HYPERCLAY profiles eight Australian artists whose current pratice is taking cermics into bold new territories. Whether printing with clay, transforming rejected ceramic objects or playing at the intersection of the digital and the handmade, the artists in HYPERCLAY are forging new pathways in Australian ceramics. HYPERCLAY alos features extensive digital content, with over 30 short videos providing greater audience engagement with the works. The exhibition highlights the versatility of this time-honoured material and, in doing so, re-imagines its possibilities.


Paul Wood, Guardians of a goddess (detail), 2011.



8 NOVEMBER 2014 - 26 JANUARY 2015

Contemporary Ceramics

Resolved will take you on the designer's journey, allowing you to experience the process and act of design. Resolved features twelve Australian designers and will exmaine the many ways to define 'success.' The exhibition is a collaboration between Object and Workshopped, which has discovered, nutured and launched the careers of some of Australia's most talented designers. Resolved highlights the stories and inspiration that motivates each designer's work and more boradly explores creative collaborations, sustainable design, experimental use of materials and production, and innovation within emerging technologies.


Kate Stokes, CoCo Pendant.

15 NOVEMBER 2014 - 26 JANUARY 2015


The cast of a shadow is a multidimensional phenomenon, eliciting various, distinct and interwoven experiences. Shadow Weave is a collaborative exhibition by four Blue Mountains based artists, Sarah Breen Lovett, Ona Janzen, Jacqueline Spedding and Kayo Yokoyama, each drawing new dimensions from the shadows specific to their own practice. An installation of sculptural objects, paper cuts, projections and photographs, the exhibition will be immersive and experimental and will explore the intersection between transient new media and tangible art forms.


Sarah Breen Lovett, Shadow Orphan, 2014. Digital image.



6 DECEMBER 2014 - 1 FEBRUARY 2015

Sarah Breen Lovett, Ona Janzen, Jacqueline Spedding and Kayo Yokoyama

A belly case is made as a celebration of the mother's pregnancy and the bond she has developed with her unborn baby. Belly casting is offered to all clients of the Australian Nurse Family Partnership Program, which provides first time mothers of Aboriginal babies with knowledge and support. It is used to acknowledge and commemorate the pregnancy journey that each mother has experienced and what is unique to her. The belly casts represent life and the celebration of strong mothers.


Belly casts drying, production still. Copyright: the artusts.


6 DECEMBER 2014 - 1 MARCH 2015


William Kentridge is an exceptional South African artist whose works are inspired by some of the most topical subjects in South African society and politics. A brilliant practitioner in a variety of media such as film, tapestry design, drawing and printmaking, he uses these with what the Metropolitan Museum of Art called a 'deep intellectual rigor.' This National Gallery of Australia travelling exhibition will reveal the breadth of the Gallery's holdings of this important artist to the Australian public.


William Kentridge, from the Bird catching set, 2006, intaglio, National Gallery of Australia, Canberra, The Poynton Bequest 2013.

31 JANUARY - 29 MARCH 2015

Drawn from


William Kentridge

Waste to Art is an annual exhibition showcasing the creative re-use of discarded and recycled materials. Engaging the community, Waste to Art attracts school children, artists and community members who explore recycling and conserving the environment in their works. The exhibition explores the creativity of our region as well as highlighting the importance of recycling to sustainable living.


Jaymee Hyland, White Trash, 2013, mixed media.

31 JANUARY - 29 MARCH 2015 


Imagining Victory is centred on a triology of recent video projects by leading Australian artists Richard Bell. Drawing heavily on his political and social activism, the artist frequently interrogates expressions of political, cultural, social and economic disenchantment. These expressions, often emerging out of the uneasy relationship between Aboriginal peoples and more recent arrivals to Australia are reinvented in scenes that are sometimes farcial, often comical, but always confronting.


Richard Bell, Scratch an Aussie, 2008, still from HD video, 10 minutes. Courtesy of the artist and Milani Gallery, Brisbane.

7 FEBRUARY - 12 APRIL 2015

Imagining Victory

Richard Bell

Artist/curator Asher Milgate returns to the town he grew up in, Wellington, NSW, to document the life of the traditional owners, the Binjang people of the Wiradjuri nation. ...Survivors...records stories from Wellington's elders -  and edlers in waiting - about life at Nanima, the Common, and on the outskirts of town.  In 1832, the first inland Aboriginal mission was established in Wellington, which became the Nanima mission in 1910.

