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Send us Fan Mail Sally Anderson’s work is strongly influenced by her personal life, including her experiences of home, motherhood and relationships, as well as second hand experiences of landscapes. She explores how meaning and memory are held, stored and carried. Born in Lismore, Sally Anderson began studying Visual Art at Southern Cross University before moving to the College of Fine Art in Sydney. She has been a finalist in the Sulman Prize at the Art Gallery of New South Wales, the Portia Geach Memorial Award, the Sunshine Coast Art Prize and the Paddington Art Prize. In 2014 she took part in a residency with the Association of Icelandic Visual Artists in Reykjavik, Iceland. In 2017 she won the Brett Whiteley Travelling Art Scholarship through the Art Gallery of NSW and completed a residency at the Cité Internationale des Arts in Paris. These ideas continue in her upcoming exhibition at N Smith Gallery, opening on 9 April. Called Holding Pattern, River Hug, it builds on her interest in cycles, care, and repetition, with new paintings that shift between abstract and more realistic forms. Sally is represented by N.Smith Gallery (Sydney, Australia) and Edwina Corlette Gallery (Brisbane, Australia). 

Send us Fan Mail Nikky Morgan Smith is an Australian artist whose practice explores the intersection of memory, place, and emotional resonance through a refined visual language. Working across painting and mixed media, her work is characterised by layered surfaces, nuanced colour palettes, and an intuitive balance between abstraction and representation. Drawing inspiration from the Australian landscape as well as personal narratives, Smith’s compositions evoke a sense of atmosphere and quiet contemplation. Her process often involves building and reworking surfaces over time, allowing traces of earlier marks to remain visible and contribute to the depth and history of each piece. Smith has exhibited in a range of group and solo exhibitions, with her work held in private collections. Through her practice, she continues to investigate how environments, both physical and psychological, shape perception, inviting viewers into spaces that feel at once familiar and open to interpretation. She is an artist based in the Northern Rivers of NSW. Completing a cross institutional bachelor of visual arts at SCU/RMIT in 2003, Nikky has staged solo exhibitions in Melbourne, Brisbane, Sydney and participated in group exhibitions nationally and internationally. Her work has been selected as a finalist in many prestigious awards, most recently the Jacaranda Touring Drawing Prize and has also been the recipient of various artists in residence programs, most recently the Suzzane Bastien Foundation artist in residence.

Send us Fan Mail In late 2025, we met with artist Edward Inchbold in his studio in Sydenham. A self-taught painter, he is deeply interested in the surface and texture of paint, as well as art history and the philosophies surrounding art-making.  Edward began his practice in 2020 at the age of 25. Since 2021, he has presented five solo exhibitions, including a recent trilogy at Stella Downer Fine Art spanning eighteen months: Brand New People (2024), Wisteria Lemonade (2025), and Shedding Velvet (2026). This body of work signalled a series of pivotal shifts in both his approach and philosophy, positioning his practice within a broader contemporary context. Inchbold’s paintings are defined by constant reinvention and a resistance to fixed stylistic identities. His compositions are built through processes of compression, erasure, and revision, resulting in dense, atmospheric surfaces. He employs a dynamic and controlled handling of materials, working with brushes, knives, and large scrapers to articulate his images. Alongside his solo practice, Inchbold has participated in numerous group exhibitions since 2021, with presentations at Velvet Lobster (Sydney, 2026), Brenda Colahan Fine Art (Sydney, 2025–26), Straitjacket Art Space (Newcastle, 2025–26), and AK Bellinger (Inverell, 2023–25). His work has been recognised in several art prizes, including the Lloyd Rees Memorial Youth Art Awards (2021), the Lethbridge Landscape Prize (Salon), The Lethbridge 2000 (Salon), and the Galerist Emerging Art Prize (2021), where he was highly commended. His paintings are held in private collections both in Australia and internationally. Inchbold approaches painting with a commitment to sincerity, material risk, and sustained inquiry, avoiding irony or sentimentality. His works are driven by tension rather than resolution, seeking to unsettle while holding the viewer’s attention over time. Edward is represented by Stella Downer Fine Art in Sydney, and his exhibition Shedding Velvet runs from March 31st - 25th April. -  'Shedding velvet marks a transitional phase in a deer's antler development, one of renewal. While growing, the antlers are wrapped in a soft, living layer called velvet, rich with blood and nutrients. As growth concludes, internal changes slowly withdraw this support, causing the velvet to dry and decay. In response, the deer presses and scrapes its antlers against trees and rough surfaces, gradually peeling away the withered covering. What remains is bare bone. Hardened, exposed, and newly formed, they eventually, through some labour, reveal a structure shaped through both gentle nourishment and the necessity of abrasion. This deliberate and forceful act prepares the animal for the coming season of competition and display.'

