Our art auction is back!

Join us for our first in-person event of the campaign at our Art Auction (previously online), celebrating wonderful local art and artists, all while supporting the campaign to get Steph Hodgins-May elected. Hosted by comedian Andrew McClelland and Tracey McIrvine, we’ll hear about our art and artists, have an exciting live auction of all the incredible pieces, then celebrate our winners. As a special celebration for our first live event, attendees will also go home with a free special Macnamara bottle of wine (18+yo only).

The new event details:

When: Sunday 14 November, 4-6pm
Where: Brightspace, 8 Martin St St Kilda
Note: numbers are capped, get in quick!

Browse the catalogue

Many artists have kindly donated pieces of their art to support our campaign. Browse the catalogue below to learn more about our pieces and the artists who made them. 

See something you like? Make sure to grab a ticket to our live auction!

Andrea Baxter

State of Mind

Ink on paper, framed

20cm x 25cm

My practice reflects upon the nature of ‘encounter’, and investigates the relationship between order and disorder and the disruption of stability.
My work considers the contingent nature of our experience and our encounter with the world. ‘State of Mind’ expresses feelings of confusion, and the endless sense of uncertainty as we try to navigate the Covid19 pandemic.

2015 – Master of Fine Art, Monash University, Caulfield, Melbourne.
2010 – Bachelor of Fine Arts Honours – Painting. Monash University, Caulfield, Melbourne.
2007-2009 – Bachelor of Fine Arts – Painting. Monash University, Caulfield, Melbourne.
2005-2006 – Diploma of Arts (Visual Arts) Holmesglen TAFE, Moorabbin, Melbourne.

Ann James

Lot and lots of little Humpties just like me

Limited edition giclee print (charcoal pencil, soft pastel) 4/50 – Illustration for Little Humpty written by Margaret Wild, published by Little Hare (Framed)

Image: 56cm x 38.5cm  / Framed: 86.8cm x 70cm 

Ann James grew up in Melbourne. Her playful approach to making pictures is reflected in the stories she chooses and the ways she illustrates them, using a variety of materials and techniques.

In a career spanning 40 years, Ann has illustrated over 70 books, including I’m a Dirty Dinosaur and I’m a Hungry Dinosaur, by Janeen Brian; Margaret Wild’s The Midnight Gang; Lucy Goosey; and Little Humpty; Sadie & Ratz by Sonya Hartnett; the Audrey of the Outback series and It’s a Miroocool! by Christine Harris; A Very Quacky Christmas, by Frances Watts; and her own Bird & Bear books; and, most recently, Goodbye House Hello House, by Margaret Wild, which was an Honour Book in the CBCA Early Childhood Book Awards, 2020.

Ann is an Ambassador of the Indigenous Literacy Foundation and was the nominated Australian Illustrator for the Hans Christian Andersen Award, 2020.

Anselm van Rood

Tabletop Ritual #3

Acrylic on panel (framed)

122cm x 122cm

“I was born in the UK in 1941 and I grew up in Venezuela and Scotland.

I studied fine art at Chelsea College and the Slade School in London in the 1960s. In 1978 I travelled to India, where lived for a year. I studied Meditation and Yoga there and these Eastern philosophies continue to be at the centre of my work.

Other influences include Middle Kingdom Egyptian Art and European Modernist painting, particularly the exemplary career of Henri Matisse.

The practice of drawing, which I consider to be a form of meditation, is at the foundation of all my work.”

Anselm’s work is in many private collections in Australia, Europe and in the U.S.A. It is also in the permanent collection of the City of Port Phillip, Melbourne, Victoria.

Bronwyn Tasker


Acrylic on canvas

102cm x 76cm

I grew up in Melbourne and started my career as an IT professional. In 2001 I lived in New York for a year, where I had the opportunity to attend a course on learning to draw and hence began my interest in creating all sorts of art. When I returned to Australia I continued my learning with various painting and drawing classes in particular one of my favourite teachers was well known artist and printmaker Marco Luccio. 12 years ago I moved to Fairhaven on the Victorian surfcoast which has provided a wonderful environment and loads of inspiration for continuing to pursue my art.

Cal Moore (Calm1)

Leadbeater Possum, Where will I sleep tonight?

Acrylic on canvas

40cm x 40cm

Cal Moore does stencil work, street art, under the name Calm1. This painting is based on the Leadbelly album cover of the song “Where did you sleep last night”, which was famously covered by Nirvana.

Please note: due to an administrative error, this piece was previously misattributed to Roger Hyland.

Candy Spender


African and Indian glass threaded beads, 22ct gold-plated brass chain and components

Maximum neck size: 48cms / Longest point: 45 cms

Candy Spender-van Rood is an artist and designer who amongst other creative practices, has been designing and creating costume jewellery for over thirty-five years in Melbourne, Australia.

Candy received a Diploma in Graphic Design in 1972 from the South Australian School of Art, and went on to do a Post Graduate degree in Painting and Printmaking at the Rietveld Acadamie in Amsterdam, Holland.

