. This coincides with a growing love of the particular, such as Narawntapu National Park, the Cornelian Bay walk or the seascapes of Greens Beach or the Freycinet Peninsula. Familiar, often overlooked places have become for me subjects of transcendence through the agency of the distinctive Tasmanian light.
For me now painting has become all about light..."- David Keeling, 2025
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SUE LOVEGROVE
Sue Lovegrove’s works reflect her close relationship to the natural environment, her relationship to place and her concerns around environmental issues. Her paintings explore the interplay between surface and depth; with layers of subtle washes creating an exquisite depth and fine delicate lines, creating rhythms and patterns of movement across the surface. Combining her knowledge of both Persian miniature painting and European watercolour traditions, Sue brings historical landscape painting into a 21st Century context. Bridging abstraction and figuration, Sue’s paintings are sensory responses to landscape that sing with representations of shimmering water, light, air, space and are vibrant with the rhythm of wind and weather.
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Sue LovegroveMeltwater no. 624, 2025acrylic, ink, 23ct gold leaf on clay board, framed62 x 93 cm (framed size)AU$ 8,500.00
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sara maher
in collaboration with maria macdermottSara Maher and Maria MacDermott have shared periods of artistic collaboration for more than two decades and describe their combined practice as one in which they speak the same visual language, embracing both chance and trust. The alliance is articulated in multiples, whether that be a sharing of one surface, or a swapping between several. The works are pluralistic in nature and disrupt that which is deemed singular and original by blurring the identity ofartistic ownership. Themes of doubling and the figuration of the twin emerge for the collaborators as a kind of 'third identity', to invoke psychological and metaphysical explorations and reflection upon the larger collective imagination. -
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Rachel milne
“I paint with a focus on light and seeing the beauty in the everyday. Once I have established an idea I put all my intellectual capacity into the translation of what I see, concentrating solely on structure, tone and colour. I don’t always stick to Intimism as a genre, I’ll often paint anything that takes my eye, from an unfinished meal to the light on the bedside table. Once the work is finished it becomes obsolete, for me it is all about the process.
I live in fear of becoming too comfortable and complacent and I think often my best work comes from blindly agreeing to turn up somewhere, set up and work. Working from life whenever possible for me is also fundamental. I find the camera makes too many decisions on my behalf and having used photos in the past the results, for me, are always unsatisfying. I find there’s a bit of alchemy that happens when I am confronted and challenged with ever shifting reality.”- Rachel Milne, 2025
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Alexander Okenyo
"A knife rests, suspended between use and restraint. Familiar, domestic, and sharp, it carries the quiet knowledge of what it can do. The title draws on Jeff Buckley’s lyric You’re a Woman, I’m a Calf, You’re a Window, I’m a Knife as a metaphor for imbalance — vulnerability meeting edge, intimacy meeting the fear of harm. The burden of being the cutting thing in a fragile world. "- Alexander Okenyo, 2025
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Alexander Okenyo
You're a window, I'm a knife, 2025graphite on board
diptych: 25 x 92 cm (overall board size)AU$ 3,000.00 -
Nicole O'Loughlin
"In 2020, my partner, son, and I moved to a three-acre property in Molesworth, nestled in the foothills of kunanyi. Over the past five years, I’ve come to know the birds that live around us, watching the same families return and raise their young. I witness the seasons shift, the land and its creatures changing with them. Fossilised rocks in the creek, share stories from millions of years ago.
On the weekends I spend my days weeding, pulling foxglove and thistles from the Sclerophyll Forest. Closely watched by wrens and robins who swoop in during cool burns to catch insects. The responsibility of caring for this land feels immense at times, but it’s also a privilege. I listen, slowly, to what the land asks of me, knowing that every action leaves a mark, and what I do will be passed on to the future generations. This portrait reflects that journey, of learning, listening, and living in deep connection with place, but also acknowledges myself as an introduced species. Featuring myself, my son and the rich diversity of flora and fauna, it highlights the often overlooked contributions of women and the crossover of domesticity with natural habitats."
- Nicole O'Loughlin, 2025
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Nicole O'LoughlinMon seul desir, Molesworth, 2025watercolour and gouache on paper, framed74 x 105 cm (image size)
92 x 122 cm (framed size)AU$ 6,800.00Finalist, Portia Geach Prize 2025 -
Sarah Rhodes
"My work explores how photography might reveal what is not immediately visible – the emotional, psychological and atmospheric traces that sit between people and place. By pushing the material limits of analogue processes, I explore how our inner worlds are shaped through our relationship with the natural world, and how an image can hold that dialogue."
- Sarah Rhodes, 2025
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Sarah RhodesChamber of projection I: from the series Intimate immensity (after Bachelard), 2025gelatin silver print, framed123 x 112 cm (framed size)unique stateAU$ 8,500.00
Finalist: 2026 Bowness Photography Prize
Winner: Wai Tang Commissioning Award
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nicola gower wallis
"Painting a place so familiar always has a funny twist to it. The Botanical Gardens have remained almost unchanged for the entirety of my life- a place where I had childhood birthday parties, school excursions, and then later visited on my yearly pilgrimage to Hobart when living interstate- and still, when it came to putting it down on paper, it felt a little like discovering the place anew.
