Nicola Moss_2017_Youkobo_Photographed by Bozzo

Nicola Moss at HOTA

Nicola Moss is an Australian artist based on the Gold Coast. Her works explore the value of healthy environment to communities and individuals, with a focus on the sense of well-being, contact with green space, can provide in our everyday lives. Recently represented by Onespace Gallery, Moss presents her first solo exhibition in her home town, Breathing in Trees, at the Gold Coast’s Home of the Arts (HOTA) from October 20 until November 25, 2018.

During residency at Youkobo Art Space Tokyo in 2017, Moss researched the green spaces of Tokyo’s densely populated metropolis. Plants observed in the ground – street trees, parks, home gardens – are heavily pruned and structured almost like architecture. In contrast, local streets revealed personalised pot plant collections, gathered on doorsteps and hanging from window grills. Moss explains: “To my eye these organic accumulations of green appear ‘wild’, yet contained without roots in the ground. The expression of individuality and freedom in these mini environments, cobbled from containers of previous use and recycled materials, intrigued me.”

Breathing in Trees presents a contrast between Suginami City and the Gold Coast – similar populations but vastly different geographical sizes. This exhibition presented Moss with the opportunity to explore the influence of green spaces in generating social cohesion and liveability of built environments.

Nicolal Moss_Tokyo wild - Tree in hand_2018_Photo Carl Warner

Image: Nicola Moss | Tokyo wild – Tree in Hand, 2018, Assorted papers, synthetic polymer paint, collagraph and relief prints, charcoal frottage, oil crayon, ink, ochre, watercolour and matt varnish on stretched linen. 150 x 200cm. Photo: Carl Warner – Courtesy of the artist and Onespace Gallery.

Onespace Onsite Project #3 – Debbie Taylor (Worley) & Di Hall

Onespace was 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 acted as a platform for practitioner and community engagement, as well as an opportunity to investigate installation in the space. A closing event was hosted on Friday 27 July, 2018 where both artists presented a full installation of their works throughout both gallery spaces. Both artists discussed their works, their Onsite Project experience and the impact it has had on their practice.

Listen to the full chat below:


The works created onsite were as follows:


Before Gavrinis #I  #II  #III
Mixed medium on raw canvas

Based on petroglyph (ROCK CARVING) design from the Gavrinis Orthostats in France, aged at approximately   6,000BCE. These carved megalithic rocks formed a long narrow corridor to an underground women’s ceremonial space. It formed a temple where the divine feminine was worshipped. The interesting thing about this design is that it is eerily similar to the motifs used by Central desert Indigenous women in their depictions of women’s business. Therefore, we have this connection between 8000-year-old European art and contemporary Papunya art which is based on a 60,000-year-old tradition, with the same motif!

Maid, Mother, Crone
White, red and dark raku, glaze

Prior to the sexualisation of the Goddess, she was represented in each of these archetypes.
The Maid: white to represent life and death (understood to be the same, as death is just a transition to a new life)
The Mother: red to represent the time of fertility (her blood time)
The Crone: black, to represent wisdom, particularly that of the powers to be harnessed from the earth. The sacred bird (the holder of wisdom) emerged as this piece was being constructed.


This is 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.

Sugar Coated
This work functions as a metaphor  for sugar coating government policies which were said to protect Aboriginal people but were actually just a form of government control. The toffee dampers suspended from the ceiling are sweet and alluring but have an insidious nature. The toffee dampers drip onto the flour dampers which was a staple food made out of the flour rations.

1 pound 2- 1/2 ounce
1 pound of flour, 2 ounces of sugar and half an ounce of tea was the daily amount of rations that was distributed weekly. These rations also became a source of payment for labour by Aboriginal people.

Distribution of the rations was on the full moon. Blankets were distributed once a year on the Queen’s Birthday. The blankets were away for the ‘Police of Aborigines’ to keep track of any unruly Aboriginals on the colonial frontier, they were also used as a form of reward and punishment. Many Aboriginals were brutally punished for losing their blankets.


Photo: Andrew Willis


Onespace at CIAF 2018


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.


View what was on display at CIAF online.