In the late eighties and for most of the nineties, fashion jewellery pieces often appeared in mainstream publications, media events as well as on Australian fashion cat-walks…

Candy Spender

Mint Julip Foam

All Swarovski Crystals (including crystal costume pearls), sterling silver-plated brass wire and rings. Hand cast sterling silver clasp

Neck size: 44cm / Widest point: 8-9cm

[Continued from previous page] Candy Spender Jewels was a small production studio for nearly thirty years, and at the height of its wholesale operation, stockists included over thirty exclusive Australian fashion boutiques; International fashion houses such as Browns in London; several galleries in North America, as well as an exclusive fashion boutique in Hong Kong.

In the last ten years Candy creates one-of-a-kind jewellery pieces, commissions, experimental and exploratory pieces in her studio in the Mornington Peninsula where she is returning to her roots with painting, drawing and digital prints.

Candy Spender jewellery pieces mostly incorporate Swarovski crystal, Czech, Indian, Italian glass; semi-precious as well vintage/antique stones, beads, and components. Many of the newer components are exclusively created & designed by Candy and cast and plated in Melbourne, Australia.

Great care is taken to keep them nickel-free, and environmentally sustainable.

Cassandra Williams

Landscape Fragments (3 pieces)

Plaster, Fibreglass cloth, Acrylic, Gesso

Pieces together: 50cm x 60cm

Cassandra’s work involves a deep connection with the subject through ceramics, bronze casting, and acrylics. The paintings exhibit a passion for colour, paint is applied with an immediacy, brushes and tools are loaded with several colours, there is no sketching the subject, allowing creativity to flourish in the moment.

Fabricated surfaces are made from fibreglass and industrial plaster, borne from an extensive background in ceramics, sculpture and painting.

Cassandra graduated from Prahran College of Advanced Education in Ceramics. Leaving Australia Cassandra traveled extensively for 6 years; from Overland adventures; living in the Transkei, South Africa for years to sailing the Oceans. She settled in California with her family for 26 years. Continuing Studies in Sculpture, Bronze Casting and Painting in San Francisco further inspires her present work.

Cassandra Williams

Albion Headlands

Acrylic, Gesso on canvas

100cm x 87cm

Cassandra’s work involves a deep connection with the subject through ceramics, bronze casting, and acrylics. The paintings exhibit a passion for colour, paint is applied with an immediacy, brushes and tools are loaded with several colours, there is no sketching the subject, allowing creativity to flourish in the moment.

“I lived in Albion, a small village on the Mendocino Coast in California.The area is noted for the unsurpassed natural beauty. During the months of December – April one can see the seasonal migration of the Grey Whale.”

‘Albion Hills’ was painted ‘plein air’, on the cliffs overlooking the expansive Pacific Ocean.

Dan Molloy

Dwayne, from the series Silenced in the Shadows

Limited edition photograph

55cm x 75cm

Dan Molloy is a multi award-winning photographer based in Brisbane, Australia. Working mainly as a commercial fashion and advertising photographer, Dan Molloy’s work has been seen on over 40 magazine covers and counting, with solo exhibitions across both New Zealand and Australia and numerous international advertising campaigns. Now he is able to truly expand his creativity without boundaries through providing his limited edition fine art prints worldwide.

“I use photography as a means to document the world around me. I like to create imagery that call attention to things that other people often overlook. When I think of an image, I kind of dream it up first, I often fixate on an idea and then I go out and make my idea happen. I was once told that photography is just painting with light, so for me, my camera became my paint brush”

His love of photography began at a young age growing up in New Zealand – he spent countless hours in his High School photography darkroom, often locking himself in overnight without permission, as such, his love for photography and painting with light evolved naturally.

Growing up with knowledge of analogue photography, gave him an advantage of appreciation of light in a world of the digital age. He anticipates moments of light before it hits the camera, ensuring little room for error. His awareness and ability to foresee a moment has given him a renowned name in the photography industry.

Debbie Symons

Untitled, 2021

Drawing on A3 paper

29.7cm x 42cm

Debbie Symons was born in Melbourne, Australia. Symons’ formative training was at Victoria College Prahran (VCA) in the fields of painting and printmaking. In 2014, Symons completed her PhD, Anthropocentrism, Endangered Species and the Environmental Dilemma, at Monash University with the assistance of an Australian Postgraduate Scholarship.

Symons’ practice is multi-disciplinary and her work addresses a range of themes, including humanity’s complicated relationship with the natural environment, the dynamics of the global political economy and the effects of consumer culture. With a strong research base in contemporary science and species, Symons utilises databases to investigate the links between these themes, and collaborates with scientific organisations such as the IUCN Red List to facilitate the statistical data pertaining to her works.

Symons is an Associate in the School of Art within the College of Design and Social Context, a lecturer at RMIT, School of Art (Art Enterprise Workshop) and Monash Art Design and Architecture (Collaborative Design). She is currently undertaking an artist residency at Bayside Artist Studio at Billilla Historic Mansion. Her works have been shown internationally and nationally

Doris Gingingara

Rainstorm Magic

Limited screenprint, 60/95, printed in colour from multiple stencils.

42cm x 59cm

Doris Gingingara was born in 1946 at Maningrida, in Arnhem Land, NT. The inspiration for her art came from childhood experiences, events from everyday life, the things she saw around the bush, Dreaming totems, sacred places and the ceremonial traditions of her people. She also drew on locations round Mt Magnet, where she lived until her death in 1999.

