Issue 10

With hand and thread, Teelah George chisels open apertures between materiality and the immaterial.

Patricia Piccinini divides opinions with her hand-crafted hybrid objects that dissolve notions of pure entities or borders having ever existed.

Walcha artist Angus Nivison discusses painting three portraits of gallerist, collector and benefactor Chandler ‘Channy’ Coventry AM (1924–99).

Madeleine Pfull writes about her painting process – which involves imagining and imaging herself in future form.

Clifford How’s ‘Antipodean Light’ invites viewers on a solitary traverse across Tasmania’s north-western alpine wilds.

There is a strong physical energy that comes through in Neil Frazer’s paintings that reflects not just their creation but also the process behind the...

Lismore-based Wiradjuri artist Karla Dickens has long been involved in green politics. For Dickens it has all been said and no-one is listening – so...

Belinda Fox’s art is arresting in its intricate layering of detail and colour.

Honey Long and Prue Stent talk about their collaborative process and ongoing examinations of sexuality, femininity and the landscape.