This mission became the longest continually operating Aboriginal reserve in Australia. The elders of Wellington shared with him some of their most intimate memories; tales of their families, of love, regrets and hardships.  ...Survivors... uses photography, audio and video to tell their stories.


Asher Milgate, Gran’s House (Bell) The Common, (detail), 2014




7 MARCH - 10 MAY 2015 



18 APRIL - 31 MAY 2015 



Objects & Energies features three artists from different backgrounds who share a fascination with making the invisible visible. Joyce Hinterding, Agnes Martin and Linda Matalon have an abiding interest in natural phenomena and in creating abstract images that convey our experience of the wrold. The exhibtion will focus primarily on drawing; a medium that is central to each of the artists. Whilst their works are divergent and distinct what they share is an engagement in repitition, the process of marking time and the delineation of spaces.


Joyce Hinterding Dirty Drawings: Loops and fields Induction Drawings series 4-25/11/2010-6/7/2011, Heide Museum of Modern Art, Melbourne, 2010, graphite ink and metal contacts on Arches 100% rag watercolour paper 58 x 76 cm. Collection of the artist. Photo: Anthony Wheelan Courtesy the artist.

4 APRIL - 31 MAY 2015 






Bringing together traditional culture and knowledge of the Martu people with new media artists from across Australia We don't need a map features paintings, digital animation, immersive video installations, aerial desert photography and sculptural objects. The Martu are the traditional owners of a vast area of the Western Desert and their stories are illustrated in a distinctive visual language.  This exhibition provides insight into the Martu way of life and invites audiences to celebrate this lively and enduring culture.


Marra! (catch it!)(detail), Kumpaya Gigirba and Ngamaru Bidu, 2010, photo: Gabrielle Sullivan

Lola Greeno is a an internationally respected Indigenous artist and one of only a handful of Tasmanian Aboriginal women practising the art of shell stringing. The themes of the exhibition, which features natural materials such as Echidna quill, kelp, feather, rare Marieener shell and bone, are strongly woven around the traditions of her island home. This is shown alongside more contemporary sculptural works, her response to concerns for the environmental and the cultural and familial future of shell stringing in northern Tasmania.



Lola Greeno, laewurrar necklace (detail) 2014, scallop shells, leather cord. Photo by John Leeming. Image courtesy of Lola Greeno




18 APRIL - 28 JUNE 2015 

The Last Supper is a large scale sculptural installation comprimsing of a table laid with a variety of foodstuffs made entirely from Murray River salt. The work draws on the still life genre as an artistic tradition that emerged at the same time as current agricultural practices were being developed. The themes of consumption, luxury and mortality portrayed in these early paintings will be re-enacted in this installation. Using salt as the medium brings focus to the environemental cost of agricultural production and connects with the historical associations of salt - as a powerful, sacred substance that maintains and destroys life.


Ken + Julia Yonetani, The Last Supper (detail) 2014. Commissioned by Hazelhurst Regional Gallery & Arts Centre. Photography by Silversalt. Image courtesy of the artists and Hazelhurst Regional Gallery & Arts Centre.



4 APRIL - 28 JUNE 2015

6 JUNE - 19 JULY 2015 



An Australian Centre for Contemporary Art touring exhibition

Pat Brassington: Á Rebours is a major survey by one of Australia's most important and influential photo-based artists. Brassington was one of the first artists to recognise the potential of the digital format and has used it to create an enormous body of work. The exhibition title is inspired by the banned 1884 Frech novel of the same name, which translates as 'against nature' or 'against the grain.' Her works make reference to surrealism and the media of cinema and are deeply psychological.


Pat Brassington, By the Way, 2010, piment print. Courtesy of the artist, Arc One Gallery, Melbourne and Stills Gallery, Sydney.

6 JUNE - 2 AUGUST 2015 




A Gippsland Art GalleryTouring Exhibition

For the last two decades, London-based Welsh artist, Daniel Crawshaw, has been travelling the world seeking out spectactular landscapes yet to be altered or damaged by mankind. In 2012, he visited Australia, spending two months in Central Gippsland, VIC, exploring an often inhospitable Australian landscape. Drawn from both Welsh and Australian subjects, High Country Gothic presents landscapes that are powerfully evocative of nineteenth century Romantic art through a critical, post-photographic gaze.


Image: Daniel Crawshaw, Afon Glaslyn, 2013, oil on canvas.