She uses a range of rich ochre colours, from warm pinks and yellows to burnt reds and deep browns, often contrasted with bright blues, greens and purples, giving the effect of warm harmony created in very intricate patterns.

The art of Doris Gingingara has been described as the most exciting trend in current Australian art – the blend of Aboriginal culture with contemporary materials and expression.

Elizabeth Milsom


Natural colours from flowers and leaves printed on canvas

30cm x 49cm

Elizabeth Milsom was born on King Island where she spent her first five years on a Soldier Settlement sheep farm before moving with the family to Melbourne.

As she grew up she developed a love for making things, which led on to studying a degree in Printmaking at the Victorian College of the Arts. In 1987 she was awarded a project grant from The Visual Arts Board, Australia Council to produce a hand printed book of etchings titled ‘Maiknoen’. One book in the edition of ten is held in the collection of The Balllieu Library, University of Melbourne.

Elizabeth changed her medium and developed a transfer printing method using a hot iron, synthetic transfer paint and the actual plant to print on to canvas. During the printing process some of the plants natural colour came through on to the canvas, creating an interest in the wondrous glow of natural colour. Inspired by nature, plants form the catalyst of her most recent mark making. Ink is made from eucalyptus leaves and applied to silk using a wide range of methods; such as painting with a Chinese brush, steaming, dip dye (Shibori) and ice dyeing.

Eve Sellars

Australian Autumn

Oil on linen

61cm x 61cm

My love for the Australian landscape can be felt with every brush stroke of my diverse range of original paintings. I am a full time artist working out of my studio in central Victoria, with sweeping views of pasture and mountain ranges on the Goulburn Valley Highway.

My art is intuitive and ever-evolving. Foliage and gardens are the common theme in my eclectic range of styles, composition and colour, and I hope my liberating use of colour reflects the sparkle I find in everyday objects. I also draw on my memory of extensive travels through central Australia, where the harsh and stunning beauty of the indigenous landscape captivated me entirely, and is a favourite subject to paint.

Having sold almost 150 original artworks in the last two years, it is with delight I know that I am adding colour and joy to people’s homes and offices, both here and abroad. Collectors connect to the honesty and sensitivity I have of my subject, and often buy my art as gifts for loved ones.

Fiona Williams


Oil on Aluminium

13.6cm x 19.5cm

Fiona Williams is a visual artist based in Naarm Melbourne. Her practice engages with the painterly and cinematic, and includes methods of image-generation that are intuitive and responsive to her environment. Her work explores connections between concepts of time and vitality, by looking at what emerges over time through the operations of different material traces. The images produced are intended to be partial, and to differentiate in each iteration, and for viewers, in the time and place of exhibition. In this way, Williams’ work considers how the image is constituted in the world with a degree of slightness and flux.

Recent exhibitions include: What’s outside the window?, curated by Olivia Radonich, ReadingRoom, Naarm Melbourne, Online; Elbow-room in the universe, 2020, curated by Victoria Wynne-Jones, Enjoy Contemporary Art Space, Wellington Te Whanganui-a-Tara, NZ; ( … ), 2019, (with Ruth Höflich), David, Fitzroy; The Mechanic, Part 2, 2018, curated by Neon Parc and Nick Kleindienst, Neon Parc Offsite, Brunswick; In Bloom, 2018, curated by Jeremy Eaton and Madé Spencer-Castle, Spring 1883, Hotel Windsor, Naarm Melbourne.

Gillie and Marc

Platypus comes into a better tomorrow


6cm x 10.3cm x 9cm / 0.82kg

Gillie and Marc have been called “the most successful and prolific creators of public art in New York’s History” by the New York Times. Creating some of the world’s most innovative public sculptures, Gillie and Marc are re-defining what public art should be, spreading messages of love, equality, and conservation around the world. Their highly coveted sculptures and paintings can be seen in art galleries and public sites in over 250 cities. They’re Archibald Prize Finalists and have won the Chianciano Biennale in Italy, together with winning 2 years in a row People’s Choice Award in Sydney’s Sculpture by the Sea, among other notable awards and accolades.

Referred to by the media as “the world’s most loving artists”, this artistic duo has worked side by side for 27 years, creating art as one and spreading the love they have for each other with the world. The artists first met on a film shoot in Hong Kong and 7-days later they ran away to Nepal to get married on the foothills of Mount Everest. They’ve been inseparable ever since.

Gracie Morton

Triptych – Women’s Dreaming, 2005

Oil on Belgian linen

70cm x 30cm (each section)

Gracie Morton Pwerle is a senior Alyawarr artist, born around 1956 at Utopia in Central Australia. She is the daughter of Utopia artist Myrtle Petyarre and the sister of famous artists Gloria and Kathleen Petyarre. There is a rich artistic tradition that runs through Gracie’s family as well as the Utopia community. Not only Gracie’s aunties but her sisters, Mary, Rita and Elizabeth, are also artists.

