Dislocation is a relevant theme.  Adapting to a new and foreign environment is a challenge whether it is plants or people. The blossoming of plants and people in that hostile environment either fails or succeeds for many reasons, some of them being, design, luck or just fate.

All four works here explore the emotional and intellectual responses when a moment in the exterior world activates the interior world experience. The interface between both realms is a constant in all four works here. In this pair from near my home, from the box of dreams series, interact upon a virtual stage of human constructs, in the forest series, in this pair from the Corymbia maculata forest near Kuitpo, the interface is within the visitor to the forest, complex multiple internal dialogues that blend with emotion and become profound within the memory. Yes we are all connected.

This new collection of work reflects Llewelyn’s journey as an avid surfer and the connection to his surroundings. It also looks at family connection through collaborative pieces with Janet Ayliffe, where imagery from Janet’s drawings have been transferred into etchings onto the hand-blown glass forms.

The swans fly above the bay, their place for feeding and nesting. Sometimes they walk over the low dunes to drink the fresh water from one of the soak ponds. I was told by a geologist this water has come from near the Wisanger Hills, and traverses way under the sea to arise in places as the 'Soaks'. The maps and charts are signs of our human habitation.

The red capped robin and the carpenter bees live their intricate and complex lives in the exquisite forests of our Island. The charts of the early European explorers are evidence of our early habitation, and their words express wonder of this natural history . So too does my etching, and always my wish for the greatest of care for these fragile environments.

The flowers of the Xanothorrhoea provides a remembered perch for the Scarlet Robin to watch for insects. The carpenter bees forage in the forest of tea tree and correa. It is a privilege to see these creatures from ancient times, their lives with very complex dependence on each other. I consider the care we must take to protect these now fragile environments.

The South Western Pygmy possum is tiny, existing in the forest lands of our Island, living on insects and nectar. They must see and hear the carpenter bee, hearing the buzzing which sustains the special plants for their lives. The sustaining is a fine balance, our great care is needed for their survival.

The rhythm of life continues as nectar seeking moths hunt for pale scented night opening flowers, thus unconsciously pollinating them. Around our house and garden, we see many of these elusive creatures whose domain is the evening with its stars. However sometimes on dark nights, moths are attracted to our house lights and fall victim to waiting hungry mouths and so provide food for small creatures nearby such as geckos.

Philip Gerner’s cards are everything you would hope for from a man who is a brilliant artist, tinkerer, builder and problem-solver.

The problem solved by Philip with these cards is the current world wide shortage of whimsy.

A warm friend of many in the Adelaide Hills and far beyond in places such as Venice, Brunei and Cyprus, there’s a kind of universal gentleness to his  drawings. But don’t be misled: he builds things with a robust and enduring quality, And no-one has ever regretted that they had something made by Philip.

There is so much more we could tell you about Philip - his prize-winning vegetable gardens, his four sons and the infinite patience of Jan, or the way that small dogs like him so much.

But since you can’t know all those things, the best solution is to buy some of his cards.

These works are a glance at the simplicity, complexity and harmony of leaf forms observed and carefully assembled as domestic fragments.

This work stems from a fascination with the didactic quality of our interconnectedness with the animal realm. Our observations of the behaviour of animals often finds its way into folk lore, which in turn possibly guides our own behaviour. I am fascinated by this cultural circle.

Environmental relationships build aspects of place where dwellers, the surrounding geography (person-made or natural world) and the genius loci are complex, inseparable and enmeshed. The observations of atmosphere, or genius loci, have become key in my overall understanding of place. It enters the home, permeates the street, and often silently presses in on our daily activity, whether in the suburbs or in the countryside. These painted works represent small moments where we can see those interconnections, the suckling kittens in the basket, a stance in a silent paddock, or a crab claw cooked after a day’s outing. 

My painting is inspired by my travels. The colour and pattern of the earth, and the movement and impact of human culture is documented on journeys taken to destinations across the globe including India, China and the islands of the South Pacific and Mediterranean.

Villages, roads, tracks, paths, rivers, landscape, architecture, pattern and design are recorded as small paintings in my travel journals. When at home, places and experiences are recalled and the journey with materials and process begins.

I paint on handmade Chinese mulberry paper using coloured inks. Painting with ink allows me to work spontaneously and intuitively and record my experiences in an immediate and uncompromising way. The first mark dictates the direction of the composition and layers are built up to create movement, shape and texture, revealing new forms and relationships.

My images derive from personal, symbolic, figurative imagery such as water, fish, boats, horses, houses, figures layered with landscapes and sky states that are configured in such a way as to convey a dream like quality that bears little relationship to literal visual experience.

I would like the viewer to feel or recognise something that exists just below the level of consciousness, something that links with their own dreams or personal images. Each person's interpretation will be as different as one person is from another, but hopefully there will also be a meeting place- a sense of universality.

I have lived most of my life with the mallee tree.

They are earthed as we are not, torsos rising from the ground and skirts dancing in the breeze.

With our inflated self importance we disregard them

But we are the same.