Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

View older articles

Author: MudaPtyLtd articles

Melanie Mccollin-Walker — Upcoming Exhibition

Published 4 December 2024

Image details: Melanie McCollin-Walker, Radiant Embrace, 2024, acrylic on canvas, 168 x 198 cm
Melanie McCollin-Walker wowed at this year’s Glover Prize by being crowned the People’s Choice winner. Expect to be wowed again by the glorious new landscapes in her At First Light exhibition.

Melanie’s Glover winning painting, Long Way Home, took us into the heart of the Tarkine/takayna, and she revisits this sacred space for her upcoming exhibition. “I don’t know what it is about this place.  It’s something innate,” she reveals.  Once more she immerses us into the incredible landscape. “I take the viewer with me as we paddle up the Savage and Whyte Rivers.”

As well as her beautifully intricate detail, it is the dawn light, the moment the first shards of light pierce a blackened sky, that makes Melanie’s latest paintings so captivating. It is also winter. The light is soft and pure and “a diffused mist wraps the scene in a special softness. This is my ode to that magical moment in time.”

As well as smaller and medium sized works, Melanie will unveil some large “Glover-sized pieces.” In one of these, rays of dazzling yellow and orange slice through the dark as we float along the river. Against the dark silhouette of the background, the light hits one tree which glows. “It was magical. I would not have believed it happened. But it did.”

Melanie McCollin-Walker’s At First Light exhibition runs at Handmark from November 29 until December 16. 

Mandy Renard ― ‘She Who Became The Sun’

Published 4 December 2024

Mandy Renard explores the full gamut of emotions in her new exhibition She Who Became the Sun.  Apart from striking female figures, she also takes us on a deeply personal journey.

Since her last Handmark exhibition in 2021, Mandy’s life has changed irrevocably. Her beloved mother passed away, and her youngest child is ready to flee the nest.  Not surprisingly, the themes of ‘transformation’ and ‘becoming’ inspired this body of work. “It felt natural to make an inventory of treasures from my time with these loved ones, acknowledge their impact and presence on my life, while also envisioning what’s next,” she tells us.

Mandy’s loss is laid bare in Hold me Closer, as a mother and daughter cling to each other: “Eventually, we all become our own mothers and learn how to guide and hold ourselves.” But we also feel joy in the vibrant red print, The Fruiting Body, where Mandy reminds us: “Everyone who has ever loved you is part of you no matter what. Hold them as treasures.”

While Mandy explores her inner self in this exhibition, she also hopes it will spark us to explore by “feeling inspired about our place in the eco-system of life and getting excited about dreaming up potential and possible futures.”

save the date ― ‘art pop-up and festival feast’

Published 4 December 2024

As the Christmas season gets into swing, add a special date to the diary. On Friday December 6, Handmark is serving up a festive feast of dining and art at the Clarendon Arms in Evandale.

Spending a day – or even better, a weekend – in the gloriously bucolic village of Evandale always showcases Tasmania at its best. Now, you have the perfect excuse to do just that!

For some Christmas cheer, Handmark is holding a special Summer Salon with all your favourite artists, enjoy drinks and music, then stay for an unforgettable dinner of fabulous local produce, at Evandale’s historic Clarendon Arms Hotel.

If you haven’t experienced the hospitality of Lydia Nettlefold you are in for a treat. She has curated a special menu for the night, and that alone makes the trip worthwhile. Add in fabulous Tasmanian art and this is a must-do. Living interstate? Why not fly in and enjoy an unforgettable weekend in Tasmania’s glorious Northern Midlands.

Handmark’s Summer Salon opens at 5pm on Friday December 6 at the Clarendon Arms in Evandale.  Call the Clarendon Arms on 03 6391 8181 to book.

Linda van Niekerk ― Reflections: 20 Years On

Published 14 October 2024

Image: Linda van Niekerk, Beaten Silver Branch Chain + Beaten Light Black Branch Chain, 2024, oxidised sterling silver, sterling silver, image: peter whyte

Bold sculptural jewellery is synonymous with the art of Linda van Niekerk. But, in her upcoming Handmark show she reveals a gentle touch.

