PROJECTS, 2025

WORKSEXHIBITIONS
Written By Gracia & Louise
 

1/ Burning Inside: A print exchange folio and exhibition project, November, 2025 – March, 2026
2/ Reel: 2020–2025, an online viewing space, featuring variations of original works on paper and large scale collages in a different format: a continuous digital reel

 
 
 

1/ Gracia Haby & Louise Jennison
Because of our inertia
2025

Inkjet print on Canson Arches 88 310gsm
19 x 28 cm
Printed by Arten
Edition of 29, with 10 artists’ proofs

Created especially for Burning Inside: A print exchange folio and exhibition project, curated by Rona Green and Thomas A Middlemost

 
 
 

From Katherine Rundell’s book, The Golden Mole and Other Vanishing Treasure, foregrounding the magnificence around us which we risk losing before we’ve even began to understand, told through 22 species either endangered or containing a subspecies that is endangered, sprang our response to this year’s print exchange theme: Burning Inside. “So much can still be saved. It is the greatest task, now, of everyone alive: to keep it from the flames”[i]. As artists and wildlife carers, most of the magnificence around us which we encounter needs attention and care, and these actions are what fuels us.

We have learnt, and are learning, everything from the animals in our care, and in doing so, it has reawakened a way of seeing. Because ‘nature’ is not ‘out there’, but everywhere, everything, interconnected. Just as our care work and artwork is becoming indivisible, it is one. Multifaceted and glorious.

In the company of a glass negative echidna[ii], a Little lorikeet, and a Varied lorikeet[iii] with a bright red cap, we step up, to ensure the world remains “a body of unimaginable splendour [turning] on its axis, calling us to its aid”[iv].

[i] Katherine Rundell, The Golden Mole and Other Vanishing Treasure, London: Faber & Faber, 2023, p. 180.

[ii] From Walkabout magazine: original photographs and associated records, 1934–1974, Box 10, in the collection of State Library New South Wales.

[iii] A Little lorikeet and a Varied lorikeet as drawn by Silvestor Diggles, from the third volume of Ornithology of Australia, commences with Cacatua and ends with Strepsilas, ca. 1863–1875.

[iv] Katherine Rundell, The Golden Mole, p. 186.

 
 
●
 

Burning Inside

BECAUSE OF OUR INERTIA CREATED ESPECIALLY FOR BURNING INSIDE
FRIDAY 14TH OF NOVEMBER, 2025 – SATURDAY 14TH OF MARCH, 2026
AN EXHIBITION CURATED BY DR. THOMAS A. MIDDLEMOST AND RONA GREEN
LIBRARY, LEVEL 4, BUILDING 13, CHARLES STURT UNIVERSITY, WAGGA WAGGA CAMPUS, BOOROOMA STREET, WAGGA WAGGA, NSW

Burning Inside is a defiant, challenging print exchange portfolio and exhibition project created in response to the violent, chaotic, and incendiary times we face. Conceived by Rona Green and Dr. Thomas A. Middlemost in November 2023, the project brings together thirty artists whose works explore the emotional, political, and environmental dimensions of inner fire — whether personal, collective, or symbolic.

The exhibition showcases a diverse group of artists at various stages of their careers. Among the celebrated practitioners are Raymond Arnold, Kaye Green, and Michael Schlitz, all based in Lutruwita (Tasmania). Arnold’s screenprint reimagines an eighty-year-old work by French artist Maurice Albe, depicting mothers and children as casualties of war and violence. Kaye Green’s Huon Pine Bonsai lithograph with chine collé subtly weaves environmental advocacy, Japanese cultural aesthetics, and the traditions of lithography into a cohesive, contemplative piece. Schlitz, employing prized Nepalese paper and delicate woodcuts, presents a phoenix rising from flames — an enduring emblem of hope.

G.W. Bot, renowned for her virtuosic printmaking and sculpture, offers a linocut of an evocative gridded window motif that invites introspection. Master wood engraver Rosalind Atkins collaborates with the inimitable eX de Medici — together these artists invert familiar landscapes: the sea becomes a flaming sky, and trees float untethered. In Rona Green’s linocuts, animals emerge as radiant personalities, particularly Onyx, a prowling black cat symbolising Australians’ conflicting affection for, and disdain toward, felines throughout the land. Mezzotint specialist Greg Harrison contributes a richly detailed nocturnal seascape — crashing waves, acanthus borders, broken spears, mythic curiosities, and the faint hint of a lurking monster.

