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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:

Pieta by Angus McDonald

Angus McDonald (b. 1961)
Pieta 2016
oil on canvas, 200cm x 225.5cm
Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2016

Interplay: profiling the four collection areas

The Tweed Regional Gallery & Margaret Olley Art Centre collection features works across four areas: Australian portraits; artworks of regional relevance; Australian artists’ prints and the life and work of Margaret Olley.

The Interplay exhibition at Gallery DownTown features works by Australian artists including those local to the region from the Tweed Regional Gallery's collection across these four themes including portraits, artists’ prints, ceramics and photography.

A number of Australian artists’ prints are included in this exhibition as well as works with a connection to Australia’s best-loved painter of still life and interiors, Margaret Olley.

Artists in Interplay: profiling the four collection areas include Ken Done, Fiona Hall, Michael Cusack, Fred Jessup, Angus McDonald, Elisabeth Cummings, Robyn Sweaney and James Guppy.

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.’

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