In 2004 Linda held her first exhibition. This latest outing celebrates a long artistic journey and is aptly named Reflections: 20 Years On. Showcasing 70 stunning pieces “predominantly silver with a smattering of pearls, driftwood and colourful anodised aluminium,” most are neckpieces ranging from “long and short to low-key and bold,” Linda explains.

Linda is inspired by the bush surrounding her Huon Valley property. “Some of the work represents a gentle interpretation of the stark beauty and the conflicting emotion evoked by dead and dying trees; some represent the subtle appearance of new growth.” One series of neckpieces, entitled Memory of Trees, is spiky and sharp as she grapples with destruction. But there is hope in New Growth with gentle jewellery crowned by delicate leaves.

While most of Linda’s pieces are newly designed, expect to see some old favourites. All are especially designed to work together, with personal creativity mandatory. “Individualised expression of the wearer is encouraged with suggested layering of works – which creates interesting shadows.”

Linda Van Niekerk’s Reflections: 20 Years On opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Helen Mueller— Forest Stories

Published 14 October 2024

Image: Helen Mueller, Forest Story 9, 2024, woodcut prints on layered kozo paper, charbonnel ink, eucalyptus pigment, wax, three panels, 89 x 96 cm
Whisper thin paper floating through the air, echoes the fragility of nature in the hauntingly sublime new prints from Helen Mueller in Forest Stories.

Every day Helen heads into Hobart’s Knocklofty Reserve where the forest speaks to her. Along the way, she pockets branches, seedpods and other debris to take back to her studio for questioning. “This leads to a translation of what I heard on my forest walks. The plant debris suggests shapes and rhythms which I draw, then carve from small blocks of pine ply.”

Forest motives are printed onto translucent Japanese paper, crafted from the bark of the mulberry tree, then layered with “the top one being so thin it is almost suspended in air.” As a result, when we view her largest work Forest Story 10, an unframed eight-panelled print, just the smallest of breath causes it to flutter. “It is as if the forest is speaking back to us.”

Helen relocated from Sydney four years ago, and this is her first Tasmanian solo exhibition. Marvel at her beautiful prints where repetition of mark, shadowy forms, and a depth of field emerge from the layering: “In this way I hope to have created a language with which to translate some of the stories from the magnificent forest.”

Helen Mueller’s Forest Stories opens at Handmark Gallery on October 18 and runs until November 4. Click here to register for a preview. 

Clifford How ― Luminous State

Published 14 October 2024

Image: Clifford How, Endure —Mt Murchison, 2024, oil on linen, 102 x 153 cm

The exhibition of landscapes by Clifford How in Luminous State, is one of Handmark’s most eagerly anticipated events. It is also one of the largest, necessitating a change of venue.

Among the 37 new works by Clifford, 11 of them are large scale. But it is the luminosity of Tasmania’s light that steals the show, bathing its subjects in a beautiful softness and saturation of colour as it tracks low in the sky. “Direct light through clear alpine air, or filtered light through heavy atmosphere, provides an unending and ambient form of communication to the viewer,” Clifford enthuses.

This self-taught artist treks to the most remote corners of Tasmania, sketchbook in hand. Back in the studio his celebrated “organic landscapes” emerge lush with energy and texture as he “confidently attacks the surface with speed in mark-making. No second guessing. No hesitation.” But the true magic is that his oil paintings are beyond subject matter “It is all about an illusionary experience. The unseen quality of the air, light, or cold taking the viewer on a sensory journey.”

Clifford spent two years repeatedly trekking to a favourite spot near Dove Lake seeking that perfect light. One mid-winter morning, the air heavy, it arrived. The result is his largest work, Breathless Wombat Pool, where mist covered mountains keep guard over a tannin-stained lake. “I can feel the chill in the air. I can feel my feet getting wet. Full stop – job done.”

