Glen completed his undergraduate and post graduate studies in painting and printmaking at the South Australian School of Art. He has led a diverse life, lecturing and tutoring until 1993 and working as a designer and project manager at the Adelaide Festival of Art from 1982 to 2000. Invitations include the John McGaughy Prize - National Gallery of Victoria and the opening of the Festival Playhouse, Adelaide.

Janet has been working as a print artist, painter and printmaker for more than 20 years. In that time, she has developed a highly original style that reflects her life, her environment and her family. A pioneer of solar plate (photopolymer) etching techniques as well as multiple plate work, she produces art that is, at once, accessible and deeply complex and, at times, mystical.

Christine works from her studio at Gate 8 Workshop in Thebarton. Her practice is made up of public artwork, production work, exhibition pieces as well as regular participation in artist residencies.

Combining blown glass, kiln forming, stencils, sandblasting drawing, and photography processes, Christine creates multi-panel wall pieces. The atmospheric monotone and duotone artworks have a comfortable familiarity about them, exploring place, nature and time.

My recent hand coloured etchings are mostly drawn from experiences around our home, garden and surrounding land on Kangaroo Island. 

Planting our orchard in 1980, we are now rewarded with delicious fruits which we share, not only with our friends and family, but with the birds who seem to love the fruit as much as we do!

Despite this, I have come to enjoy knowing their body language as they hide quietly amongst the leaves while eating the figs or peaches. I see the interaction between big and small birds and also remember the seasons different birds come and leave again, depending on food elsewhere.

Janette is an emerging Adelaide-based visual and media artist. She aims to create altered spaces using a range of media, including layered glass and paper collages, photography and video installations. The natural and inner city environments, and the infinite patterns they create, inform her practice and her immersive spaces prompt viewers to consider the emotional impact of these settings.

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

What should I paint? I decided just to paint my favourite things. I like painting onto the back of glass plate as it gives me the opportunity to build up layers, scratch them out and paint again all with a nice high gloss front face. If you like the subject matter, there’s a fair chance we have a lot in common.

I came to Adelaide to train as a glassblower in 1993 and loved Adelaide so much I never left. From 2008 to 2012 I held the position of studio designer in the glass studio at the Jamfactory. In 2012, I returned to work full time in my workshop, Gate 8. I work a great deal with Christine Cholewa under the name of CHEB getting artwork out into public spaces. I love building and making things in general.

The small series of paintings on board are a return to my research into place in regional South Australia. The houses have been ‘cracked open’ to reveal the close and tangible association with the natural environment. The interior aesthetics reveal cheerful flourishes of colour to perhaps counter the more neutral hues found within the expanses outside. The furniture is practical and far from the fashionable magazines, for the transport of furniture is quite a task in itself to such far reaches into Australia’s interior. 

I have tried to portray the ‘reciprocal maintenance between ourselves and the wider world,’ an idea suggested by physicist, mathematician and philosopher John G Bennett. There is an acceptance and cheer in daily living, even though the exterior suggests the 50˚ C summer temperatures, which are the norm. The homes ‘speak for themselves,’ without me needing to paint the people. Life as it is has been sought as a painter’s subject accompanied by an avoidance of perhaps more gothic suggestions of the 'Other'. I hope the acceptance of peoples’ aspects of place will be suggested in these works.

Kathryn works in a spontaneous and intuitive way. Her work is deeply influenced by the places visited on her travels. The first mark dictates the direction of the composition, and layers are built up to create movement shape and texture. A rhythm and pattern evolves recalling the essence of an experience, place, emotion or memory.

My first bag of potter's clay was opened with the excitement of testing out a new medium - an approach I often took for a short holiday away from painting (my main art practice for well over three decades). Some years later I'm still with the clay as I discover more and more about the intriguing world of ceramics.

I trained as a printmaker but turned to painting for lack of a press. Now I find the skills and techniques I've learned through these artforms transfer naturally onto the responsive surface of the clay. It's this aspect that particularly interests me.

Jo combines eastern and western painting and printmaking to compose unique state works on archival paper. Monotypes, monoprints, woodblocks, collography, water colour, collage and etching are some of the processes she uses. This approach gives the one-off works a layered, textured and ephemeral quality.