EXHIBITION DATES: 17 April – 13 June, 2026
OFFICIAL OPENING: Friday 17 April, 6pm
COST: Free
Exhibiting Artists
- Jacqueline Bradley
- Rosalind Lemoh
- Merryn Lloyd
- Dionisia Salas
Details
Pigment, Powder, Wax, Sand is an exhibition born from kinship, friendship, and years of shared dialogue. It is not the culmination of a singular curatorial premise but a constellation, a coming-together of practices that have long run in parallel. Each holds its own force, yet in a shared space they begin to hum, echo, and mirror one another in quiet, material ways. Since 2019, the artists have met to talk through their work, ask questions and hold space for one another. In many ways, this exhibition reflects that space. It is less a group show than a shared site: a place to let works, ideas and vulnerabilities sit beside one another, to see what emerges when they are in conversation.
About the Artists
Jacqueline Bradley is an artist concerned with bodily relationships to the outdoors. She investigates the ways human and non-human systems come together to create this imagined site – an outdoors – a construct that is permeable and flimsy but filled with expectations, mythologies, and growth.
Bradley has exhibited and collaborated with artists and curators in Australia and internationally, and worked with national parks staff and landscape architects on projects regarding performance in the landscape in Canada and Australia. In recent years, she has developed projects for the National Portrait Gallery, the Drill Hall Gallery and the South Australian touring exhibition I’m a feminist, but… In early 2019 Jacqueline was funded by Arts ACT and the Australian Embassy in Washington to exhibit works from her PhD series Am I doing this right? and to develop and construct a large artwork on at the Embassy Gallery in Washington. Her work was discussed in multiple publications, including Columbia Universities Climates: Architecture and the Planetary Imaginary, and in 2022 she completed a residency at the Canberra Glassworks, culminating in her solo show, the tender. She has continued to develop both conceptual and material leads from this residency, recently shown in Sydney at Minerva gallery, in South Australia at Post Office projects as well as in Contour 556, Canberra’s Public Art Biennial.
Rosalind Lemoh creates sculptural objects, assemblage, light and text-based works that range from miniature to large public works. Replicating parts of the body, fruits, vegetables and found objects using highly detailed silicone rubber moulds, Lemoh skilfully casts new forms in concrete, bronze and aluminium. Life-like casts such as concrete marrow bones and dead magpies conjure sombre meditations, that are drawn from a preoccupation with the still-life genre. Her works are gritty and polished, often referencing industrial environments or the feast and strongly influenced by Arte de Povera and Confessional Art.
She has exhibited nationally and internationally, and has been recognised through awards and finalist selections such as the Robert Foster Memorial Award, STILL 2025 finalist, Blake Prize finalist (2008, 2018), Woollahra Small Sculpture Prize finalist (2008) and the Royal Bank of Scotland Art Award finalist (2009). In 2023 -2024, Rosalind was selected as artist in residence at Canberra Glassworks and held a solo exhibition which marked the inclusion of glass into her work. In 2025, she was selected as an Artist in Residence at Bundanon and presented a solo exhibition of new works at Canberra Contemporary lakeside gallery focusing on African diaspora and cultural memory. Her work is held in public and private collections in Australia and the UK.
Merryn Lloyd ‘s works emerge from process, and it’s the investigation into this invisible part of making that drives her practice. Merryn is methodical in the studio and sets up ways of making, letting the artwork unfold within that methodology. Her paintings are made from familiar materials and are intimate in scale. They search around themselves for space, form, expression and associations with everyday life.
Merryn graduated from a Bachelor of Visual Art (Painting) at Monash University (2008). She has held solo exhibitions in Melbourne at Caves, Daine Singer and Utopian Slumps; in Canberra at Tributary Projects; and in New Zealand at Paulnache (2016). Her work has been shown in group exhibitions in Melbourne, Sydney and Canberra at Tiles Lewisham, Lon Gallery, Conners Conners, Mornington Peninsula Regional Gallery, ANCA, Artbank Sydney, Town Hall Gallery, West Space, TCB, c3, Utopian Slumps, Kings ARI, Bundoora Homestead, Stockroom, Platform, Shepparton Art Museum, Seventh and The Narrows. Collaborative works by Merryn and Renee Cosgrave have been commissioned by La Trobe Art Institute, Incinerator Art Gallery and Monash University Museum of Art. Merryn was a member of the Donkey’s Tail (2008-2015), and completed a residency at Megalo Print Studio in 2018. Her work is held in the Artbank national collection and private collections in Melbourne, Canberra, Sydney, New Zealand and the USA.
Dionisia Salas explores in-between states of being, using the material tussle of painting to tap into areas of consciousness, subconsciousness and dream states; to play around in what is reality and what is imagined.
In 2025 she was part of Tender at Ngununggula, Bowral NSW, an exhibition celebrating the work of Australian Women Artists. In 2024-25, Dionisia held two major solo exhibitions Night Jar at NAP Contemporary, Mildura, VIC and Of mouth and mind at Goulburn Regional Art Gallery, Goulburn, NSW. In 2023 she was selected as a finalist in the Sir John Sulman Art Prize, and her work was exhibited at the Art Gallery of New South Wales. She has exhibited widely including in the critical and vibrant artist-run scene in both Berlin Germany and Throughout Australia. Her work is held in public and private collections in both Australia and Europe.