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'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

'Cane' draws on the history of 60,000 South Sea Islanders brought to Queensland between 1863–1904, at times against their will, to work in the developing sugar cane industry. Poetic explorations by artists—local, national and international—describe its contemporary impacts.

Curated by Llewellyn Millhouse with Keely Eggmolesse, and co-commissioned by Hervey Bay Regional Gallery (HBRG) and Rockhampton Museum of Art, HBRG director Sarah Thomson told Art Guide Australia that the exhibition involved local communities, acknowledging and celebrating their ancestors.

“The exhibition rebukes the (still common) claim that slavery never happened in Australia,” she said. “It was a dark history. Some 30 per cent of South Sea Islander labourers died during their contract.”

Read the full article by Louise Martin-Chew via the link in our bio. ‘Cane’ can be seen at the Rockhampton Museum of Art until 21 June.

@rockhamptonmuseumofart @sancintya @dylanmooney__ @shari_odwyer @llewellyn_millhouse #KeelyEggmolesse @artwords_126

Images:
1. Sancintya Mohini Simpson, 'Dhūwã̄ 2021/24' (still), Video projection 4:3 single channel sound, and scent 4 min 45 sec. Courtesy the artist and Milani Gallery, Brisbane. This project was supported by the Queensland Government through Arts Queensland, and by the Australian Government through the Australia Council, its arts funding and advisory.
2. Dylan Mooney, 'Eden', 2024 watercolour and digital print. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.
3. Shari O'Dwyer, 'It hangs over my head, it lurks in the shadows', 2023, hand knotted sisal twine, private collection, and How it moves in me 2023, oil on voile. Installation view, Cane at Hervey Bay Regional Gallery 2024 Photo: Lewellyn Millhouse.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Six-time Archibald prize finalist Richard Lewer had wanted to paint Pitjantjatjara Elder, artist and healer Iluwanti Ken for a long time, and the wait has paid off with his first win of the $100,000 portrait prize.

“I was a very lucky man to paint Iluwanti,” said Lewer, motioning towards his subject, who had journeyed from the Aṉangu Pitjantjatjara Yankunytjatjara (APY) lands of South Australia to the Art Gallery of New South Wales to see the artist receive the 2026 honour.

“It’s an absolute pleasure that you gave me your time [on] your Country and you let me paint you.” Ken sat quietly by the podium, honoured herself as a finalist artist in this year’s Wynne prize for a clay, wood, woven fibre and emu-feather sculpture collaboration with LeShaye Swan and Justine Anderson.

This year, Yolngu artist Gaypalani Waṉambi won the $50,000 Wynne prize for her spray paint on etched steel work ‘The Waṉambi tree’ and Lucy Culliton, who lives in the Snowy Monaro region of NSW, won the $40,000 Sulman Prize for ‘Toolah, artist model’, her painting of one of her seven greyhounds.

Read the full article by Steve Dow via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August, before touring regionally to six venues.

@artgalleryofnsw @richard_lewer #iluwantiken

Images:
1. Winner: Archibald Prize 2026. Richard Lewer, Iluwanti Ken, synthetic polymer paint on canvas, 198 x 198 cm.
3. Installation view of the ‘Archibald, Wynne and Sulman Prizes 2026’ exhibition at the Art Gallery of New South Wales, 9 May – 16 August 2026, artworks © the artists, image © Art Gallery of New South Wales, Jenni Carter.

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

Our top 5 exhibitions to see this week:

'Coded blooms' at the Museum of Australian Photography (MAPh), Wheelers Hill, Victoria. @maph_photography @patbrassington
Image: Pat Brassington, 'Annunciation #2', 2025, 65 x 55 cm, pigment ink-jet print. Courtesy of the artist.

'Accursed Sharing' at Goolugatup Heathcote, Applecross, Western Australia. @goolugatupheathcote #ThomasBrown
Image: Thomas Brown, 'Blessed Boy', 2025.

'Edge City' at Wollongong Art Gallery, Wollongong, New South Wales. @wollongongartgallery @elvis.richardson
Image: Elvis Richardson, 'Settlement #8', 2025, modified found domestic gate, mild steel, pink blush powdercoat, 200 x 91 x 3 cm. Purchased 2025.

'Between Salt and Light' at Leighton Contemporary, Noosaville, Queensland. @leightoncontemporary @ming_nomchong
Image: Ming Nomchong, Sands Of Time, 2025, Composite of 9 Toned Silver Gelatin Handprints, 76 x 61 cm.

