National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.

National Tree Day

Published 16 July 2026

We are thrilled to announce a remarkable collaboration that harnesses the power of art and conservation.

This is an exhibition not to be missed, so please mark Friday 17 July in your diary.

Handmark and The Tasmanian Land Conservancy joined forces for a unique artists’ retreat at Pine Tier in the Central Highlands, shining a light on the need to protect Tasmania’s incredible wilderness.

The retreat also produced a beautiful body of art, which will be unveiled at our special National Tree Day exhibition – always a calendar highlight. The works have also been collated in a commemorative catalogue.

The exhibition will be opened by Professor Jan McDonald, Professor of Environment and Climate Law, UTAS and Board member of Tasmanian Land Conservancy. The exhibition runs until August 3.

Hope you can join us and please tell your friends.

Allanah Dopson
Directo

Pine Tier Retreat —

Published 16 July 2026

An extraordinary collaboration between art and conservation is helping protect Tasmania’s natural wonders. Following a retreat at Pine Tier, Handmark artists returned with fresh perspectives – and new works to be unveiled at the upcoming National Tree Day exhibition.

For three days, nine Handmark artists joined field officers from The Tasmanian Land Conservancy [TLC] at Pine Tier in the Central Highlands: “It was an incredible sharing of knowledge,” TLC’s Jessie Bodor reflects. “We look at nature through an ecological lens. But artists look through a creative lens, so it opened a new understanding of the landscape for us.”

Covering 1,900 hectares, Pine Tier is a critical piece in the conservation puzzle, connecting the Highlands with World Heritage Wilderness. This rare landscape of grasslands, alpine rivers, and wetlands is protected under the stewardship of the TLC. “Standing on the hills of Pine Tier and looking over the valley, you are overwhelmed by nature.”

After immersing themselves in Pine Tier, the artists returned to their studios with ideas for works that would shine a spotlight on this rare slice of Tasmania and will be shared at the National Tree Day exhibition: “This offers people the opportunity to enter these incredible places through the art. Opening our eyes to the beauty of nature and deepening our understanding of the need to protect it.”

Pine Tier Perspectives —

Published 16 July 2026

From Glover Prize finalists to emerging artists. From painters to printmakers. The Handmark artists who ventured into Pine Tier represented a remarkable breadth of experience and practice, each bringing their own visual language to the landscape.

Well-known landscape painters, Peter Gouldthorpe, Melanie McCollin-Walker and Adrian Barber were joined by renowned printmakers, Melissa Smith and Helen Mueller. David Edgar, who specialises in powerful drawings; the prodigiously diverse Julie Payne; and talented young artists Olivia Moroney and Max Mueller, made up the nine artists.

“It was important that the group represented our vastly talented Handmark team, with each artist bringing a different talent and perspective,” Handmark Director Allanah Dopson explains. “It took a year to put together, but Pine Tier exceeded all expectations. I am awed by the variety of works we will unveil at the National Tree Day exhibition. Images that make Tasmania’s wilderness feel personal, loved and worthy of protection forever.”

But the retreat also reached beyond the visual arts. Tasmanian composer Dean Stevenson joined the group at Pine Tier, where the striking landscape inspired a new body of music composed in response to place.

Pine Tier Artists —

Published 16 July 2026

Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”

Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”

Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”

Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”

Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”

Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”

Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.

David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”

Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”

Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”

June Newsletter

Published 18 June 2026

In celebration of Dark Mofo, Handmark’s window displays have been transformed into a gothic extravaganza of red and black, courtesy of Handmark’s exhibition manager Fiona Tabart.

They also feature Dark Mofo inspired new works by two of our wonderful artists: glowing burl boxes crafted by Mark Bishop and vocal jewellery from Linda van Niekerk.

Meantime, Dark Mofo celebrations continue with our fabulous Nathan Grey exhibition, As It Is, opening Friday 19th June 5pm – 6:30pm. Nathan’s beautifully pared back paintings of the female form feature in this wonderfully eclectic show.

Hope you can join us.

Allanah Dopson
Director

upcoming exhibition — nathan grey – as it is

Published 18 June 2026

It’s his most eclectic show ever. Nathan Grey’s latest solo exhibition, As It Is, is a testament not only to his expansive artistic talent, but also his enduring belief in ‘art for art’s sake’.
About to turn 40, Nathan staged his first solo Handmark exhibition at the tender age of 24. Now, with more than a dozen exhibitions behind him, his artistic philosophy is clearer than ever. “I am a creative person, and I like creating nice things that look good. It’s as simple as that,” he says. Nathan achieves this in spades.