Gracie Morton began painting in the late 1980s during the “A Summer Project”, where acrylic paints and canvas were introduced to the women of Utopia. Her artworks have been well received throughout Australia and overseas. Gracie is a senior traditional custodian of the Arnwekety (Bush Plum) Dreaming, and in accordance with traditional law she is responsible for ensuring the Dreaming, customs and traditions associated with the Bush Plum are upheld. This responsibility was passed down to Gracie from her father and aunt.

Gracie’s primary subject in her artwork is Arnwekety and through her artwork she depicts the changing seasonal influences on the plant. Gracie creates a wonderful lyricism in her artworks, causing a three-dimensional visual effect that guides the observer through the soft outward reaching fields of colour.

Gracie’s artworks are represented in major private collections including the Holmes à Court Collection and her artworks are exhibited regularly throughout Australia. She has been a part of international exhibitions in China, Germany, Italy and The Netherlands.

Gregory Alexander


Watercolour heightened with white gouache on grey mi-teintes paper

39cm x 28.5cm

Gregory Alexander was born in 1960 in Ramsgate and studied at Canterbury and at West Surrey College of Art and Design. At the Age of 24 he became one of the youngest associate members of the prestigious Royal Watercolour Society in recent history. He migrated to Australia in 1993 and studied for his Master of Fine Art at Monash University where he now teaches drawing and painting.

Alexander is a painter and printmaker and has exhibited widely in England as well as Australia – notably in the Royal Academy Summer Exhibition; New English Art Club, Royal Society of British Artists, Royal Institute of Watercolour Painters, and has been a finalist in many prestigious prizes. His paintings have been used to illustrate amongst other books, Tales from the African Plains, and Kipling’s, The Jungle Book.

His work is included in the collections of the National Gallery of Australia; Bayside City Council Art and Heritage Collection; The Royal Watercolour Society Diploma Collection, as well as many corporate and private collections throughout the world.

Harry Nankin

Moth Liturgy 3, 2016

Pigment inkjet print on rag paper reiterating gelatin silver film photograms

93.5cm x 25.5cm

Photographic artist, educator and environmentalist Harry Nankin’s creative focus is our contested spiritual, ethical and material relationship with the non-human world. In pursuit of what he calls an ‘ecological gaze’ he has preferred to bear witness to surviving and declining systems of ecological relations by ‘gathering shadows’ of nature without a camera – just as the flash of the nuclear bomb dropped on Hiroshima caught the shadows of its victims at the instant of their perishing. His subjects have included the sea, rainforest, Mallee woodland, insect colonies, precipitation and capturing the ‘light of the stars’ to render enigmatic pictures of heaven and earth. Employing procedures that are equally land art, ritual and photography he ‘turns the landscape into the camera’.

Harry is the recipient of multiple Australia Council and Arts Victoria arts grants and his work has been exhibited, reviewed, short-listed for prizes or acquired for collections on four continents. He has written widely on environmental questions and photography and lectured on photography and art in tertiary institutions for thirty years. In 2019 he was appointed an Adjunct Associate Professor in RMIT’s School of Art.

Helen Wiltshire

Rainbow Bee-Eaters


18cm x 24cm

Renowned artist, Helen Wiltshire, captivated the tropics with bold richly coloured paintings and prints, the exotic images of the tropical rainforest of Mission Beach she splashed across the canvas with bold decorative colours and shapes.

Helen Wiltshire exhibited widely across Australia as well as in Japan and the USA. Many business firms commissioned her to produce paintings, prints and murals including the Ayers Rock Resort Company, Mirage Resort, Port Douglas, Quicksilver Port Douglas; Cairns Port Authority; Dunk Island Resort; Castaways Resort, Mission Beach, Lizard Island Resort, Hamilton Island Resort; Hilton Wintergarden, Brisbane; Land-Rover, North America; Mission Beach Tourism and Trans Australia Airlines for Bedarra Island Resort.

Helen is recognised as one of Queensland’s and Australia’s most genuine and valuable artists and achieved worldwide recognition for her artwork. Her exhibitions touched the hearts of art lovers throughout Australia and overseas. Helen was widely known in her home town of Mission Beach for her beautiful artworks depicting the Great Barrier Reef , World Heritage Rainforest and her love of painting the bird life of North Queensland.

Jacquelyn Stephens

Vitae Field – Coastal Surge

Acrylic Paint on Archival Fine Art Paper

77.5cm x 44.5cm

The sublime beauty of microscopic worlds inspires my art practice and paintings. I am fascinated by nature’s invisible work and my art journey has taken me on a path to examine the beauty of the life forces, miniscule patterns and colour energies inherent in all things microscopic, sub-atomic and aquatic. Many of the key themes in my work have been informed by my interest in water, nature, science, environmental issues and the domain of medicine.

Microscopic views, particle physics, pulsating atoms, cell growth, minuscule amoebas and of course I can never escape the otherworldliness of underwater life, as I grew up in and by the sea on the Victorian Coast. Bioluminescent organisms, coral reefs, seaweeds and as many different life forms as your imagination can conjure, from years of Snorkelling around my locale. I abstract these miniscule patterns of life, cellular and molecular formations, and enlarge them into paintings where illusionary forms gather and float in fields of infinite space.