Jeanette Muirhead 'Witness' at Belco Arts, Belconnen, Australian Capital Territory. @belcoarts @jeanettemuirheadart
Image: Jeanette Muirhead, 'On the Manta Trail.'

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

In an Australian artist first, Khaled Sabsabi simultaneously presents 'conference of one’s self' at the Australia Pavilion at the 61st International Art Exhibition—La Biennale di Venezia, and In Minor Keys by Koyo Kouoh at the Arsenale, titled 'khalil' in the International Exhibition.

On the dual presentations, Sasabi says: “Although the two works are presented in different locations across the Biennale, they speak to one another and emerge from the same philosophical inquiry. They are one body with two limbs, and together they explore the relationship between inner and outer experience, inviting audiences to reflect on the shared human values of compassion and kindness that connect us.”

Read the full announcement via the link in our bio. Khaled Sabsabi's 'conference of one’s self’, curated by Michael Dagostino is on display at the Australia Pavilion, located in the Giardini della Biennale, as a part of the Biennale Arte 2026, commissioned by Creative Australia until 22 November. Khaled Sabsabi’s ‘khalil' is presented within the International Exhibition In Minor Keys by Koyo Kouoh, in the Arsenale until 22 November.

@ausatvenice @peacefender @milanigallery @madamekoyo #KhaledSabsabi @creative.australia

Images:
Khaled Sabsabi, 'conference of one’s self', 2026, Australia Pavilion at La Biennale di Venezia. Photo: Andrea Rossetti. Courtesy the artist and Milani Gallery.

"There are works where I appear multiple times, but there's works with my Mum, my Nan, and my Aunties. I've tried to give as many voices as possible, so it comes from a different perspective, a different narration, and a different experience," says Gunditjmara, Djabwurrung and Anglo-Indian artist Hayley Millar Baker, whose new exhibition 'Hayley Millar Baker: Selected Works' marks a decade of practice. The show centres female agency and narration and honours the strength of the female Aboriginal experience through a multigenerational lens.

Read the full article by Jasmeet Kaur Sahi via the link in our bio. 'Hayley Millar Baker: Selected Works' shows until 14 June.

@hayleymillarbaker @wyndhamculturalcentre @jasmeet_sahi #HayleyMillarBaker

Images:
'Hayley Millar Baker Selected Works' at Wyndham Art Gallery installation image. Images courtesy of the artist and Vivien Anderson Gallery. Image Studio Franco. Images have been cropped for Instagram dimensions.

"There are works where I appear multiple times, but there's works with my Mum, my Nan, and my Aunties. I've tried to give as many voices as possible, so it comes from a different perspective, a different narration, and a different experience," says Gunditjmara, Djabwurrung and Anglo-Indian artist Hayley Millar Baker, whose new exhibition 'Hayley Millar Baker: Selected Works' marks a decade of practice. The show centres female agency and narration and honours the strength of the female Aboriginal experience through a multigenerational lens.

Read the full article by Jasmeet Kaur Sahi via the link in our bio. 'Hayley Millar Baker: Selected Works' shows until 14 June.

@hayleymillarbaker @wyndhamculturalcentre @jasmeet_sahi #HayleyMillarBaker

Images:
'Hayley Millar Baker Selected Works' at Wyndham Art Gallery installation image. Images courtesy of the artist and Vivien Anderson Gallery. Image Studio Franco. Images have been cropped for Instagram dimensions.

"There are works where I appear multiple times, but there's works with my Mum, my Nan, and my Aunties. I've tried to give as many voices as possible, so it comes from a different perspective, a different narration, and a different experience," says Gunditjmara, Djabwurrung and Anglo-Indian artist Hayley Millar Baker, whose new exhibition 'Hayley Millar Baker: Selected Works' marks a decade of practice. The show centres female agency and narration and honours the strength of the female Aboriginal experience through a multigenerational lens.

Read the full article by Jasmeet Kaur Sahi via the link in our bio. 'Hayley Millar Baker: Selected Works' shows until 14 June.

