Raymond Arnold is a renowned Australian printmaker whose work reflects the construction of the Tasmania landscape, in particular that of the west coast, his adopted home.Raymond has held more than 50 solo exhibitions and participated in group shows in Australia, Europe and the USA. His work can be found in the collections of the Imperial War Museum, the Victoria and Albert Museum in London, the Bibliotheque Nationale and the Musee Courbet in France, as well as the National Gallery, the Australian Parliament House and all state galleries in Australia. In 2006, Raymond established Landscape Art Research Queenstown (LARQ) with a dream to develop a wilderness art space as a ‘nest’ for incubation and a supporter of artists’ in residence.
Ally Bisshop is an artist, writer and researcher, dividing her time between Berlin and Sydney. Her practice engages process philosophy and ideas around aberrant language, materials, and temporalities. Ally is currently undertaking a PhD in Visual Arts at UNSW Art and Design, Sydney and holds a B.sc with first class honors (majoring in microbiology) from the University of Queensland, Brisbane, Australia (1999) and a Bachelor of Fine Arts through the College of Fine Arts, UNSW Sydney, majoring in sculpture and installation. Ally's writing has featured in runway and Berlin Artlink and she is an editorial board member of the runway journal for Australian experimental art, a position held since 2013.
Lucy Bleach's practice focuses on human’s varied relationships to tenuous, contingent and at times volatile environments, seeking engagement with communities that authentically experience such relationships, exploring links between the geologic and the intimate, and investigating the potential of vibrational ground. She has produced solo commissioned and collaborative work within national and international contexts and received national funding, awards and international residencies. Lucy is Coordinator of Sculpture and 3D Design Studios, Tasmanian College the of Arts, University of Tasmania.
Robin Banks has a passion for geology and the printed page. In her professional career, Robin has been involved in a broad range of human rights advocacy activities and has a strong background in disability rights in particular. She holds a Bachelor of Laws from the University of NSW (1999). In 2000 she was admitted to practice as a Barrister and Solicitor in the Supreme Court of NSW and the High Court of Australia. Robin is currently a PhD candidate at the University of Tasmania, her thesis, an examination of whether and how discrimination law could use a conceptual framework that incorporates learnings from other disciplines, such as those of prejudice and unconscious bias from psychology, and what effect this might have on prevention and resolution.
Shevaun Cooley is a Western Australian poet, essayist, and climber. Her poetry has been published in Cordite, Island, Poetry Wales, Meanjin, Southerly, The Best Australian Poems (2009, 2017), and she has been shortlisted for both the Newcastle Poetry Prize, and the University of Canberra Vice-Chancellor's International Poetry Prize. Her debut collection of poems, Homing was released in 2017 by Giramondo Publishing.
Helena Demzcuk is a painter based in Queenstown on the west coast of Tasmania. The daughter of Ukrainian migrants, Helena lived in Papua and New Guinea before enrolling at QIT, Brisbane and Monash University, Melbourne to study Ukrainian language and literature. In 2005 Helena completed a BFA at the University of Tasmania, School of Art which included a semester at the Glasgow School of Art. Her artwork focuses on people, landscapes and the colour that unites them.
Jerry de Gryse is a landscape architect and co-founder and director of Inspiring Place. Jerry has practice experience that ranges in scale from square metres to thousands of square kilometres and in setting from the city centre to the wilderness. In his work, Jerry seeks out the essential values of a place to understand how these influence the physical form of the built environment and the personal experience of outdoor space. Jerry believes that exceptional public spaces are created where the needs of people for a vibrant setting are integrated with a community’s vision for its place and environmental sustainability principles. Jerry is a Fellow of the Australian Institute of Landscape Architects.
Catherine Evans is an artist working across photography, sculpture and installation. Initially trained in science and then photography, her studio and research practice is focused on geologic time and where this intersects with our own human timescales: as found in our bodies, their materiality, and our subjective histories through colonialism and archaeology. Dividing her time between Melbourne and Berlin, she was the 2017 Georges Mora Fellow, Melbourne, and received first prize in the 2020 Neukölln Art Prize, Berlin.
Julie Gough (AUS) is an artist, freelance curator and writer. Her research and art practice often involves uncovering and re-presenting often conflicting and subsumed histories, many referring to her own and her family's experiences as Tasmanian Aboriginal people. Julie holds a PhD from the University of Tasmania and has exhibited widely in Australia since 1994 including: undisclosed, National Gallery of Australia, 2012; Clemenger Award, National Gallery of Victoria, 2010; Biennial of Sydney, 2006; Liverpool Biennial, UK, 2001; Perspecta, AGNSW, 1995. Her work is held in most Australian state and national gallery collections, and she is represented by Bett Gallery, Hobart.
