Adam Lee’s painting and drawing practice ties together narratives of memory, imagination and transcendence. Through his works on canvas and paper, Lee builds worlds where allegory and atmosphere coalesce to suggest a highly personal outlook informed by collective folklore and legend. His work references a wide range of sources including historical and family photographs, spiritual narratives, natural history, and contemporary music, film and literature to investigate aspects of the human condition in relation to ideas of temporal and supernatural worlds. These explorations find their physical manifestation in Lee’s well-honed individual style, characterised by moody landscapes and a contemporary take on tenebrism.

Lee has exhibited throughout Australia and internationally. He was recently invited to participate in the 2021 Kyneton Contemporary Art Triennial, Holding the Circle. He has been a finalist in The Arthur Guy Memorial Painting Prize (2021, 2019, 2015, 2013); The Geelong Contemporary Art Prize (2014); National Works on Paper Prize exhibition (2014); The Churchie National Emerging Artist Award (2012, 2011); The Redlands Westpac Art Prize (2010); The Rick Amor Drawing Prize (2010); and The Sir John Sulman Prize (2010, 2006). His works are represented in public and private collections in Australia and internationally.

‍Adam Lee’s vast landscapes aren’t really landscapes, just as his portraits aren’t really portraits. It might seem a trite proposition, but it’s one worth making. Describing Lee’s paintings purely in terms of representation – either straight or stylised – is missing the point. At once lithe and laboured, these lush, dense and fluid scenes, vistas, orbs and figures belong to a wider, more allegorical and atmospheric kind. They are memories and imaginings, ancient and enveloping.
‍— Dan Rule, September 2012

The world building which Adam Lee has undertaken over much of his artistic oeuvre seems to have perpetuated its own fictionalised reality, from the time of the cradle of civilisation, in a Mesopotamian oasis 300 B.C.-cum-third century A.D. land that exists somewhere between two ‘Greats’. That of Alexander the Great, King of the Greek Empire, and Anthony the Great, Christian Saint and hermit leader of The Desert Fathers. Though in Lee’s fiction, both Greats inhabit the same time: the Christian hermits, and the cities and structures before Christianity, rest in this world of fluid colourful motion. The Mesopotamian Tower of Babel, with its conjectural origin as the Etemenaki ziggurat of Babylon, stands in this world with a ‘purple haze’ sky, whilst contemplative hermits sit in caves thinking radioactive thoughts.
— Jack Willet, February 2015

Adam Lee is represented by STATION.

Chris Bond is a creator and a character who operates within narrative scenarios designed to shift habitual response, feeling and expression. Perception, expectation and plausibility are skewed in the uncannily real worlds of Bond’s invention, where fictional artists, writers and organisations circulate, spawning documentary material that he regularly appropriates and recontextualises. In his closely-worked paintings and drawings these processes find an end in hand-made facsimiles of books, magazines, exhibition catalogues and correspondence. Within his installation practice he hijacks the conventions of museum display to convey unlikely, fantastic stories, where threatening, illusory forms creep at the edge of the real.

Bond has exhibited since 2000. He undertook a studio residency at Gertrude Contemporary in 2001, and has since featured in 24 solo and 130 curated exhibitions at venues including the Australian Centre for Contemporary Art, Gertrude Contemporary, Blindside, Centre for Contemporary Photography, Bus Projects, Heide Museum of Modern Art, National Gallery of Victoria, Museum of Contemporary Art, Sydney and Samstag Museum, Adelaide. In 2013, he was awarded the Arthur Guy Memorial Painting Prize, in 2017 the BalletLab McMahon Contemporary Art Award and an Australia Council Art Development Grant.

He completed a Bachelor of Fine Arts (Painting) Honours at RMIT in 1997 and a Doctor of Philosophy in Fine Arts (Visual Art) at the Victorian College of the Arts in 2018. He lives and works in Melbourne.

Djirrirra (also known as Yukuwa) first began painting while aiding her father, Yanggarriny Wunuŋmurra (1932-2003), towards his Telstra Award winning painting of 1997 and up until his death in 2003. Also assisting her brother Nawurapu Wunuŋmurra during this time.