@hayleymillarbaker @wyndhamculturalcentre @jasmeet_sahi #HayleyMillarBaker

Images:
'Hayley Millar Baker Selected Works' at Wyndham Art Gallery installation image. Images courtesy of the artist and Vivien Anderson Gallery. Image Studio Franco. Images have been cropped for Instagram dimensions.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

Rosalie Gascoigne wanted to capture the moment when we feel landscape, place and Country, but she also understood the harsh contradictions of the geographies we reside in. The acclaimed artist, who passed 27 years ago, created a body of work that speaks to the reckoning we are having now as many seek to understand what our relationship and responsibilities are to Country. Her work is described as sculptural assemblages, using found objects rummaged from her surrounds to capture its essence through the discordant materials that found their way here—road signs, soft drink bottles, crates, feathers and weathered wood.

In doing so she evocatively balances the tenuous position between belonging and un-belonging that so many navigate in this continent. A deep love for the natural landscape and a curiosity with Western industry, a tension that reflects my own awe at the contradictory beauty that an abandoned farmhouse, well or skeletal remains of a corroded car carries in rural settings.

While it’s uncertain what Gascoigne’s relationship with Aboriginal people was, her work acknowledges her positionality as someone foreign. Given these layers, it feels pertinent that her work continues to be celebrated in collaboration with Aboriginal women artists.

Read the full article by Timmah Ball via the link in our bio. ‘Sky, Earth, Water’ can be seen at Bundanon Art Museum in Illaroo until 14 June.

@bundanontrust @electric_zines #RosalieGascoigne

Images:
1. Rosalie Gascoigne, 'Plenty' (detail), 1986, weathered and sawn painted wood (from soft‑drink boxes) on plywood. National Gallery of Australia, Canberra. Purchased 1987.
3. Rosalie Gascoigne, 'not titled [White wood study #1]', 1995 – 1997, assemblage of found wooden elements. National Gallery of Australia, Canberra. Gift of Hester, Martin and Toss Gascoigne 2015.
5. Rosalie Gascoigne, 'Wheat belt', 1989, painted and stencilled sawn or split wood from soft-drink boxes, on weathered plywood panels. National Gallery of Australia, Canberra. Gift of Pauline Hunter 2005.
7. Rosalie Gascoigne, 'Inland sea', 1986, weathered painted corrugated iron, wire. National Gallery of Victoria, Melbourne. Purchased 1993.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

In the paintings of Yindjibarndi Elder Wendy Hubert, those memories reappear on canvas. “It’s come out of me, of my childhood,” she says of her paintings. “I’ll never forget the silhouettes… purple, red, green.”

Now those fragments of Country and memory have travelled more than 5,000 kilometres, from the Pilbara to Western Sydney, for the first time. As part of the 25th Biennale of Sydney, Hubert and members of the Juluwarlu Art Group have transformed the gardens of Lewers: Penrith Regional Gallery into 'Yindjibarndi Nyinyart at Wendy’s Garden', an exhibition that combines a series of Hubert’s paintings with an outdoor installation bringing the textures of the Pilbara to Dharug land.

Read the full article by Rosamund Brennan via the link in our bio. ‘Wendy Hubert with Juluwarlu Art Group Collective: Yindjibarndi Nyinyart at Wendy’s Garden’ can be seen at Lewers: Penrith Regional Gallery as part of the 25th Biennale of Sydney: Rememory until 14 June.

@penrithregionalgallery #WendyHubert #PenrithRegionalGallery @biennalesydney @rosamundbrennan

Images:
Wendy Hubert (b. 1955 Australia), 'Yindjibarndi Nyinyart at Wendy’s Garden', 2025-2026; mixed media. Installation view in Rememory: 25th Biennale of Sydney at Lewers: Penrith Regional Gallery, 2026. Courtesy of the artist and Juluwarlu Art Group. Photography: Maja Baska.

Tapping into human psychology through recent technological advancements and historical references Affording Truth features 14 Australian artists who examine truth and the affordances of society.

“Affordances are everywhere in our world—they are critical for our survival,” says Wangaratta Art Gallery Director, Rachel Arndt. A door handle signifies a chance to open the door. Or how a cave was an early affordance for shelter. “We'd learn to recognise these from birth and experience… But so much of the digital realm has taken these things out of our control and our understanding, and they're being used to manipulate us.” From social media’s algorithm, the endless YouTube stream, clickbait, and intelligent scams, fractures in truth appear everywhere.

Read the full article by Emma-Kate Wilson via the link in our bio. ‘Affording Truth’ is on display at Wangaratta Art Gallery in Wangaratta until 21 June.

