Grainger Gallery

🔥"Elsewhere" opens May 14th, @graingergallery , Canberra, if you'd like more information, feel free to contact the gallery, or myself

GRAINGER GALLERY is proud to present ELSEWHERE BY LIZ PRIESTLEY @lizpriestleyart Exhibition runs until 7 JUNE. All welcome.

ELSEWHERE LIZ PRIESTLEY Also showing Sculpture by Sian Watson Exhibition runs until 7 JUNE. All welcome. Liz Priestley’s contemporary landscapes occupy an in-between moment, where land and sky dissolve into atmosphere, and light is suspended at a particular moment of day. Built up through layers of pigmented beeswax, fused with heat, the encaustic surfaces hold a depth and translucency unique to the medium. Priestley deliberately employs encaustic (wax) as a medium in her creative process, drawn to its architectural essence and its capacity for reduction. This allows her to construct a narrative by building up or selectively carving, scraping and melting away. Her work explores the immediate physical landscape as well as that of the internal landscape of memory and emotional connections to place and time. The resulting images are vehicles by which the viewer may experience their own epiphany of personal, binding memories. @lizpriestleyart @sian_watson_

Opening tonight Thurs 14 6pm 🥂 @lizpriestleyart Elsewhere ☁️ All welcome

Having a ball installing @lizpriestleyart Opening Thursday 6pm 💙💙💙 GRAINGER GALLERY INVITES YOU TO ELSEWHERE BY LIZ PRIESTLEY Opening on THURSDAY 14 MAY at 6pm Exhibition runs until 7 JUNE. All welcome. Liz Priestley’s contemporary landscapes occupy an in-between moment, where land and sky dissolve into atmosphere, and light is suspended at a particular moment of day. Built up through layers of pigmented beeswax, fused with heat, the encaustic surfaces hold a depth and translucency unique to the medium. Priestley deliberately employs encaustic (wax) as a medium in her creative process, drawn to its architectural essence and its capacity for reduction. This allows her to construct a narrative by building up or selectively carving, scraping and melting away. Her work explores the immediate physical landscape as well as that of the internal landscape of memory and emotional connections to place and time. The resulting images are vehicles by which the viewer may experience their own epiphany of personal, binding memories.

GRAINGER GALLERY INVITES YOU TO ELSEWHERE BY LIZ PRIESTLEY Opening on THURSDAY 14 MAY at 6pm Exhibition runs until 7 JUNE. All welcome. Liz Priestley’s contemporary landscapes occupy an in-between moment, where land and sky dissolve into atmosphere, and light is suspended at a particular moment of day. Built up through layers of pigmented beeswax, fused with heat, the encaustic surfaces hold a depth and translucency unique to the medium. Priestley deliberately employs encaustic (wax) as a medium in her creative process, drawn to its architectural essence and its capacity for reduction. This allows her to construct a narrative by building up or selectively carving, scraping and melting away. Her work explores the immediate physical landscape as well as that of the internal landscape of memory and emotional connections to place and time. The resulting images are vehicles by which the viewer may experience their own epiphany of personal, binding memories. @lizpriestleyart

COMING SOON | RESERVE YOUR COPY TODAY! Kacy Grainger, the Director of @graingergallery in Fyshwick, Canberra, Australia shares what she would like to add to her personal art collection, in the coming June issue of Beautiful Bizarre art magazine. Never miss an issue again. Subscribe today > /product/12-month-subscription/ [link in bio] #beautifulbizarre #artmagazine #art #artist #artinspo #graingergallery #curator #readprint

Last weekend to see Staying With The Trouble~REGENERATION with @kim.mahood • Kim Mahood is an Australian artist and writer based in regional NSW. Her art practice explores the interface between Aboriginal and western representations of landscape/country, and includes extensive collaboration on cross-cultural mapping projects. She has participated in symposiums and exhibitions that address this contentious and changing ground. Grants include the Australia Council, Arts ACT and NT Arts, and her work is held in State, Territory and regional collections. She exhibits regularly and is represented by Helen Maxwell. She also writes about art, artists and landscape. Her essays have been published in art, literary and public affairs journals and she is the author of three books, Craft for a Dry Lake, Position Doubtful and Wandering with Intent.

Last days to see @lindadening Staying With The Trouble~REGENERATION • Linda Dening Staying with the Trouble – Regeneration The ancient kurrajong is deeply rooted in the landscape, balanced and enduring. For me, it is both centre and shelter, a resolute witness to time. Once part of vanished rainforests, this species now endures on drier slopes, embodying resilience, shade, and quiet strength. In its presence, I feel modest awe: the tree anchors both land and self, offering continuity and hope in an age of climate change. In my drawings, I work with dry pastels and charcoal, their earthy textures layered to reveal both the history of the mark and the textures of place. This process echoes the land’s own rhythms of change and endurance. Through drawing, I seek to express the elemental energy held within Bibbaringa and to honour making as an act of witness, care, and connection.

Last weekend to see @teakelwendy Staying With The Trouble~REGENERATION • Wendy Teakel “Walking the paddocks at Bibbaringa, I felt the quiet resilience that defines the land. The gentle softness underfoot and the subtle, almost imperceptible pulse of life within the soil became tangible sensations. Beneath the surface, the microbiome works ceaselessly and unseen, turning what has fallen into renewal and threading vitality through every root and stem. The farm unfolds like a vast, breathing carpet, embroidered by the farmer’s hand and by the intricate living systems that sustain it through constant regeneration.” In her studio, Wendy translates these sensations into material form. Working with Kozo paper and Hahnemühle-mounted panels, the artist uses pokerwork, collage, charcoal, and pastel; choosing materials that are earthy and tactile, attuned to the pulse of place. The geometry of paddocks, the rise of tree lines, and the shimmer of grasses become compositional threads, echoing the quiet reciprocity between land and hand, where creation and renewal move in continuous rhythm.

🔥 Elsewhere.... Opening May 14th, @graingergallery , Canberra. Please DM me for details, or contact the Gallery