Photo (left to right): Tom Mosby, Elisa Jane Carmichael, His Excellency the Honourable Paul de Jersey AC, Leanne Enoch and Henrietta Fourmile-Marrie



ONExchange | Benjamin Werner and Ian Smith In Conversation

On Friday 8 June, Onespace Gallery held a ONExchange conversation between exhibiting artist Benjamin Werner and special guest Ian Smith. The pair discussed the influences, processes and experiences behind Ben’s current body of work, Night Blooms.


Listen to the full discussion below:

Photo Funky Munky

Photo: Funky Munky

Sebastian Di Mauro, Welcome Mat Desire

Onespace Stockroom Sale – June 2018

We are excited to announce that after our first 18 months of programming some terrific exhibitions by Australian artists, we are offering discounts on available works from our Stockroom and 2017 Afterimage Editions Print Collection from Wednesday, 13 June until Saturday, 30 June 2018.

SELECTED ARTISTS Include: Michael Boiyool Anning; James and Eleanor Avery; Kylie Bickle; Renata Buziak; Elisa Jane Carmichael; Sebastian Di Mauro; Georgina Hooper; Lucy Irvine; Jennifer Marchant; Sebastian Moody; Zoe Porter; Brian Robinson; Jackie Ryan; Daniel Templeman; Matthew Tobin; Samuel Tupou; and Daniel Wallwork.

Please view the Available Works on our website, where you can filter artworks by Artist and/or price range. We also hold a variety of works onsite that can be viewed by appointment.

 Works $500 – $5,000 are discounted by 10%
• Works over $5,000 are discounted by 15%

SELECTED ARTISTS Include: Shara Delaney; Fintan Magee; Deb Mostert; Matthew Newkirk; Lix North; Mandy Ridley; Elysha Rei; Benjamin Werner; and Jay Younger.

Please view the full range available at Afterimage Editions – 2017 Collection

• Unframed prints ($295) are now discounted to $250
(Please allow 5 working days for printing)
• Framed prints ($500) are now discounted to $450
(Please allow 10 working days for printing and framing)

Onespace Gallery now offers Art Money as a payment option for artworks priced from $750 to $50,000. After paying a 10% deposit, you can take your artwork home and pay the remaining balance over 9 months, interest free.

If you own a small business, you may be eligible to write-off up to $20,000 ex-GST on tax for artwork purchased to display in your workspace. We recommended seeking advice from your accountant, tax agent, or financial adviser today for advice on taking advantage of this great opportunity by 30 June 2018.

To enquire about an artwork or request a Collector Information Sheet, please contact us by email at or by phone at (07) 3846 0642 / 0418 880 583

Image: Sebastian Di Mauro, Welcome Mat (Desire) from the Afterimage Editions 2017 Collection, Digital print on 308gsm 100% cotton paper,
paper size 68cm x 48cm, Edition 20 (1-20 available). Image courtesy of the artist and Onespace Gallery.

Elixir Exhibition Opening LR-16

ONExchange | Brian Robinson and Virginia Rigney In Conversation

On Friday 13 March, Onespace Gallery hosted a vibrant ONExchange conversation between exhibiting artist Brian Robinson and Virginia Rigney. Virginia engaged Brian in a discussion about his extensive and prolific art practice and his recent body of work and solo exhibition, Elixir – blended cosmologies.

Listen to the full discussion below:


Elixir Exhibition Opening LR-4

Photos: Louis Lim


ONExchange | Leigh Schoenheimer and Julie Seidel In Conversation

On Saturday 10 March, Onespace Gallery hosted its third ONExchange conversation with Leigh Schoenheimer and special guest Julie Seidel.
Julie Seidel is a long term educator and former colleague of Leigh’s at St Peter’s College, Julie discussed the progression of Leigh’s practice and her recent body of work, Iterate | Elaborate, including a ‘glowing’ experimental installation that couldn’t be missed.


Listen to the full discussion below:




Photos: Funky Munky

Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete's Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

Brian Robinson, The Parade of Nations – Charting our place in the universe

Onespace Gallery and CREATIVEMOVE are immensely proud to work with the amazing Brian Robinson and the Jack Morton Worldwide team on the artwork design for the Parade Track for the Opening Ceremony of the XXI Commonwealth Games.

