Lyndal Hargrave

Arabesque, wood, acrylic, screws and glue. –                          200 x 360 x 10cm

Lyndal Hargrave (born 1959) is an Australian Artist working in Redland Bay, Queensland. She is represented by the Edwina Corlette Gallery in Brisbane.

In her own words “I have long been fascinated by the underlying order of things, the sense of a pattern that lies beneath the chaos of life, and a belief that everything is somehow connected within that pattern.Geometry  introduced itself into my art when I began to build  structures into my paintings. With no preconceived plan, these constructs grew and grew. An insightful mentor predicted I would become a sculptor long before I started building 3D objects. She could see how the forms in paint would demand to be freed from the canvas. Repetition of form with slight variations is evident in my sculptures and is a reflection on the building blocks in nature—the hexagons of beehives, the prisms of crystals….My latest work explores 3D illusions and is predominantly made from multiple cubes. Amongst the precision of the geometry is the entropy of the natural materials, patina of copper, scratches in timber. I love exploiting and working with the materials and the methodical nature of the hand sawing, sanding and finishing is somewhat meditative.I seek elegant solutions to complex inquiries about the universal geometry that shapes our universe.”

Oil on canvas

Garry Duncan


All Rise – Oil on Belgian Linen  – 122cm x 152cm

Garry Duncan is an active conservationist and artist working from his property on the Murray River. He paints and sculpts, has held numerous solo exhibitions and been involved in corporate commissions and is well known for capturing the Australian Landscape. He has also illustrated two children’s books highlighting conservation and heritage issues.

Garry Duncan produces limited edition Canvas Print series. Each canvas print scene has been especially chosen by Garry from one his large original paintings. These are then presented on first grade poly cotton canvas and are sprayed with a UV protective coating to prevent fading.

Peter Smets


SMETS-Going to Work
Going to work – 2009 oil on canvas 50 x 60cm

Peter Smets was born in 1962 The Netherlands and has been exhibiting in Australia for the past 30 years. Smets has been a finalist in several important art prizes including The Wynne Prize, AGNSW, 2009; The Sulman Prize, AGNSW, 2009; Prometheus Visual Art Award, Gold Coast, 2009 & 2007; Tattersall’s Club Landscape Prize, Brisbane, 2008, 2007, 2005 & 2004; Doug Moran National Portrait Prize, 2006 and the Conrad Jupiter Art Award, 2004 & 2003.

Peter Smets’ work operates as both narrative and strategy.  He meticulously reconstructs his source material to create works of astounding realism. The powerful impact of the final images owes as much to his profound understanding of formal composition as to his ‘in field’ sketches and photographs.

Intriguing juxtapositions between the natural and the man-made give ‘edge’ with surreal undertones. The pictures are essentially still and a curious serenity prevails. They may well be about the activity of building, but all work has halted.


William Robinson


William Robinson was born in Brisbane in 1936 and held his first exhibition in 1967. He rose to international prominence as a part of the exhibitions Australian Perspectiva in 1983 and The Sixth Bienniale ofSydney in 1986.

The Metropolitan Museum of Art has several of his works in their collection, as does the National Gallery of Australia and several smaller Australian galleries.

He has won the Archibald Prize for portraiture twice: first in 1987 for Equestrian self portrait, then in 1995 for Self-portrait with stunned mullet. He has also won theWynne Prize for landscape painting in 1990 (The rainforest) and 1996 (Creation landscape – earth and sea).

Robinson released a solo exhibition, Landscapes, which consisted of oil paintings which showed fragments of the Australian bush in various perspectives.

In 2009 Robinson was the subject of a documentary by filmmaker Catherine Hunter. “William Robinson: A Painter’s Journey” traces the places that have inspired the artist, from his early farmyard paintings to the majestic Creation Landscape series and most recently, the quiet still life paintings drawn from the intimate surrounds of his Brisbane house and garden.

Links with Queensland University of Technology (QUT)

With more than 165 artworks, QUT possesses the largest public collection of Robinson’s work in the world. Holdings include paintings, sculpture, prints, drawings and ceramics spanning the period from the mid-1960s to 2013. These works trace the major developments in Robinson’s art through the genres that have dominated his mature output: the interior, farmyard, landscape, seascape and self-portraiture.

The William Robinson Gallery at QUT presents a curated program of exhibitions of the artist’s work drawn from the QUT Art Collection, augmented by works borrowed from Australian public and private collections. Since opening in 2009, the Gallery has presented eight exhibitions, including the largest survey of Robinson’s work to date, The transfigured landscape. Held in 2011, and presented across QUT’s premier visual art institutions, the William Robinson Gallery and QUT Art Museum, this exhibition coincided with the artist’s 75th birthday, and brought together key works from Robinson’s oeuvre, drawn from public and private collections including an unparalleled selection of the artist’s critically acclaimed Creation series. A major publication was also produced to coincide with the exhibition and was the first book-length publication on the artist’s work to be produced since 2001.

Other notable exhibitions include Inspirations, guest-curated by The Honourable Quentin Bryce AD CVO, and Insights, guest-curated by celebrated art historian Betty Churcher AO, author David Malouf AO FAHA, and artist Davida Allen.


QUT has produced two short films about the artist’s work. The first, William Robinson: A painter’s journey, traces the places that have inspired the artist. The second,Inspirations, was produced in 2015 on the occasion of the exhibition of the same name, and celebrates the connections Robinson has woven between himself, his subjects, and his students.

