NEWS Issue #2 | July 2018

Tom Mosby, Elisa Jane Carmichael, His Excellency the Honourable Paul de Jersey AC, Leanne Enoch, Henrietta Fourmile-Marrie. Photo: courtesy of Onespace Gallery.



It was an honour and a pleasure to be welcomed to the event by Co-Patrons Henrietta Fourmile Marrie, Gimuy Walubarra Yidinji Elder and His Excellency the Honourable Paul De Jersey AC, Governor of Queensland, and the Honourable Leanne Enoch, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts, Queensland Government, and Mr Tom Mosby, Chair of CIAF.

Our remarkable artists this year, Elisa Jane Carmichael, Michael Boiyool Anning and Brian Robinson, are just three of the hundreds of Queensland Aboriginal and Torres Strait Islander artists who greatly benefit from CIAF and its government and business partners and community support. Their talents and cultural knowledge also make CIAF the premier cultural event that it is on our national stage and one of the reasons why international visitors continue to flock to our State and our country. Big thanks to Janina Harding, Vanessa Gillen and the hard-working CIAF Team for making this event happen and to the very important curators and collectors who make sure this amazing work is appreciated, interpreted and acquired.

A full list of their CIAF works are available to view online.

By the sea

Elisa Jane Carmichael, By the sea, 2018, rafia, rope, sea ropes, twine, wire and fish scales, 40 x 40 x 15cm. Photo: Louis Lim


Nicola Moss

Nicola Moss is a visual artist making fine art with paper. Her work is driven by a central burning question – What is sustainability?

Moss' practice engages people in considering the value of a healthy environment, exploring possible futures where conservation and development find balance. Her residencies in 2017 at Youkobo Art Space, Tokyo and ARNA, Sweden, have initiated cross-cultural exchange and international engagement with communities in the discussion of local/global green space issues. Boh her work and world view are optimistic - it reflects a genuine sense of well-being and highlights the benefits that contact with green space can provide in our everyday lives.

Commencing her full time practice in 2006, Moss has exhibited work regularly in Brisbane, Sydney, Melbourne, regional areas of Australia and overseas in Japan, the US and Sweden. Notable commissions include Moss’s first public art mosaic collaboration for Brisbane City Council, featured as part of the Children’s Trail at Brisbane Botanic Gardens Mt Coot-tha 2009; a digital print public artwork wrapping the 7 floor atrium lift shaft of the new Gold Coast University Hospital, 2013; and Mater Children’s Hospital Commemorative Commission for the refurbished Salmon Building, Brisbane, 2015.

Moss’s work has been collected in public and corporate collections including Moreton Bay Regional Art Collection, Bathurst Regional Art Gallery, Redland Art Gallery, Sealy of Australia, Gadens Lawyers (Brisbane) and Jupiters Hotel and Casino; as well as privately throughout Australia, in London, the US and Japan.

Exciting things are on the horizon for Nicola Moss, with an upcoming solo exhibition at the Gold Coast's Home of the Arts (HOTA) entitled, 'Breathing in Trees'. The exhibition will run from 19th October to 25th November, 2018. Moss is also preparing to return to Youkobo Art Space in Tokyo for an exciting new studio residency commencing in September this year.


Nicola Moss in studio.
Photo: Bozzo.


Redland Art Gallery Acquires Daniel O'Shane Works

Redland Art Gallery has recently acquired two works by emerging artist, Daniel O'Shane through Onespace Gallery in partnership with Canopy Art Centre.
The unique fusion of both Indigenous cultures provides an exciting body of work which is representative of a growing movement in in Tropical North Queensland.

Also, QUT Art Museum recently acquired Lonely Planet 3, a sculptural photograph by Kim Demuth. Lonely Planet 3 was included in Transboundaries: Art + Connection at QUT Art Museum, following, tomorrow, and tomorrow, and tomorrow at Pinnacles Gallery in February/March and at Onespace Gallery in May.


Dominique Macedo condition reporting Daniel O'Shane's hand-coloured print Meuram and Zogo Ni Pat


Di Hall & Debbie Taylor (Worley)


Onespace is pleased to host QCA Contemporary Australian Indigenous Art Honours students, Di Hall and Debbie Taylor (Worley) throughout July 2018 for their Onsite Project #OO3. The project will act as a platform for practitioner and community engagement, as well as an opportunity to investigate installation in the space.

