South Australian sculptor Trevor Smith will present a collection of new crochet sculptures next month at The Art Gallery of Ballarat. Smith has been engaged by The Art Gallery of Ballarat to create an exhibition of work that responds to the collection of art and artefacts belonging to the famed Lindsay’s of Creswick VIC, who are recognised as one of Australia’s leading artistic families.

Jane Reynolds is a Sydney-based still life painter whose poised compositions investigate the relationships between colour, form and light. She invests everyday objects with visual delight through a vibrant colour palette that ricochets off each surface, painted with stunning realism. Through this, she explores still life as an interlocking system of formal elements.

Shelf Life furthers Reynold’s investigation into the formal language and relationships created in her still life arrangements. Her studio shelf becomes a platform for infinite possibilities to create small worlds and fictitious landscapes for the eye to explore. Everyday objects – found domestic items, painted product packaging – are arranged to bring focus to their basic form and aesthetic value.

Objects are created, grouped, studied for each arrangement, then broken down and the process starts again as part of an ongoing evolution.

Now showing at Murra is an enchanting exhibition by leading Australian artist, Julianne Ross Allcorn. A Bush Garden Escape showcases alluring scenes which showcase the beautiful Australian wildlife, botanicals, light and shadow, and all the tiny creatures that inhabit our country.

Coming up next to Murrurundi is the much-anticipated solo exhibition of Bethany Saab. A practicing psychologist, Bethany holds no formal training in fine arts – yet she is quickly finding her place amongst Australia’s emerging artists to watch. Bethany held her first solo exhibition with Michael Reid Northern Beaches in January 2021, which was met with great success. She returns, this time to Murrurundi with her debut show Light and Lucency. Painting predominantly still life, Bethany’s paintings have been described as ‘intimate glimpses into personal spaces” and as an example of ‘joyous expression” through the use of pattern (Peter Haynes, The Canberra Times, May 2021).

The third iteration of the annual Michael Reid + Country Style Magazine exhibition takes place at a moment of new creative heights. The second at the helm of Editor, Kylie Imeson, new ground has been broken in the production of The Art of the Garden. This year our exhibiting artists are the most diverse group we have ever assembled, with artists presenting their work direct from studios in  urban city centres, regional Australia and in one case, from Berlin. It is also our immense pleasure to welcome painting work by first nations artists for this year’s exhibition. The artistic voices who have responded to this exhibition have surpassed all expectations, bringing us some of the most interesting interpretations of our wonderfully green brief.

We welcome Michael Reid CLAY in 2022 as we present functional wares created by a group of Australia’s most revered ceramicists. Ronan Sulich and Sydney Gallery Manager Ashleigh Jones have curated a selection of garden inspired items for Michael Reid OBJECT, and the Murrurundi Argus will profile Denise Faulkner and the garden that inspires her wonderful watercolour paintings.

The third iteration of the annual Michael Reid + Country Style Magazine exhibition takes place at a moment of new creative heights. The second at the helm of Editor, Kylie Imeson, new ground has been broken in the production of The Art of the Garden. This year our exhibiting artists are the most diverse group we have ever assembled, with artists presenting their work direct from studios in urban city centres, regional Australia and in one case, from Berlin. It is also our immense pleasure to welcome painting work by first nations artists for this year’s exhibition. The artistic voices who have responded to this exhibition have surpassed all expectations, bringing us some of the most interesting interpretations of our wonderfully green brief.

We welcome Michael Reid CLAY in 2022 as we present functional wares created by a group of Australia’s most revered ceramicists. 

The third iteration of the annual Michael Reid + Country Style Magazine exhibition takes place at a moment of new creative heights. The second at the helm of Editor, Kylie Imeson, new ground has been broken in the production of The Art of the Garden. This year our exhibiting artists are the most diverse group we have ever assembled, with artists presenting their work direct from studios in  urban city centres, regional Australia and in one case, from Berlin. It is also our immense pleasure to welcome painting work by first nations artists for this year’s exhibition. The artistic voices who have responded to this exhibition have surpassed all expectations, bringing us some of the most interesting interpretations of our wonderfully green brief.

We welcome Michael Reid CLAY in 2022 as we present functional wares created by a group of Australia’s most revered ceramicists. Ronan Sulich and Sydney Gallery Manager Ashleigh Jones have curated a selection of garden inspired items for Michael Reid OBJECT, and the Murrurundi Argus will profile Denise Faulkner and the garden that inspires her wonderful watercolour paintings.

Contemporary oil painter Lucila Zentner brings together her love of Australian flora in Dancing Poppies, a solo exhibition at Michael Reid Murrurundi. Zentner explores the colour and form of the poppy across a range of colour compositions. Through repetition Zentner reveals the nuanced beauty of her subject.

Ephemera — Objects of Belonging is a delicate offering of new paintings by Stacey McCall. McCall’s works capture shape and light with a keen observation. There is a gentle yet confident quality to her intuitive brushstrokes which capture ephemeral objects in changing light.

We are thrilled to share Jo White’s solo exhibition Tuck Shop opens this morning. White walks us through the Tuck Shop line as we remember vintage sweets like Melodie Pops, Slush Puppies and Tiny Teddies. Continuing her monolithic series that document iconic subjects of Australia’s pastimes, White has yet again produced a 50 painting exhibition.

Nostalgia is a subject Jo White holds affectionately close to her heart and it is these nostalgic glances that see White’s audiences grow significantly with each new exhibition.

In Tuck Shop, White paints each work with meticulous care and detail resulting in portraits of objects that have the ability to take us back to our last encounter with these vintage sweets. Jo has yet again produced a show that captures the connection between old and new Australia resulting in ardent paintings that are simultaneously nostalgic yet modern.