The paintings aim to trigger our sense of awe and wonder at nature and the miraculous building blocks of life. Although the images allude to real worldly things, like growing cells and pulsating atoms, these suggestions exist only to act as memory triggers for connections that reference our place in the fragile natural world.

Recently it has become important to make paintings that talk about the current wellness of our oceans and waterways. I have started adding tiny fragments of plastic, sourced from years of beach combing, to my paintings. Sometimes, I am using these remnants of plastic, moulded and faded by the sea, as a formal colour device and sometimes as an invisible trace. Either way it is the notion of the plastic being there (visible or not) that is important.

Jodi Magi

Eyes Wide Open

Acrylic on MFB, framed

153cm x 110cm

‘Eyes Wide Open’ was painted after the Black Saturday fires and is about our capacity to ignore impending, inconvenient danger in favour of having a good time at all costs and looking after number one. Basically we have denial down to an art form, even when the flames have almost set the picnic blanket on fire.

Jodi is a Melbourne-based artist and designer with a Masters in Visual Art, Monash University, 2014.

Jodi has exhibited in solo shows and group exhibitions in Australia, U.A.E. and Croatia.

Josephine Leeder

Winter Walk in St Kilda

Acrylic on Ply

60cm x 90cm

My Mum, an artist, who was also my art teacher at school, told me she thought I would start painting again in my 30s and become obsessed with it.

My 30s came and went, with no sign of this happening….it turns out she predicted the wrong decade that’s all.

A few serendipitous things have happened in the last few years that finally saw her prediction come true: after 20 years of sketching my surroundings, still life, life drawing once a month or less, a boring train journey, following an inspiring holiday in the Lake District set me on a different path.

Armed only with a sketch book and the close confines of a packed train, I finally had to take the plunge and draw from within. This instantly changed my practice-it stopped feeling like ‘work’ and became an intuitive creative side that I hadn’t previously tapped into. It also became a daily meditative practice for me, a way to de-stress after a busy day at work…

Josephine Leeder

Winter Blues

Acrylic on MDF

60cm x 90cm

[Continued from previous page]

…A short abstract art course learning about hard-edged painting engaged the architect’s side of my brain, whilst also finally convincing me that, perhaps, I could produce art that wasn’t a still life; I had always been convinced that I didn’t have sufficient imagination to do any abstract art. Now I realise that it comes from somewhere else altogether.

Lockdown was the final piece of serendipity that allowed me to focus on art in a way that I had never previously managed to. It provided the time, space, and freedom to spend focussing on these areas that so intrigue me: looking for patterns and structure from nature, the built environment and the interior mind. Much of my art, it is an unknown journey I am on, never really knowing where or how it all comes about, but being endlessly fascinated, intrigued and awestruck by the process.

Julie Shiels

‘Jen said to me…’ and ‘The very idea that we can stop climate change is barking mad.’

Digital print poster

60cm x 45cm

Julie Shiels makes work for both the gallery and public space. Her sculptural and photographic artworks aim to bring into focus material things and physical spaces that are hidden, undervalued, disappearing or slipping from view.

Julie is also known for her temporary works in public space as a political poster maker in the 80s, for stencilling abandoned furniture that was dumped in the street (2005-14) and more recently her Grandmasters series of political parodies.

Throughout her career Julie has been both an artist and project manager often working collaboratively with culturally diverse communities, museums and arts organisations. She holds a PhD from the Victorian College of the Arts and taught in the RMIT Art in Public Space Masters for more than a decade. Julie exhibits regularly, writes occasionally for The Conversation and her work is held in many public collections.

Kate Durham

Pacific Blue



Kate is an artist, who has specialised in jewellery for many years. She uses no precious metals or gems: her jewellery is all made from ordinary bits and pieces. Her style is unique: once you have seen some of her jewellery, you will recognise her work, no matter how different her pieces are.

Kate Durham




Kate is an artist, who has specialised in jewellery for many years. She uses no precious metals or gems: her jewellery is all made from ordinary bits and pieces. Her style is unique: once you have seen some of her jewellery, you will recognise her work, no matter how different her pieces are.

Ken White

Mardi Gras Image

Signed print, limited edition, 2/4 (framed)

30cm x 42cm

Ken White was born in South Melbourne.

Ken studied art at Prahran Tech & completed an Art Diploma course at Melbourne Technical College, winning the Sun Art Bursary during this time. He worked at Channel Nine’s film studio as Art Director producing Animated Films.

Ken has works hung in collections in the USA, Canada, UK and France. He is also a professional jazz guitarist and has composed background music for movies including two award winners for ACMI and The New York Winter Short Film Festival. He is currently producing animated films using his own music soundtracks.

Ken White’s Exhibitions include:
Tolarno Galleries, St Kilda / Solander Galleries Canberra / Leith Gallery Edinburgh UK / Round Chapel Gallery, Hackney London UK / David Williams Gallery, Camberwell Grammar Melbourne / Victorian Artist Society, East Melbourne / Mural Artist at the Carlton Resident’s Estate

Kitty Calvert

All Around the World / Victoria Bitter

2 x Assemblage sculptures from vintage treasure

40cm tall / 31cm tall

Husband and wife team Phill Calvert and Julia Brampton share a love of music, art and retro quirky vintage style. Concerned with the amount of waste in the world and its impact on the planet’s future and fuelled by a desire to create something beautiful, Kitty Calvert was conceived. Their collaboration is based on treasure hunt and treasure build, which materialises as their unique assemblage sculptures.