Send us Fan Mail In this episode, we speak with Alex Wisser, Co-Founder and Artistic Director of the Cementa Festival, a unique contemporary arts festival held in the rural town of Kandos, New South Wales. Known for transforming a former cement-making town into a hub of experimental art, performance, and community collaboration, Cementa has become one of Australia’s most distinctive regional arts events. Alex shares the story behind Cementa’s founding and how the festival grew from a grassroots idea into a nationally recognised platform for contemporary artists working outside traditional gallery spaces. We discuss the role of regional arts festivals in shaping cultural identity, building creative communities, and bringing ambitious artistic projects to unexpected places. The conversation also explores the relationship between artists and place—how the industrial history, architecture, and landscape of Kandos influence the work presented during the festival. Alex talks about the curatorial philosophy behind Cementa, the challenges and rewards of producing large-scale arts programming in regional Australia, and why collaboration with the local community remains central to the festival’s success. We also dive into Alex’s own artistic practice and how these perspectives inform the direction of Cementa today. Whether you’re an artist, curator, festival producer, or someone interested in the power of art to transform regional communities, this episode offers insight into how creativity can reshape place, spark dialogue, and connect people. Cementa will be held 17-20 September 2026

Send us Fan Mail We spoke with artist @meagan.jacobs.art about her life and work in Ampilatwatja, a remote Indigenous art centre. The conversation looks at daily creative practice on Country and the realities of living in a desert community. Meagan Jacobs is an Australian landscape painter whose practice has been shaped by years living and working in remote Indigenous communities. Born in Sydney and now based in Ampilatwatja (Alyawarre Country), her work reflects an ongoing relationship with Country and the desert environment. Her paintings use restrained colour palettes, interlocking forms and open space. Meagan Jacobs is represented by @defiancegallery, where she has held several exhibitions, including North of Capricorn (2025). She is currently included in the group exhibition Gathering at @defiancegallery until 28 March. Jacobs has also worked within remote Indigenous art communities, including as Art Centre Manager for Artists of Ampilatwatja. This work has influenced her approach, grounding her practice in lived experience and time spent in desert landscapes.  Episode recorded end of 2025

Send us Fan Mail James Erskine is the Founder and Director of Liverpool St Gallery in Sydney, bringing to the role a distinguished career that spans sports management and global entertainment. Before establishing the gallery, Erskine founded SEL Sports & Entertainment, building one of the most respected management companies in the international sporting and media landscape. Through SEL, he managed and advised an extraordinary roster of talent, including legendary Australian cricketer Shane Warne, celebrated British broadcaster Michael Parkinson, and world heavyweight boxing champion Muhammad Ali, among many others. As Director of Liverpool St Gallery, Erskine channels this unique background into a dynamic exhibition program that reflects excellence, character and cultural relevance. His leadership is shaped by first-hand experience at the highest levels of international sport and media — a perspective that distinguishes the gallery within Sydney’s contemporary art landscape. Through Liverpool St Gallery, James Erskine continues to merge worlds, art, sport and storytelling, creating a space defined by authenticity, legacy and vision. Recorded in Sydney end of 2025