@wangarattaartgallery @emmakatewilson_art @dunnlauren @raquelormella @robertandrew_111 #WangarattaArtGallery

Images:
1. Lauren Dunn, 'Image Body Image (Technological Mediation)', 2026, digital print, 100 x 145cm and Image Body Image (Shift Shape), 2026, aluminium, steel, 100 x 70cm.
2. Raquel Ormella, 'Wealth for Toil #6', 2026, acrylic paint, cotton, metallic and acrylic thread on hessian, 280 x 250cm.
3. Robert Andrew, 'held within a voice', 2023, rocks, burnt branches, shell, ochre, oxides, string, aluminium, and electromechanical components, 200 x 330 x 15cm. Winner 15 Artists 2023. City of Moreton Bay Art Collection.

Tapping into human psychology through recent technological advancements and historical references Affording Truth features 14 Australian artists who examine truth and the affordances of society.

“Affordances are everywhere in our world—they are critical for our survival,” says Wangaratta Art Gallery Director, Rachel Arndt. A door handle signifies a chance to open the door. Or how a cave was an early affordance for shelter. “We'd learn to recognise these from birth and experience… But so much of the digital realm has taken these things out of our control and our understanding, and they're being used to manipulate us.” From social media’s algorithm, the endless YouTube stream, clickbait, and intelligent scams, fractures in truth appear everywhere.

Read the full article by Emma-Kate Wilson via the link in our bio. ‘Affording Truth’ is on display at Wangaratta Art Gallery in Wangaratta until 21 June.

@wangarattaartgallery @emmakatewilson_art @dunnlauren @raquelormella @robertandrew_111 #WangarattaArtGallery

Images:
1. Lauren Dunn, 'Image Body Image (Technological Mediation)', 2026, digital print, 100 x 145cm and Image Body Image (Shift Shape), 2026, aluminium, steel, 100 x 70cm.
2. Raquel Ormella, 'Wealth for Toil #6', 2026, acrylic paint, cotton, metallic and acrylic thread on hessian, 280 x 250cm.
3. Robert Andrew, 'held within a voice', 2023, rocks, burnt branches, shell, ochre, oxides, string, aluminium, and electromechanical components, 200 x 330 x 15cm. Winner 15 Artists 2023. City of Moreton Bay Art Collection.

Tapping into human psychology through recent technological advancements and historical references Affording Truth features 14 Australian artists who examine truth and the affordances of society.

“Affordances are everywhere in our world—they are critical for our survival,” says Wangaratta Art Gallery Director, Rachel Arndt. A door handle signifies a chance to open the door. Or how a cave was an early affordance for shelter. “We'd learn to recognise these from birth and experience… But so much of the digital realm has taken these things out of our control and our understanding, and they're being used to manipulate us.” From social media’s algorithm, the endless YouTube stream, clickbait, and intelligent scams, fractures in truth appear everywhere.

Read the full article by Emma-Kate Wilson via the link in our bio. ‘Affording Truth’ is on display at Wangaratta Art Gallery in Wangaratta until 21 June.

@wangarattaartgallery @emmakatewilson_art @dunnlauren @raquelormella @robertandrew_111 #WangarattaArtGallery

Images:
1. Lauren Dunn, 'Image Body Image (Technological Mediation)', 2026, digital print, 100 x 145cm and Image Body Image (Shift Shape), 2026, aluminium, steel, 100 x 70cm.
2. Raquel Ormella, 'Wealth for Toil #6', 2026, acrylic paint, cotton, metallic and acrylic thread on hessian, 280 x 250cm.
3. Robert Andrew, 'held within a voice', 2023, rocks, burnt branches, shell, ochre, oxides, string, aluminium, and electromechanical components, 200 x 330 x 15cm. Winner 15 Artists 2023. City of Moreton Bay Art Collection.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

Our top 5 exhibitions to see this week:

'This Moment: Highlights from the White Rabbit Gallery of Chinese Contemporary Art' at HOTA, Surfers Paradise, Queensland. @hotagc #ShiYong @whiterabbit.gallery
Image: Shi Yong, 'A bunch of happy fantasies', 2009, neon. White Rabbit Collection, Sydney. Donated through the Australian Government’s Cultural Gifts Program by Judith Neilson.

Natalya Hughes 'The Lean' at Sullivan+Strumpf Gadigal/Sydney, New South Wales. @sullivanstrumpf @nattywhos
Image: Natalya Hughes, 'The Lean', 2025, acrylic on polycotton, 183 x 132cm. Image courtesy of Sullivan + Stumpf.