Conservation Research Project

In 2014, QUT began a collaborative research conservation project with the Queensland Art Gallery that seeks to identify the painting materials and methods used by William Robinson over the 45-year span of his artistic practice. The outcome of the project is to develop best practice guidelines for the conservation and collection management of his paintings.

Ridge and gully in the afternoon light, 1992.



Ainslee Roberts (1911 – 1993)

Birthplace of the moons

Born in London, Ainslee Roberts migrated to Australia with his family in 1922, settling in South Australia. He was an Australian painter, photographer, and commercial artist. He is best known his for interpretations ofAboriginal legends in his Dreamtime books, written in collaboration with ethnologist/anthropologist Charles Mountford.

His early paintings and drawings from his school days demonstrate proficient drafting skills and adept use of colour, along with affection for the Australian landscape and ships, locomotives, buildings and bridges as favourite subjects.

In 1938 he formed Webb Roberts McClelland Pty Ltd, which was to become South Australia’s largest advertising agency.

In 1950, he made his first visit to Alice Springs and commenced sketching and painting and resolved to extricate himself from the advertising business over the next five years.

In 1952, he met Charles Pearcy Mountford, who, like Ainslie, was a keen photographer. Mountford was also a largely self-taught ethnologist, writer and documentary film maker and the two took journeys around South Australia to photograph caves and rock carvings. In 1956, they made the first of several trips to the Centre. Mountford collected myths and legends from tribal people, and Ainslie sketched and painted people and places and  they formed a company that produced the first tourist guides to Ayers Rock and The Olgas.

In 1962, Ainslie resolved to paint some of the myths Mountford had collected. His initial works were in oil, but with only three completed, he began to suffer nausea and headaches, which a specialist attributed to an allergy to turpentine and linseed oil. Mountford introduced him to Sidney Nolan who suggested he try PVA paints, later known as acrylics. Ainslie found success with them and exhibited his first 21 works at the Osborne Art Gallery, Adelaide on 1 October 1963.

His paintings of Aboriginal myths and legends often feature a central focus – person, animal, tree, rock or celestial body – and a secondary, sometimes hidden element that casts light on the meaning of the work.



Ainslee Roberts was in his own words, “a white man painting in a white man’s way and trying, visually, to show the white people of Australia that this fascinating land they live in has a rich and ancient cultural heritage that they should be aware of and respect”.

Songman and the two suns

Robert Hunter

Untitled, acrylic on plywood

Born in 1947, Robert Hunter lived and worked in Melbourne until his death in 2014. After studying art at Preston Technical College, Melbourne, Hunter pursued industrial design and painting at the Royal Melbourne Institute of Technology. His first paintings were exhibited in 1967 in Perth and Melbourne. Later that year that he began to paint his signature white paintings, failing to find any emotional content or message in colour. For more than three decades Hunter maintained a singular line of enquiry in his practice, involving diagonal, vertical and horizontal geometric formations.

Hunter was strongly influenced by teachers Dale Hickey and James Doolin, and later the enigmatic black paintings by Ad Reinhardt, as well as the conceptual grids of Sol LeWitt. However, by the mid-1960s he had found a unique abstract language and set of parameters that would sustain his practice for nearly five decades. Hunter was the youngest artist included in the National Gallery of Victoria’s seminal exhibition ‘The Field’ in 1968.

His later works used standard house paints in shades of white on rectangular 4 feet by 8 feet sheets of plywood. The minute variations of tone and subtle shifts in geometry throughout the works are logical and empirical, but often provoke reactions and descriptions laden with emotion and even spirituality, however the artist himself stated that it is simply a case of ‘what you see is what you get’.

Eugene Carchesio


Born in Brisbane in 1960, Eugene Carchesio is a self-taught, Brisbane-based artist who works in collage, drawing, watercolour and sound. Carchesio’s materials are usually modest and collected from everyday life. His works have a poetic presence, and their intimate scale and serial nature invite quiet wonder and private contemplation.


LIght without (installation detail), watercolour on paper, 2002

His minimal, simplified forms and structures exude a quiet beauty and have a tough conceptual foundation that has not been overlooked by curators and collectors around the country. In 2001 Eugene was selected to represent Australia at the tenth Indian Triennale of Art in New Delhi and his work is held in many prestigious collections, including the Art Gallery of NSW, the Art Gallery of WA, the National Gallery in Canberra, the National Gallery of Victoria, the Queensland Art Gallery and Artbank.
He has been practicing his art since the early 1980s and quietly achieving national recognition. His artworks, including watercolours, collages, assemblages and sculptures, are also quiet and unassuming. Often created on an intimate scale, they are the product of his interest in the spiritual ‘interconnectedness of things’ and show a reductive analysis of conceptual art and abstraction. Works are loaded with possible interpretations about man in relation to nature and the cosmos. Eugene uses a number of recurring symbols in his artworks. The cone, the sphere, the cube. The cone, one of his most popular, represents human beings in general and himself.

His watercolours often express the simplicity and purity of geometric patterning in fresh, clean colours. Eugene sometimes incorporates words, letters or numbers into their surface, toying with the signifiers of language and meaning. His sculptural assemblages make use of discarded objects from everyday life, such as match boxes, paper or cardboard. By reusing them Eugene injects them with fresh vitality, giving them another chance at life, a life that incorporates their history, and a life that will deteriorate and fade like the first.

He is represented in Brisbane by the Milani Gallery.