Send us Fan Mail In this episode, we explore the life and work of Tim Johnson, one of Australia’s most distinctive contemporary artists. Known for blending Western art history, Indigenous knowledge systems, and spiritual iconography, Johnson’s practice spans decades of experimentation, collaboration, and cultural exchange. We discuss Johnson’s role in co-founding Inhibodress in the early 1970s, widely recognised as Australia’s first artist-run initiative. Established in Sydney, Inhibodress became a catalyst for experimental contemporary art, giving artists control over how and where their work was shown. It marked a turning point in Australia’s independent art scene and set the stage for Johnson’s boundary-pushing career. Johnson’s spiritual curiosity led him to engage deeply with Tibetan Buddhism, including meeting Dalai Lama. This encounter reinforced themes already present in his work, compassion, interconnectedness, cosmology, and sacred symbolism—which continue to appear in his layered, richly referential paintings. Johnson’s international reach saw him exhibit alongside renowned German painter Gerhard Richter, positioning his work within a global contemporary art dialogue. These exhibitions highlighted the intellectual and aesthetic strength of Johnson’s cross-cultural visual language. A pivotal moment in Johnson’s life was his close friendship and collaboration with Clifford Possum Tjapaltjarri, a leading figure of the Western Desert art movement. Johnson was given a skin name, a profound cultural gesture reflecting kinship and responsibility, signifying trust, respect, and long-term collaboration between the two artists. This relationship deeply informed Johnson’s engagement with Indigenous knowledge systems and Country. Thanks Tim. We hope you enjoy this episode. 

Send us Fan Mail With a practice that integrates sculpture, moving image, performance and painting, Sydney based artist Todd Fuller is, at his core, a draughtsman. Underpinning all aspects of his practice is a love of drawing and a belief in its power as a democratic medium to connect, engage and delight audiences.  For ten years, Fuller has been crafting hand-drawn animations that grapple with love and loss, as well as ideas of place, identity and community. Often narrative in form, these award winning works are derived from Fuller’s experiences with different communities, sites and histories. He has been awarded a number of residencies that have informed and developed his practice, including time spent at Bundanon Trust, Hill End, Grafton Regional Art Gallery, as well as international stints at the Cite Internationale des Arts in Paris, the British School of Rome, and recently the NG Creative Residency in Provence. A graduate of Sydney’s National Art School, Fuller has exhibited widely across Australia over the last ten years. He was a finalist in the 2019 Sir John Sulman Prize, won the prestigious Jacaranda Acquisitive Drawing Award in 2018, and his work is present in various public and private Australian collections, including the Parliament House Art Collection, Artbank, Sydney Harbour Trust, and numerous regional art galleries. Alongside his national success, Fuller has gained international attention, with his works in exhibitions in the United States, Italy, France, South Korea, Bangladesh, England, Singapore and Malta. Fuller’s practice extends into curatorship and arts production, having held roles with Waverley Council, Biennale of Sydney, Sculpture in the Vineyards and d/Lux Media Arts. The areas under investigation within his curatorial practice overlap with his artistic output. Just Draw, the 2016 exhibition Fuller curated with Lisa Woolfe, which toured regional galleries, showcased artworks that exemplified the varied nature of contemporary drawing practices, a subject close to Fuller’s heart. He is one half of interdisciplinary performance collective Flatline, and one third of the Hardenvale - our home in Absurdia touring initiative. Find out more from his website  https://www.toddfuller.com.au

Send us Fan Mail Sanne Mestrom’s sculptural practice explores the politics of the body and the shifting nature of value in the art world. Drawing on the female form, her work questions how art history and culture assign meaning and worth—values that are never fixed, but constantly evolving. By taking these ideas out of the gallery and into public space, Mestrom uses play and participation to challenge how we experience art and urban environments. Her large-scale, playable sculptures invite hands-on engagement, blurring the line between art and everyday life while activating public spaces intellectually, physically, and imaginatively across generations. Thanks Sanne, it was a pleasure to talk to you.  Sanné Mestrom Represented by Sullivan + Strumpf, Sydney Lectures at Sydney College of the Arts, University of Sydney Australian Research Council Fellow ART/PLAY/RISK