'Minimal' at Geelong Gallery, Victoria. @geelonggallery #JohnDavis
Image: John Davis, 'Sixteen 1969', synthetic polymer paint on fibreglass, Geelong Gallery, Miss Gladys Bell and JH McPhillimy Bequest Funds, 1970, Photographer: Heath Worsley, © Estate of John Davis.

Colleen Strangways 'Wathlu Anthunda (My World)' at Adelaide Town Hall Gallery, Adelaide, South Australia. @adelaidetownhall #ColleenStrangways
Image: Colleen Strangways, 'Nunga Queen', 2014, giclée print; Courtesy of the artist; model: Janelle Saunders, Wirangu, Kokatha, Mirning peoples. Image courtesy of the gallery.

Aleks Danko 'A(GAP)E— mesmerized by some / thing a reflection 2016 – 2026' at McClelland Gallery + Sculpture Park, Langwarrin, Victoria. #AleksDanko @mcclellandgallery
Image: Aleks Danko, ‘…you might as well laugh mate, there’s nothing else to do…’, 2017, silk-screened texts on plywood, wood and acrylic paint, dimensions variable; Aleks Danko, 'David Shrigley meet Michael Leunig', 2009–2017, acrylic on plywood, 360 x 450 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

The finalists for the Archibald, Wynne and Sulman Prizes have been announced for 2026.

This year marks the second-highest number of entries ever received across the three prizes (exceeded only by the pandemic year of 2020), with the Art Gallery of New South Wales receiving, in total, 2524 entries. The resulting selection of 137 finalists includes 59 finalists for the Archibald Prize, 52 finalists for the Wynne Prize, and 26 finalists for the Sulman Prize.

Melbourne artist, Sean Layh, has been awarded the Packing Room Prize for his portrait, ‘The tragicall historie of Hamlet, Prince of Denmarke’, depicting Australian actor Jacob Collins as Hamlet.The award, now in its 35th year and valued at $3000, is judged by Gallery staff who receive, handle and unpack artwork entries and hang the finalists for exhibition.

Read the full announcement via the link in our bio. The Archibald, Wynne and Sulman Prizes are run by the Art Gallery of New South Wales. All winning and finalist works will be on display at the gallery between 9 May—16 August 2026, before touring regionally to six venues.

The winners of the Archibald, Wynne and Sulman Prizes will be announced 12pm Friday 8 May.

@artgalleryofnsw @sean_layh_artist @iwantja_arts #KayleneWhiskey @muracetresorart @mia.khin.boe @techanoble @mostafaazimitabar #ArchibaldPrize #WynnePrize #SulmanPrize

Images:
1. Winner Packing Room Prize 2026, Sean Layh, 'The tragicall historie of Hamlet, Prince of Denmarke', oil on board, 114.1 x 150.2 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.
2. Archibald Prize Finalist, Kaylene Whiskey, 'Dancing with The Huxleys', synthetic polymer paint on linen, 153 x 122.4 cm.
3. Archibald Prize Finalist, Trésor Murace, 'Fiona Lowry as the Airbrush Queen', synthetic polymer paint, alcohol-based marker and paint marker on canvas, 122.4 x 91.5 cm.
4. Archibald Prize Finalist, Mia Boe, 'Drifting cloud', oil and synthetic polymer paint on linen, 152.5 x 101.8 cm.
5. Archibald Prize Finalist, Técha Noble, 'Anna', oil on canvas, 190.2 x 90.2 cm.
6. Archibald Prize Finalist, Mostafa Azimitabar, Jim Moginie, oil on linen, 198.6 x 137.6 cm.

“Wiradjuri is the same as a lot of other Aboriginal languages. We were discouraged from learning and people were locked up in jail for it. Now it’s not against the law to speak our language anymore,” says Wiradjuri artist and cultural advocate Ruth Davys. “But people are forgetting that we are here. I can do all those things that everybody does, but there is a part of me that [wants] to practice my culture.” Davys is committed to deepening the understanding of Wiradjuri heritage and connecting communities to Country. She makes art, runs language workshops and tours, produces the YouTube series Wiradjuri Puppets, and co-founded and operates Giilangyaldhaanygalang, a platform for all these activities.
Davys presents new moving image works across two galleries at Murray Art Museum Albury as part of its major program 'nginha'. Central to these works is her practice of carrying forward Wiradjuri language and values through her puppet persona, Little Ruthie.

