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Margaret's House
Margaret Olley I Nicholas Harding I Pam Tippett I Adam Pyett
Wednesday 28 October 2020 to Sunday 25 April 2021
Margaret Olley Art Centre

Margaret’s House includes some of the finest examples of Olley’s still lifes and interiors, from public and private collections, alongside new work by three contemporary Australian painters.

Nicholas Harding, Pam Tippett and Adam Pyett were invited to explore the re-creation of Margaret Olley’s home studio, and made new work in response to its intriguing interiors and the incredible collection of objects that Olley collected as subject matter for her paintings.

This intersection of Olley’s home studio, her paintings and the contemporary responses, presents a renewed context for Olley’s practice and the genre of still life painting in Australia today.

A Tweed Regional Gallery initiative.

Nicholas Harding
The poppy rider 2020
oil on linen, 152 × 168cm
Collection of the artist, courtesy Philip Bacon Galleries.
© The artist


Victoria Reichelt
Friday 4 December 2020 to Sunday 9 May 2021
Anthony Gallery

Gold Coast-based artist Victoria Reichelt has been practising art for over twenty years. Known for her stunning realist paintings, Reichelt documents endangered artefacts and transitional spaces, both technological and temporal. Featuring works spanning Reichelt’s career, Archive brings together works that explore contemporary detritus, from stacks of books and magazines and empty public libraries, to plastic cups and takeaway containers. The exhibition will also feature works from her latest series of balloon-constructed images, that Reichelt describes as ‘sarcastic landscapes’. Reichelt said, “if we’re not careful they may be the only landscapes we have.”

Victoria Reichelt studied Fine Art at the Queensland College of Art, graduating in 2005 having completed her Doctor of Visual Arts. She was awarded the Sulman Prize (Art Gallery of New South Wales) in 2013, and is a recent finalist in the Portia Geach Memorial Award 2019, the Arthur Guy Memorial Painting Prize 2019 and Still: National Still Life Award 2, 2019. Her work has been exhibited at the Canberra Contemporary Art Space, Sherman Contemporary Art Foundation, and Brisbane’s Gallery of Modern Art. Her work is included in the collection of Queensland Art Gallery | Gallery of Modern Art, Deakin University, Artbank, Tweed Regional Gallery and Gold Coast City Gallery. Reichelt was awarded a doctorate from Queensland College of Art in 2005.

Victoria Reichelt is represented by Jan Murphy Gallery, Brisbane, and This Is No Fantasy, Melbourne.

A Tweed Regional Gallery initiative.

Victoria Reichelt
Australian landscape (trees) 2019
oil on linen, 91 × 130cm
Tweed Regional Gallery collection.
Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2019.


Earth ‘n’ Fire
Fifty Years of Murwillumbah Potters
Friday 5 March 2021 to Sunday 2 May 2021
Boyd Gallery

2021 will mark the fifty year anniversary of the Murwillumbah Potters Inc., located at the old Fernvale School on Fernvale Road, just outside of Murwillumbah. The Murwillumbah Potters were formed in 1971 to encourage and provide a space for beginners and experienced potters and creators to share skills and support each other.

Earth ‘n’ Fire will celebrate the history and strong continuity of the club showcasing the pottery of the club’s tutors – both past and present – and a selection of creations fired in traditional wood, gas and raku kilns. The exhibition will demonstrate the diversity of styles and skills of members, with a diverse selection of functional, decorative, sculptural and unique ceramics.

Fernvale School, home of the Murwillumbah Potters
Photo: Vic Basten


Tension(s) 2020
Tamworth Textile Triennial
Friday 5 March 2021 to Sunday 2 May 2021
Temporary Exhibitions Gallery

The Tamworth Textile Triennial showcases the best of textile art from across the country, attracting artist participation from all states in Australia. Tension(s) 2020: Tamworth Textile Triennial has been curated by Vic McEwan, creating an important record of the changing nature and progress of textile practice from a national perspective.

Tension(s) 2020: Tamworth Textile Triennial acknowledges that the world has long been a place under various tension(s), both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality.

