With the sad news of Gordon Shepherdson's passing on 18 July 2019, we look back to Issue 42 when Louise Martin-Chew wrote about the artist's...
The practice of Indian-born Sydney-based artist Kirtika Kain examines how oppressive power structures have been enforced upon and embodied by generations before her.
Artist Profile visited Culliton’s property and studio to experience the life she has cultivated that inspires her creative output.
Daisy Hamlot’s bold canine paintings bring a wholehearted vibrancy to the CIAF in its tenth year.
A group show at Newcastle’s Lock-Up examines the lightness and the longing of love.
Anthea Polson Art surveys Everton's photographic practice of post-colonial storytelling.
‘Elemental’ is a series of mokulito prints. Why did you choose this method? Mokulito is very new and experimental, and I really enjoy this form...
In Issue 40, Amber Boardman discusses the idiosyncrasies of her practice inside and outside the studio.
A crisp artificial sheen settles on the contours of Angelica Mesiti’s face as she gazes at her laptop screen in a windowless room strewn with...
In Issue 46, Judith Pugh discusses Peter Hill's elusive 'Superfictions', which exist in the gap between installation art and literary fiction.
The whimsical earthenware sculptures of Lynda Draper create a beguiling space where visuality mingles with tactility.
Peter Day’s multi-disciplinary practice observes a place somewhere between the technological and the terrestrial.
In Issue 47, Ian Were writes a tribute piece about the contagious incandescence and vitality of his late partner, artist Debra Porch (1954–2017).
Dale Frank’s work from the early 1970s to now appears to be without a beginning or an end, constantly evolving from one work to the...
The NGV showcases a father and daughter working over the advent of Modernism in Australia.
Kawita Vatanajyankur's work explores the burdens of hard physical labour expected of women in traditional Thai society.
Heather Shimmen weaves the historical and the utopian together in a mythic landscape of the mind.
Jennifer Joseph’s work is the emotively charged product of a life lived at full, nocturnal, intensity.
Joe Frost gives his paintings a kind of autonomy; they want to be or become things that are partially obscure to him.
In Issue 46, Artist Profile travelled to Bruce James' home and studio in Ayr, North Queensland, as the artist prepared for his first solo exhibition.
Known for her multi-media installations featuring a variety of hand-honed materials, Fiona Hall is focusing her energies on the fraught subject of war.
Published in 2017, Sally Gray’s 'Friends, Fashion and Fabulousness' presents an account of the effervescent 1970s Australian cocktail of change.
Tim McMonagle intimately confronts both the fragile and robust nature of life. Artist Profile spoke to McMonagle in his Melbourne studio for Issue 46.
Tenderness is at the centre of the portraiture and landscape works in Bill Henson’s solo show at Roslyn Oxley9 Gallery.
