In Issue 42, Robyn Sweaney spoke about her artistic journey from the interior realm of the still life to nostalgic suburban streetscapes.
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.
First Nations choreographer and dancer Amrita Hepi writes about her life and practice, in her own words.
In Issue 45, Kevin Wilson visited Colin Pennock in his Noosa Hinterland studio to chat about the artist's incredible journey thus far.
Lisa Reihana draws from her own Maori culture to bring Maori histories to life, extending breath into contemporary and recent narratives.
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...
Grace Blake’s installations are visions of ecologies that pose doubt and aporia, speaking to present-day realities and anxieties.
Steve Lopes chats to Guy Warren in Issue 34 about his colourful life and career.
In the midst of COVID-19, many galleries have closed their doors to the general public. However, there is still art to be found.
Justine Varga’s rigorous and ruminative photographic practice transgresses conventional notions of photography.
Ann Thomson has been an important force in Australian art since she graduated from The National Art School over five decades ago.
In Issue 50, Laurie Nilsen told Michael Aird about his life and career – shortly before the much-loved artist passed away.
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.
One gets the sense that if you peeled back the painted skin, layer by layer, you could come to understand the intricacies of Gemma Smith's...
Jacqui Stockdale works across photography, drawing, painting, collage and performance to explore the disparate and overlooked histories of Australia.
George Gittoes has been travelling the world for over forty years, visiting those regions that appear in brief, blood-spattered segments on the nightly news.
In Issue 39, John von Sturmer discusses how Pedro Wonaeamirri engages with ancient Tiwi teachings.
Josh Foley’s visceral paintings create visually complex worlds that question the materiality behind the painted image.
Intrinsic to Nyapanyapa Yunupingu's practice is her innovative media and highly individual painterly expression that she describes as ‘mayilimiriw’ – meaningless.
Debra Dawes’ paintings have a visceral effect on the viewer. Her work appears cerebral but derives from experience and emotion.
The affinity that Indigenous people feel for the land is integral to Warwick Thornton’s art through both his cinematic work and his photography.