Ross Gibson is an artist, writer and Centenary Professor in Creative & Cultural Research at the University of Canberra. Recent works include the books 26 Views of the Starburst World (UWAP) and Stone Grown Cold (Cordite Books) and the co-production of the ABC Radio National Feature 'Energy Grids'. Outside academia he was inaugural Creative Director at the Australian Centre for the Moving Image (1998 - 2002) and a Senior Consultant Producer for the establishment of the Museum of Sydney (1993 - 96).
Bianca Hester's practice explores the convergences between social space, materiality and embodiment as processes in motion. Her practice explores the manifold rhythms at play within and across various sites, generating and interposing other temporalities (movements – materialities – actions) in order to open up possibilities for how we might engage, encounter and occupy place. The work she produces emerges in response to specific material, social and spatial conditions, often involving the fashioning of site-based alterations, actions, constructions, objects, collaborations and video.
Ruth Hadlow is a visual artist with a process-based practice which incorporates temporal wall drawings, writing, performative lectures and artist’s books. She has exhibited nationally and internationally, undertaken numerous residencies around Australia and New Zealand, and been the recipient of several Australia Council grants for research projects. Ruth has a PhD from the University of South Australia, and is known for her freelance teaching focused on process-based contemporary arts practice.
Lyndal Jones is a Melbourne-based artist whose work coveres a wide range of practices, including performance, theatre, dance and video. Jones' work focuses on the politics of context, place and gender through very long-term projects, including The Avoca Project (2006-2016), centred around the Watford House – including land works, exhibitions, performances, film showings, concerts and symposia, always , an international art project in regional Victoria, Australia. She has exhibited extensively in both solo and group shows in Australia and overseas. In 2001, Jones represented Australia at the Venice Biennale with the work Deep Water/Aqua Profunda.
Sarah Jones is an artist, writer and curator. Through first person narrative, both written and performed, Sarah is interested in the desire for the dissolution of the perceived self in the spaces between the landscape and the body. Understanding text as a kind of emotional cartography, Jones explores the (text)body in (time)space. She explores publishing as the unfolding of a making public —an act of collaborative desiring; the demand for a witness who is simultaneously present and absent.
Louisa King is an artist. Her practice is one of site responsive landscape experimentation, carried out through installation, drawing and performative writing. Turning towards the Anthropocene, Louisa’s practice explores the dialectic potential of landscape architectural practice in accessing the nature/culture collapse. Her interest lies in cartography, ficto-criticism, and temporary event based landscape design and material explorations of the geologic city. Louisa is a lecturer in landscape architecture at University Technology Sydney and PhD candidate at RMIT University, Melbourne.
Therese Keogh is an artist who lives and works in Sydney, Australia. She has exhibited her work in solo and group exhibitions around Australia and internationally, employing research methods to examine the structures that produce and transform, space through an engagement with site, landscape and histories of making. Therese is currently studying for a Masters of Fine Art, at Sydney College of the Arts.
Caroline Loewen is curator at the Lougheed House, a historic house museum in Calgary, Canada. She holds a Master’s degree in Art History from the University of St. Andrews, as well as a BA in Archaeology and a BA in Art History from the University of Calgary. Her degrees in both Art History and Archaeology support her interests in art, history, and land; her curatorial practice focuses on exploring ideas around cultural geography, place-making, memory, and cultural/natural landscapes.
Greg Lehman is an Indigenous Visiting Research Fellow at the Australian Institute of Aboriginal and Torres Strait Islander Studies and has recently completed a PhD at the University of Tasmania’s School of Art on visual representations of Tasmanian Aborigines. Greg is also an Honorary Research Fellow at the Australian National University’s Humanities Research Centre, supporting the development of Encounters exhibition. He is also a member of the National Museum of Australia’s Indigenous Advisory Committee, and the Tasmanian Museum and Art Gallery’s Aboriginal Advisory Council.
Trygve Luktvasslimo is an artist whose work examines seduction, worship and redemption in music and in visual and verbal narratives. Through a diverse practice he locates spiritual projects outside of the religious field, and he looks at how these faith-based concepts influence the construction of characters and stories. He exhibits and performs internationally in galleries, museums, festivals and clubs. Trygve holds an MFA in Visual Art from Malmö Art Academy, Sweden (2006). He is a board member, Fond for lyd og bilde, Arts Council Norway and a public art consultant KORO, Norway Office for public Art.
Nicholas Mangan's practice is driven by the desire to make sense of the world by unpacking the histories and possible narratives that surround specific contested sites and objects. This investigation explores the unstable relationship between culture and nature. Nicholas' recent work Limits to Growth (2016–) in The National: New Australian Art at the Art Gallery of New South Wales.
Tine Melzer connects the philosophy of language with visual art and her main motif is language. She works both as an artist and researcher and has taught at various academies and universities since 2004. Since 2014, she has taught at HKB Bern University of the Arts, at the transdisciplinary Y Institute and has been active as a tutor for the MA in Contemporary Arts Practice and as a lecturer at the Department of Art & Design.
