Daniel O'Shane, Deger (Dugong), 2014, vinylcut print
Photo: Mick Richards

Media Release – From a Northern Canopy

On Friday, 25 August, Onespace Gallery, in collaboration with Canopy Art Centre (Canopy), Cairns, will launch the exhibition From a Northern Canopy, featuring work by artists Michael Boiyool Anning (Yidinji) and Daniel O’Shane (Kuku Yalanji, Miriam Mer, and Kulkagal). The exhibition celebrates these two exceptional Indigenous artists from Tropical North Queensland who were stand-out exhibitors with Canopy at this year’s Cairns Indigenous Art Fair (CIAF 2017).

From a Northern Canopy represents an exciting point of alignment between two artists at opposite ends of the professional spectrum, with one established and one emerging, who each utilise distinctly different artmaking processes.

This exhibition represents Anning’s first significant exhibition in Brisbane since 2009, a welcome return by this well-respected artist. His works are held in the collections of QAGOMA, Queensland Museum, and Cairns Regional Gallery among others. From a Northern Canopy is the first time O’Shane’s large, award-winning vinyl-cut prints have been shown in Brisbane. Among his achievements are being highly commended at the prestigious 2014 Telstra Aboriginal and Torres Strait Islander Art Award (purchased for their collection); receiving a special commendation at the 2014 Fremantle Print Award; being a finalist in the 2015 Telstra Art Award; being awarded the Grand Prize at the 2015 Silk Cut Award; and winning the 2016 Mornington Peninsula Regional Gallery National Works on Paper Award.

Both artists were outstanding presences at Canopy during CIAF 2017: O’Shane was the recipient of the Fair’s People’s Choice Award, while Anning made a strong return to the art world spotlight after a five-year hiatus.

Anning and O’Shane investigate similar themes of country, ancestral narratives, and the continuation of culture through their works. However, they accomplish these thematic goals through divergent artmaking practices—Anning through carved and bold ochre-painted shields and fire-makers and O’Shane through large and very detailed vinylcut prints.

Anning was one of the first Queensland Indigenous artists in recent years to revive the tradition of making two traditional rainforest artefacts: the Big-run (shields) that were once used as weapons by his people and the Nalan Gugal (firemakers) that were used to create precious flame in the wet tropics. O’Shane, on the other hand, represents an exciting new energy in the tropical north Queensland art world, as he is developing his own innovative minarr/warr (traditional patterning of the Torres Strait).

In the exhibition, the blocks and lines of geometric ochre colour in Anning’s work are met by the intricate black-and-white lines of O’Shane’s prints, though the latter sometimes includes fine fields of colour in his work. Both artists utilise repetition to create works predicated on absorbing figurative and abstract forms.

From a Northern Canopy also represents an exciting point of initial collaboration between Canopy Art Centre in Cairns, and Onespace Gallery in Brisbane. Canopy represents O’Shane, and was the site of Anning’s CIAF 2017 exhibition.

Canopy is a focal point of Indigenous and non-Indigenous art from Tropical North Queensland, and is dedicated to showcasing the varied works of local artistic practitioners. Administered by Master Printmaker Theo Tremblay and Paloma Ramos, Canopy fulfils a variety of educational and presentation roles. It is also home to Editions Tremblay Print Workshop, which provides a space for expert education on various printmaking techniques.

Please join us for opening night drinks on Friday, 25 August, from 6–8pm.

view exhibition

Brian Robinson, Ocean Guardian, 2017. Photo-Luis Lim_5

Brian Robinson’s Ocean Guardian glides into New York


Australia: Defending the Ocean
United Nations Headquarters, New York City, USA
5 – 30 June 2017

Cairns Indigenous Art Fair 2017
Cairns, Australia
14 – 16 July 2017

Australia: Defending the Ocean
Kluge-Ruhe Aboriginal Art Collection, University of Virginia, Charlottesville, USA
17 July 2017 – 10 January 2018

Onespace Gallery is delighted to announce that following on from the very successful exhibition, Australia: Defending the Oceans at the Heart of Aboriginal & Torres Strait Islander Art, at the Oceanographic Museum of Monaco in 2016, Brian Robinson’s Ocean Guardian and latest ocean-themed linocut prints will feature alongside Pormpuraaw ghost-net sculptures at the United Nations (UN) Headquarters in New York from 5 – 30 June 2017.

The UN exhibition, titled Australia: Defending the Ocean, is managed by Stéphane Jacob, director of Arts d’Australie • Stéphane Jacob, Paris, France and the project’s Senior Curator, in co-ordination with Suzanne O’Connell of the Suzanne O’Connell Gallery in Brisbane. It is supported by the Ministry for the Arts, Department of Foreign Affairs & Trade (DFAT) and Brian Robinson’s participation is specifically supported by the Australia Council for the Arts. DFAT is holding an official launch function for Australia: Defending the Ocean at the UN Headquarters on 8 June 2017.

