GABRIELLE BATES
Title: Cardboard Cosmos Gabrielle Bates is a Kandos‑based artist, born on Cammeraygal Land, who has been working with cardboard since 2009. What began as experiments with the material grew into a long‑running body of work that moved from architectural floorplans to dreamlike forms, layered assemblages, and wall‑based installations. She values cardboard for its humility, generosity, and resistance to art‑material hierarchies, using it in both her artworks and her garden beds. Her installation process is intuitive and relational — a quiet conversation
Until 3rd May
Next Saturday. 11:00 am at Mudgee Arts Precinct 90 Market Street.
Beauty is something most people don’t enquire into. In the Artworld however it can be at the very least problematic - if not horrifying. In philosophy it’s deeply pondered. In fashion it’s central. But what is it actually? Is there room for it in spirituality? I’m not sure any of these questions will be answered, but the forum promises to be very interesting. I hope to see you there.
Ana and Maryla Gryzboski: A Double Act. Ana Gryzbowski presents large-scale dynamic colour-field paintings alongside intricately worked ‘found-object’ sculptures by Maryla Gryzbowski. Sourced from wood in the natural environment, Maryla’s sculptures complement the abstract expression of Ana’s architectural deconstructions.
Until 19 September.
Ana and Maryla are exhibiting courtesy of Gallery 47, Rylstone.
The Indivisible - New Paintings by Kandos artists Gabrielle Bates, Leo Cremonese and Georgina Pollard - Mudgee Arts Precinct 25 July – 14 September 2025 A catalogue of works and essays by Ann Finegan, Alexandra Pedley, Nina Stromqvist and Alex Wisser accompanies the show, alongside a public program:
– Artist talks, 10am Saturday 26 July
– Public forum, 11am Saturday 30 August
‘Patterns & Connections’ just opened at Kandos Projects.
A collaborative exhibition engaging artists from within Watershed Landcare, Rylstone District Environmental Society, Bingham Landcare and Kandos School of Cultural Adaptation.
Curated by Maddison O’Brien and Cheryl
Nielsen
Artists include Cheryl and Mike Nielsen, Laura Fisher, Mick Boller, Maddison O’Brien, Christine Mckae, Peter Swain and Gus Armstrong.
Closing drinks are on 27th July
Landscape and Memory: until Sat May 18 survey of new paintings, Lino Block print designs on linen and furniture, and selected older work to celebrate 39 years of exhibiting from 1985 to present.
This collection of work reflects the surroundings in and around Kandos, where I live and work.
Living under the flight path of the Yellow Tailed Black Cockatoo as they travel in their pairs and try to warn us of oncoming bad weather with bellowing haunting calls. The more you see of them the more rain will fall. While making friends with the wildlife can be thwart with danger there was numerous attacks during last years breeding season from a swooping Magpie, which bought back so many childhood nightmares. Digging up worms from the garden was my best defence and offering them for peace to the large male worked a treat now thankfully we have become friends, and he now visits with his family. There have been no real sightings of a Wombat until a trip out in the early evening, one was spotted by the side of the road and thankfully alive, just going about his business.
I feel fortunate to live close to the bush, as there’s always a chance, to see a Kangaroo or two or a mob. If they spot you, everyone of them will stop in their tracks and watch you.
Primarily, a figurative painter working in gouache applied to fine timber supports. I have chosen the reclaim, the ubiquitous wooden serving bowl hand made from rainforest teak and monkey pod trees, from a plethora of junk shops. This involves recycling and up-cycling, hand sanding each piece, deciding on a doily shape to fit each piece and either designing a new pattern or scene or recreating from an original story. To represent how fragile this craft was and to help reinstate the humble handicraft as a worthy expression of a woman’s life lived well.
(A doily (also doiley, doilie, doyly, doyley) is an ornamental mat, typically made of paper or fabric, and variously used for protecting surfaces or binding flowers, in food service presentation, or as a head covering or clothing ornamentation. It is characterised by openwork, which allows the surface of the underlying object to show through)
Fleur MacDonald
Catch the last few weeks of 'There Is No Lead Mine Here' showing in the windows at Kandos Projects. Or catch the vid. There's another showing at a parger gallery in the pipeline, stay tuned to find out where. Full video in link in bio
Thanks @kandosprojects for having us.
For the final weeks of No Lead Mine Here (closing 4 march) the following works have joined the exhibition.
Christine McMillan’s Holding Ponds 2
(the cracked clay pots illustrative of leaky clay bottomed tailings dams - and acid mine seepage into the groundwater) Leanne Wicks’ Nginha - nginha-guwal (Choose this or this other) Barala-baral (Poison) (the birds on their side representative of the toxic impacts of birdlife drinking from acid mine leachate dams - sadly the taste of lead is sweet and attractive to wildlife, including birds)
There Is No Lead Mine Here.
Jan1-March3
Along with banners and images courtesy of the Mudgee Region Action Group, artists Terry Burrows, Lulu Wulf, Jo Albany, Andrew Robards and Gus Amstrong present a second iteration of the Armstrong-curated exhibition, ‘There Is No Lead Mine Here’. Originally installed at Way Out Artspace in Kandos, 19 local artists from the Lawsons Creek Art Fellowship were invited to respond to “the anxieties, impacts and consequences of having a large scale open cut silver mine approved within 20 kilometres of your community” (Curator’s statement).
In this second shopfront iteration, the banners of the Mudgee Region Action Group show the location of the mine within the spectacular and highly productive agricultural landscape alongside the reactions of those who find their way of life and health of community “suddenly under threat by the powerful governmental and economic forces that go into the approval of major industrial developments.” (Curator’s statement).