Born from the detritus of a multitude of memories, the sculptures are created using vintage, upcycled, recycled, lost, found and discovered treasure, evoking cherished memories of childhood and times past. Seeing the pieces recycled, revived and restored, reimagined, reinvigorated and reborn in a way that brings new joy to a new audience.

In a world of mass consumption, we see each piece of treasure as a memory carrying vessel, linking us to a time in the past where things were built to last. With the sculptures, we give unwanted or unloved pieces a new life encouraging the viewer to voyage on their own magical journey of memory and to share their stories.

Limor Benahron

Big Mouth


37cm x 29cm

Founder of Heart of Glass Studio and creative chameleon, Limor Benahron, was born in Melbourne in 1988, where she currently lives, and practices out of her backyard home studio.

Limor has always considered herself a crafty person, constantly evolving and experimenting with different mediums. The last two years of on-off Melbourne lockdowns gave her the perfect opportunity to pursue formal study in glass and glazing at Melbourne Polytechnic. From here, Limor has developed specialised techniques in stained glass with copper foiling and lead lighting.

Limor’s contemporary style plays homage to the classical art form but with a playful off-centre twist. She draws inspiration from retro objects and shape configuration, and themes of the female form can often be seen in her work. Her warm persona and passion for colour is emanated in each unique design.

Developing her style in this ancient artform is not without constant challenges, but Limor continues to be excited about creating distinctively imaginative pieces and playing around with ideas – each one more offbeat than the last.

She has recently launched a new website and has an upcoming exhibition at the Blackcat in Fitzroy throughout November 2021.

Maddison Kitching

Big Moon and Big Stars (2019-2020)

Oil and acrylic paint on MDF, framed

55cm x 45cm

Maddison Kitching is a Naarm/Melbourne artist who completed a Bachelor of Communication Design at RMIT University in 2012. Born 1989, Narrm/Melbourne, Kitching’s work explores the relationship between representations of landscape, and Australian identity. Kitching has exhibited his work in Australia and Japan.

A selection of his solo exhibitions include I’ve been everywhere man, Stockroom Kyneton, Victoria (2019); Lucky Country Escapes, Testing Grounds, Naarm/Melbourne (2018); A partial view, Chapter House Lane, Naarm/Melbourne (2018); Discover Gippsland!, Seventh Gallery, Naarm/Melbourne (2017). A selection of his group exhibitions include Papier-mâché (co-curated with Louise Klerks), Missing Persons, Naarm/Melbourne (2021), Ecoluxx$ (co-curated with Rebecca McCauley and Aaron Claringbold), Kings ARI, Naarm/Melbourne (2018), Thongs, LON Gallery, Naarm/Melbourne (2017); April Group Show, James Makin Gallery, Naarm/Melbourne (2017)).

Martin King

Hoodwink: silent witness

Etching, spitbite on Japanese Paper, framed

63cm x 90cm

Martin King has had over 50 solo exhibitions throughout Australia and has exhibited in many group exhibitions both in Australia and Internationally.

Prizes include:
2019: Gallipoli Art Prize (Winner) / Muswellbrook Art Prize, Works on Paper (Winner) // 2017/18: State Library of Victoria Creative Fellowship // 2015: First Prize Inaugural Gippsland Print Award, Gippsland Regional Gallery // 2014: Rio Tinto Alcan Martin Hanson Memorial prize, Gladstone Regional Gallery // 2006: Broken Hill Outback Art Award, Broken Hill Regional Gallery (Winner) // 2003: McGivern Art Prize, Maroondah Art Center (Winner) // 1999: Third prize at the 3rd Kochi International Triennial of prints, Japan // 1999: Honorable Mention, Bharat Bhavan International Print Biennale, India. // 1997 Artist Book Prize at the Fremantle Print Award (Winner)

He is represented in collections including: British Museum, London; Carleton College Library, Minnesota, USA; Bharat Bhavan, India; Bihar Museum, Patna, India; National Gallery of Australia; National Gallery of Victoria; Art Gallery of NSW; State Library of Victoria; Parliament House, Canberra.

Richard Weatherly

A Brush with Birds: paintings and stories from the wild

Signed hardback book with illustrations

21cm x 28cm (288 pages)

A Brush with Birds celebrates the exquisite artworks and incredible life of one of the world’s finest bird painters, Richard Weatherly OAM.

A skilled falconer and artist, Richard has spent more than fifty years observing birds and their natural habitats around the world, from Antarctica to Zimbabwe to New Guinea, Australia and America. In A Brush with Birds, Richard accompanies his stunning paintings and sketches with fascinating insights, anecdotes and knowledge gathered throughout his career.

Richard’s work continues to document and celebrate the natural world, and reminds us of the importance of conserving our unique environment.