Ocean Guardian features Robinson’s hand-carved designs on the stingray’s back called “minaral” that he states are, “the distinctive graphic traditional patterning of the Torres Strait” that “loosely conforms to a combination of rhythmic attributes full of liveliness and shimmering movement”. The sculpture was fabricated in cast aluminium by Urban Art Projects (Australia) in Brisbane and its presentation in New York has been assisted by UAP’s highly enthusiastic New York team.

Brian Robinson, Ocean Guardian. Photo: Louis Lim

Brian Robinson, Ocean Guardian (detail), 2017. Photo: Louis Lim. Courtesy Onespace Gallery & the UAP Collection.

Through his editioned sculpture, Robinson “relays the creation story of the Great Barrier Reef Gunya and the Sacred Fish as told by Gimuy Walabura Yidinji elder Gudju Gudju (Seith) Fourmile in the recent documentary David Attenborough’s Great Barrier Reef“. The story of the stingray connects with Robinson’s Aboriginal heritage as well because this animal is one of his family’s Indigenous totems from the white sand dunes of Shelburne Bay, Eastern Cape York Peninsula (the Wuthathi people). Robinson acknowledges the local mythic importance of this graceful creature in the work.

The exhibition will remain at the United Nations Headquarters until the end of June when the artworks will then travel to the University of Virginia, where it will be exhibited through the sponsorship of the Kluge-Ruhe Aboriginal Art Collection from 17  July 2017 to 10 January 2018.

Parallel to this Virginia showing, Onespace Gallery is also presenting Robinson’ Ocean Guardian for the Gallery’s first ever participation in the Cairns Indigenous Art Fair  in mid-July (14-16 July 2017), where we will be including two related new linocut prints – Reef Guardian 1 and Feeding the family pets alongside Charms to defeat the kracken (2015), an existing work on this topic. The concept for Robinson’s Reef Guardian 1 evokes the cultural interests that inform the northern part of Australia by developing the narrative of the totemic green sea turtle. In drawing together a human guardian figure and a sea turtle, this image promotes the spirit world as a guardian of the reef and the world of the sea.

In recent weeks, Robinson has won the Major Award ($15,000) in the Hazelhurst Art on Paper Award and has had his artwork included in the 3rd National Indigenous Art Triennial (Defying Empire) at the National Gallery of Australia. Shortly after returning home to Cairns from Canberra, Brian flew to New York City, where Ocean Guardian and the three prints were waiting to be part of an exhibition that coincides with The Ocean Conference (5-9 June 2017) held at the United Nations Headquarters.

It has been a very exciting year for Brian Robinson to date and we are sure that we will have further updates before 2017 is out!

Special thanks to: Arts d’Australie • Stéphane Jacob; Suzanne O’Connell Gallery; UAP Australia and UAP New York; Pormpuraaw Art and Culture Centre: Kluge-Ruhe Aboriginal Art Collection team in Virginia and the Cairns Indigenous Art Fair team; Ministry for the Arts, Department of Foreign Affairs & Trade; and the Australia Council for the Arts.

Brian Robinson, Ocean Guardian, 2017. Photo: Louis Lim

Kylie Bickle, 'Code Series No.2', 2017, Heat-formed paper, painted and foiled. 24 x 33 x 1.5cm (unframed).

Torque & Crease: art of the fold – Opened by guest speaker Claire Sourgnes, CEO of artisan

We would like to thank our fantastic guest speaker Claire Sourgnes, CEO of artisan again for officially opening ‘Torque & Crease: art of the fold’ featuring new works Kylie Bickle, Jennifer Marchant and Matthew Tobin last Friday evening. For those who couldn’t attend the opening night – see Claire’s fantastic speech about the current exhibition below:

Torque & Crease: art of the fold

I’d like to start by acknowledging the Turrbul and Jagera People as the Traditional Custodians of the land on which we gather. I pay my respects to Elders past, present and emerging, and acknowledge the unique role they play in the life of this region. I also extend respect to all Aboriginal and Torres Strait Islander people here today.

I’m thrilled to have been invited here this evening to open this exhibition of work by Kylie Bickle, Jennifer Marchant, and Matthew Tobin, Torque & Crease: Art of the Fold. 

