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A Shared Obsession: Margaret Olley & Fred Jessup
Friday 28 June 2019 to Sunday 17 November 2019
Margaret Olley Art Centre

A Shared Obsession explores the connection in art and life between Margaret Olley and Fred Jessup, two Australian artists who enjoyed a lifelong friendship and a shared obsession for still life painting.

They each dedicated their lives to painting — in particular to exploring the artistic possibilities of everyday objects composed and rearranged within the immediate surrounds of their own extraordinary home studios.

For the first time, examples of their paintings from across their enduring careers will be exhibited together and alongside photographic suites by Greg Weight of their remarkable creative living spaces — Olley’s in Sydney, Australia and Jessup’s in Espondeilhan, southern France.

MARGARET OLLEY (1923–2011)
Evening still life with Turkish pot 1982
oil on board
75 x 120 cm
Collection of Max and Nola Tegel
©Margaret Olley Art Trust


Olive Cotton Award 2019
Friday 12 July 2019 to Sunday 22 September 2019
The Withey Gallery

The Olive Cotton Award is generously funded by the family of Olive Cotton, one of Australia’s leading twentieth century photographers, and aims to show new portraits by professional and emerging artists. The 2019 Award will be the eleventh Award since the prize inception in 2005.

The Award, recognising excellence in photographic portraiture, is held biennially, with a major prize of $20,000. The Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc. sponsor Director’s Choice awards to the value of $4,000. All awards are acquisitive, making the Olive Cotton Award an important collecting stream for the Tweed Regional Gallery’s collection of Australian portraits.

The 2019 Award judge is Marian Drew, Adjunct Associate Professor, Queensland College of Art. Marian is one of Australia’s most influential and significant photo-media artists with a practice spanning more than twenty years. She has held over forty solo shows and numerous group shows in Australia and internationally.

A $250 People’s Choice Award will run throughout the exhibition allowing the public to vote for their favourite image.

Olive Cotton Award 2017 finalist
Brett Canet-Gibson
Trevor Jamieson 2016, digital print
Image courtesy of the artist


Kate Rohde - Nancy Fairfax Artist in Residence Studio
Friday 19 July 2019 to Sunday 1 December 2019
The Friends Gallery

Melbourne-based artist Kate Rohde was the Gallery’s Artist-in-Residence in September 2018.

During my residency I was particularly interested in two aspects of the region and of the Gallery itself: one being the dramatic landscape of the Northern Rivers region, and the second the maximal re-creation of Margaret Olley’s home studio in the Gallery.

The vista from the studio looks directly to the dramatic peak of Wollumbin/Mt Warning and imagining the dramatic geological history of the area is fascinating to me. I loved to watch the sunset over the mountain and the changing weather. As a keen stargazer it was a great pleasure to spot the visible planets and observe their nightly transit across the sky.

The other fascination was looking through the Margaret Olley home studio re-creation, exploring the detail of the vast accretions of ephemera built up over decades. The layering of items brought to mind some kind of archaeological site.

My exhibition seeks to capture these two elements – to reconcile the seemingly timeless story and slow evolution of the landscape with the layering of a personal history. Combining my interest in decorative arts, in particular vessels, textiles and wallpaper prints, I will create an immersive installation that distils my residency experience.

Kate Rohde, 2019

Kate Rohde in her studio
Photo: Tobias Titz


Portal - Leora Sibony
Friday 26 July 2019 to Sunday 22 September 2019
The Boyd Gallery

Portal is a glimpse into the registering of visual information of the eye and its subsequent interpretation into materials in the studio.

It is interesting how we experience place – the way the brain will deconstruct a scene to recall certain elements. Daily we experience visual stimuli, processing what we see and retaining the information as memory. This process is completely individual – what we noticed and what we retained. I am interested in taking this a step further to explore what the brain reconstructs when trying to recall colour and shapes, and the places been and felt, without having specific references. It is a culmination of experiencing the place that you move through, rather than a vista or structure captured to be reproduced.

As an artist I am interested in the deconstruction of systems, namely machinery and electronic devices, and then observing the individual elements as they stand alone. To further the exploration I then reconstruct something entirely new.

In a similar vein, when processing life and visual stimuli, I will disassemble a landscape or place observed, and visually reassemble it as remembered shapes and colour using the material of paint, paper and found objects constructing two and three dimensional forms.

This is hugely compelling to me – to rely on memory and feeling when making work and how it relates to the place and my experience within it; the idea that every time a place is recalled from memory it is actually a mixture of every place you have ever been.

Leora Sibony, 2019

Leora Sibony
Portal 2019
oil on canvas, 15 × 15 × 5cm
Image courtesy of the artist


These Little Things. Drawing my everyday - Tamsin Ainslie
Friday 26 July 2019 to Sunday 22 September 2019
Macnaughton Focus Gallery and Kelly Wall

My daily drawing practice informs my understanding of my life around me; documenting time, memories and moments of my life, noticing the little things.

