Instagram Story Viewer

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Adam Lee’s (@adamlee79) 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ (@davidhughthomas_artist) work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s (@betra) work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Darren Wardle’s (@darren.wardle) 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s (@davidralph7803) 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery (@lino_savery) is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s (@hellonicola) work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Darren Wardle’s (@darren.wardle) 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s (@davidralph7803) 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery (@lino_savery) is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s (@hellonicola) work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Darren Wardle’s (@darren.wardle) 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s (@davidralph7803) 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery (@lino_savery) is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s (@hellonicola) work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Darren Wardle’s (@darren.wardle) 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s (@davidralph7803) 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery (@lino_savery) is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s (@hellonicola) work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Darren Wardle’s (@darren.wardle) 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s (@davidralph7803) 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery (@lino_savery) is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s (@hellonicola) work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Sean Crowley’s (@sean_r_crowley) work depicts a small pond, with a fountain in the centre, drawn from memory and imagination and inspired by the 2013 French animated documentary film by Michel Gondry ‘Is the man who is tall happy?’ about the linguist, philosopher, and political activist Noam Chomsky.

Rebecca Suares-Jury’s ‘Choral field vision II’ explores beauty in small moments, emphasised in decorative motifs like the imagined flower, central to the composition. ‘Choral field vision II’ features fragments from a mix of cross-cultural references, such as Indian miniature paintings, Dutch floral still life, and Victorian floriography and acknowledges the flower as a vulnerable and fleeting object.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:
1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Sean Crowley, ‘Is the man in the small pond happy’ 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 3: Rebecca Suares-Jury, ‘Choral field vision II’ 2026, oil on canvas, 200 x 140 cm. Courtesy the artist]

[Image descriptions available in comments.]

Sean Crowley’s (@sean_r_crowley) work depicts a small pond, with a fountain in the centre, drawn from memory and imagination and inspired by the 2013 French animated documentary film by Michel Gondry ‘Is the man who is tall happy?’ about the linguist, philosopher, and political activist Noam Chomsky.

Rebecca Suares-Jury’s ‘Choral field vision II’ explores beauty in small moments, emphasised in decorative motifs like the imagined flower, central to the composition. ‘Choral field vision II’ features fragments from a mix of cross-cultural references, such as Indian miniature paintings, Dutch floral still life, and Victorian floriography and acknowledges the flower as a vulnerable and fleeting object.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:
1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Sean Crowley, ‘Is the man in the small pond happy’ 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 3: Rebecca Suares-Jury, ‘Choral field vision II’ 2026, oil on canvas, 200 x 140 cm. Courtesy the artist]

[Image descriptions available in comments.]

Sean Crowley’s (@sean_r_crowley) work depicts a small pond, with a fountain in the centre, drawn from memory and imagination and inspired by the 2013 French animated documentary film by Michel Gondry ‘Is the man who is tall happy?’ about the linguist, philosopher, and political activist Noam Chomsky.

Rebecca Suares-Jury’s ‘Choral field vision II’ explores beauty in small moments, emphasised in decorative motifs like the imagined flower, central to the composition. ‘Choral field vision II’ features fragments from a mix of cross-cultural references, such as Indian miniature paintings, Dutch floral still life, and Victorian floriography and acknowledges the flower as a vulnerable and fleeting object.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits:
1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Sean Crowley, ‘Is the man in the small pond happy’ 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 3: Rebecca Suares-Jury, ‘Choral field vision II’ 2026, oil on canvas, 200 x 140 cm. Courtesy the artist]

[Image descriptions available in comments.]

‘Unwinding’ by Kevin Chin (@kevinchin.au) tests how landscape and architecture converge, as he explains: ‘the comfort of domestic interiors and the expansiveness of nature paradoxically interweave, because both connect us to feelings of safety and respite.’

Greg Creek’s (@greg.creek.art) ‘Rot Blossom-Ikea Passenger painting’ uses raw canvas grounds and assembled painted off-cuts, tenebrous naturalism, screen prints, painterly scumbles and compositional perspectives to create spatial effects in an abstracted environment where figure and interior motifs unsettle one another.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Kevin Chin, Unwinding 2025, oil on linen. Courtesy the artist, This Is No Fantasy, Melbourne and Martin Browne Contemporary, Sydney. 3: Greg Creek, 'Rot blossom-Ikea passenger painting' 2026, oil and acrylic on cut linen. Courtesy the artist and Sarah Scout Presents, Melbourne]

[Image descriptions available in comments.]

