Disasters: volcanos, landslides, plane crashes, sink holes, the supernatural, the indescribable. Natural phenomena and tragedy are a part of our daily lives. We see them on the news and on the internet from a voyeuristic distance, or experience it first hand. Canberra artist Elena Papanikolakis’ exhibition Error Machine uses natural phenomenon found in the world of shared and collected images on the internet and print as a basis to explore abstraction, motion, energy, chaos, and fragility. Using paint as her main medium, but also looking at the possibilities of drawing and photography, she combines found imagery with her own abstract vision and talent to explore colour, space, texture, form and rhythm.


Photographs are a way of capturing and pinning down memories. We take photographs as aids for memory, but they in turn affect the way we remember. Kate Barker uses photographs as a basis for her paintings. By reinventing photographs through paint, Barker returns photographs’ coherent and informative remembrances into the disjointed, sometimes incoherent state of real human memory. Barker is a Canberra-based artist from Wagga Wagga, which was the focus of much of her previous work. With her exhibition A Matter of Time, Barker has turned her sights on Canberra, looking at the way in which places and people interact and imprint on each other.


Print by Numbers is an exhibition of 16 life-sized portraits by Daniel Savage. Working with an experimental photo process on plastic vinyl, Savage makes us question how and why we perceive people in different ways.

CCAS Program Manager and curator of Blaze Nine explains, “Often appearing as the central subject in his work, Daniel Savage makes photography, video and performance art that critiques society’s attitude toward gender, race, ability, sexuality, belief and the human body in it infinite variations”.

Print by Numbers will have audio descriptions, braille, and large print gallery sheets available upon request.


... all paintings employ an ingenious evocation of the name of the philosopher John Locke which is coherent and to the point. Aboriginal culture is an important influence upon the work as well as an embrace of a certain subjective wilfulness and I am very pleased with the subjectiveness of the work because in today's society there's far too much quasi objectivity, "logic", "common sense" etc. which is passed of as objectivity.

Artist's statement

James Rowell Rosetta Stone 2014 oil on board


Cleft is a collaborative exhibition between Tara Bromham and Louise Upshall that explores the body landscape and our human connections to the natural world. The works create a magical dream-like space, complete with delicate plant-dyed textiles and talismans for forest dwellers. Where writhing arms form collages of words describing pain and longing, and hybrid creatures dance across the walls.


The shifting aesthetics of China as it reimagines itself consume Hardy Lohse's exhibition Build It And they will Come. Lohse’s photographs capture a sense of optimism, visible even in the face of the deterioration of generations of history and tradition. Taken in the city of Datong, these photographs detail a city's struggle to reinvent itself from an industrial power house to a tourist haven.


The inversion of signs and signals in our lives has the potential to create great confusion. What if tomorrow a red traffic light meant “GO” rather than “STOP”? The world may not end but there would certainly be widespread confusion ! When the meaning that is associated with commonly known signs and signals is upset and reversed then there is the potential for disconnection, dislocation and chaos.

Oscar Capezio examines these themes in his exhibition The Signal Is The Message which examines the relationship between signals and the viewer. In describing the work for this exhibition, Oscar is cryptic. It is up to the audience through their own participation, to decipher the work as he states, “I want to say… exactly what I am trying to tell you”.


Quick fix is an immersive audio visual installation that looks at the effect of toxic materials on the natural environment.

An evolving video collage is created in the space using multiple projectors and screens. Fragments of cheap plastic household items smear across a large image of a constructed natural landscape. The work fluctuates between the ‘Quick Fix’ that these cheap materials suggest and the long term and irreversible damage that they cause to our delicate landscapes.


Historical medical and scientific instruments and devices are sources of great fascination. For Nat Randall it is the devices that were used to harness the power of orgone energy (or orgasmic energy) which have captured her imagination and become the focus of her first solo exhibition Afterglow.

Randall says “Afterglow is an experiment into how to capture and represent this acute yet impermanent state of mind”. Video, light and soft sculpture are all employed as Randall seeks to examine our bizarre relationships with the world and other people.


Turkey Beach is a silent, black-and-white, two-channel video installation. Channel one presents a dream-like journey into the everyday life of the inhabitants of Turkey Beach, a small coastal fishing village 50km southeast of Gladstone. Channel two features compelling and mesmerising footage of the large-scale infrastructure and industry situated in and around Gladstone Harbour. Turkey Beach is a visual poem exploring relationships between people and the environment. It is a sympathetic portrait of people and place.