Having taught Japanese papermaking at the Australian National University many moons ago, I am always interested to see paper pushed to it limits, not just as a substrate but as the dominant material. It’s amazing stuff: so simple and yet so adaptable. It can be twisted and creased, tensioned and stretched. It’s so resilient and enduring—not dissimilar to visual artists!

The interplay between complexity and simplicity is at the heart of these works. I see this in the forms and structures created, the choice of exhibition title, and even in the three arts practices represented. It’s interesting to note that in his work on complex adaptive systems known as plectics, Nobel Laureat in Physics Murray Gell-Mann identified a relationship between simplicity and complexity.

Please bear with me while I delve into a bit of etymology. The Indo-European root *plek- gives rise to the Latin verb plicare, to fold, which gives us simplex, literally once folded, from which our English word ‘simple’ derives. But *plek-, likewise, gives the Latin past participle plexus, which means braided or entwined, and which is responsible for the English word ‘complex’. In the same way that these two ubiquitous words are entwined in their root meaning, so too can this be seen in the arts practices of many artists. Arts practices are by no means linear; they fold and crease and bend. And they are often punctuated by an intertwining of multiple practices and interests.

There is a duality in the practices of the three artists exhibiting here tonight. All three work in the public art realm but also have a confirmed gallery practice that is integral to their design and public art worlds. It’s not easy being an artist. It requires tenacity, resilience, and an ability to toggle between researching, making, and surviving. I applaud the three of you for doing this so well. I would also like to acknowledge the challenging path of the art gallerist. I have seen first-hand that it is not the easiest of career paths. By providing gallery exhibition opportunities for artists, particularly those who ordinarily work on large sculptural projects, you are creating a space for an alternative relationship with their practice. Perhaps one that is more personal and intimate than what they achieve for the public realm, a space where the parameters and freedom of expression stem exclusively from the artists themselves.

So, it is my utmost pleasure to open Torque & Crease: Art of the Fold. I congratulate Onespace and the artists on a fabulous exhibition!

Claire Sourgnes, CEO of artisan
5 May 2017


Torque & Crease: art of the fold will be open at Onespace Gallery from 3 May – 10 June 2017. Drop in, or see the exhibition here

Image: Kylie Bickle, ‘Code Series No.2’, 2017, Heat-formed paper, painted and foiled. 24 x 33 x 1.5cm

Art Money Logo WEB

Art Money: a new way to buy art

We’re delighted to announce that Onespace Gallery is now offering Art Money: a new way to buy art.

Art Money makes owning art easier and more affordable. Payments are spread over 10 monthly instalments. After paying a minimum of 10% deposit, you can take your artwork home and pay the remaining balance of 9 months, interest free. Art Money is available from $675 to $50,000

For more information and to view our gallery listing, see https://www.artmoney.com/au/galleries/gallery/396

Hillary Green, Honey Brown, 2012, Photographic Print on Rag Pearl. Photo: Courtesy of the artist

Phil Brown: Top 5 Arts and Culture events in Brisbane this week: Hillary Green + Friends: Born to Be Alive | The Courier Mail


HILLARY Green is an amazing artist and photographer who can turn herself into just about anyone she wants … male or female.

But she’s had a few medical issues of late and the arts community has rallied around with a fundraising show to help her with her treatment. It will be held at the new Onespace gallery at Highgate Hill.

Gallery director John Stafford, a big-hearted bloke, has gathered other artists to help out and alongside some amazing works by Hillary Green there are pieces by Luke Roberts, Gerwyn Davies, Ray Cook, Sancintya Mohini Simpson and Kelly Morgan.

This photographic exhibition, curated by Jay Younger, is based on queer and mixed race agendas with a healthy dose of humour, style and absurdity.

Hillary Green says her photos of herself as other people are “questioning notions of authenticity and stability of self, while examining the relationship between representation and portrait photography”. It’s brilliant stuff. See for yourself.

Hillary Green + Friends: Born to Be Alive is on from this Wednesday until Saturday January 28 at Onespace gallery, 13a Gladstone Road, Highgate Hill. The gallery is open from 10am – 5pm Wednesday to Friday and on Saturdays from 9am — 3pm or by appointment; onespacegallery.com.au

Original story written by Phil Brown, published by The Courier Mail on 23 January 2017.

Image: Hillary Green, Honey Brown, 2012, Photographic Print on Rag Pearl. Photo: Courtesy of the artist


Phil Brown: Top 5 cultural events to do this week – Myth & Marvel | The Courier Mail


BRIAN Robinson is one of Australia’s most exciting contemporary artists and his first-ever solo show in Brisbane is a good chance to see what all the fuss is about.

Robinson’s work is now showing at the new Onespace gallery in Highgate Hill.