‘Unwinding’ by Kevin Chin (@kevinchin.au) tests how landscape and architecture converge, as he explains: ‘the comfort of domestic interiors and the expansiveness of nature paradoxically interweave, because both connect us to feelings of safety and respite.’

Greg Creek’s (@greg.creek.art) ‘Rot Blossom-Ikea Passenger painting’ uses raw canvas grounds and assembled painted off-cuts, tenebrous naturalism, screen prints, painterly scumbles and compositional perspectives to create spatial effects in an abstracted environment where figure and interior motifs unsettle one another.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Kevin Chin, Unwinding 2025, oil on linen. Courtesy the artist, This Is No Fantasy, Melbourne and Martin Browne Contemporary, Sydney. 3: Greg Creek, 'Rot blossom-Ikea passenger painting' 2026, oil and acrylic on cut linen. Courtesy the artist and Sarah Scout Presents, Melbourne]

[Image descriptions available in comments.]

‘Unwinding’ by Kevin Chin (@kevinchin.au) tests how landscape and architecture converge, as he explains: ‘the comfort of domestic interiors and the expansiveness of nature paradoxically interweave, because both connect us to feelings of safety and respite.’

Greg Creek’s (@greg.creek.art) ‘Rot Blossom-Ikea Passenger painting’ uses raw canvas grounds and assembled painted off-cuts, tenebrous naturalism, screen prints, painterly scumbles and compositional perspectives to create spatial effects in an abstracted environment where figure and interior motifs unsettle one another.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Kevin Chin, Unwinding 2025, oil on linen. Courtesy the artist, This Is No Fantasy, Melbourne and Martin Browne Contemporary, Sydney. 3: Greg Creek, 'Rot blossom-Ikea passenger painting' 2026, oil and acrylic on cut linen. Courtesy the artist and Sarah Scout Presents, Melbourne]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s (@cathy.brown.artist ) ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s (@natashabieniek) work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez (@clarejaquevasquez_artist )presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

🎨Join Bayside Painting Prize finalist Cally Lotz for a hands-on oil painting workshop exploring expressive realism.

🖌️Build your skills, gain confidence and capture the essence of your subject in a supportive and small group setting.

✨This workshop is perfect for beginners and creatives keen to build confidence and enjoy the painting process.

Painting Realism with Cally Lotz
📅 Saturday 6 June
📍Bayley Arts (1 Avoca St, Highett VIC 3205)
🕰️ 1pm to 4pm
🔗 $80 - includes demonstrations, individual guidance and all materials. Book via link in bio. Suitable for ages 16+

[Image credit: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image description: A still life of a glass, cocktail shaker and knife, set against a bold orange background.]

Bayside Gallery will be closed this Friday 15 May for maintenance works.

We look forward to welcoming you back to experience the 2026 Bayside Painting Prize on Saturday 16 May from 1pm to 5pm 🎨

[Image description: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy]

Artists often find inspiration in everyday objects, revealing the meanings they can hold. In these works, the ordinary becomes a way of telling stories. Kenny Pittock (@kennypittock) collects discarded shopping lists, seeing them as small pieces of poetry that act as portraits of people in the supermarket aisles. Tim Gregory’s (@timothy.m.gregory.art) work looks at the back of a decommissioned press archive photo from the 1967 Tasmanian bushfires; the original image is hidden, leaving only the marks left behind by its use and circulation.

Both works quietly point to the people behind the scenes, showing how much can be said through what is left behind.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Kenny Pittock, 'Discarded shopping list (bath bombs)' 2025, enamel and acrylic on aluminium. Courtesy the artist, MARS Gallery, Melbourne and Olsen Gallery, Sydney 4: Tim Gregory, 'The end of their home, 9 Feb 1967' 2025, oil on linen. Courtesy the artist]

[Image descriptions: 1: A large artwork resembling a handwritten shopping list displayed on a gallery wall, with a blurred visitor walking past. 2: A gallery visitor viewing a framed artwork with markings, stamps, and a newspaper clipping on a neutral wall. 3: A handwritten shopping list on lined paper, including items like porridge, butter, cheese, tomatoes and red onions. 4: Close-up of an artwork featuring a beige surface with handwritten markings, stamps, and a small newspaper clipping reading “The end of their home.”]