This body of work is a large collection of small artworks from my daily drawing and painting from life; a glimpse in to my studio and the work I do for myself to increase my understanding of form, light, colour and line. I don’t just draw what I see, I draw what I feel. I wrap my legs around the horse, the sheep wrap themselves around me – I draw that. A daily practice of life drawing study, small paintings, studies, pencil and charcoal drawings, small works made of cardboard. A pencil, a toy, contents of pockets, animals, people, buildings. The washing up, a snoring dog, a stray sock and I draw all this mess – these ever changing snippets of life. The often overlooked familiar objects, daily routines of everyday life, documented, noticed and collected in drawn memories on paper, on board, in handmade books and on old book pages. Informing my professional work as an illustrator, noticing the little things that make up the everyday, adding to the visual
narratives that I also use in my commercial illustration work.

Tamsin Ainslie
Red ER carpenters Pencil 2019
watercolour on 300gsm Fabriano paper,
140 × 120mm
Image courtesy of the artist


Borrowed Landscapes - Marian Drew
Friday 23 August 2019 to Sunday 26 January 2020
The Anthony Gallery

With a practice that spans more than thirty-five years, Marian Drew is one of Australia’s most influential and significant photo-media artists. Her artistic career is characterised by innovative photo-media explorations and her distinct use of painterly light and long exposure.

This new exhibition titled Borrowed Landscapes traces Drew’s practice through a selection of artworks from 1983 to 2018, using the landscape as its central theme.

Throughout her work, Drew acknowledges the pictorial relationships of landscape and history to cultural identity. Drew has said, “‘Landscape’ is often represented as something apart from ourselves and yet it is an idea we carry with us, culturally forming our relationship to the natural world.”

Marian Drew was born in Australia in 1960 and studied visual art at Canberra School of Art from 1980 to1984. Drew completed her postgraduate studies in Experimental Photography at Kassel University in Germany in 1985. She is currently Senior Lecturer, Photography Art Practice at the Queensland College of Art, a position she has held since 1986. Drew held over forty solo shows and numerous group shows in Australia, New Zealand, USA, Germany, France, China, Dubai, Hong Kong, Taiwan, Switzerland, the United Kingdom, Mexico and Peru. Her work is held in collections including the John Paul Getty Museum, Los
Angeles, Museum of Photographic Art, San Diego, National Gallery of Australia, Art Gallery of South Australia, Gallery of Modern Art, Queensland, Murdoch University, and University of Queensland.

Marian Drew is represented by Andrew Baker Gallery, Brisbane; Michael Reid Gallery, Sydney; This Is No Fantasy, Melbourne; Hill Smith Gallery, Adelaide; and Turner Gallery, Perth.

Marian Drew
Devonian Seas 2018
inkjet print, edition 10, 60 × 75cm
Image courtesy of the artist


Friday 6 September 2019 to Sunday 17 November 2019
The Temporary Exhibitions Gallery

There's so many kinds of love.

Romantic love, true love, enduring, affectionate, altruistic, selfless, platonic, erotic, obsessive and manic love. There’s the agony of unrequited love and love lost. The memory of your first love, and the grief associated with those we’ve loved who are no longer with us. There’s love for the land and our sense of place in it, and there’s the special bonds of parental love. There’s even love online. Is love only a matter of the heart, or the brain – or is it a cliché?

Where would we be without love? It’s no wonder they say that love makes the world go round! Artists, writers and musicians have referenced love in their work for centuries. Just think about all the images, words and lyrics about love we all know and have responded to.

The Love exhibition is an exploration of love in its multiple forms. Sourcing works by contemporary artists, Love is all around. You’ll feel it in your fingers, and you’ll feel it in your toes. Put your heart on your sleeve, and just go with it.



Olley Land - Christine Druitt-Preston
Friday 27 September 2019 to Sunday 17 November 2019
The Boyd Gallery

The works shown in this exhibition are informed by drawings of the Margaret Olley home studio re-creation made during my residency in the Nancy Fairfax Artist in Residence Studio, March 2018. Unlike the ordered compositions of Margaret Olley’s paintings, these artworks respond to the unedited, multi-layered, cluttered and visually fascinating rooms that were Margaret Olley’s home and studio in Duxford Street, Paddington. The dynamic contrasts made possible in the lino block prints that form the core of this exhibition, coupled with the ambiguity
created by combining mediums to make collages, provides a new lens through which to experience the known. The installation of vertical tulle panels have been appliqued with hand stitched lino print motifs found within the re-creation.

This exhibition, being largely made on my dining room table, serves as an acknowledgement of Margaret Olley’s practice and her place within a historical lineage of women artists and artisans whose artworks were in response to domestic interior spaces that often served as their studios.

