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“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

“…..these works feel like a threshold. While they are grounded in a specific place, they extend toward a broader enquiry that is still unfolding within Quilty’s practice. The concerns that gather here, environmental fragility, masculine agency, cycles of use and abandonment, form part of a body of work in development, leading toward a major institutional solo exhibition scheduled for 2027.



Throughout this exploration, Quilty returns to the river. It is not simply a site of refuge, but one of witness. It is a place that holds memory, of what has been, and what is at risk of being lost. In this sense, the landscape paintings function less as declarations and more as acts of remembrance. Not unlike a wake, they gather fragments of the world as it is, allowing space to reflect on what it has been, and what it might yet become.” Milena Stojanovska 2026
@janmurphygallery

NOW SHOWING - Ben Quilty, ’The River’

There is a particular kind of quiet that can be found in descent, in heading down to some place. Not up to a lookout or out toward a horizon, but down into the base of a valley, where the walls rise steeply on all sides and the world is made to recede. In this body of work, Quilty turns downward to such a place: a river set deep within the landscape, where the scale and weight of the terrain is both oppressive and assuring.

Within this landscape, figures appear, almost intrusively. Quilty’s ongoing enquiry into masculinity finds a new articulation here, as men enter the scene not as passive observers, but as agents of disruption.
Holding axes, they hack into the very environment that surrounds them. The gesture is both literal and
symbolic, echoing broader cycles of extraction, consumption, and waste. Rendered as a commodity,
timber becomes product, product becomes trend, trend becomes discard. The rhythm is familiar, even banal.

There is a clear sense of disquiet beneath the surface of these works. Yet their beauty is not diminished by this but thickened and tangled by it. In the landscape, the threat is often imagined as something elemental or unknown, yet more often than not, it is human. These figures complicate the romanticism of place, unsettling any notion of it as purely restorative. Instead, the environment becomes a site of tension, where beauty and destruction coexist.

’The River’ is currently showing in the gallery and online until 6 June.

Image details:
(i) Ben Quilty, Axeman no. 1, 2026, oil on linen, 188.0 x 142.0 cm
(ii) Ben Quilty, The story, 2026, oil on linen, 188.0 x 142.5 cm
(iii) Ben Quilty, Axeman No. 2, 2026, oil on linen, 160.0 x 125.0 cm
(iv) Ben Quilty, Warship (the flight path), 2026, oil on linen, 188.0 x 142.0 cm

@benquilty @janmurphygallery

#benquilty #theriver #janmurphygallery #painting

NOW SHOWING - Ben Quilty, ’The River’

There is a particular kind of quiet that can be found in descent, in heading down to some place. Not up to a lookout or out toward a horizon, but down into the base of a valley, where the walls rise steeply on all sides and the world is made to recede. In this body of work, Quilty turns downward to such a place: a river set deep within the landscape, where the scale and weight of the terrain is both oppressive and assuring.

Within this landscape, figures appear, almost intrusively. Quilty’s ongoing enquiry into masculinity finds a new articulation here, as men enter the scene not as passive observers, but as agents of disruption.
Holding axes, they hack into the very environment that surrounds them. The gesture is both literal and
symbolic, echoing broader cycles of extraction, consumption, and waste. Rendered as a commodity,
timber becomes product, product becomes trend, trend becomes discard. The rhythm is familiar, even banal.

There is a clear sense of disquiet beneath the surface of these works. Yet their beauty is not diminished by this but thickened and tangled by it. In the landscape, the threat is often imagined as something elemental or unknown, yet more often than not, it is human. These figures complicate the romanticism of place, unsettling any notion of it as purely restorative. Instead, the environment becomes a site of tension, where beauty and destruction coexist.

’The River’ is currently showing in the gallery and online until 6 June.

