october newsletter
Published 8 October 2026
Abstract art invites us to respond in our own way, finding meaning through colour, form and feeling. And that’s exactly what you can expect in our upcoming joint exhibition.
We unveil new works by two exciting abstract painters. Susan Simonini presents a series inspired by Tasmania in Places I Belong. While Cameron Haas embraces bold colour but leaves us to create our own story in Running Towards Danger.
Susan and Cameron both explore new directions, and I look forward to sharing their paintings with you.
Allanah Dopson
Director
Susan Simonini – Places I Belong
Published 8 October 2026
Ten years ago, Susan Simonini traded the Gold Coast for life on a farm in Tasmania’s north-west. Susan’s love for her adopted home finds expression in the new series of abstract paintings, Places I Belong.
Cradle Mountain and the Central Highlands have captured Susan’s heart. “The landscapes are unlike any other. The quietness. The stillness. They have a magical presence,” Susan enthuses. Her paintings pay homage to these subalpine environments through emotion rather than literal depiction. “My works are about feeling, and I use abstraction as a way to explore place, memory and perception.”
Susan explores the haunting solitude of Cradle Mountain in A Quiet Mind. Autumnal tones hint at buttongrass and the turning of the fagus as the famous mountain hovers in the distance. In A Vanishing Thought, she turns her gaze to a patch of marshy water alive after winter rains. Reeds, cushion plants and insects emerge in a patchwork of rich greens. “I get lost in this landscape.”
The series marks a new direction for Susan. Flowing organic forms replace the grid-like patterns that dominated her last exhibition. “I really love these paintings. This is the place I have always been striving to get to with my art. The works are much looser because I have stopped thinking and just make marks – you could call it my coming of age.”
Cameron Haas – Running Towards Danger
Published 8 October 2026
This is a pivotal moment for Cameron. He leaves the familiar to embrace the ‘danger’ of uncertainty. “Any visual move is uncomfortable. But this was something I had to do, and it was almost like starting from scratch,” Cameron reveals. After 17 years of controlled geometric shapes, he now explores texture and a handmade feel. “I can see the human touch which gives them movement and emotion.”
But one thing remains constant. Cameron’s new paintings are still resolutely non-narrative, and are even identified by a number within the series, leaving the viewer free to find their own meaning. Take Cameron’s largest painting, Running Towards Danger #1. Layers of intense, overlapping colour – yellow, magenta, blue and ochre – are partially framed by a dripping white form, creating a compelling composition without recognisable subject matter.
In fact, colour is one of Cameron’s defining signatures. “I think if you are going to paint in colour make it count. I love the intensity of colour and always aim to make things brighter, not tonal. I like the purity of putting colour and form into a non-narrative work. You just feel it.”
The new exhibition of Cameron Haas, Running Towards Danger, runs at Handmark from October 9 – 26.
join us on friday evening for the opening of susan simonini’s places i belong and cameron haas’ running towards danger exhibition.
friday 9 october
5:30 pm onwards
september newsletter ―
Published 1 September 2026
Katy Woodroffe has been a vibrant part of Tasmania’s art scene for decades. But the exhibition, Looking both Ways, is her solo swansong. This is a momentous occasion that not only looks back on a wonderful artistic journey but also celebrates a major milestone – Katy’s 80th birthday.
Katy’s intricately patterned paintings are treasured by many. And the works in her final solo exhibition are particularly special. “All the pieces in Looking Both Ways are my favourite paintings. I have kept them at home this whole time, but it’s time to let them go,” Katy muses. “They represent different chapters of my life. This is a retrospective that tells the story of my artistic practice.”
Recurring images run through Katy’s practice, and time spent at artistic residencies has provided rich inspiration. At the Cite Internationale des Arts in Paris in 2001 Katy discovered the power of pattern. Tiles from the historic accommodation found their way into Patterns of Silence. A decade later she returned to France, but this time became entranced by the “majestic swans on a lake at Versailles that mirrored the palace’s grand opulence inspiring the painting, Dreamlands.” Swans also became part of her artistic vernacular.
