Past Exhibitions

This series of works involves two disciplines: the first painting (watercolour and pastels on paper), the second sculpture (vessels made of fabric).

The paintings begin as a simple routine, the aim to complete one work daily. They are quick sketches of abstract shapes in space. The subject matter is inconsequential – a screwed-up piece of paper viewed from different angles. The colour palette is limited and the dimensions are uniform. The main focus is form, colour and light. Displayed together as a series of repetitive shapes, the images take on a softness, a flow and a rhythm, sometimes resembling organic shapes.

The sculptures are made of vintage cotton lace doilies and tablecloths cut, torn, glued and moulded over old vases, bowls and jugs. As well as repurposing materials that have had another life the works signal domestic themes and gender-based traditions. Vessels originally designed to hold water for washing or floral arrangements are rendered unusable, made of inappropriate materials. While the shapes are repetitious, variations occur in the patterning, assemblage and imperfections.

Both disciplines incorporate themes of repetition and domesticity. The paintings are intended as daily exercises – but ‘every day, life’ gets in the way. The normal distractions, and interruptions of the real world challenge routine and regulation. However, these diversions are themselves also part of daily life to be not only endured but embraced.

Gather

by Kym Frame

26March -17April 2025

Kym Kym Frame is a Brisbane-based artist specialising in Sculpture and Installation.
She is currently exploring the possibilities of handmade paper, and her art practice is largely
inspired by women’s stories and lived experiences, human connection and the environment. Her latest work, “Gather”, explores positivity and the personal and community benefits of surrounding ourselves with those who lift us. Those who remind us of our strength and our worth. Using natural handmade paper that is fragile yet strong is a fitting metaphor
for the combination of vulnerability and resilience Kym sees and admires in women. The complex and variegated layers in the paper and the layering process involved in creating the work also reflect what it is to be female. Honesty, stillness and light are all important aspects of her work. Gather is inspired by women’s stories of belonging and connection. It acknowledges the body and sustains it, layered and dark. These lives are essential to me.

Meditative Landscape

H.M. Du Rhone

5 – 28 February

Du Rhone’s artworks evolve around the theme of `Meditative ́s landscape. ‘ The artist attempts to simplify the landscape elements to reflect the spiritual order underlying visual communication, creating a transparent and universal aesthetic language within her paintings.

Confronted by the natural environment, perhaps with an outsider’s eye as an advantage, she gradually recognises her surroundings’ wonderful uniqueness and beauty. Relaxing and communing with these surroundings made her want to express this awakening in her art.

Zen Buddhism, which focuses on individual enlightenment through daily experiences and meditation, gradually influenced Du Rhone’s art. She explores the actual physical and mental experiences of painting as her means of meditation. She attempts to represent the mystical emotion and harmony she feels from the surrounding landscape by applying repetitive hand-drawn vertical and horizontal colour-filled lines to pull the viewer into a meditative state of being. In the process of producing the artwork, the artist is also in a constant state of meditation, just as viewing the artwork can achieve a meditative state without meditation.

Journey to the Unknown

by Tilmann Krieg

6 November – 20 December 2024

Krieg began his artistic life in painting and drawing, even though he has always been interested in photography. He states that nowadays, his camera is like a paintbrush or a pencil in his art making. The artist chooses different cameras depending on the images he wants to create, just like a painter would use different brushes for different finishes in a painting. He uses small digital cameras to minimise the distance and avoid the intrusion between him and his subjects. Then, the photos are uploaded onto his computer, and he walks through the journey again to select and delineate images. Sometimes, they are moody, irritated, joyful, contented or nostalgic, but they all have unfinished stories that linger in the viewer’s eyes. The photos are not computer-manipulated, which makes them much closer to the actual episodes of the journeys. His images‘ painterly quality and colour are then printed on aluminium plates or plastic film to give another dimension to the presentation. The artist says that printing on film or metal plates accentuates the quality of light in the photos as if the audience were present with the artist when the images were being taken. Krieg invites an audience to his unfinished journey, where it finds itself both being the observer and being observed.

Mighty Small

5 – 26 October 2024

The „Mighty Small“ Exhibition is Cascade Art Concept’s first annual group exhibition, featuring a stunning collection of new, small-scale artworks by Australian, European, and South Korean artists. The exhibition is designed to provide an opportunity to view artworks up close, appreciate the attention to detail, and understand the intention behind each piece.

The sculpture responds to the way plant life grows over nearly everything. By using imagery as a filter, I aim to create a sense of closeness to the botanical environment. This work explores the renewed space that exists today, which plants occupied millions of years ago. This space is composed of the hydrocarbons and minerals found in steel, which form the basis of these compositions that reference the botanical world. I encourage you to resist seeking meaning in the forms. The focus is on the gestures created through the direct work with steel, which I have documented here. It’s about the bay, the wetlands, the wind, and the tools and their history as they exist in my hands. The beauty of the material is displayed here in its raw form. I don’t wish to artificially embellish these pieces; they are personal, and there’s no trick to compel you to look. I want to showcase a rawness that becomes apparent when you examine the surface closely. These pieces invite you to pay attention rather than compete for your focus. They occupy their space without taking up much volume.