Not all participants are traditional printmakers. The aforementioned eX de Medici is a tattooist, watercolour artist, and photographer. Acclaimed painter Lucy Culliton, previously known for monotype prints of pigeons, now turns her attention to her own greyhounds — her compassion alight with empathy for the injustices endured by this breed. Elliott Fox channels his outrage into a striking thirteen-layer screenprint, also portraying a greyhound, while Hollie Moly’s vibrant, detailed screenprint doubles as an activist union poster — a direct, impassioned expression of anger toward a broken social system.

Also featured are compelling, distinctive works by Brendan Huntley, Juanita McLauchlan, Chris Orr, Patricia Agus, Kate Zizys, and Sarah McConnell. Their contributions encompass exuberant use of colour, personal revelation, intricate pattern, social commentary, and environmentalism. Through dynamic handling of concept and technique, they bring attention to subtle threads of an underlying sense of interconnectedness.

Tony Ameneiro, August Carpenter, Julian Laffan, and Dr. Middlemost approach arboreal and landscape imagery through a meditative lens. They all make use of a restrained palette combined with skilful mark making, invoking a feeling of primordial darkness — a state of quiet suspension. The natural world is manifest as a psychological space that may prefigure a future promising emergence from absence.

Further contributions by Gracia Haby & Louise Jennison, Christina Reid, Cathy Ronalds, Kevin Foley, Seraphina Martin, Aaron McLoughlin, Odin Strbac Low, and Vera Zulumovski, offer interpretations of the theme from wholly individual perspectives. Across various printmaking media, their images convey a burning desire to document accelerating species loss, mourn beloved animal companions, honour figures of personal or shared significance, and reflect on the inner mind.

Ultimately, Burning Inside, curated by Green and Middlemost, is an aspirational endeavour: a gathering of artists on different paths and at varying stages of practice, so that each may experience the work of the others. The portfolio extends an open invitation to engage with a broad and vital theme — through provocation, contemplation, shock, or hope. Every response is valid, and each print is exceptional.

The Charles Sturt University Art Collection is honoured to receive a gifted set of the twenty-eight limited edition prints from this project, generously donated by the participating artists. This acquisition ensures that these thoughtful, resonant works will be preserved and appreciated well into the future.

PATRICIA AGUS, TONY AMENEIRO, RAYMOND ARNOLD, ROSALIND ATKINS & EX DE MEDICI, G.W. BOT, AUGUST CARPENTER, LUCY CULLITON, KEVIN FOLEY, ELLIOTT FOX, KAYE GREEN, RONA GREEN, GRACIA HABY & LOUISE JENNISON, GREG HARRISON, BRENDAN HUNTLEY, JULIAN LAFFAN, SERAPHINA MARTIN, SARAH MCCONNELL, JUANITA MCLAUCHLAN, AARON MCLOUGHLIN, DR. THOMAS A. MIDDLEMOST, HOLLIE MOLY, CHRIS ORR, CHRISTINA REID, CATHY RONALDS, MICHAEL SCHLITZ, ODIN STRBAC LOW, KATE ZIZYS, VERA ZULUMOVSKI

Dr. Thomas A. Middlemost and Rona Green

 
 
ARTISTS' PRINT: BECAUSE OF OUR INERTIA
ARTISTS' PRINT: BECAUSE OF OUR INERTIA
$80.00
 
 
 
 
 
 

2/ Gracia Haby & Louise Jennison
Reel
2020–2025

An online viewing space, featuring variations of original works on paper and large scale collages in a different format: a continuous digital reel.

 
 
 

Launched in July 2020, Reel was our online viewing space, featuring variations of our original works on paper and large scale collages in a different format: a continuous digital reel. Created in 2020’s isolation, Reel, a second site, was a space, like a gallery, and not a gallery. A space where we could show you our work, up close. A .space with Greater gliders, and familiar faces.

Reel featured a continuous loop of imagery from our artists’ book set, A Hemline of Sky, Forest, and Water Through Smoke; our exhibition, Ripples in the Open; our artists’ book, Paw Pad Path; our exhibition; Looped, and suite of prints,Through a Glass Eye.

It ran for 5 years, and was officially retired in July 2025.

We invite you to spool through the archives to obtain a sense of what was. (Please note, in this archived guise, the sense of the continuous is somewhat lost, as you are taken back to the start, rather than held in intended eternal cycle.)

 
 
 
 
Gracia & Louise

http://gracialouise.com
Previous

A FLEETING SENSE OF
Next

RESTORING CORRIDORS, TAKEN UP AGAIN