In Granada, Spain, intricate Islamic patterns first appeared in Katy’s art with the painting, Los Cantaros. Another favourite motif, the pomegranate, emerged during a Greek sojourn. Sitting under a tree laden with the rich, luscious fruit on Skopelos Island inspired the beautiful work, Forbidden Fruit.
“I have had a fabulous life. And celebrating 80 years feels really good. But this is it, my last major exhibition, and I am delighted to be sharing my favourite works with you.”
Katy Woodroffe’s solo exhibition, Looking Both Ways, opens at Handmark on September 18 and runs until October 5.
Upcoming Exhibition: Mel Aliendi – Wonderplay
Published 27 August 2026
Handmark’s emerging artist for 2026, Mel Aliendi, is inspirational on so many levels. Apart from her obvious talents as a painter, she is also testament to the adage that it’s never too late to follow your dreams.
A teacher by profession, Mel is 51 years old and about to unveil her first solo exhibition, Wonderplay. This is a vibrantly joyous collection of abstract paintings, but perhaps most remarkable is the fact that that her journey with a paintbrush only began six years ago: “I am a creative person and was looking for something to do, a new hobby, so I signed up for some local art classes in South Hobart and it just snowballed from there,” Mel explains.
Mel has a collection of 30 paintings of all sizes in Wonderplay, a title that perfectly captures the spirit of her work: “This exhibition is about the meeting place of wonder and play. I am always full of wonder when I begin a painting. I never have a plan, instead I am guided by curiosity and trust that the answers will come. But there is also playfulness in the freedom to be colourful and expressive with no judgement.”
In fact, colour is Mel’s touchstone. In her large-scale painting, The Upside Down House, the canvas bursts with pops of vermilion red, pink, green, and Prussian blue. “No colour is off limits.” But there is also whimsy with hints of a small village where diamond shapes echo a ‘Moroccan vibe.’ Spontaneity is another trademark of her work. “I want my art to remain visibly human-made. Blurred edges, uneven marks and uncertain gestures are left untouched. These are the moments when the work feels most alive.”
Mel Aliendi’s solo exhibition Wonderplay opens at Handmark on August 28 and runs until September 14
august newsletter ―
Published 1 August 2026
Firstly, a huge thank you to all who made the National Tree Day exhibition a huge success: our collaborators the Tasmanian Land Conservancy; our participating artists and musician Dean Stevenson; The Australian’s art critic, Dr Christopher Allen, who will review the exhibition next week; Andrew Harper for his coverage in The Mercury; and 40 Degrees South editor, Chris Champion for publishing Andrew Darby’s wonderful essay. The exhibition runs until August 3, and specially printed catalogues are available from Handmark.
Handmark is proud to have been chosen to curate art aboard the new Spirits of Tasmania. And when Spirit V makes its maiden voyage in October, our incredible artists will be showcased to the world. Read on to find out more.
Meanwhile, two artists who feature aboard Spirit V – Jeewan Suwal and Alex White – will unveil wonderful new works in a joint exhibition opening THIS FRIDAY.
Allanah Dopson
Director
Upcoming Joint Exhibition —
Published 1 August 2026
Before he moved to Tasmania six years ago, Jeewan Suwal was a well-known artist in his native Nepal, but what he has achieved here has surpassed all expectations. As well as having his work featured prominently aboard the new Spirit of Tasmania, Jeewan is about to unveil a stunning new collection of paintings in his joint exhibition, Pulse of Nature.
“What has happened in Tasmania is beyond my wildest dreams. I never expected to achieve so much in such a short time,” Jeewan muses. At the heart of the exhibition are glorious abstract landscapes that burst with emotion and celebrate Jeewan’s adopted home. “My art is not literal; it’s about how the landscape makes me feel. This exhibition conveys the uniqueness of Tasmania.”
Jeewan captures this in his large-scale work, Sustain Warm. We can pick out kunanyi/Mount Wellington and glimpse the sparkling River Derwent, but colour is key. Dominant bright yellow ochre evokes the joy of Tasmania’s brief summers, while a glowing patch of iridescent light adds a sense of spirituality.