15 MAY - 2 AUGUST 2015 



Despite the initial rush of patriotism and imperial fervour, the harsh realities of war soon became common knowledge. Gallipoli was a shock to the nation and the need to replace those men lost in battle, as well as fuel the trenches of France and Belgium, meant that recruitment had to increase. A range of posters from the period shows how the arts of persuasion and propaganda were employed to ensure that our boys did not let the side down.


Image: Destroy this Mad Brute: Enlist c1917, lithograph on paper, 96x72 cm. Artist: Harry Ryle Hopps, published by US Army, printer unknown. Collection Australian War Memorial ARTV01195







A dLux Media Arts touring exhibition

Scanlines comes from the archive of dLux MediaArts, one of Australia’s foremost media and screen arts organisations. This selection of works spans a period of thirty years, from the activities of the Super 8 Collective right through to the video and new media practioners of today. Scanlines demonstrates that new media has both informed and responded to Australian culture. As well as highlighting the recent tradition of media art, Scanlines is designed to make accessible the philosophy and techniques of new media practice.


Soda_Jerk with Sam Smith, Trailer for Hollywood Burn, 2011, Digital video, Duration of trailer: 1.34 min, Duration of Hollywood Burn: 52 mins





The animal in art

Wild side is a gallery partnership between Lake Macquarie City art Gallery and Western Plains Cultural Centre.

Artists have long featured animals in their work to communicate everything from domestic affection to violent life-and-death struggles. Representations of animals offer opportunities to explore daily life and symbolic – often fantastic – associations, and they also introduce important social and ethical issues. Both entertaining and thought-provoking, this considers humankind’s relationship with the greater animal kingdom. A body of work has been produced by Hunter-based artist Peter Gardiner specifically for this exhibition project during a residency at Taronga Western Plains Zoo. The exhibition also includes works from the WPCC collection and works from the Lake Macquarie Art Gallery's collection.


Image: Peter Gardiner Rhinoceros (after Dürer) 2014 enamel on board 360 x 600cm courtesy the artist




A National Gallery of Australia Exhibition

This exhibition celebrates the artistic career of one of Australia’s most important printmakers of the twentieth century, Jessie Traill. Embracing the medium of etching in the early 1900s, Jessie Traill forged a radical path for printmaking in Australia through the duality of her vision. Depicting the beauty of the natural environment alongside dynamic images of industry, her lyrical response showed a profound understanding of the dilemma which requires nature to be sacrificed in order for the modern world to progress.



Jessie Triall, Good night in the gully where the white gums grow, 1922, etching and aquatinit, printed in brown ink, from one plate, plate-mark 49.7 x 46.5cm, National Gallery of Australia, Canberra. Purchased 1977 (c) Estate of Jessie Triall


The National Gallery of Australia is an Australian Government Agency

This project has been assisted by the Australian  Government through the Australia Council, its arts funding and advisory board

25 October - Ongoing 


Emergence profiles up and coming Wiradjuri artists.  It pays witness to the innovation, diversity and cultural significance of a distinct Wiradjuri visual language.  Every eight weeks Emergence will feature a new emerging artist, examining those who are using art to explore the land, its people and its nature and in the process those who transcend stereotypes.




A travelling exhibition from Sydney Living Museums

From the 1950s Australia experienced an economic boom and broadening of horizons that heralded a whole new approach to domestic design.  Led by a new generation of Australian architects along with a number of European migrants, this approach melded European and international influences with the Australian climatic and topographic conditions to create highly individual houses in often dramatic and inaccessible locations. Iconic Australian Houses will explore the emergence of distinctive home design in modern Australia and its role in the formation of an Australia lifestyle and culture. The exhibition will display 29 seminal houses of the period from the 1950s to the 1990s with photographs, text, models, interviews with architects and residents and specific details of the architecture and interior design, focusing on such aspects as materials, furniture, fixtures, lighting and decorative themes including comprehensive reference to classic design items.



The Philip Island House, architect Barrie Marshall. Photograph © Michael Wee





A selection of the best works submitted for the 2014 HSC Visual Arts course. At once vibrant, melancholy, serious and  sublime, the works created  by these young artists will again amaze the viewer.