Richard Weatherly

Two Baby Magpies

Framed Prints (illustrations from book)

37cm x 30cm

A Brush with Birds celebrates the exquisite artworks and incredible life of one of the world’s finest bird painters, Richard Weatherly OAM.

A skilled falconer and artist, Richard has spent more than fifty years observing birds and their natural habitats around the world, from Antarctica to Zimbabwe to New Guinea, Australia and America. In A Brush with Birds, Richard accompanies his stunning paintings and sketches with fascinating insights, anecdotes and knowledge gathered throughout his career.

Richard’s work continues to document and celebrate the natural world, and reminds us of the importance of conserving our unique environment.

Ron L. Muller

Morning in Alexandra


59cm x 51cm

Ron Muller is widely recognised as an outstanding professional artist and teacher. He has been a tutor at the Doncaster Templestowe Art Society for many years and has conducted numerous workshops in Australia and overseas, particularly Tuscany and France.

Ron has a diverse background and education including Mechanical Engineering and Theology and most of his working career has been in Personal Management. He has always had an artistic ability which was guided as a student of the late C. Dudley Wood, an eminent Australian watercolourist. Ron has been largely self-taught, developing a unique style that aims to capture the light, atmosphere and natural beauty of the Australian landscape. He is influenced by the Romantic tradition which inspires him to capture particularly the light of the early morning and late afternoon, to create “visible poetry”.

Ron has won numerous awards and was featured in a cover article of the ‘Australian Artist’ and again was recently featured in the prestigious international magazine ‘The Art of Watercolour’. He has had many successful solo exhibitions and been a judge at many Rotary Art Shows.

Rosalind Price

Yeppungbilly/Hanging Rock, Tidbinbilla

Graphite on Arches paper

87cm x 55cm

‘I’m a city-based person who craves connection with landscape and natural systems. A forager, fiddler, experimenter, I pursue a tactile, exploratory practice, feeling my way towards new forms and ideas. Drawing, painting, printmaking and playing with organic materials, I use whatever is on hand to express visual responses to the world.

My focus tends to be on place: landscape and cityscape, domestic and public, familiar and foreign, internal and external. I fill sketchbooks on my travels around Australia and further afield.

Rox De Luca

Blue Bundle

Found plastic and wire

14cm x 23cm x 18cm (variable size)

I am an artist based in Bondi working on unceded Gadigal land.
My current work practice focuses on concepts of consumption, abundance and waste; and are reflections on the plastic detritus I collect from my local beaches, Bondi Beach and Rose Bay.

The process of collecting, sorting and grading the plastics by colour and size is fastidious. This initial gathering and sorting process is followed by threading the components onto strings of wire. The resulting sculptural garlands and tangled mound constructions I make are reflections of my coastal home and the greater human landscape of waste.

When completed, my bundles stand in stark contrast to the ease of disposability associated with the materials that arrive on the shoreline or accumulate as landfill, as evidence of our collective human neglect and destruction of the environment around us.

Ruth Hopkins

Wise Owl

Limited edition linocut

49cm x 49cm

This beautiful piece is a limited edition linocut sitting in a stunning frame. More of the whimsical & colorful works of Ruth Hopkins can be found at Art Conservation Framers

Sarah crowEST


Acrylic on linen

31cm x 51cm (each piece)

Sarah crowEST’s current output occupies a conceptual space between painting, visualising sound and concrete poetry of a political nature. CrowEST recently completed a public art project in Melbourne CBD in Hughs Alley and Corrs Lane.

CrowEST’s work is held in several national collections including the NGV, Artbank, State Galleries of South Australian, Queensland and NT. Her work was recently acquired for the City of Port Phillips Art Collection.

CrowEST was awarded a Shakespeare Grove Artist Studio residency 2017-2020 and a Gertrude Contemporary Studio residency 2013-2015. In 2013 crowEST was awarded a PhD by University of Melbourne, Victorian College of the Arts and in 2009 she was a recipient of the Samstag International Travel/study Scholarship and spent a year at Escola MAUMAUS, Lisbon, Portugal.

Simon James Holloway

A Still Lifetime (Jim and Marian’s with Dale Hickey print)

Acrylic on canvas

37.5cm x 47.5cm

Simon Holloway is an urban born and raised, emerging painter, living on Gadubanud Land (Lorne). His painterly roots are spread throughout the field of landscape and his incessant need to paint beyond the blatantly obvious leads him into narratives where the imagery of ‘coastal living’ is constantly put to the test.

His debut show held at In the Skies Art & Music, began his exploration of these ideas.

Right now: Exploring interiors and lived in spaces, particularly my own home, and the home of my partner and her family for the past 35 years

Coming up: Solo Exhibition ‘No Picnic’ at In the Skies Art & Music, late 2021.

Sophie Perez

Hello Old Friend

Oil on canvas

40cm x 45cm (plus frame)

Sophie Perez is a British born artist who graduated from the Royal College of Art in London in 2003 with an MA in Painting. In 2005 Sophie relocated to Melbourne Australia and now resides on the Mornington Peninsula with her family; drawing inspiration from the surroundings & everyday life.