Artists often find inspiration in everyday objects, revealing the meanings they can hold. In these works, the ordinary becomes a way of telling stories. Kenny Pittock (@kennypittock) collects discarded shopping lists, seeing them as small pieces of poetry that act as portraits of people in the supermarket aisles. Tim Gregory’s (@timothy.m.gregory.art) work looks at the back of a decommissioned press archive photo from the 1967 Tasmanian bushfires; the original image is hidden, leaving only the marks left behind by its use and circulation.

Both works quietly point to the people behind the scenes, showing how much can be said through what is left behind.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Kenny Pittock, 'Discarded shopping list (bath bombs)' 2025, enamel and acrylic on aluminium. Courtesy the artist, MARS Gallery, Melbourne and Olsen Gallery, Sydney 4: Tim Gregory, 'The end of their home, 9 Feb 1967' 2025, oil on linen. Courtesy the artist]

[Image descriptions: 1: A large artwork resembling a handwritten shopping list displayed on a gallery wall, with a blurred visitor walking past. 2: A gallery visitor viewing a framed artwork with markings, stamps, and a newspaper clipping on a neutral wall. 3: A handwritten shopping list on lined paper, including items like porridge, butter, cheese, tomatoes and red onions. 4: Close-up of an artwork featuring a beige surface with handwritten markings, stamps, and a small newspaper clipping reading “The end of their home.”]

Artists often find inspiration in everyday objects, revealing the meanings they can hold. In these works, the ordinary becomes a way of telling stories. Kenny Pittock (@kennypittock) collects discarded shopping lists, seeing them as small pieces of poetry that act as portraits of people in the supermarket aisles. Tim Gregory’s (@timothy.m.gregory.art) work looks at the back of a decommissioned press archive photo from the 1967 Tasmanian bushfires; the original image is hidden, leaving only the marks left behind by its use and circulation.

Both works quietly point to the people behind the scenes, showing how much can be said through what is left behind.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Kenny Pittock, 'Discarded shopping list (bath bombs)' 2025, enamel and acrylic on aluminium. Courtesy the artist, MARS Gallery, Melbourne and Olsen Gallery, Sydney 4: Tim Gregory, 'The end of their home, 9 Feb 1967' 2025, oil on linen. Courtesy the artist]

[Image descriptions: 1: A large artwork resembling a handwritten shopping list displayed on a gallery wall, with a blurred visitor walking past. 2: A gallery visitor viewing a framed artwork with markings, stamps, and a newspaper clipping on a neutral wall. 3: A handwritten shopping list on lined paper, including items like porridge, butter, cheese, tomatoes and red onions. 4: Close-up of an artwork featuring a beige surface with handwritten markings, stamps, and a small newspaper clipping reading “The end of their home.”]

Artists often find inspiration in everyday objects, revealing the meanings they can hold. In these works, the ordinary becomes a way of telling stories. Kenny Pittock (@kennypittock) collects discarded shopping lists, seeing them as small pieces of poetry that act as portraits of people in the supermarket aisles. Tim Gregory’s (@timothy.m.gregory.art) work looks at the back of a decommissioned press archive photo from the 1967 Tasmanian bushfires; the original image is hidden, leaving only the marks left behind by its use and circulation.

Both works quietly point to the people behind the scenes, showing how much can be said through what is left behind.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Kenny Pittock, 'Discarded shopping list (bath bombs)' 2025, enamel and acrylic on aluminium. Courtesy the artist, MARS Gallery, Melbourne and Olsen Gallery, Sydney 4: Tim Gregory, 'The end of their home, 9 Feb 1967' 2025, oil on linen. Courtesy the artist]

[Image descriptions: 1: A large artwork resembling a handwritten shopping list displayed on a gallery wall, with a blurred visitor walking past. 2: A gallery visitor viewing a framed artwork with markings, stamps, and a newspaper clipping on a neutral wall. 3: A handwritten shopping list on lined paper, including items like porridge, butter, cheese, tomatoes and red onions. 4: Close-up of an artwork featuring a beige surface with handwritten markings, stamps, and a small newspaper clipping reading “The end of their home.”]

Lucy Roleff’s (@lucyroleff) painting explores everyday currency with priceless artifacts while Cally Lotz’s (@callylotzartist) ‘Knife’ is painted in the traditional genre of still life with a contemporary ethos. Adriane Strampp’s (@adrianestrampp) work is informed by Vita Sackville-West’s poem ‘The garden’, written during the Second World War, in which seasonal change becomes a lens for endurance and fragility.