Read the full article by Yi Li via the link in our bio. ‘Mabinya, Wibiyanha, Wudhagarbinya.’ continues until 7 June and ‘Yamandhu wudhagarbinya?’ continues until 11 October, both at Murray Art Museum Albury, Albury.

#RuthDavys @mamalbury @yi_l1 #mamaAlbury

Images:
1 & 2. Ruth Davys, Yamandhu Wudagharbinya?, 2025. Image Jacqui Shulz.
3. Ruth Davys, 'Mabinya, Wibiyanha, Wudhagarbinya.', 2026. Installation view Murray Art Museum Albury, 2026. Image Jeremy Weihrauch.

“Wiradjuri is the same as a lot of other Aboriginal languages. We were discouraged from learning and people were locked up in jail for it. Now it’s not against the law to speak our language anymore,” says Wiradjuri artist and cultural advocate Ruth Davys. “But people are forgetting that we are here. I can do all those things that everybody does, but there is a part of me that [wants] to practice my culture.” Davys is committed to deepening the understanding of Wiradjuri heritage and connecting communities to Country. She makes art, runs language workshops and tours, produces the YouTube series Wiradjuri Puppets, and co-founded and operates Giilangyaldhaanygalang, a platform for all these activities.
Davys presents new moving image works across two galleries at Murray Art Museum Albury as part of its major program 'nginha'. Central to these works is her practice of carrying forward Wiradjuri language and values through her puppet persona, Little Ruthie.

Read the full article by Yi Li via the link in our bio. ‘Mabinya, Wibiyanha, Wudhagarbinya.’ continues until 7 June and ‘Yamandhu wudhagarbinya?’ continues until 11 October, both at Murray Art Museum Albury, Albury.

#RuthDavys @mamalbury @yi_l1 #mamaAlbury

Images:
1 & 2. Ruth Davys, Yamandhu Wudagharbinya?, 2025. Image Jacqui Shulz.
3. Ruth Davys, 'Mabinya, Wibiyanha, Wudhagarbinya.', 2026. Installation view Murray Art Museum Albury, 2026. Image Jeremy Weihrauch.

“Wiradjuri is the same as a lot of other Aboriginal languages. We were discouraged from learning and people were locked up in jail for it. Now it’s not against the law to speak our language anymore,” says Wiradjuri artist and cultural advocate Ruth Davys. “But people are forgetting that we are here. I can do all those things that everybody does, but there is a part of me that [wants] to practice my culture.” Davys is committed to deepening the understanding of Wiradjuri heritage and connecting communities to Country. She makes art, runs language workshops and tours, produces the YouTube series Wiradjuri Puppets, and co-founded and operates Giilangyaldhaanygalang, a platform for all these activities.
Davys presents new moving image works across two galleries at Murray Art Museum Albury as part of its major program 'nginha'. Central to these works is her practice of carrying forward Wiradjuri language and values through her puppet persona, Little Ruthie.

Read the full article by Yi Li via the link in our bio. ‘Mabinya, Wibiyanha, Wudhagarbinya.’ continues until 7 June and ‘Yamandhu wudhagarbinya?’ continues until 11 October, both at Murray Art Museum Albury, Albury.

#RuthDavys @mamalbury @yi_l1 #mamaAlbury

Images:
1 & 2. Ruth Davys, Yamandhu Wudagharbinya?, 2025. Image Jacqui Shulz.
3. Ruth Davys, 'Mabinya, Wibiyanha, Wudhagarbinya.', 2026. Installation view Murray Art Museum Albury, 2026. Image Jeremy Weihrauch.

Although she emigrated from the Netherlands to Australia as a young child, Judith Van Heeren appears to have inherited a cultural affinity for the dark, moody still lifes of the Dutch Masters, an art historical legacy she has long admired. Borrowing from this visual language, her paintings elevate Australian flora, imbuing them with the gravitas, beauty and mystery more commonly associated with European flowers in 17th-century still life painting. With a practice spanning more than three decades, Van Heeren is currently presenting her first solo exhibition with Nicholas Thompson Gallery in Melbourne.