Image details:
(i) Ben Quilty, Axeman no. 1, 2026, oil on linen, 188.0 x 142.0 cm
(ii) Ben Quilty, The story, 2026, oil on linen, 188.0 x 142.5 cm
(iii) Ben Quilty, Axeman No. 2, 2026, oil on linen, 160.0 x 125.0 cm
(iv) Ben Quilty, Warship (the flight path), 2026, oil on linen, 188.0 x 142.0 cm

@benquilty @janmurphygallery

#benquilty #theriver #janmurphygallery #painting

NOW SHOWING - Ben Quilty, ’The River’

There is a particular kind of quiet that can be found in descent, in heading down to some place. Not up to a lookout or out toward a horizon, but down into the base of a valley, where the walls rise steeply on all sides and the world is made to recede. In this body of work, Quilty turns downward to such a place: a river set deep within the landscape, where the scale and weight of the terrain is both oppressive and assuring.

Within this landscape, figures appear, almost intrusively. Quilty’s ongoing enquiry into masculinity finds a new articulation here, as men enter the scene not as passive observers, but as agents of disruption.
Holding axes, they hack into the very environment that surrounds them. The gesture is both literal and
symbolic, echoing broader cycles of extraction, consumption, and waste. Rendered as a commodity,
timber becomes product, product becomes trend, trend becomes discard. The rhythm is familiar, even banal.

There is a clear sense of disquiet beneath the surface of these works. Yet their beauty is not diminished by this but thickened and tangled by it. In the landscape, the threat is often imagined as something elemental or unknown, yet more often than not, it is human. These figures complicate the romanticism of place, unsettling any notion of it as purely restorative. Instead, the environment becomes a site of tension, where beauty and destruction coexist.

’The River’ is currently showing in the gallery and online until 6 June.

Image details:
(i) Ben Quilty, Axeman no. 1, 2026, oil on linen, 188.0 x 142.0 cm
(ii) Ben Quilty, The story, 2026, oil on linen, 188.0 x 142.5 cm
(iii) Ben Quilty, Axeman No. 2, 2026, oil on linen, 160.0 x 125.0 cm
(iv) Ben Quilty, Warship (the flight path), 2026, oil on linen, 188.0 x 142.0 cm

@benquilty @janmurphygallery

#benquilty #theriver #janmurphygallery #painting

NOW SHOWING - Ben Quilty, ’The River’

There is a particular kind of quiet that can be found in descent, in heading down to some place. Not up to a lookout or out toward a horizon, but down into the base of a valley, where the walls rise steeply on all sides and the world is made to recede. In this body of work, Quilty turns downward to such a place: a river set deep within the landscape, where the scale and weight of the terrain is both oppressive and assuring.

Within this landscape, figures appear, almost intrusively. Quilty’s ongoing enquiry into masculinity finds a new articulation here, as men enter the scene not as passive observers, but as agents of disruption.
Holding axes, they hack into the very environment that surrounds them. The gesture is both literal and
symbolic, echoing broader cycles of extraction, consumption, and waste. Rendered as a commodity,
timber becomes product, product becomes trend, trend becomes discard. The rhythm is familiar, even banal.

There is a clear sense of disquiet beneath the surface of these works. Yet their beauty is not diminished by this but thickened and tangled by it. In the landscape, the threat is often imagined as something elemental or unknown, yet more often than not, it is human. These figures complicate the romanticism of place, unsettling any notion of it as purely restorative. Instead, the environment becomes a site of tension, where beauty and destruction coexist.

’The River’ is currently showing in the gallery and online until 6 June.

Image details:
(i) Ben Quilty, Axeman no. 1, 2026, oil on linen, 188.0 x 142.0 cm
(ii) Ben Quilty, The story, 2026, oil on linen, 188.0 x 142.5 cm
(iii) Ben Quilty, Axeman No. 2, 2026, oil on linen, 160.0 x 125.0 cm
(iv) Ben Quilty, Warship (the flight path), 2026, oil on linen, 188.0 x 142.0 cm

@benquilty @janmurphygallery

#benquilty #theriver #janmurphygallery #painting

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

Standing in the destruction caused by the Tasmanian Forestry Industry … ‘aggregated forestry’ means cutting ancient forests to the ground, burning them and planting the seeds of one species over the top. In 2026 this should be a crime. And at the top of the list, cutting, destroying, burning ancient forests - the @victorian_government ‘s own Australian Sustainable Hardwood Company… as far from the notion of sustainable as I have ever imagined

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

The River……. Opens at @janmurphygallery next week. Thanks also to @lisaslade.curator and #milenastojanovska, absolute legends x

COMING SOON - Ben Quilty ’The River’

Ben Quilty’s paintings have long moved between portraiture and landscape, holding space for questions of identity, place, and the weight of experience. In this new body of work, the landscape comes into sharper focus, not as a backdrop, but as something active, shifting and charged.