View these still life genre works in the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Lucy Roleff, 'Purple oxalis, twenty cent coin, black jug and ancient silver' 2026, oil on board. Courtesy the artist 4: Adriane Strampp, 'Temporal state' 2026, oil on linen. Courtesy the artist, King Street Gallery on William, Sydney and Jan Manton Gallery, Brisbane 5: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image descriptions: 1-2: Contemporary paintings in a gallery exhibition setting 3: Still life painting with a pot of plant, a milk jug, a coin and an image of silverwares and coins 4: Painting of white and burgundy flowers with green leaves against a copper background 5: Still life painting with glass, metal cup, and knife on table against bright orange wall]

Lucy Roleff’s (@lucyroleff) painting explores everyday currency with priceless artifacts while Cally Lotz’s (@callylotzartist) ‘Knife’ is painted in the traditional genre of still life with a contemporary ethos. Adriane Strampp’s (@adrianestrampp) work is informed by Vita Sackville-West’s poem ‘The garden’, written during the Second World War, in which seasonal change becomes a lens for endurance and fragility.

View these still life genre works in the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Lucy Roleff, 'Purple oxalis, twenty cent coin, black jug and ancient silver' 2026, oil on board. Courtesy the artist 4: Adriane Strampp, 'Temporal state' 2026, oil on linen. Courtesy the artist, King Street Gallery on William, Sydney and Jan Manton Gallery, Brisbane 5: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image descriptions: 1-2: Contemporary paintings in a gallery exhibition setting 3: Still life painting with a pot of plant, a milk jug, a coin and an image of silverwares and coins 4: Painting of white and burgundy flowers with green leaves against a copper background 5: Still life painting with glass, metal cup, and knife on table against bright orange wall]

Lucy Roleff’s (@lucyroleff) painting explores everyday currency with priceless artifacts while Cally Lotz’s (@callylotzartist) ‘Knife’ is painted in the traditional genre of still life with a contemporary ethos. Adriane Strampp’s (@adrianestrampp) work is informed by Vita Sackville-West’s poem ‘The garden’, written during the Second World War, in which seasonal change becomes a lens for endurance and fragility.

View these still life genre works in the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Lucy Roleff, 'Purple oxalis, twenty cent coin, black jug and ancient silver' 2026, oil on board. Courtesy the artist 4: Adriane Strampp, 'Temporal state' 2026, oil on linen. Courtesy the artist, King Street Gallery on William, Sydney and Jan Manton Gallery, Brisbane 5: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image descriptions: 1-2: Contemporary paintings in a gallery exhibition setting 3: Still life painting with a pot of plant, a milk jug, a coin and an image of silverwares and coins 4: Painting of white and burgundy flowers with green leaves against a copper background 5: Still life painting with glass, metal cup, and knife on table against bright orange wall]

Lucy Roleff’s (@lucyroleff) painting explores everyday currency with priceless artifacts while Cally Lotz’s (@callylotzartist) ‘Knife’ is painted in the traditional genre of still life with a contemporary ethos. Adriane Strampp’s (@adrianestrampp) work is informed by Vita Sackville-West’s poem ‘The garden’, written during the Second World War, in which seasonal change becomes a lens for endurance and fragility.

View these still life genre works in the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Lucy Roleff, 'Purple oxalis, twenty cent coin, black jug and ancient silver' 2026, oil on board. Courtesy the artist 4: Adriane Strampp, 'Temporal state' 2026, oil on linen. Courtesy the artist, King Street Gallery on William, Sydney and Jan Manton Gallery, Brisbane 5: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image descriptions: 1-2: Contemporary paintings in a gallery exhibition setting 3: Still life painting with a pot of plant, a milk jug, a coin and an image of silverwares and coins 4: Painting of white and burgundy flowers with green leaves against a copper background 5: Still life painting with glass, metal cup, and knife on table against bright orange wall]

Lucy Roleff’s (@lucyroleff) painting explores everyday currency with priceless artifacts while Cally Lotz’s (@callylotzartist) ‘Knife’ is painted in the traditional genre of still life with a contemporary ethos. Adriane Strampp’s (@adrianestrampp) work is informed by Vita Sackville-West’s poem ‘The garden’, written during the Second World War, in which seasonal change becomes a lens for endurance and fragility.

