OPENING : Saturday 10 June from 4:30 pm
Saturday 10 June to Sunday 1 July 2017



Sleeping under tall pines . 2017
oil on canvas
120 x 168cm

This exhibition Inhabit. by Cameron Gill explores the loose documentation of place inhabited by the artist; a small cottage surrounded by tall pines, tucked behind the Wombat State Forest. In creating these works on canvas he pays homage to this area, to its darkness, it's density, openness, and it's light. 

Cameron Gill is an emerging artist from Melbourne Australia, whose studio practice is currently based out of the defunct Daylesford Abattoir. Gills practice is project based, working predominantly with paint, in one style or another, depending on the nature of the project. 

Personal photographs are often the starting point from which works evolve in his studio, however paintings and painters, past and present, wanderings, and chance, help move his paintings away from photography to talk more about painting itself.  

Gill is interested in what it means to be an Australian painter, if that's even important, can you avoid it, would you, why, how do you paint an Australian idea, what the hell is an Australian idea, its perhaps not so important to answer these questions, but to grapple with them.

A new interest in the natural landscape has dominated his practice of late, however this shift from suburban to rural landscapes still holds at its heart a quiet celebration of the ordinary. 

Bajka   [bye-ka]

Two Trees . 2016
etching and aquatint, pigment, (bleed print)
44 x 59cm

Bajka, [bye-ka], means fable or fairy tale in Polish. 

Kasia Fabijiańska takes us back to her childhood in Poland where she spent memorable days in forests making cubby houses, in the fields (flattening a neighbour's wheat crop to make mazes), collecting feathers, flowers, berries and mushrooms. These are some of Fabijiańska’s most vivid memories that feed into this body of work.

The prints and drawings inquire into the ways one connects with nature and the land through culture, food, stories and myths during childhood. The artist reflects on the common ground between her experiences and the indigenous Australian cultural connection to Country.

The artist notes that “every time I am back on Polish soil, this connection to land floods back, despite being away for 32 years. Experiencing this country and getting close to it through nature is one way I can create new bonds, fragile like fresh connective tissue sewing together a wound. Tied to an interest in environmentalism, this exhibition is an inquiry into the mechanisms that elevate nature to a more important level on an intimate and individual basis. This connection is what fuels a drive to protect the environment and the art is part of my activism.”