All the in-between spaces had to be puzzled out, and areas that had changed (a fond farewell to the cactus house) renegotiated in a kind of compromise between my nostalgic memory of the place and its current existence. The result: a halfway version of the garden that keeps my favourite bits and ignores all the rest."
- Nicola Gower Wallis, 2025
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Nicola Gower WallisThe Botty Gs, 2025gouache on paper, framed
100 x 140 cm (image size)
120 x 161 cm (framed size)Sold -
Tom O'Hern
O’Hern describes with a strange fondness those lost parts of suburbia where weeds choke unpopular infrastructure. Blackberries, hemlock, willows—those stranglers of drains, signposts and rubbish—poisonous and picturesque foxgloves, peering over smashed glass and cokes cans and stolen bikes. His monster drawings evolve the same way, exploding across the paper rhizomatically, as if roots direct routes in some kind of cell-splitting, replicating, cloning, swarming, breeding…
…but O’Hern’s monsters are not monstrous. The monstrous, like the abject, includes in its own expression the desire by others to cast it out, to reject or to escape it. O’Hern’s monsters are not sinister, they’re comical: full of fractured smiles that are full of fractal tracks of sharp teeth; thousands of wall eyes, they look like they’re laughing. But they’re not quite hysterical either, the artist’s command of his medium is too convincing; there is no loss of control.
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stephanie tabram
Tabram’s work plays masterfully with the eternal nature of the traditional landscape painting and the instantaneous and transparent quality of film. Her images — though still, private, almost lonely —are pregnant with suspense. Tabram lets us linger in the last of the golden light on the dry grass before the clouds roll over - and then in the thick air of those swelling clouds the moment just before the storm breaks - and then in the silence of the empty highway, silver with the recent rain and lined with puddles as still as glass.
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Stephanie TabramDown into the Valley, 2014acrylic on linen102 x 163 cm (framed size)
Sold -
chi ling tabart
Showing in the gallery for the first time is special guest sculptor Chi Ling Tabart. Born in South Taiwan, Chi Ling is now based in Nipaluna/Hobart. She works in timber to create delicate, unique and hand-carved contemporary sculptures. Her sculptures combine imagination, sentiment and folklore to interpret issues about our environment and the lives we inhabit. Chi-Ling’s work is held by private collectors and public institutions in Australia and overseas.
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Hannah Webber
We welcome emerging artist Hannah Webber.
"I work directly from the landscapes close to me — the continuous line of the foreshore, where land and water meet, forms a boundary to explore. The resilient sheoaks, their textures catching the last light, open revealing distant banks. This edge of the world feels both banal and beautiful, often overlooked yet full of quiet life. As the light shifts — from the low winter sun to the long, lingering evenings — I am reminded of time passing, and our place within. Even as darkness creeps in, there remains texture, movement, and tenderness within the shadows."
- Hannah Webber, 2025
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naomi white
"My work invites viewers to reconsider their perceptions of the natural world, from the intricate details etched into the land to the vast, sweeping skylines that define the Australian landscape. Through colour and form, I seek to capture the rhythms, moods, and structures of the environment, revealing both its fragility and its power. My paintings celebrate the intricate beauty that surrounds us, encouraging a renewed sense of connection and respect for the natural world."
- Naomi White, 2025
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Naomi White
Please Move Over, I’m in Front, 2025oil on board, framed
diptych: 150 x 150 cm (framed size)Sold -
PHILIP WOLFHAGEN
"There are so many good words that hint at what I feel about my paintings. Premonition is an appropriate word to start with in that it can mean ‘anticipation of an event without conscious reason’. This is at the heart of my motivations with these new paintings. I don’t know why certain images are meaningful to me, why I feel compelled to paint the same motif again and again, obsessively, until I exhaust its possibilities. All I know is that I must do it.
We are attuned to reading signs in the natural world, particularly the sky, for clues about coming events. This can be as simple as avoiding getting wet in a thunderstorm or seeing a much greater threat in predictions of our future climate. Observation of natural phenomena and searching for patterns and potential meaning is a deeply human trait."
- Philip Wolfhagen, 2025
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Philip Wolfhagen
Evening Calm , 2025oil and beeswax on linen
96 x 128 cmReserved -
Greg Wood
Wood’s paintings are psychologically and visually alluring; painted from memory, they convey a profound sense of space. Wood's landscapes show little or no evidence of human habitation, purposely obscured and often further abstracted by mist suspended somewhere between imagination and location.
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HELEN WRIGHT
"The bird paintings in this exhibition form a collection of images derived from both my ongoing experience and fascination with native bird life, most often close to home at Cornelian Bay but also at Kelso, an old family property with a native garden, in the north of the state. Birds also inhabit and inspire my imagination as I watch and hear their everyday interactions and the significance of their distinctive sounds and gatherings from early morning to late evening. Living in a silent world without such sounds seems unthinkable."
- Helen Wright, 2025
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Helen Wright
Travellers Rest, 2022pearlescent oil on linen
122 x 92 cm (stretcher size)AU$ 10,000.00 -
Bett Gallery pays respect and acknowledges the original First People of this region, the Muwinina, and recognises Tasmanian Aboriginal people as the ongoing custodians of lutruwita/Tasmania.