Kelly Leonard and Julie Briggs
Curation of Shadows (process), 2020
Photo: Vic McEwan

After Blue Jean Sisters
Belinda Smith
Friday 5 March 2021 to Sunday 2 May 2021
Macnaughton Focus Gallery and Kelly Wall

Blue Jean Sisters is a craftivism project by artist Belinda Smith, which shines a light on the exploitation of human labour and environmentally destructive practices of today’s fast fashion industry. This community participation project invited participants to make a doll from upcycled jeans and consider the effort that goes into the clothes that they wear. 1650 dolls were made over a year (September 2018 – September 2019) through workshops and home-based making.

The bi-product of making hundreds of dolls from secondhand jeans is that there are many off-cuts and unusable parts such as waistbands and seams, and reusing these became a preoccupation for the artist throughout the project. Blue Jean Sisters will be installed along with Smith’s exploration and re-use of macro and micro denim and textile waste that range from a large-scale twined installation to intimate embroideries using denim weft threads and amber topstitch cotton.

Blue Jean Sisters was commissioned and exhibited at Adderton: house & heart of mercy for A Fierce Hope.

Photo: Nat McComas


Still life
Jacqueline Hennessy
Friday 19 March 2021 to Sunday 25 July 2021
The Friends Gallery

In 2020, Sydney-based artist Jacqueline Hennessy spent time in the Gallery’s Nancy Fairfax Artist in Residence Studio to develop new work for her solo exhibition Still life. Hennessy completed a Masters of Fine Art (MFA) at the National Art School in 2019 and is the inaugural recipient of the Tweed Regional Gallery – National Art School MFA Residency Award.

Referencing images of her own body, Hennessy’s paintings seek to give visual form to the experience of self in a world led by the gaze. Her ghostly female figures seemingly emerge as they dissolve into the linen support, signifying the paradox of being both the invisible subject evading the gaze and the visible body object captured by it.

Visiting the Gallery for the first time in August 2020, Hennessy connected with the re-creation of Olley’s home studio as a gloriously rich self-portrait.

“I was struck by how strongly Margaret’s sense of self, or my perception of it, permeated the collection of objects in her re-created home studio. The spectre of Margaret is palpable, being conjured by or infused in the objects that she left behind. This play between the invisible and visible in creating a sense of some part of Margaret’s unique essence, resonates strongly with my work and conceptual concerns. I knew immediately that I wanted to create a series of figurative works referencing images of both my body and Margaret’s personal objects.”

Jacqueline Hennessy

Jacqueline Hennessy is represented by Jan Murphy Gallery Brisbane.

This exhibition is an outcome of Tweed Regional Gallery – National Art School (NAS) MFA Residency Award. The collaboration aims to showcase emerging artists in recognition of Margaret Olley, a NAS alumnus.



Ned Kelly series
Sidney Nolan
Friday 19 March 2021 to Sunday 22 August 2021
Withey Gallery

Exhibition catalogue (6733kb)

Sidney Nolan’s 1946–47 paintings on the theme of the bushranger Ned Kelly are one of the greatest series of Australian paintings of the 20th century. Nolan’s Ned Kelly series is a distillation of a complex, layered story set in the Victorian landscape and centred around a 19th century bushranger and his gang who were on the run from the police.

Landscape is a key element in the paintings—as Nolan said, “it began in the landscape and ended in the landscape”. The series also depends upon a loosely-threaded but vital, dramatic human narrative that has its catalyst with Constable Fitzpatrick and Kate Kelly 1946 in the domestic arena of the Kelly family home where a fracas occurs, and ends with The trial 1947, in a Melbourne courtroom where Ned Kelly is sentenced to death.

This is a ticketed exhibition:
Adult: $12
Gallery Friend/Foundation member: $7
Concession or child 5–17 years: $8
Family (2 adults + up to 3 children): $30
Children under 5 years Free
Bus group booking: $8 per person
School/education group booking: $6 per person

Purchase your ticket now:

A National Gallery of Australia exhibition.

For Bus Group Visits
A booking agreement is essential for all groups over 10 people wishing to visit the Gallery. Bus groups arriving without a booking may not be able to enter the building under our COVID-Safe plan. All bookings must be finalised with at least 2 weeks' notice with the Gallery's Education & Audience Development Officer: 02 6670 2712 /

Sidney Nolan
Ned Kelly (detail) 1946
from the Ned Kelly series 1946–1947
enamel paint on composition board, 90.80 x 121.50cm
Gift of Sunday Reed 1977. National Gallery of Australia, Canberra.
© National Gallery of Australia

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