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The Gallery DownTown is the annexe of one of the State’s most recognised regional galleries, Tweed Regional Gallery & Margaret Olley Art Centre (TRGMOAC).

An initiative of Tweed Shire Council, and housed within the creative hub of Murwillumbah’s vibrant M|Arts Precinct (external link) , Gallery DownTown aims to act as a driver of creative and economic development in the heart of Murwillumbah’s CBD.

Exhibition spaces

The first exhibition space features works of art from the Gallery's collection of Australian art, complementing those on exhibition at the TRGMOAC on Mistral Road, Murwillumbah.

The second substantial exhibition space is devoted to showing the work of regional artists through an extension of the Gallery’s Community Access Exhibition Program (CAEP). Running since 2004, the aim of the CAEP is to provide regional artists with a professional venue for exhibitions of new work.

The extension of the CAEP to the Gallery DownTown space demonstrates the Gallery’s commitment to fostering the work of regional artists by presenting their works across two professional exhibition spaces and offering another venue for artists to sell their work.

Exhibitions at Gallery DownTown

The current exhibitions at Gallery DownTown are:


Jonathan Aatty by Hui Hai Xie

Hui Hai Xie b.1957
Jonathan Aatty 1996
oil and synthetic polymer paint on canvas
165 x 181.5cm
Tweed Regional Gallery collection
Purchased with the financial assistance of the Tweed Regional Gallery Foundation Ltd. and Arts New South Wales, 1997
©The Artist


On Stillness - from the Tweed Regional Gallery collection

from 28 November 2020

This exhibition features artworks from the Tweed Regional Gallery collection that embody the idea of stillness. Born out of the stillness imposed by the COVID-19 lockdown, the exhibition was first presented as an evolving online exhibition, initiated by the National Art School and Newcastle Art Gallery with contributions from the Tweed Regional Gallery & Margaret Olley Art Centre, New England Regional Art Museum, Orange Regional Gallery, Wollongong Regional Gallery and Museum of Art and Culture Lake Macquarie.

Each gallery selected works from their collection that explored stillness in different ways – through time, across generations, through portraiture, still life, landscape and more. The result was an eclectic collection of works unified by a concept that was being experienced, in some way, across the world due to the COVID-19 pandemic.

The online exhibition encouraged each contributing gallery to examine their collection from a new perspective. This real life version invites audiences to consider the concept of stillness both in relation to these artworks and to their own lived experiences.

Blue Vase and Orchards 2020

Chelle Wallace
Before the Dinner Party 2020
Giclee Fine Art Photographic
Print on Canvas
Image courtesy of artist


Portals of the Inanimate

Chelle Wallace
11 September – 28 November 2020
Proudfoots Lane Gallery - Gallery DownTown

In the earliest fixed canon of painting genres still life was given the lowest rank; regarded as mere recordings of inanimate objects.

Portals of the Inanimate seeks to celebrate these domestic scenes, and their much-loved influence on Chelle Wallace’s own photographic expressions, while inviting inquiry into the curated objects they embody.

For many post-war daughters expected to relinquish their job and thus role in public life upon marriage and pregnancy, the home provided a conduit for identity; bearing qualities such as sanctuary, higher purpose and pride. Far from inanimate, the objects it heldbecame cherished portals for enticing the imagination.

Chelle Wallace
Before the Dinner Party 2020
Giclee Fine Art Photographic
Print on Canvas
Image courtesy of artist

To the one I Love 2019

Watson Wisler
To the one I Love 2019
cyanotype, A3
Image courtesy of artist


There is a Language, Little Known

Rose Watson & Caroline Wisler
11 September – 28 November 2020
Brisbane Street Gallery - Gallery DownTown

Floriography (language of flowers) is a type of cryptological communication through the use or arrangement of flowers. “There is a language, little known” refers to this symbolic language of flowers which has been recognised for centuries in mythologies, folklore and sonnets, where nearly every sentiment conceivable can be conveyed. During the 1800s Victorian homes had guidebooks for deciphering this figurative language in which flowers were used to send coded messages, allowing individuals to express feelings that otherwise could not be spoken.

With Caroline Wislers’ love of the traditional photographic process Cyanotype and Rose Watsons’ passion for digital mediums, they deliver an alliance where historical techniques merge with the contemporary. Each image conceptualises a message or sentiment through combining light and shadow allowing a visual representation of the flowers meaning to be conveyed. Through this exhibition Watson and Wisler aim to highlight and reinvigorate this little known language and showcase the enchanting and secret ‘Language of Flowers.’

Coming soon

To the one I Love 2019

(left) Karen Boshoff, Fit the Mould 2020, photographic prints on Ilford archival paper. Image courtesy of the artist. (right) Natasha Castelijn, Bin Day III 2020, acrylic on canvas. Image courtesy of the artist.

Suburban Entrapment

Natasha Castelijn and Karen Boshoff
4 December 2020 - 7 February 2021

Bin Day by Castelijn explores the repetitive ritual of ‘putting the bin out’. She shines a light on this task bringing our attention to its undiscovered covered beauty. 80% of Australians live in the suburbs. The rows of copy-and-paste houses reflect on the reliance of mass production and neighbourly envy. Castelijn highlights these commonalities as a comment on the trap of mass production and the mundane suburban routines and repetitions.

Red Tape Riots by Boshoff is a two-year photographic project capturing suburban elements in a graphic manner. Frustrated with the red tape and requirements of an immigration process that is plunged into the restrictions of COVID, she takes to the streets photographing the overlooked directional oddities of the suburban Gold Coast. Each image becomes a photographic rant related to the requirement to live in such a utopia. The images are a redacted form of expression.

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