Di Hall

Contemporary Indigenous artist Di Hall, is a descendant of the Gamilaraay Nation and explores a wide range of mediums through her arts practice, including sculpture, painting on canvas, wall murals and multi-media. Di graduated with a Bachelor of Contemporary Arts from Griffith University in 2014 with a double major in sculpture, who is currently studying for her honours and working as tutor for the Contemporary Australian Indigenous Arts Program at Queensland College of Art. Di has exhibited in various festivals and galleries including the Dreaming Festival, Woodford Folk Festival, Footsteps Gallery, Indidge-n-Arts Museum and Art Gallery, and Sugarbag Gallery. Di is motivated by her Indigenous identity and heritage and seeks to address cultural issues through her visual narratives.

For the Onsite Project, Di presents a three-part installation discussing the government policy of rationing under “the protection of Aboriginals act 1852”. Rationing was the replacement of Aboriginal people’s natural food resources with distributions of flour, tea, sugar and blankets by the early colonisers.

Debbie Taylor (Worley)

Born in Narrabri NSW, Debbie’s roots are with the Gamilaraay people of the Riverine region of northwest NSW. Although deprived of the influence of her Indigenous grandmother, she have always desired to understand more and be a part of that culture. Becoming a mother has made her more determined to impart a sense of tradition to my daughters. In the process, I found a love for Aboriginal art. In 2008, Debbie graduated from Griffith University’s College of Art with a Bachelor of Contemporary Australian Indigenous Art. Since then, she has continued to pursue her individual art practice, exhibiting regularly. Her practice has also included creating public artworks for Brisbane City Council and Moreton Bay Regional Council, facilitating community projects and school art workshops in painting and ceramics, ranging from playgroups, through to high school students. Her artwork is held in the Moreton Bay Regional Council, the RW&C Hospital and the Sunshine Coast University Hospital collections. Currently, Debbie is on the teaching team at the Queensland College of Art, within the Contemporary Indigenous Art degree.

Yilamba Yinarr (Ancient Woman)
For the Onsite Project, Debbie investigates what it is to be a woman, and powerfully feminine in today’s male dominated society. This has led her to create artwork based around the female figure and primordial symbols used in religious and metaphysical practices that honour the sacred feminine.

Wednesday, 4 July to Saturday, 28 July 2018.

Friday, 27 July 2018, 5:15-6pm

Friday, 27 July 2018, 6-8pm


Image (left to right): Dianne Hall and Debbie Taylor (Worley), works in progress as part of Onespace Onsite Project


Jay Younger | Demagogues and Megalomaniacs

Jay Younger’s recent work employs a photographic process using smoke and mirrors, a concept based on the magician’s practice of distracting an audience with reflections and a burst of smoke. Demagogues and Megalomaniacs introduces appropriated news images of high-profile and ‘notorious’ politicians, both here and abroad, to reveal their deceptive agendas.

Amy Carkeek | Welcome to the Dreamhouse

Welcome to the Dreamhouse conveys a nostalgic world where children play happily. As if unaware of the menacing and imminent darkness that has found them—or possibly only too aware—the small figures continue about their doings, masked and armed, yet seemingly unaffected. Through the modification of these discarded childhood, and mass produced domestic objects, the ceramic figurines take on a replacement narrative and a new veneer. By masking their past surface, the figurines now reveal their hollow façade.

Exhibition Dates: 1 August - 25 August

ONExchange | Jay Younger and Amy Carkeek & David Broker: 
Friday 3 August, 2018, 5:15 - 5:45pm

Opening Event: Friday 3 August, 2018, 6-8pm


Left: Jay Younger, Trump, 2018, Archival inkjet print, 80 x 80cm. Image: courtesy of the artist
Right: Amy Carkeek, Sweet pea, it's just an illusion, 2018, 127 x 87 (framed). Image: courtesy of the artist.


Our wonderful Gallery & Projects Officer Jamie Mercer has accepted a new role with a Brisbane Psychology practice and she finished work with us on 13 July 2018.