She now primarily paints her own works. Attracting interest in the art world with her precise hand and geometric style. Yukuwa (yam) has become a distinct theme in her practice. This motif formed when she had been questioned about her right to paint Buyku, the fishtrap imagery of her own clan and homeland by a family member. Rather than disagreeing she responded by painting imagery which has defined in a sense, her own personal identity.

Her first major exhibition in 2006 at Raft Artspace in Darwin also coincided with her first visit outside of Arnhem Land. She was selected in 2007 for Cross Currents, a major art survey at the Museum of Contemporary Art in Sydney. Her notoriety was secured when she was awarded Winner of the TOGA Northern Territory Contemporary Art Award in 2008. This then led to her first solo show at Vivien Anderson Gallery, Melbourne in 2009.

Following on from her father and brother in 2012 as a Telstra winner with Best Bark at the 29th NATSIAA with her distinctive Yukuwa theme. She has exhibited in the US and China and in Australia previously with Vivien Anderson Gallery, Melbourne and Short street in Broome. Living within the remote homeland of Gangan since she was born (before Western housing was erected) and has three children. Her work has been exhibited across Australia and internationally in Paris, London, Milan, Freiburg, Aspen, Idaho, Santa Fe, Seattle, Virginia, Shanghai and Singapore.

Dominic Redfern is an artist and academic with a keen interest in historical vectors that inform the human condition and the state of the planet more broadly. He is always interested in origin stories and my key research interests are the entanglement of social and natural histories, as well as the evolution and history of consciousness, aesthetics, and language. He typically works with video in multi-screen installations, but also makes single channel and live screen works.

Across Redfern's career, his work has been supported by all three levels of government in Australia from various municipalities on up to the Australian Research Council as well the Australia Council for the Arts and state arts funding bodies. He has undertaken residencies and site-responsive projects in Brazil, the USA, Japan, China, Korea, Thailand, Finland, Norway, Sweden, Scotland, Germany, and France.

Harry Nankin is a Melbourne-based artist and lecturer. He completed a Master of Arts (Photography) at RMIT University in 1994 and a PhD at the School of Art, RMIT University in 2015. His practice focuses on the natural environment and he has been working with cameraless photographic processes since 1993. Rather than use a camera to photograph the world, Nankin uses simple, direct contact techniques such as the photogram to record traces of nature. His works have been widely exhibited since the early 1990s and he is represented in important Australian public collections.

Heather Hesterman is an interdisciplinary artist/educator/researcher based in Naarm/Melbourne working with installation, print-based media, community, education and landscape design. She is interested in the intersections of plants, people and places informed by research in climate change, history and plant studies.

Activating spaces through plant-human relations, Heather aims to foster ‘vegetal-love’ through gifting, walking practices, mobile devices, collaborative acts and conversations. Reflecting upon plant methodologies, she encourages humans to slow down, become attuned to surroundings, grow gardens, walk amongst vegetal beings and plant more trees.

Heather is currently researching how to address human ‘plant blindness’ by cultivating chlorophilia- a love for plants and investigating how plants might inform creative practice.

Jane O’Neill is a visual artist and curator based on Wurundjeri Woi Wurrung Country. Her recent work employs the logic of textiles to explore social disentanglement and connectivity. Her practice includes installation, collage, painting and textiles. Between 1996 and 2007 O’Neill exhibited regularly in artist-run-spaces in Brisbane, Sydney and Melbourne including Pendulum, CBD Gallery, Soapbox, West Space, Elastic and Blindside. In 2004 her work was included in the Avalon exhibition curated by Ricardo Felipe at the Museum of Brisbane. In 2015, she occupied the Bluestone Building at the Living Museum of the West to create the exhibition Municipal City Baths.

Angela Clarke, PhD, is an embodiment practitioner, vocal specialist, educator, and scholar. She is co-founder/director of Melbourne-based embodied education provider Live Particle and co-creator of  an innovative interactive embodied practice manual Adventures In The Field. Angela has worked extensively within tertiary education and community settings as a performance practitioner and academic leader in creative disciplines. Her work is sourced in practices that include improvisation, Body-Mind Centering®, extended vocal technique, (syn)aesthetic performance and Qigong. She has published work on creativity, embodiment, fine art education, professional learning, educational change management, motherhood, and performance philosophy. She is the co-editor of the recent DTAA publication The Art of Embodiment (2021).