Send us Fan Mail Join Australian abstract artist Gene A’Hern, winner of the 2025 Sir John Sulman Prize, for a laid-back conversation about colour, atmosphere and the feeling of landscape. Gene talks openly about his process, working on instinct, and what it’s like to be recognised on one of Australia’s biggest art stages. It’s an easy, thoughtful chat about memory, place and how those ideas turn into bold, expressive abstract paintings.  We recorded the epiosde at the end of 2025 in his studio in Emu Plains.  Thanks Gene, we loved talking to you and seeing your work in the studio!  Gene is represented by Cassandra Bird in Sydney and Simchowitz Gallery, LA, USA

Send us Fan Mail In this episode of Artwank, we visit Bundanon to discuss the current exhibition, 'The Hidden Line The Art of the Boyd Women', with curator Sophie O’Brien. The exhibition brings attention to the women of the Boyd family (Arthur Boyd was a celebrated Australian artist, leaving his home, the Bundanon estate, to support the arts) and their role in Australian art and cultural life. While the Boyd name is often associated with male artists, this show focuses on the work, lives and influence of the women who shaped the legacy in ways that have often been overlooked. Sophie O’Brien joins us to talk through the curatorial process behind the exhibition. She reflects on how the project developed, how works and archival materials were selected, and the challenges of representing multiple generations of women across different creative practices. The conversation explores what it means to reframe established art histories and how institutions like Bundanon can open space for stories that have not always been centred. Sophie O’Brien is a curator at Bundanon where she works across exhibitions, collections and research. She has held roles at major public institutions and has worked on a wide range of projects spanning historical and contemporary art. Her practice is grounded in close engagement with artists, archives and place, with a focus on bringing new perspectives to existing collections. This episode looks at the labour of curating, the gaps that still exist in art history and how exhibitions like The Boyd Women can shift public understanding of legacy, authorship and recognition. It is a conversation about process, responsibility and the ongoing work of making space for women within cultural narratives. Thanks for chatting to us Sophie Recorded November 2025 Exhibition on until 15th February 2026 'The Hidden Line: Art of the Boyd Women repositions the creative practices of five generations of women from one of Australia’s most prominent artistic dynasties. Showcasing more than 300 powerful and diverse works, this timely exhibition brings into focus the women of the Boyd family – artists, designers, writers, and creative collaborators – whose contributions have long been influential yet overshadowed by their celebrated male counterparts. Revealing a remarkable matrilineal line of artistic practices, the exhibition will present works by Emma Minnie a’Beckett Boyd, Lady Mary Nolan, Yvonne Boyd, Lucy Boyd Beck, Hermia Boyd and their descendents still practicing today including Lucy Boyd, Polly Boyd, Florence Boyd Williams and Ellen Boyd Green. Drawn largely from the Bundanon Collection, with key loans from the National Gallery of Australia, the National Gallery of Victoria, the National Library, and Heide Museum of Modern Art, the exhibition spans pain

Send us Fan Mail Today we’re bringing you a special bonus episode of Art Wank to celebrate the graduation exhibition of our very own co-host, Fiona Verity. Fiona has been knee-deep in her studies, working tirelessly to create an incredible body of work, and you can see it on display tonight at the National Art School BFA Graduation Exhibition — Thursday, 4 December from 6pm. Get yourself down there and take in everything that’s on show.  Julie spoke to Fiona about the development of her drawing practice over her three years at NAS, how it has steadied her, focused her work, and made it quieter. Fiona talks about how much she used the NAS library, especially the drawing section, where she believes she may have borrowed more books than any other student! She also reflects on the importance of peer support and peer learning at the National Art School, and how it shapes and extends your work. Fiona has dedicated her degree show to her stepmother, who passed away earlier this year. Her grief has been worked through print, stitch, paint, and drawing based on her stepmother’s garden. Fiona was also chosen as a finalist in the Kedumba drawing Award 2025! We are very proud of you Fiona, cant wait to see what you do next!  