Robinson has a Torres Strait Islander background and his work is a cultural fusion. He draws on mythology from all over the world in this exhibition and combines that with Marvel superheroes. Cool huh?

“I draw on mythology worldwide and make parallels that cross different cultures,” Robinson explains.

“Objects and themes from Torres Strait myths are mixed with other well known narratives and legends like that of Noah’s ark”.

As for the Marvel cartoon connection, well Robinson reckons he’s “just a big kid really” and that kind of explains that.

These artworks are superbly created linocuts printed on paper with black ink although one is on fabric. They are amazing and Robinson’s reputation is growing and his work was recently part of a major exhibition in Monaco.

This is your chance to see and maybe buy one of his works before his career goes ballistic and puts him out of reach.

Brian Robinson: Myth & Marvel is on at Onespace Gallery, 13a Gladstone Road, Highgate Hill until December 24; onespacegallery.com.au

Original story written by Phil Brown, published by The Courier Mail on 19 December 2016
Image: Marc McCormack

Copyrighted image must credit Mick Richards on all uses.

Brian Robinson, Myth & Marvel | The Good Guide


Brian Robinson’s upcoming exhibition at ONESPACE gallery, in Brisbane’s West End opens Dec 1. Brian Robinson’s 2016 has been his most successful year yet, and this exhibition, MYTH & MARVEL is destined to be an electrifying finale.

Written by Bodhi Mary Hunter on 1 December 2016.

Originally published in The Good Guide WORD ON THE STREET #43 and eNewsletter #216.

Copyrighted image must credit Mick Richards on all uses.

Myth & Marvel (1-24 December 2016)

Media Release

Onespace’s second exhibition profiles recent work by celebrated Torres Strait Islander artist Brian Robinson. It is also Robinson’s first ever solo show in Brisbane.

Robinson’s exhibition, Myth & Marvel, a series of dramatic linocut prints, describes the unique cultural fusion in which he works. This lively and imaginative aesthetic has marked Robinson’s mature artistry, which combines mythology from all over the world with Marvel super heroes. It is compelling viewing, dark, exuberant and alive. Its undercurrent is suggestive that, in a period of division, peoples all over the world share more than they don’t. Eclectic sources render the power of popular culture a curious equal to that of the traditional legends that have defined us.

These linocuts combine his two dominant themes. In Lineage of Forefathers, a skull that refers to the head-hunting practices of his Torres Strait Islander ancestors is cradled in the hand of a Thor style superhero. In another, You will travel in a land of Marvels, cupid emerges from Torres Strait Islander patterns, looping the Superman motif to other stylised Marvel and DC symbols.

He says, “I draw on mythology worldwide and make parallels that cross different cultures. Objects and themes from Torres Strait myths are mixed with other well-known narratives, and legends like the Noah’s Ark and the great floods, Twenty Thousand Leagues Under the Sea and Adam and Eve. These works were made from 2011 to the present, and include new works that haven’t been seen outside of Cairns.”

Ever since he was a boy – sitting in a Catholic church, looking around at biblical narratives – an interest in the Western art historical tradition has driven his aesthetic explorations. Influences as varied as comics, toys and popular culture, are visible, combined through his, “weird and wonderful imagination… I’m just a big kid really”.

One of the most influential artists of his generation, important international recognition has come in 2016 with his spectacular Malu Githalayl (colourful patterned giant crabs) installed on the exterior of the Oceanographic Museum of Monaco as part of the major exhibition, Our AUSTRALIA: Defending the Oceans at the Heart of Aboriginal and Torres Strait Island Art (March-September 2016). Also in the world view is Robinson’s monumental six metre by eleven metre Citizens Gateway (currently under development), which will be at the heart of a project for the newly formed global social movement, Citizens of the Great Barrier Reef. To be sited on the Cairns Esplanade, this major public sculpture will acknowledge the cultural and environmental importance of the reef with a global audience.

It has been an electrifying finale to his stellar 2016. Robinson said, “It is a fantastic ride I must say – and the year hasn’t ended yet… more work to ponder, concoct and create.”

A constant in Robinson’s practice is an insistence on being seen as an artist (rather than an Indigenous artist). “I absorb from the entire spectrum of visual paraphernalia that the world offers.”

Myth & Marvel is the second exhibition since Onespace Gallery opened with institutional and commercial support and acclaim on 11 November 2016. CREATIVEMOVE has represented Brian Robinson since 2012 and is delighted to continue to support his innovative practice as both an exhibiting artist and in the public art realm. Directors John Stafford and Jodie Cox said, “There are other major international opportunities in the wings for Brian Robinson. We know already that he will have an even bigger 2017.”

Louise Martin-Chew for Onespace Gallery