View these still life genre works in the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: 'Bayside Painting Prize' 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Lucy Roleff, 'Purple oxalis, twenty cent coin, black jug and ancient silver' 2026, oil on board. Courtesy the artist 4: Adriane Strampp, 'Temporal state' 2026, oil on linen. Courtesy the artist, King Street Gallery on William, Sydney and Jan Manton Gallery, Brisbane 5: Cally Lotz, Knife 2026, oil on canvas, 51 x 41 cm. Courtesy the artist and West End Art Space, Melbourne]

[Image descriptions: 1-2: Contemporary paintings in a gallery exhibition setting 3: Still life painting with a pot of plant, a milk jug, a coin and an image of silverwares and coins 4: Painting of white and burgundy flowers with green leaves against a copper background 5: Still life painting with glass, metal cup, and knife on table against bright orange wall]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

Representational painting often carries a strong sense of narrative: from Ella Dunn’s (@ellardunn) reflections on encouragement and quiet resilience, Jessica Nothdurft's (@jessicanothdurft.art) exploration around the many facets of shame, to Bobby Bowers’ (@bobby___bowers) observations shaped by time spent moving between road and landscape, and Caroline Wall’s (@carolinewallsart) painting of a solitary female figure seated at a desk within the quiet confines of a domestic interior.

These works invite viewers into the stories artists choose to tell✨

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Ella Dunn, 'Everybody needs a cheerleader from time to time' 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 5: Caroline Walls, 'Picture window' 2025, oil on cotton, 120 x 150 cm. Courtesy the artist and Futures Gallery, Melbourne 6: Bobby Bowers, 'Trail mix' 2025, acrylic on timber panel. Courtesy the artist. 7: Jessica Nothdurft, 'Moral purity' 2026, oil, ink, metallic watercolour and acrylic on canvas, 112 x 92 cm. Courtesy the artist]

[Image descriptions: 1-3: Contemporary paintings in a gallery setting 4: Cropped painting of two cheerleaders in red uniforms with pom-poms, standing on pavement casting long shadows 5: Interior scene of a seated figure leaning on a table near a window, framed by geometric curtains and muted tones 6: Bright orange 4WD vehicle with stickers and open rear door, parked outdoors near trees with camping equipment visible 7: Figure in striped garment holding long dark hair-like form to face against deep green abstract background.]

🎨Discover the unique freedom of the watercolour medium in this hands‑on workshop with nationally renowned artist and Bayside Painting Prize finalist Fiona McMonagle. Designed to build confidence with a wet medium, this workshop is perfect for beginners—or anyone ready to loosen up their technique.

Learn to embrace the beautiful unpredictability of watercolour, let go of perfection, and develop a more intuitive, expressive way of painting.

Contemporary watercolours with Fiona McMonagle
📅 Saturday 16 May 2026
📍Bayley Arts (1 Avoca St, Highett VIC 3205)
🕰️ 1pm to 4pm
🔗 $80 per person. All materials included. Book via link in bio.

[Image credit: Fiona McMonagle, 'Paris Texas' 2026, watercolour on paper, 21 x 27 cm. Courtesy the artist and Sophie Gannon Gallery, Melbourne]

[Image description: A figure with a short blonde bob wearing a deep pink dress, standing in a pink room beside a small wall-mounted TV.]

Meet this year’s Bayside Painting Prize judges: Jacqueline Doughty, Assistant Director – Curatorial, Art Gallery of Ballarat; Dr Shelley McSpedden, Senior Curator & Head of Exhibitions, Australian Centre for Contemporary Art, Melbourne; and Joanna Bosse Curator, Bayside Gallery.

David Egan (@davidegan__) was awarded the non-acquisitive Major Prize of $25,000 from a highly competitive field reflecting the breadth and diversity of contemporary Australian painting. The judges praised the winning work, stating:
"David Egan’s 'Decreation machine' rewards close looking, continuing to reveal itself over time and drawing the viewer into the many universes within its fragmented yet cohesive interior. We were taken by the way that the artist’s own personal painterly language and iconography is overlaid and expanded through engagement with canons of art history, in this case, a Renaissance painting (Antonello da Messina’s 'Pieta' c. 1476). The artist’s idiosyncratic approach demonstrates a deep investigation into image-making and the history of painting, which is compelling within the context of contemporary practice. The work symbolises the capacity of painting to continuously reinvent itself.