The source sketchbooks are also on display in the exhibition.

Christine Druitt-Preston, 2019

Christine Druitt-Preston
Olley Land – Not an ordinary kitchen 2018/19
Brenda Tye lino block print,
ed.5, 40 × 123cm
Image courtesy of the artist and Document Photography


Myself – At My Favourite Place - Les Peterkin Portrait Prize for Children
Friday 27 September 2019 to Sunday 17 November 2019
Macnaughton Focus Gallery and Kelly Wall

In 2019, local primary school students were invited to create a self-portrait featuring themselves at their favourite place. Asked to choose a setting or situation that captures their interests and conveys something about their life and personality, these young artists have used a variety of media to create imaginative and meaningful portraits.

Ranging from the delightful paintings of kindergarten students to detailed illustrations by children in upper primary classes. Myself – At My Favourite Place will display 40 framed prize-winning works on the wall and another 200 outstanding works in display folders. This increasingly popular prize is named after artist and art teacher Mr Les Peterkin and is a celebration of the artistic talent of local primary school students, providing a glimpse into how young people see the world around them.

Zac Dascoli
Donkey Kong 2018
Centaur Public School, 2018 Winner, 5–7 years
Image courtesy of the artist


Fresh: your collection
Friday 27 September 2019 to Sunday 21 June 2020
The Withey Gallery

Fresh: your collection will showcase recent additions to the Tweed Regional Gallery collection from the past four years, featuring a diverse selection of artists’ prints, photography, painting and sculpture, many of which will be displayed in the Gallery for the first time.

The exhibition reflects the Gallery’s active acquisition program and pays tribute to the generosity of donors, including artists, collectors and philanthropists, the Friends of the Gallery and the Tweed Regional Gallery Foundation, whose assistance has been critical to the growth of the collection to more than 1000 artworks.

The exhibition will feature works by Australian artists, including Ben Quilty, Cressida Campbell, Guy Maestri, Judy Watson, John Honeywill, Karla Dickens, Max Dupain, Michael Cook and William Robinson.

Guy Maestri
Wollumbin 2016, oil on linen
Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre, 2018
© The artist


Salient - Contemporary Artists at the Western Front
Friday 22 November 2019 to Sunday 16 February 2020
The Boyd Gallery

In 2017 twelve leading Australian artists visited the First World War battlefields of the Western Front a century after the conflict that claimed so many lives. This exhibition brings together the works they created in response to the history and present-day reality of these sites in series of artworks that include paintings, drawings, photography and sculpture.

Salient: Contemporary artists at the Western Front is presented by New England Regional Art Museum and King Street Gallery.

Euan Macleod
Heaven and Hell 2017,
oil on polyester, 100 × 124cm
Image courtesy of the artist and King Street Gallery


Coastal Muse - Vicki Stavrou
Friday 22 November 2019 to Sunday 16 February 2020
Macnaughton Focus Gallery and Kelly Wall

Each time I work en plein air in the Northern Rivers coastal area I always think, “My god, what took me so long to get down here?”. Getting outside is good for the soul. Each moment is a treasure at these beautiful nature spots. Living with beautiful paintings that pay tribute to the natural world reminds me to slow down and reconnect with nature. When painting en plein air, I try to capture the feel, the
mood and most importantly the quality of stillness, the particular light, the intensity of silence, and the strong tonal variations that comes from the Australian sun.

I am predominantly a fan of colour so most of my work focuses heavily on producing exciting colourscapes. If I feel excited about the colours, I hope others will too. And within the colourscape I produce shapes and gestures to express what I feel at the initial moment of laying down the colours – letting the painting unfold and take me on a journey.

Vicki Stavrou, 2019

Vicki Stavrou
Brunswick Oyster Farms 2019
acrylic on canvas, 100 × 65 × 5cm
Image courtesy of the artist


For Country, for Nation - An Australian War Memorial Touring Exhibition
Friday 29 November 2019 to Sunday 9 February 2020
The Temporary Exhibitions Gallery

Aboriginal and Torres Strait Islander peoples have a long standing tradition of fighting for Country, and continue to serve with honour among our military forces. They have also worked in ancillary, industry, and other home-front activities, and their communities have been thrust into the front line of theatres of war. The touring exhibition For Country, for Nation highlights these stories and explores themes of remembrance and tradition through family histories, objects, art, and
photographs from across Australia, drawing inspiration from cultural traditions and symbols of warriors’ discipline, knowledge, leadership and skill.

For Country, for Nation is thematic in structure. Within each theme are stories of Aboriginal and Torres Strait Islander experience during wartime and peace.

A young Reg Saunders surrounded by his mates of the 2/7th Battalion, AIF, in Queensland in 1943, 057894, Image courtesy of the Australian War Memorial

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