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‘While David Griggs’ Meditation Sex Music explores similar themes to his previous exhibition, Horror Business, it’s a drastic departure in terms of approach and style…’ Read article

Sometimes I feel like a broken record on repeat when writing or talking about a few of my paintings. However, the only way to communicate myself in text about any given artwork is that I suffer from a form of

image: Pierre Mukeba,’Ride to church’, 2018, Adelaide, brush pen, synthetic polymer paint and applique on canvas Presented by the Art Gallery of South Australia and supported by the James & Diana Ramsay Foundation, the biennial prize seeks to celebrate new work

‘Amongst the backdrop of an art industry that can be riddled with drama, negativity and bitterness, someone will come along with care and compassion for artists. Alexie Glass-Kantor is such a person,’ says David Griggs. ‘I will not go into

‘Roger Ballen’s art is not for the faint-hearted; it is confronting, haunting, and at times repellent. It is also fascinating, brilliant, and jaw-dropping. These images seethe with malodorous discontent, menace, and psychosis. The best way to experience his photographs is

‘Rats, rabbits and snakes surround skinny, angular, shirtless dancers, all rendered in black and white in a dark room whose filthy walls are daubed in drawings of aroused part-human, part-animal figures. The resulting images are seemingly scraped from the dank

‘The work of James Geurts traverses a range of territories: fault lines in Bendigo, archaeological sites in Melbourne, Litchfield National Park in the Northern Territory, tectonic plates colliding in Italy and two different points on the meridian. Through this attention

‘James Geurts’s latest project, Seismic Field, continues his ongoing investigation into the way we perceive the contemporary landscape. Following on from the exhibition James Geurts held last year at La Trobe Art Institute, Bendigo, with the same title, this latest