John Foubister: Moment to Moment

December 4, 2025 - February 1, 2026

Opening launch December 4 at 6-8pm

Guest Opening Speaker - Andrew Purvis, Director, Adelaide Central Gallery

 This is an exhibition of recently completed paintings developed mostly through an intuitive process. I continue to make images that attempt to achieve a reconsidered representation of the natural world, which is underpinned by an interest in Animist belief systems. Also to create works that reflect my ongoing interest the limitations of human sensory capabilities, and the process by which my mind arrives at a sense of self, of the world, and of my place in it.

John Foubister  BIO 

John Foubister produces paintings and drawings developed from his interest in philosophy, the role of the imagination in creating realities, and from a love of nature. Recently he has been exploring the relationship between humanity and the natural world, with a particular interest in Animist belief systems.

John has held solo exhibitions in Adelaide, Sydney and Kuala Lumpur, and participated in group shows in Australia, Malaysia and Singapore.

While continuing to produce art works, he also maintained full time and part time paid employment. In the early 1990’s John was a technician at numerous galleries in Adelaide. For ten years in the 1990’s and 2000’s he was an Arts Worker for Community Bridging Services, working with people with disabilities. This included curating six exhibitions of their work, four being held at the Adelaide Festival Centre. John was an Arts Worker with Uniting Communities from 2010 to 2018, for three years working with people who were homeless, and for six years with people living with addiction. In 2023 he was employed by the Goolwa Community Centre, funded by a Richard Llewelyn Grant, as a mentor for an artist with disabilities, assisting her to produce art works for an exhibition that was held in the South Coast Regional Arts Centre.

John works from a home-based shed in Goolwa, South Australia on Ngarrindjeri and Ramindjeri land.

Carrie Radzevicius: Delicious Paradox

December 4, 2025 - February 1, 2026

Opening launch December 4 at 6-8pm

Guest Opening Speaker - Andrew Purvis, Director, Adelaide Central Gallery

A paradox is a concept that appears absurd or contradictory but may prove to be true. Ecologists Gunderson and Holling (2002) describe resilience as a ‘delicious paradox’, observing that the most resilient communities are those who achieve stability through a process of constant change and adaptation (43). They were pioneers in the discovery of adaptive resilience cycles, which attempt to explain how community recover after major changes.  These cycles comprise four stages: 1) exploitation; 2) conservation; 3) release, and; 4 reorganisation.  They are, essentially, cycles of construction/deconstruction, a ‘harmonious blending of perceived opposites’, where knowledge and memory allow for new pathways, solutions and outcomes that allow communities, organisms and networks to persist.

Delicious Paradox offers a real-time and visual application of Gunderson and Holling’s adaptive resilience theory, extending this observation of perceived opposites construction/deconstruction to science/art. Everyday household objects and sounds form, deconstruct and adapt in continuous cycles, representing not only our ability to manage change on a cellular level but also social, environmental and economic.  The result is a multi-sensory, immersive and limitless experience offers the viewer a new lens by which to consider the wider applications of resilience to everyday life.

Gunderson, LH & Holling, CS, eds. 2002. Panarchy: Understanding Transformations in Systems of Humans and Nature, Island Press, Washington D.C..

Carrie Radzevicius bio

Carrie Radzevicius (she/her) is a dual American and Australian living in Meanjin (Brisbane). With multi- and inter-disciplinary interests in moving image, stop-motion, expanded drawing, ecology, systems thinking, community engagement and sound, her creative practice focuses on elevating everyday objects and materials through accessible, inclusive and collaborative processes.  Her experimental approach celebrates the intrinsic link between art and science while fostering deep connections to place. Carrie also brings several years of community engagement experience to deliver public programs that encourage creative innovation, community interaction, wellbeing and civic engagement. Through her works and program delivery she aims to offer viewers and participants empowering experiences that spark compassion, empathy and understanding.

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ABOUT - Carrie Radzevicius

Debbie Pryor: Traces

December 4, 2025 - February 1, 2026

Opening launch December 4 at 6-8pm

Guest Opening Speaker - Andrew Purvis, Director, Adelaide Central Gallery

Traces is an evolving exploration of mark-making, examining the relationship between landscape, materiality, and human connection.

Through textural and tactile gestures, the often tablet-like forms become non-linear traces of place, people, and memory. The work is abstract, layered, and expressive.

Rooted in memories of landscapes both near and distant, Traces explores the connections between locations, individuals, and moments in time. Each gesture becomes an experiment in temporality, materiality, and the threads that link past and present.

Debbie Pryor BIO

I am a multi-disciplinary artist, curator and arts worker living and creating on Ngankiparinga land, South Australia. With a foundation in ceramics and glass, my practice centres on material exploration through both industrial and craft-based processes. Working primarily with ceramics and plaster, I explore past and present relationships through a close engagement with landscape and environment—drawing on observation as a means of connection, reflection, and response.

As an arts worker I have worked as a curator and manager across Adelaide, Sydney and Victoria since 2000; running galleries and programs at key craft and design institutions such as JamFactory, Object (now Australian Design Centre), Powerhouse Museum, Firstdraft, Craft, Guildhouse, The Australian Ceramics Association, and Helpmann Academy. I was President of the Bluestone Collection and Vice President of Northcity4, and have sat on the Boards of Hahndorf Academy and The Australian Ceramics Association. I am currently co-curating an exhibition with curatorial collaborator Hannah Presley for The Potter Museum of Art - University of Melbourne for exhibition in 2027. Debbie Pryor Bio

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debbie pryor

Harriet Geater-Johnson

Domestic Interjection

February 6 - March 22, 2026

Exhibition launch Friday February 6th at 6pm

Domestic Interjection explores both amalgamation and collision, investigating ideas of the native and the introduced through decorative European style urns and animal forms. Native animals emerge from and disrupt antique and memorial vessels, provoking discussion around colonial impact and ongoing environmental issues. Animals are used as motif to suggest a sense of relic, antiquity and survival.

In this exhibition the repeated use of funerary urns and objects in memoriam, is suggestive of remembrance as well as valued artefact. The use of animal bones, agricultural tools and early craft work suggests early settler domesticity and industry.

Working primarily in earthenware clay to slip cast and hand build forms, these surfaces have been created using glazes and stains to build layered colour, to reference the land and suggest the adaptation of ecological systems.

BIO

Harriet Geater-Johnson is an English sculptor based in Port Elliot, South Australia. Through her work, she is interested in exploring the conflict and cohesion between animals and humans, and how their presence causes a continual impact on the natural environment. Her pieces explore the idea of colonial impact, and how the arrival of Europeans and the introduction of domestic animals, objects and antiquities to Australia, altered culture and left ecological systems in precarious positions. Through surface and colour, the work expresses ideas of relic or archaeological specimen left as remnants in allegorical memorandum.

Harriet works primarily with earthenware clay and uses glazes and stains to achieve painterly finishes reminiscent of the Australian terrain. She has exhibited in group and solo exhibitions and has been selected as a finalist in shows around Australia.