This collection of new works ranges from the striking hero piece: a large oil on linen celebrating the Year of the Horse that is alive with Prussian Blue, his new favourite colour. “This was an experiment. Something new,” Nathan explains. There are also delicate ink drawings and beautifully carved wooden bowls. The heart of the exhibition, however, returns to Nathan’s favourite subject: the human form.

Nathan’s figurative works depict real-life subjects. Painted onto plywood, the natural timber becomes part of the composition, lending an earthy warmth and beauty. “I believe in minimal mark-making and always pare back my paintings as much as possible, just enough for the viewer to understand the image. I keep it as simple as possible.”

Nathan Grey’s exhibition, As It Is, opens at Handmark on June 19, 2026 and runs until July 13, 2026.

vocal jewellery — linda van niekerk

Published 18 June 2026

Stunningly dramatic. Provocative yet playful. Tinged with humour. The jewellery of Linda van Niekerk always makes a bold statement, and her latest collection – released to coincide with Dark Mofo – is no exception.

MONA’s Elektra exhibition was Linda’s inspiration. “MONA always has something to say, and Elektra prompted me to vent at a world gone mad. Feelings of helplessness, hopelessness and anger at the status quo in almost every aspect of life,” Linda tells us. But she also adds a cheeky sense of humour. “I am really poking a bit of fun at all the insanity!” Protest with a smile.

Linda calls her collection Graffiti Pieces. Imagine long striking neckpieces in sterling silver, much of it anodised to dramatic effect. But look closely, and hidden messages emerge in bent metal: W.T.F, SOS and No, No, No. There are also pins that can be worn alone or added to create a personalised statement. “Have a good rage, vent your feelings with the help of vocal jewellery. It’s worth a try!”

But, if the angst is too much, Linda provides an antidote with calming amber. Neckpieces replete with chunks of ancient African amber: “Amber is thought to soothe anxiety, promote calm and positive energy, and support emotional balance. But it looks great as well.”

timber treasures — mark bishop – burl boxes

Published 18 June 2026

New timber boxes by Mark Bishop, one of Tasmania’s most celebrated furniture makers, are treasures to last a lifetime. But this collection also evokes imagery of Dark Mofo: glowing embers, blackened fire pits and the quiet drama of scorched timber.

These are works of art. Golden lids of twisted burl set upon blackened plinth-like containers. “Finding burl is like unearthing a diamond. Only one in a million trees has it,” Mark explains. Burl is a small tumour-like growth that forms on a tree when it is distressed. “Ironically, the prettiest timber comes from the ugliest trees. Trees that are contorted and twisted have the most interesting patterns, and I am honouring that disfigurement.”

The burl lids, with their extraordinary patterns shaped by nature, come from Mallee trees. The containers are crafted from scorched eucalyptus. “I burn the timber with an LPG gas burner, and the line between a wonderful finish and ash is very fine indeed!”

“Making boxes is an interesting exercise, and for this collection I have produced varying shapes and sizes with specific uses in mind. The long, narrow boxes are ideal for A4 documents, while the big square boxes are perfect for a bottle of whisky!”

May Newsletter

Published 18 May 2026

Our small island bristles with artistic talent, and we just unearthed another gem – abstract painter, Wilhelmina Burnell.

Wilhelmina, has just joined Handmark, bringing canvases that burst with colour and whimsy. Her work will feature in our Affordable Art Exhibition which opens this Friday.
All your favourite Handmark artists will feature in this exhibition where every work is priced under $5,000. To date, there are over 80 works!!!
That includes landscape painter, Luke Wagner, who has just been announced as a finalist in the Hadley’s Art Prize. Congratulations, Luke.

Take care, best regards
Allanah Dopson
Director

affordable art — handmark artists

Published 18 May 2026

ART is within reach. Handmark’s Affordable Art Exhibition brings together a curated collection of works by leading Handmark artists – with every piece priced under $5,000. From striking landscapes to contemporary abstraction, the exhibition offers something special for both new and established collectors.
“Our mission is to make art accessible,” Handmark Director Allanah Dopson explains. “This showing offers a wonderful opportunity for first-time buyers to begin their collection, while also giving seasoned collectors the chance to acquire artworks by emerging talent, or perhaps a piece by some of the island’s most respected artists.”
And, just in case any further incentive is needed, almost all works will be eligible for the Government’s Art Collect Scheme …
with the exception of a couple of our artists who live interstate or overseas.
If you have a business, the Australian Government is still offering 100% tax write-off on art purchases up to $20,000 – creating a compelling opportunity to invest in art.

Handmark’s Affordable Art Exhibition will run from May 22 to June 15.