Equally exciting, when Spirit of Tasmania V sets sail in October, Jeewan’s art will be centre stage. Working day and night over three weeks while the ship was docked, he painted two large murals at the bow that will be impossible to miss. “I am so grateful and proud that my work will be seen by such a huge new audience. It’s a dream come true.”
Jeewan Suwal’s Pulse of Nature exhibition runs at Handmark from August 7-24
Upcoming Joint Exhibition —
Published 1 August 2026
Alex White is a young artist on a mission. He is documenting Tasmania’s iconic mountain huts before it’s too late. In his upcoming joint exhibition, National Park, Alex returns to a place close to his heart to create a stunning collection of new linocut prints.
A relative newcomer to Handmark, Alex has garnered accolades for his black-and-white prints of Tasmania’s historic huts, which once sheltered graziers and bushwalkers but are now falling into ruin. For this exhibition, Alex heads to Mount Field National Park. “This place means a lot to me,” Alex says. “My grandparents lived in New Norfolk, and I spent much of my childhood at Mount Field, having barbecues and wandering through the bush. I still come here all the time because it provides such easy access to a remote and rugged landscape.”
Once again, Tasmania’s endangered huts are central to Alex’s new work. Twilight Tarn Hut, one of our earliest ski huts, captures his attention with its quirky stone chimneys and old sash windows. Carved by hand into lino, the hut emerges through intricate patterns and Alex’s distinctively bold, pared-back mark-making.
National Park also extends Alex’s artistic range with a collection of landscapes surrounding the huts. “These give context to the huts by placing them within their environment.” Prints of Alex’s huts, including works from this exhibition, also feature aboard the new Spirit of Tasmania.
Alex White’s National Park exhibition runs at Handmark from August 7-24
A Spirited Consultancy —
Published 1 August 2026
Handmark is proud to have been chosen to supply the artworks aboard the new Spirits of Tasmania. And when Spirit V makes its maiden voyage in October, it will showcase our island’s artistic talent – including the wildly popular Tiger Track Stamps.
“Curating the art for the new Spirits is a huge feather in our cap,” Handmark Director Allanah Dopson says. “Our art consultancy business is an important arm of Handmark, and to be selected for this major project is a huge honour.”
Allanah curated a collection that highlights the breadth of Tasmania’s artistic talent. Works by Jeff Gatt, Katy Woodroffe, Mel Aliendi, Diane Masters, Linda Keogh and Max Mueller adorn the public spaces, while landscape prints by Peter Gouldthorpe, Adrian Barber, Paul Gundry and Nick Glade-Wright hang in the deluxe cabins.
Each ship will also feature its very own Tiger Track Stamp. Created 10 years ago by artist Kaye Green, these laser-cut rubber stamps depict tourist destinations across the state and now number around 200. “I can’t believe my little stamp project got so out of control,” Kaye laughs. “They will now be seen by the thousands of people who travel on the new Spirits. Could these become the unofficial passport stamps into Tasmania?”
From selecting a painting for your home to organising art aboard the Spirit of Tasmania, Handmark’s Art Consultancy offers a personalised art curation service for projects big and small.
Luke Wagner – Hadley’s Art Prize finalist 2026
Published 30 July 2026
Luke’s paintings have long been shaped by his relationship with Northern Tasmania, finding inspiration in the rhythms, contours and changing character of the landscape around him. Familiar stretches of farmland, waterways and open country are transformed to canvas through his masterful painterly language, becoming contemplative spaces that hover somewhere between observation, memory and feeling.
There is an exquisite quietness to Luke’s work. Rather than simply describing a landscape, his paintings distil an experience of being within it: the shifting light, expanses of colour, distant horizons and subtle atmosphere that make a place linger in the mind.
It is wonderful to see Luke and his practice recognised as part of this year’s Hadley’s Art Prize.
The finalist exhibition is open to the public from 1–23 August at Hadley’s Orient Hotel in Hobart.
Luke has also just delivered new paintings to Handmark Gallery – they can be viewed on our website or in person in the gallery.