Camilla Maling, MA. is an educator, therapist and movement/sonic artist specialising in embodied practices & multi-sensory learning. She is Co-Founder/Director of Melbourne-based embodied education provider Live Particle and co-creator of an innovative interactive embodied practice manual Adventures In The Field. Camilla synthesises several decades of research, performance and teaching in movement/dance practices, yoga, improvisation and sound design. Her work is dedicated to sharing the critical role embodied intelligence plays in personal, social and environmental care & vitality. Camilla woks as a Multimodal Arts Therapist with young people for Living Learning, has a private practice in Embodied Therapeutics, performs around Melbourne with dance improvisation duo - LIPS and founded & directed pioneering Melbourne-based yoga & movement studio The Yoga Lab. Camilla is currently studying as a Somatic Movement Practitioner with Somatic Education Australasia (SEA).

Louise Weaver's multidisciplinary practice employs an assortment of media in the creation of both individual works and expansive sculptural installations that centre around content of the natural world. The animals and environments that Weaver creates interact with a broad range of themes. Weaver addresses subjects ranging from the fantastical and issues of contemporary social concerns, including conventional expectations of femininity and environmentalism, to broader philosophical constructs of artificiality and transformation.

Her work was recently the subject of the survey exhibition, Between Appearances: The Art of Louise Weaver, curated by Melissa Keys at Buxton Contemporary, Melbourne in 2019 and has been touring as part of Obsessed: Compelled to Make, Australian Design Centre, Sydney since 2018.

Weaver’s work is held in many significant public and private collections including the British Museum, United Kingdom; Art Gallery of New South Wales, Sydney; Queensland Art Gallery, Brisbane; National Gallery of Victoria, Melbourne; Museum of Contemporary Art, Sydney; National Gallery of Australia, Canberra; Monash University Collection, Melbourne; Chartwell Collection, Auckland Art Gallery, New Zealand; Artbank, Australia.

Peter Ellis has produced bizarre paintings, drawings, prints, objects and books for more than 35 years. He is known for his innovative use of animal imagery. He invents hybrid creatures that inhabit incongruous psychological spaces.

Ellis’s imagery has its origins in automatic drawing from the imagination that is often simultaneously intimate in scale, calligraphic and articulate.  Strange animals, characters and abstracted forms are dredged from subconscious thoughts often without pre-conception. Through conscious analysis and research inspired by these drawings another layer of associated imagery from a wide variety of sources is created.

Sarah Tomasetti is highly regarded for her luminous fresco paintings and installations. She has gained substantial knowledge and training in the traditional methods of fresco, using materials that have been employed since antiquity. The fresco surfaces that form the basis of her work are made on a wall constructed from lime putty mortar and then detached by means of a cloth embedded early in the process. Landscape images are then brushed drawn and incised, tracings of stone into a surface itself returning to stone. Detachment and the addition of staining and encaustic wax reveal the internal structure of the fresco skin, thus embedding a sensed fragility in the substrate of the work. These landscapes seek to explore our shifting relationship with the natural world in an atmosphere of contemporary unease.

Sarah Tomasetti graduated from RMIT University and La Trobe University, Melbourne with graduate diplomas in Fine Art and Italian Studies in 1994. After graduating, Sarah undertook an internship in fresco painting at the Laboratorio per Affresco di Vainella in Italy and, on returning to Australia, completed a Masters in Fine Art at RMIT University. She has undertaken further residencies in China, Fiji, Italy and the USA and has numerous solo and group exhibitions to her name. Winner of the acquisitive John Leslie Art Prize at the Gippsland Art Gallery in 2020, Sarah also has work represented in a number of private and public collections including Artbank, Macquarie Bank, BHP Billiton, National Australia Bank and Grafton, Tamworth and Muswellbrook Regional Galleries.

Sarah is a lecturer in Fine Art at RMIT University and has recently completed a doctoral project entitled Mnemonic Mountain, looking at the way the mountain imaginary co-creates the way remote regions are traversed and depicted. In response she developed the fresco skin as a fluid sculptural form responsive to cycles of land formation and disintegration.

Sarah is represented by Australian Galleries.