Sophie has been a finalist in the Mosman , Lethbridge Landscape, Southern Buoy Landscape, Hawkesbury, Lethbridge 20000 and the Green Wedge painting Prize- which she was awarded first prize.

Paint is Sophie’s favourite medium, she loves the continual learning of what can be achieved with paint. Seeing the landscapes endless possibilities through colour and texture. Seeking new compositions of shapes and light within the landscapes.

During lockdown Sophie’s pivoted her practise to fill the void of not being able to explore the landscape physically. She created a project in which she painted 250 commissioned paper pieces from all over the world – landscapes and places that people were missing. This led to Sophie’s first published hard back book called Landscapes in Between.

Trudy Rice

My Wattlebird

Monotype / Solarplate Etching

50cm x 68cm

“I love to walk into the bush and stand and listen. Often the birds take a long while to settle, enough for me to catch more of a fleeting glimpse. Picking up a dried twig or leaf that has a history, fills my heart with a kind of contemplative joy, that sigh of relief that I’m again one with nature.”

Trudy’s artworks on paper and paintings are created with mindful observation, the initial drawings are etched in the very sun and water that her specimens are found and many layers of monotype form her works on paper derivative of her early background in the fashion industry.

Delicate textures and atmospheric depth bring Trudy’s love and empathy for the natural environment directly to the viewer. Trudy enjoys teaching both children and adults in workshops within her studio as well as by invitation to other art facilities. She is represented by Lauriston Press, Prints & Drawings and Eagles Nest Gallery at Aireys Inlet.

Victoria Howlett

Barham Fields (Apollo Bay)

Drypoint on Arches paper

45cm x 25cm

Victoria Howlett has worked as a professional potter since the 1960’s. In the 1990’s she requalified as a painter at VCA, and recently completed a Fine Arts PhD at Monash University titled In Pursuit of Desirelines: A Woman in the Landscape. That Thesis combined memoir within a structure of women’s outback painting camps, where we produced our work during the day, and shared our stories as female artists, mothers and partners by the evening campfire.

Howlett is currently working on a monograph format book that explores that topic further and illustrates her work and life as a female artist, including the very early influences that shaped her pursuit of an arts career.

She has a prolific list of national and international exhibitions and currently works in her studio at Apollo Bay (Marengo). Works can be seen on her website.

Yoko Baxter

Serpent’s Ascent「蛟竜雲雨Kouryouunnu

Mixed media on canvas

50cm x 70cm

Serpent’s Ascent: A serpent when given the opportunity of rain soars to the sky and becomes a dragon.

A Melbourne based visual artist, graphic designer and illustrator, Yoko uses acrylic and other media to visualise in her reality a delicate balance that holds the ecosystem.

Yoko’s vibrant intuitive art is inspired by lush nature, captivating biology, intricate kimonos and jewellery.

Yoko attempts to capture a moment of ever flowing raw and organic energy that connects us all living things.

Yoko Baxter

Fluidity「流動性Ryuudousei」/ Torrent「奔流Honryuu

Mixed media on canvas

30.5cm x 41cm

Fluidity (left): Capturing the energy and ferocity of our ever changing world in motion.

Torrent (right): Caught in a gush of water where everything we know is turning upside down, and churning everything we hold dear.

A Melbourne based visual artist, graphic designer and illustrator, Yoko uses acrylic and other media to visualise in her reality a delicate balance that holds the ecosystem.

Yoko’s vibrant intuitive art is inspired by lush nature, captivating biology, intricate kimonos and jewellery.

Yoko attempts to capture a moment of ever flowing raw and organic energy that connects us all living things.

Yvgenia Amyounova

Modern Mone-Tree Theory of Life

Clay, copper leaf, acrylic, natural gemstones (black onyx, chrysoprase, Peruvian opal, chalcedony, smokey quartz, carnelian) on canvas

50.8cm x 60.9cm

Yvgenia Amyounova’s* precocious emergence onto the art scene with her highly controversial, ‘Eat Like an Elephant; Shit Like A Chicken,’ garnered praise and opprobrium in equal measure.

While critics from the Krugman school applauded Amyounova’s courageous approach to Keynesian form, Friedman school proponents have decried her excesses – particularly her inflationary use of materials such as copper leaf and gemstones. Her use of acrylic has been considered particularly gauche.

Philip Lowe has been singularly scathing: Ms Amyounova’s aesthetic is redolent of a Mediterranean grandmother’s good room.’

When challenged regarding the problematic nature of this characterisation, Lowe added, ‘Oh please! Some of my best friends are Mediterranean grandmothers’ good rooms!’

Amyounova’s work is globally renowned (and reviled) for its obsessive disentangling of complex systems, her at-once-impotent-yet-explosive fury at non-linearity, fat tails, and Black Swan emergent phenomena, the acceleration of which we are forced to accommodate in our hyper-connected world.

Amyounova was the 2020 recipient of the Sveriges Riksbank Prize, which resulted in a small riot upon its announcement. Fortunately, the damage from the unrest was limited to people who do not own shares or negatively geared properties.

*Yevgenia Amyounova is a figment of another artist’s imagination, whose name she dares not speak. All biographical details are part of an even larger work of art, which itself is part of a larger work of art, which itself is… a demonstration of market failures.

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