As Brian Robinson explains, Charting our place in the universe, is a large chart full of marine life and tales from the seven seas, tells an epic narrative that was developed for the 2018 Commonwealth Games on the Gold Coast. The narrative encompasses the entire universe, both fact and fantasy, and starts with the creation of the pale blue sphere we call earth.

Our story begins in the islands of the Torres Strait. Like the astronomers of antiquity, the Islanders also looked towards the heavens for advice, only to be confronted with stars in the thousands that shone down upon them out of the blackness of the night sky — the blackness that is space. The stars appeared to be scattered haphazardly about in every direction and therefore appeared to be somewhat confusing, but after star-gazing for a while, their eyes could soon make sense of their apparent chaos.

Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete's Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

Brian Robinson, The Parade of Nations (Charting our place in the universe), 2018, Athlete’s Parade Track, digital print on vinyl, Carrara Stadium. Photo: Courtesy of the artist and CREATIVEMOVE.

These same stars that mark out the heavens are also navigational and environmental markers. Just as importantly, they are a source of artistic inspiration for visual, written and oral material culture for both indigenous and non-indigenous people and have been since the dawn of humankind. Through their connection to the land, the sea, and the sky, the Islanders of Torres Strait have been able to predict major social and seasonal changes to their environment, which is an essential part of the education of young children through storytelling. These lessons are interwoven through spiritual beliefs, songs, dances and stories.

It was our distant ancestors, both black and white, who, seeing much the same skies as we do today, named most of the constellations and identified them with the heroic, the beautiful, the fantastic and the monstrous characters that feature in epic myths and legends. These legends have been handed down through the generations — legends like the Great Bear, Ursa Major, a prominent star cluster in the northern hemisphere and known to Torres Strait Islanders also as Baidam, the shark, the bringer of the monsoons that provide the regeneration of food crops and plants.

Navigation is another concept touched upon as you traverse the track, as humankind sets out to discover and explore new lands, territories and the unknown with supplies for barter and trade such as cowrie shells, which functioned as money in times gone by and were also used as ornaments and charms the world over. Ancient stick charts, sextons, compasses, compass points and a multitude of sea life all find their place hidden among traditional designs from the Torres Strait known as minaral, the incessant patterning that ripples and swirls about, engulfing the negative space and often running off the edge of the artwork. It seems to go on forever, filling all the spaces of the world.

This patterning represents the environment — the seas, the stars and the cloud forms — and the spirit connection called kaidaral, the spirit that creates ripple patterns on the surface of the water. This effect also emphasises the importance of an orderly system representing the complete world, full of wisdom and mythology, where all its parts and motifs are contained, having their time, space, and place.

Charting our place in the universe has been approached using a broad intellectual brush and a complementary palette that references Oceanic design reminiscent of the contemporary Pacific. Innovations in form propel the work deep into the territory of contemporary art, as old and new motifs and mark-making transform the lived experience into a series of compelling graphical iconographies. Emboldened by a hybrid conception of the world, the work is layered with historical narrative that is intertwined with personal history and humour, where iconic and popular sources from global culture are co-opted into the spirit world of the Islander imagination.

The way to the future is through a conception of routes — rather than borders — charting the physical, psychological and magical geographies of contemporary culture, identity and place. What is common, or universal, to all cultures and times is the essential human need for heroes, for sagas and the desire to hear or tell a captivating story, better yet with a toe in the water.

Brian would like to respectfully acknowledge the Traditional Custodians of the Gold Coast region, the Yugambeh people, and the Traditional Custodians of other participating cities of Brisbane, Cairns and Townsville. Brian would also like to thank his wife Tanya and their children Amber, Raidon and Leonardo; Jack Morton Worldwide; Master Printmaker Theo Tremblay and Rebis Press High Scan.

Brian Robinson carving the track design lino block. Photo: Hamish Rutherford for Jack Morton Worldwide.

Brian Robinson carving the track design lino block. Photo: Hamish Rutherford for Jack Morton Worldwide.