Leila May Kirkness, Pain and Rapture (detail), 2014, drawing. School: Dubbo College Senior Campus



Stories Through Voice Exhibition


NASCA Stories Through Voice is an Oral History project that encompasses the work of Aboriginal and Torres Strait Islander students from Dubbo Senior, South and Delroy Campuses and Wellington High.  Although young these students have a lot to share. The NASCA Stories through voice exhibition will showcases oral histories of local students and Aboriginal community members. Come and listen and learn about their lives so far. The tales of the young will be accompanied by stories from the older generation, which provides a fascinating contrast as well as interesting similarities.


In terms 2 & 3students embarked on a journey of discovery and learning. They have learnt about Totems and Kinship with Aunty Beth and attended sessions at the local Macquarie Regional libraries in Dubbo & Wellington where they learnt how to research their family history.


Finally students participated in a full day workshop with D-Lux media where they pieced together their oral histories through; story boarding, learning about interview techniques and finally using media such as audio recording devices, motion film and still photography to create the finish product.


Throughout the project students have learnt to treat the family and community members like living history books and to have a yarn and learn their stories and their families history. 






A Western Plains Cultral Centre Exhibitioon

Artist  Rona Green curates a show from fellow print-makers devoted to the animal. Taking in some of Australia's best artists, Green has selected a body of work that features printmaker's who explore the animal as as subject. The breadth and scope of both the print and the animal will be on full display.



RonaGreen,Brett, 2014, Linocut, pigmented ink and watercolour, Gift of the Artist, Collection Western Plains Cultural Centre (c) Rona Green





A Western Plains Cultural Centre Exhibition 

Can art be used to communicate between two cultures? This is the question posed by The River, an exhibition inspired by the relationship between the city of Dubbo and one of its sister cities, Minokamo, Japan. Both Dubbo and Minokamo have a major river that flows through each city,which has inspired generations of artists in both countries. Using the river as a common subject, WPCC has invited six artists from Dubbo to respond to the Macquarie River, juxtaposed with artists from Minokamo responding to the Kisogawa River. This presents alternate views of a shared natural phenomenon. The project aims to make cultural and artistic connections and strengthen ties with our sister city.



Macquarie River, Dubbo. Imagery by De Bruin Spatial Technology on behalf of Dubbo City Council (March 2014)





This Inverted World explores how we as a society turn to art as a way of understanding our place in the world. Is this the world that was promised to us by first religion and then science? As the speed of technological advancement gathers pace, do our ethics keep up? The exhibition is drawn entirely from the collection of the WPCC, a collection devoted to the animal in art. This Inverted World considers the use of animals as representative of mankind, and how this portrayal can become a moral compass to navigate our uncertain future.



Hayden Fowler White Australia 2004, digital video, sound, 23mins 52sec (loop). Purchased with funds provided by Friends of Dubbo Regional Gallery Inc. Collection Western Plains Cultural Centre.

A Western Plains Cultural Centre Exhibition 




Operation Art is an initiative of The Children’s Hospital at Westmead, in association with the NSW Department of Education and Communities. Proudly supported by ANSTO.

Operation Art is an initiative of The Children’s Hospital at Westmead in association with the NSW Department of Education and Communities. This program encourages students from Kindergarten to Year 10 in all NSW schools to create artworks for children in hospital. It is an important visual arts exhibition that focuses on creating a positive environment to aid the healing and recovery process of young patients.



Mathilda Marjoram, T Rex Dinosaur, 2014, drawing


CIRCA 1915


The world in 1915 was dominated by war but it was not conusmed. Life continued as normal, after a fashion, as people and governments adjusted themsleves to the new regime of toal war. This exhibiton provides a snapshot of the world the soldiers and nurses left behind. Featuring objects, prints and photgraphs it portrays the home front as the home, not the front.



A Western Plains Cultural Centre Exhibition 

17 OCTOBER - 17 JANUARY 2016



This exhibition has been developed and toured by Tamworth Regional Gallery

This exhibition presents the work of twenty-two artists from around Australia who explore themes around collaboration, interdisciplinary relationships and the cross pollination of ideas. Group Exchange presents the extraordinary work that has emerged from this enquiry. In this Textile Triennial, collaboration has opened up many and varied interpretations of the theme. Each artist has provided unique insights through their rich and diverse experience and introduced us to new original ways of viewing practice.



Gwen Egg, The Gathering (detail)  2014, saggs (Lomandra longifolia) Photographer: Farina Fotographics, Lou Farina


This project has been assisted by the Australian  Government through the Australia Council, its arts funding and advisory board