Clifford How’s Luminous State exhibition opens at the Long Gallery, Salamanca Arts Centre, 6pm Friday October 11. It runs until Saturday October 26.

tom samek ― original artwork release

Published 26 September 2024

image details: Tom Samek, Clean Skin, gouache, 26 x 21.5 cm

Almost three years after his passing, the legacy and quirky humour of Tom Samek lives on. Original artworks by the celebrated Tasmanian artist – some never publicly seen before – are available to purchase on line, or come into the Gallery to view.

Most, like Opening of the Concert Season, are well-known and much-loved having been reproduced as giclee prints.

However, two of Tom’s original watercolours never made it into print and are being unveiled for the first time: “To see these Tom Samek artworks, just to see that fantastic humour again… Oh wow!” In Chef’s Pants and Knife Tom chops up the black and white checks of a cook’s uniform, and he presents the perfect diet for gluttons in Food and Wine Pyramid.

“Tom’s brilliance was incomparable,” Handmark Director Allanah Dopson says. “He exuded life and art!”

“Tom is always remembered by many clients coming into the gallery and telling their stories of how much they loved him and his wonderful sense of humour.” Why not pop into Handmark Gallery where Tom’s unframed artworks can be viewed.

luke wagner — Time Slows at Night

Published 26 September 2024

image details: Luke Wagner, Fugitive Light of Dusk, 2024, oil on linen, 76 x 41 cm

Luke Wagner is one of Tasmania’s most popular painters, and his upcoming exhibition of new works is eagerly awaited. Once more Luke brings us glorious landscapes set in the bucolic Northern Midlands, but in Time Slows at Night he also brings a new dream-like quality.

That magical low light as the sun rises, but also as the day ends, casts it’s glow over Luke’s latest offerings. “These paintings have a dream-like quality. They convey a feeling of both being asleep and awake at the time.” But they also have “more sky” drawing the eye to dramatic swirling clouds, further adding to that transcendent feel.

Again, Luke finds inspiration in the countryside around Longford, “which is embedded with a rich and complex history.” He spent last summer in the area “waking up at first light and spending my days walking through the landscape. Somehow this allowed me to absorb the landscape and take it back to the studio.”

Luke will be unveiling 30 new paintings in Time Slows at Night. It’s a large body of work, and as we speak to Luke, he is frantically adding the finishing touches. We wait with eager anticipation.

Luke Wagner’s Time Slows at Night exhibition runs from September 27 until October 14.

susan simonini ― vivid carnival

Published 2 September 2024

When Susan Simonini was invited to exhibit in Vivid, there was no hesitation. “It’s right up my alley.” No surprise perhaps, as Susan’s joyful abstracts pulsate with a riot of bright hues. “Colours excite me. They bring me joy.”

Susan recently made a big splash with her first Handmark show, Glimmer. “However, the colours in this exhibition are sweeter – a palette of pinks, reds and oranges that remind me of candy-coloured lollipops and carnivals.”

Take Higher Place, one of the paintings especially created for Vivid. It evokes nostalgia as we revisit the fairs of our childhood and “all the things they have to offer – colour, light, noise, movement, pattern and joy. I hope to harness the revelry of these events.” She does this beautifully.

Image credit: Susan Simonini, Higher place, 2024, Acrylic on polycotton, 100 x 120 cm

hilton owen ― vivid success

Published 2 September 2024

As an emerging artist, his first sell-out show was with Handmark. Now 35 years-old – and with 16 solo exhibitions under his belt – Hilton Owen is back home in Hobart with stunning paintings for Vivid, and a unique take on portraiture: “They are what they are!”

Hilton’s compelling mixed media offerings may look like collage, but “everything is hand drawn”. Turquoise for example, is a multi-layered composition of acrylics, oils, and spray paint: A woman’s face is splintered by vibrant blocks of colour. “There’s a lot going on in this one.”

Flash is simpler and starker. A vivid purple slash dominates. But our eyes are drawn to shards of a woman’s face with yellow glasses, red lips and tawny hair. “I just love these colours.”

Image credit: Hilton Owen, Turquoise, 2024, Mixed media on linen, 76 x 66 cm

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