“Late in the afternoon and early in the morning, sunlight cuts across a vast rock shelf, illuminating the valley with a kind of theatrical precision. The space reveals itself as a stage, expansive, immersive, and strangely composed. It is this sense of both accident and intention that seems to hold Quilty’s attention, as though the landscape itself is performing.

Quilty’s ongoing enquiry into masculinity finds a new articulation here, as men enter the scene not as passive observers, but as agents of disruption. Holding axes, they hack into the very environment that surrounds them.”

’The River’ will be showing in the gallery from 13 May - 6 June.

Please contact the gallery for more information.

Video: Sahlan Hayes @sahlan.hayes

@benquilty @janmurphygallery

#benquilty #theriver #janmurphygallery #painting

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

Ngura Pulka, is finally open at The @nationalgalleryaus , from the Aṉangu Pitjantjatjara Yankunytjatjara people of @iwantja_arts , @kaltjitiarts , @mimili_maku_arts , @tjalaarts , @umoonaartcentre and @collectiveartcentre , artists living in the deserts of Central Australia. It’s blown my tiny mind. As an Australian passport holding, Irish blooded, descendant of convicts I try so hard to make a mark, to find a rhythm and a visual language that will hopefully enable me to talk about the world, at least talk about my own world in a valid and thoughtful way. Tiktok is great for screaming. Art is a profoundly more powerful conversation.Australia has a fraught history. We’re bulldozing along through a culture war, past prime ministers eschewing the patriotic fervour so constant in our most nationalistic citizens. But Australia has a far more complex and at times sinister modern history.

To walk into Ngura Pulka, generous, loving, calm and explosively great painting I was reminded of the movement, an epic revolution of visual language. It takes seconds to post on social media and minutes to write a post. Perhaps it takes sixty thousand years to write a language so utterly mesmerising.

WINNERS! Robertson Burrawang Cricket Club 2nd Grade Minor Premiers and Premiers! Played in a very lovely spirit @moss_vale_cricket_club . What a week!

Councillor Rachel Russell and Councillor Sara Moylan were unsuccessful in defunding our regional gallery today.
Thank you to the rest of the staff at Wingecarribee Shire Council! The community appreciates you.
The link to the ABC story is in my bio

@ngununggula is your gallery, built by the community, for the community #proudlynotforprofit @wingecarribee.shire.council

If you are in Queensland this summer be sure to make a stop at Rockhampton Museum of Art to view their current exhibition ‘Good as Gold’.

The exhibition brings together a selection of paintings from artists previously featured in the biennial acquisitive painting prize, The Gold Award including Tjungkara Ken, Richard Lewer, Ben Quilty, Victoria Reichelt and Monica Rohan.

Good as Gold
Rockhampton Museum of Art
Until 1 March 2026

Image credit: Ben Quilty, Evo Project, Sheep Wash Road, 2011, oil on linen, 170.0 x 150.0 cm

@benquilty @rockhamptonmuseumofart

#rockhamptonmuseumofart #goodasgold #goldaward

We are proud to support ‘‘Iwantja Tititjara - Iwantja Forever’, an online fundraising exhibition by Iwantja Art Centre.

Funds raised through the exhibition will go toward major upgrades to the Iwantja Art Centre building, which will foster an exciting new chapter for Iwantja Arts.

The exhibition features work by Iwantja’s leading artists Betty Muffler, Vincent Namatjira, Kunmanara (Peter) Mungkuri, Kunmunara (Tiger) Yaltangki, Kaylene Whiskey and guest artists Tony Albert and Ben Quilty.

To view the exhibition catalogue please click the link in our bio.

For further information please contact the gallery.

Image details:
Vincent Namatjira and Ben Quilty, The Crown, 2022, oil on linen, 202.0 x 265.0 cm

@iwantja_arts @janmurphygallery @benquilty

#benquilty #iwantjaarts