Jamie has been with us since Onespace launched in 2016 and we will miss her very much. Jamie has helped deliver some 17 main-house gallery exhibitions and 3 Onsite Projects (even 2 CIAF Art Fairs) and has worked closely with over 60 artists during that period. We truly appreciate her contribution to the establishment of our Gallery. Her diligence and professionalism and her compassion for artists and their work are just some of the things we will remember Jamie for, alongside of her commitment to teamwork in a small business. Many of our valued collectors and curators will also recollect Jamie’s fine work in helping them acquire works for their collections. Jamie has also been a key contact for our collaborators and business partners that we work with every day. A very big thank you also to her partner Calem for unexpected bar duty above and beyond the call of duty.

If you’ve been on that journey with us, as many of you have, you will also know Alicia Hollier. Alicia started with us as shortly after Jamie as an enthusiastic intern, and then she became our Gallery Assistant. Today Alicia takes over Jamie’s role as Gallery Officer and we are delighted to welcome Alicia into this role. Alicia is fresh back from CIAF 2018 and you can touch base with her at


Jamie Mercer.
Photo: Louis Lim.


Launch of We'll Show The World by Jackie Ryan

Jackie Ryan holds a PhD in history and political science from The University of Queensland, where she was an Honorary Research Fellow. She wrote the didactic text for the Museum of Brisbane’s ‘Light Fantastic’ exhibition on Expo 88 in 2013, and has devised audiovisual material on Expo for the South Bank Corporation and the Queensland Museum. She produces the Aurealis Award-winning Burger Force comic series and founded comedy writing collective the Fanciful Fiction Auxiliary. Jackie had an Expo season pass.

World Expo 88 was the largest, longest, and loudest of Australia’s bicentennial events. A shiny 1980s amalgam of cultural precinct, shopping mall, theme park, travelogue, and rock concert, the Expo '88 behemoth is commonly credited as thecatalyst for Brisbane’s ‘coming of age’.

We’ll Show the World lifts the curtain on Expo 88. It explores the shifting social and political environment in which Expo 88 was conceived, planned, and executed – an environment shaped as much by Queensland’s controversial premier Sir Joh Bjelke-Petersen as it was by those who reacted against him.

This book considers how an event once mocked as a ‘Joh Show’ became the people’s party, and how something initially greeted with outrage, scepticism, or indifference came to mean so much to so many. 

We'll Show The World by Jackie Ryan

SARAH RAYNER in The Journal of Australian Ceramics

The Oxford English Dictionary defines a seed as “The unit of reproduction of a flowering plant, capable of developing into another such plant” another meaning of the word is “the cause or latent beginning of a feeling, process, or condition.”

Sarah Rayner’s latest work in porcelain encompasses both these meanings. Delicate, pure white porcelain pods defy the term handbuilt yet that is how they are formed. Shaped like pods, seeds, twigs and stamens these sculptures morph from familiar to deeply strange as the viewer is drawn through the groups of objects. The satin, white terra sigillata surface highlights the tiny pinholes covering the outside of the pods. Viewed individually the sculptures reveal hidden details, tiny, beautiful clefts and crevices, a speckling of fine pinholes, interior cavities filled with miniscule, porcelain balls.  Grouped, the sculptures draw you in, pulling you from one mysterious object to the next, capturing the sense of wonder and discovery found in beach combing or foraging.
Shannon Garson, Hidden Worlds – The Art of Sarah Rayner, The Journal of Australian Ceramics, vol. 57, no.2 - Exploring Place.

Check out the full version of Volume 57 here.

Sarah Rayner will exhibit her new body of work at Onespace Gallery in September. 
Flowerbones will be open from 5 - 29 September. Read about Sarah Rayner's practice and keep an eye out for her new works online here.


Cover image: Sarah Rayner, A short story about a long tale, 2018, handcarved porcelain, terra sigillata, 1000ºC, Collection Dimensions: 6 x 35 x 12cm. Photo: Greg Piper


Benjamin Werner
Disruption, 2018
Oil on canvas, 50 x 50cm
Photo: Mick Richards


Zoe Porter
Goat Girls, 2018
Watercolour and ink on paper (float mounted in white frame), artwork 49 x 51cm, frame 66 x 72.5cm
Photo: Onespace gallery


Brian Robinson
Sik – Exotic bloom 3, 2018
palight plastic, enamel spray paint, timber dowel, toy, 58 x 58 x 44cm
Photo: Courtesy of the artist.

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