Growing up in the outer suburbs of Perth, Van Heeren spent time walking with
her father, also a painter. “We would see banksias, xanthorrhoea, native grasses,
orchids and kangaroo paws growing just outside—across the road. That was my
wonderland,” she recalls. Today, Van Heeren paints from a vast collection of dried specimens in her studio, preferring them once their life has drained away. “I love the colours and the way they curl,” she says. “For me, the banksia pods that have opened after fire, hold the promise of a life cycle—layered, strange and utterly compelling.”

Read the full article by Rhianna Melhem via the link in our bio. Judith Van Heeren’s ‘Moon Obscure’ is at Nicholas Thompson Gallery in Melbourne until 16 May.

@nicholasthompsongallery @rhiannamelham @vanheeren.judith #JudithVanHeeren #NicholasThompsonGallery

Images:
1. Judith van Heeren, 'Super moon', 2024/25, oil on linen, 70 x 100 cm.
2. Judith van Heeren, 'Pink moon', 2025, oil on linen, 50 x 61 cm.
3. Judith van Heeren, 'Moon obscure', 2024, oil on linen, 50 x 61 cm.
Images have been cropped for Instagram dimensions.

Although she emigrated from the Netherlands to Australia as a young child, Judith Van Heeren appears to have inherited a cultural affinity for the dark, moody still lifes of the Dutch Masters, an art historical legacy she has long admired. Borrowing from this visual language, her paintings elevate Australian flora, imbuing them with the gravitas, beauty and mystery more commonly associated with European flowers in 17th-century still life painting. With a practice spanning more than three decades, Van Heeren is currently presenting her first solo exhibition with Nicholas Thompson Gallery in Melbourne.

Growing up in the outer suburbs of Perth, Van Heeren spent time walking with
her father, also a painter. “We would see banksias, xanthorrhoea, native grasses,
orchids and kangaroo paws growing just outside—across the road. That was my
wonderland,” she recalls. Today, Van Heeren paints from a vast collection of dried specimens in her studio, preferring them once their life has drained away. “I love the colours and the way they curl,” she says. “For me, the banksia pods that have opened after fire, hold the promise of a life cycle—layered, strange and utterly compelling.”

Read the full article by Rhianna Melhem via the link in our bio. Judith Van Heeren’s ‘Moon Obscure’ is at Nicholas Thompson Gallery in Melbourne until 16 May.

@nicholasthompsongallery @rhiannamelham @vanheeren.judith #JudithVanHeeren #NicholasThompsonGallery

Images:
1. Judith van Heeren, 'Super moon', 2024/25, oil on linen, 70 x 100 cm.
2. Judith van Heeren, 'Pink moon', 2025, oil on linen, 50 x 61 cm.
3. Judith van Heeren, 'Moon obscure', 2024, oil on linen, 50 x 61 cm.
Images have been cropped for Instagram dimensions.

Although she emigrated from the Netherlands to Australia as a young child, Judith Van Heeren appears to have inherited a cultural affinity for the dark, moody still lifes of the Dutch Masters, an art historical legacy she has long admired. Borrowing from this visual language, her paintings elevate Australian flora, imbuing them with the gravitas, beauty and mystery more commonly associated with European flowers in 17th-century still life painting. With a practice spanning more than three decades, Van Heeren is currently presenting her first solo exhibition with Nicholas Thompson Gallery in Melbourne.

Growing up in the outer suburbs of Perth, Van Heeren spent time walking with
her father, also a painter. “We would see banksias, xanthorrhoea, native grasses,
orchids and kangaroo paws growing just outside—across the road. That was my
wonderland,” she recalls. Today, Van Heeren paints from a vast collection of dried specimens in her studio, preferring them once their life has drained away. “I love the colours and the way they curl,” she says. “For me, the banksia pods that have opened after fire, hold the promise of a life cycle—layered, strange and utterly compelling.”

Read the full article by Rhianna Melhem via the link in our bio. Judith Van Heeren’s ‘Moon Obscure’ is at Nicholas Thompson Gallery in Melbourne until 16 May.

@nicholasthompsongallery @rhiannamelham @vanheeren.judith #JudithVanHeeren #NicholasThompsonGallery

Images:
1. Judith van Heeren, 'Super moon', 2024/25, oil on linen, 70 x 100 cm.
2. Judith van Heeren, 'Pink moon', 2025, oil on linen, 50 x 61 cm.
3. Judith van Heeren, 'Moon obscure', 2024, oil on linen, 50 x 61 cm.
Images have been cropped for Instagram dimensions.