Wendy Morrow is a Hobart based dance artist working in the area of new dance. Her career spans across 35 years and includes performing with the Monte Carlo Ballet, The Scottish Ballet, The Sydney Dance Company and Danceworks. Morrow has worked with Australia's most influential makers in new dance, studied and traveled internationally with her work and established an interdisciplinary practice. She has extensive teaching experience working with professional companies, independent artists and most tertiary arts institutions around Australia.
James Newitt is an artist who lives and works in Hobart and Lisbon. James’ work explores specific social and cultural relations, often embracing mutability and paradox. James has exhibited his work in exhibitions in museums, galleries and public spaces throughout Australia and Europe. In 2012 he was awarded the prestigious Samstag Scholarship to participate in the Maumaus Independent Study Program in Lisbon. In 2010 he won the City of Hobart Art Prize and in 2009 he was awarded the Qantas Foundation, Encouragement of Contemporary Art Award. James is a Lecturer, at the Tasmanian College of the Arts.
Jo Paterson Kinniburgh's research operates between architecture, performance and inter-medial studies, with a focus on possible futures for small contemporary live music performance venues. My work challenges the colonial performance space located on confiscated Maori land for contemporary indigenous performance, by rejecting the stage and working in the margins. Jo is a doctoral candidate working on a thesis entitled The Spatial Dramaturgy of Live Music Performance.
Perdita Phillips is an Australian artist/researcher primarily interested in the environment who often refers to scientific understanding in her work. At the same time she is interested in things that aren’t explained by science which might be about what is not seen or logically sensible. Using many different media including walking, mapping and listening, her work is marked by a continuing interest in the relationships between humans and nonhuman others (rocks, plants, animals, ecosystem processes). She has published Invisible Monsters (2018), A simple rain (Vivienne Glance and Perdita Phillips 2012) and birdlife (2011, edited by Nyanda Smith and Perdita Phillips) with Lethologica Press and in 2017 she created the limited edition Wingenretnuh with BookMachine.
Jane Rendell (BA, DipArch, MSc, PhD) is an academic and writer. She trained and practiced as an architectural designer, before studying for her MSc and PhD in feminist architectural history. Her interdisciplinary work, through which she has developed concepts of ‘critical spatial practice’ and ‘site-writing’, crosses architecture, art, feminism, history and psychoanalysis. Her books include Site-Writing (2010), Art and Architecture (2006), and The Pursuit of Pleasure (2002), and co-edited collections like Pattern (2007), Critical Architecture (2007), Spatial Imagination (2005), The Unknown City (2001), Intersections (2000), Gender, Space, Architecture (1999) and Strangely Familiar (1995). Jane is Professor of Architecture and Art at the Bartlett, UCL.
Mary Scott lives and works in Hobart, Tasmania. Selected recent exhibitions include Facts and Fictions, , UK Drawing Projects, The Drawing Centre, Trowbridge, UK; Drawing Now, [2015 and 2014], Despard Gallery, Hobart; Hobart City $15,000 Invitation Art Prize, , Tasmanian Museum and Art Gallery; Black Powder, , Contemporary Art Tasmanian and Detached Cultural Organisation; Down the Line: an exhibition of drawing, , Near and Far,  Tasmanian Museum and Art Gallery; Wilderness: Balnaves Contemporary Painting, , Art Gallery of NSW. Mary has been a recipient of several New Work Australia Council Grants [2008; 2002]. When she is not in her studio Scott works at the Tasmania College of the Arts where she is Senior Lecturer.
Ben Walter is a Tasmanian writer of lyrical fiction and poetry who has been widely published in publications such as Island and Southerly. He has twice been shortlisted in the Tasmanian Premier’s Literary Prizes, and was the recent guest editor of Overland’s special anti-/dis-/un-Australian fiction issue. Ben is one of Australia's most widely published writers of short stories. His essays have appeared in The Guardian, Meanjin and Island.
Rory Wray-McCann is an underground miner who has lived on the West Coast of Tasmania for nearly three decades, working and helping to raise and fund a family of three. He got out of 'the black rabbit game' a while ago and rebadged himself as a surface tip rat with a creative bent. Rory uses the materials of the Tasmanian landscape, mainly rocks and crystals, as his palette, creating large scale geological compositions set in concrete.
Tricky Walsh works both collaboratively and in a solo capacity. Their projects focus on both spatial and communication concerns and while they use a diversity of media (architecture, painting, drawing, sculpture, installation, sound, film, comics, radio) it is foremost the concept at hand that determines which form of material experimentation occurs within these broader themes. They are represented by Bett Gallery, Hobart, Tasmania, and MARS Gallery in Melbourne and have exhibited extensively throughout Tasmania, Australia and Overseas.