Send us Fan Mail Zoe Young is an Australian painter whose work spans still life, portraiture and abstraction. She studied at the National Art School in Sydney and earned her BFA in 2012.  Zoe currently has a show on at Sophie Gannon Gallery in Melbourne until 13th Dec 2025. In our conversation with Zoe, she spoke openly about the unusual path she took into the art world and how that path shaped the way she works today. She described leaving the National Art School twice, once as a young student who felt unready for the demands of formal training and again when life pulled her toward the buzz of the 2000 Sydney Olympics.  Young grew up between Sydney, rural New South Wales and alpine-region settings, spending part of her childhood in a ski lodge on the edge of the Kosciuszko National Park.  In her paintings Young often applies sculptural thinking (she studied sculpture at NAS), she sees canvas as form, composing her subjects with an awareness of planes, space, and structural balance. Her still lifes might show commonplace items, her portraits draw out character and story, and her abstractions explore shape, light, and composition. Her work has earned recognition: she won the Portia Geach Memorial Award in 2018 for a portrait titled Drawing Storyboards (of film director Bruce Beresford), chosen from hundreds of entries across the nation. More broadly she has exhibited in solo and group shows throughout Australia and had a solo exhibition titled “STILL.LIFE.” in Los Angeles.  Zoe is represented by Sophie Gannon Gallery in Melbourne and Phillip Bacon in Brisbane. 

Send us Fan Mail We interviewed Harrie Fasher, sculptor and artist, at her large studio in Portland NSW in November 2025. She is a permanent artist in residence at The Foundations in Portland and has built a bronze foundry and sculpture studio over many years. She has a deep interest in animals, especially horses, and her work shows a strong understanding of their bodies and movement. Harrie spoke about her daily practice and the way she shapes each piece through drawing and metal work. Her studio holds many works in progress and shows the many stages of her process, from first sketches to full metal forms. Her role at The Foundations supports the growth of the arts site and also gives her space to pursue long term projects. The foundry allows her to cast works on site and gives her full control of each stage. She works with a small team and often teaches others about casting and metal work. Harrie described her bond with horses as central to her thinking. Her works show the frame and gesture of the animal and invite viewers to see how bodies move through space. Thanks Harrie, it was wonderful meeting you and seeing your work in the studio. Harrie is represented by King Street Gallery in Sydney and Australian Galleries in Melbourne. 29 November 2025 – 22 February 2026  Orange Regional Gallery 'Harrie Fasher: Before Dawn is a major solo exhibition featuring monumental bronze and concrete sculptures. This exhibition represents a pivotal moment in Fasher’s career, consolidating a decade of artistic and technical research at an ambitious scale. ‘Before Dawn’ explores resilience and transformation through material contrasts – weight against fragility, rawness against refinement. Harrie Fasher is assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.'

Send us Fan Mail This week Art Wank met Rhonda Davis, Curator of Macquarie University Gallery, and Kon Gouriotis, curator and editor of Artist Profile magazine. They recently curated an exhibition at Macquarie Gallery titled Australian Abstraction. We spoke with them about their thinking behind the exhibition, how they chose the artists involved, and the Macqaurie university Art Collection.  'The Australian Abstraction exhibition series continues its exploration of the evolving nature of abstraction within the Australian context. This second stage retraces the diversity, episodic developments, and layered narratives that have shaped abstraction as an enduring force in Australian art. What began as an international movement has been reconfigured and transformed by artists working within the unique socio-political, cultural, and environmental conditions of this country. Sophie Cape, Julia Davis & Lisa Jones in collaboration, Helen Eager, Louise Forthun, Dale Frank, Michael Goss, Gary Gregg, Sean Hogan, Michael Johnson, Kirtika Kain, Donald Laycock, Ian Milliss, Kyle Murrell, NOT, Louise Olsen, Ana Pollak, Jeannette Siebols, Aida Tomescu, Savanhdary Vongpoothorn and Chris Wise Curated by Rhonda Davis and Kon Gouriotis' About the collection at Macquarie University -  'Our collection adorns the entire campus with artwork on display in the library, the faculties, the hospital, the clinics, and the administration buildings, where staff, students and visitors collectively encounter art as part of the everyday life of Macquarie’s expansive campus. The paintings and sculptures add robust vitality, freshness and bursts of colour to the physical environment of the campus − its visual presence is certainly much felt, discussed and enjoyed.'