The $10,000 acquisitive Beckett Local Prize was awarded to Betra Fraval (@betra) for 'Taking flight', with the work to be acquired into the Bayside City Council Art and Heritage Collection. The judges stated, "We commend the restraint and skill in mark-making evident in Betra Fraval’s delicate, intuitive painting 'Taking flight'. Sometimes, one of the most important skills for an artist is to know when the painting is complete – to have the confidence not to overwork the image. Fraval demonstrates this artfully in 'Taking flight'. The spaciousness and lightness of the artist’s touch allows the paint to remain visible – soaking and bleeding into the linen ground."

View these works now as part of the 2026 Bayside Painting Prize exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits and descriptions available in comments.]

Meet this year’s Bayside Painting Prize judges: Jacqueline Doughty, Assistant Director – Curatorial, Art Gallery of Ballarat; Dr Shelley McSpedden, Senior Curator & Head of Exhibitions, Australian Centre for Contemporary Art, Melbourne; and Joanna Bosse Curator, Bayside Gallery.

David Egan (@davidegan__) was awarded the non-acquisitive Major Prize of $25,000 from a highly competitive field reflecting the breadth and diversity of contemporary Australian painting. The judges praised the winning work, stating:
"David Egan’s 'Decreation machine' rewards close looking, continuing to reveal itself over time and drawing the viewer into the many universes within its fragmented yet cohesive interior. We were taken by the way that the artist’s own personal painterly language and iconography is overlaid and expanded through engagement with canons of art history, in this case, a Renaissance painting (Antonello da Messina’s 'Pieta' c. 1476). The artist’s idiosyncratic approach demonstrates a deep investigation into image-making and the history of painting, which is compelling within the context of contemporary practice. The work symbolises the capacity of painting to continuously reinvent itself.

The $10,000 acquisitive Beckett Local Prize was awarded to Betra Fraval (@betra) for 'Taking flight', with the work to be acquired into the Bayside City Council Art and Heritage Collection. The judges stated, "We commend the restraint and skill in mark-making evident in Betra Fraval’s delicate, intuitive painting 'Taking flight'. Sometimes, one of the most important skills for an artist is to know when the painting is complete – to have the confidence not to overwork the image. Fraval demonstrates this artfully in 'Taking flight'. The spaciousness and lightness of the artist’s touch allows the paint to remain visible – soaking and bleeding into the linen ground."

View these works now as part of the 2026 Bayside Painting Prize exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits and descriptions available in comments.]

Meet this year’s Bayside Painting Prize judges: Jacqueline Doughty, Assistant Director – Curatorial, Art Gallery of Ballarat; Dr Shelley McSpedden, Senior Curator & Head of Exhibitions, Australian Centre for Contemporary Art, Melbourne; and Joanna Bosse Curator, Bayside Gallery.

David Egan (@davidegan__) was awarded the non-acquisitive Major Prize of $25,000 from a highly competitive field reflecting the breadth and diversity of contemporary Australian painting. The judges praised the winning work, stating:
"David Egan’s 'Decreation machine' rewards close looking, continuing to reveal itself over time and drawing the viewer into the many universes within its fragmented yet cohesive interior. We were taken by the way that the artist’s own personal painterly language and iconography is overlaid and expanded through engagement with canons of art history, in this case, a Renaissance painting (Antonello da Messina’s 'Pieta' c. 1476). The artist’s idiosyncratic approach demonstrates a deep investigation into image-making and the history of painting, which is compelling within the context of contemporary practice. The work symbolises the capacity of painting to continuously reinvent itself.

The $10,000 acquisitive Beckett Local Prize was awarded to Betra Fraval (@betra) for 'Taking flight', with the work to be acquired into the Bayside City Council Art and Heritage Collection. The judges stated, "We commend the restraint and skill in mark-making evident in Betra Fraval’s delicate, intuitive painting 'Taking flight'. Sometimes, one of the most important skills for an artist is to know when the painting is complete – to have the confidence not to overwork the image. Fraval demonstrates this artfully in 'Taking flight'. The spaciousness and lightness of the artist’s touch allows the paint to remain visible – soaking and bleeding into the linen ground."

View these works now as part of the 2026 Bayside Painting Prize exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits and descriptions available in comments.]