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.

Stephanie Radok

The Trees are Listening

February 6 - March 22, 2026

Exhibition launch Friday February 6th at 6pm

Trees live alongside us. We grow up together, we share memories and experiences.  These paintings are about distance and intimacy. They draw in the viewer and hold onto them.

BIO

Stephanie Radok: My art practice investigates knowledge and its taxonomies. It explores the way that interpretations of the world are systematised and controlled. It questions the status quo and the authority of experts. It combines exploration of collections in institutions such as libraries and museums with observation of the everyday. It is engaged with issues of translation and migration – of plants, of people, of words. It has been shown in the Barr Smith Library, the Museum of Economic Botany and the South Australian Museum as well as in the window of the Samstag Museum, the National Gallery of Victoria, the Art Gallery of South Australia, Geelong Art Gallery and at the Flinders University Museum of Art.

Though intellectual and investigative my work is insistently haptic and sensuous, poetic and associative. It uses the media of brush and ink on paper, of paint on found cardboard, of etching on paper, and books cast in plaster. The delicacy of each of these mediums emphasise the suggestive layers of knowledge and experience embedded in the works.The artworks encounter elements of the world around us – weeds, vegetables, birds, animals, trees  – both as if for the first time and as they exist globally in history through documents and encyclopaedias.

There is a constant engagement with writing and images and their relationship to one another

Datsun Tran

Abundance

February 6 - March 22, 2026

Exhibition launch Friday February 6th at 6pm

I grew up in a household where most of the traditional Chinese festivals were celebrated. And whether it was the Lunar New Year, Mid-Autumn Festival or Lantern Festival, the occasions were always marked by a family feast.

We had lucky dumplings that represented gold ingots, long-life noodles on birthdays for longevity and mooncakes with salted egg yolks to represent the moon. The way you ate was just as important as what you ate: how did you rest your chopsticks? What order did you pour the tea for everyone? Where is the teapot spout pointed? All of it was important, especially if you didn’t want to anger the gods, or worse yet, an older relative!

BIO

Datsun Tran is an Australian multidisciplinary artist. His work primarily features the natural world, though it is about us, the human story. His work has explored themes of conflict and utopia, childhood and the relationship between different cultures. The subject matter is often filtered through the lens of what we have in common, rather than what separates us.

Datsun has exhibited extensively in Australia, as well as North America, Asia and Europe. He has had over 25 solo and group shows, exhibited in over 30 art fairs, and has been a finalist in over 35 art prizes.

Quentin Gore

Abundance

February 6 - March 22, 2026

Exhibition launch Friday February 6th at 6pm

Details coming soon

BIO

Quentin Gore was born in 1961 in Adelaide, South Australia. In 1985 he graduated from the South Australian College of Advanced Education with a Bachelor of Industrial Design Degree. He worked for 40 years as an Industrial Designer and in 2017 was awarded a Fellow of The Design Institute of Australia. In 2020, after many years of part-time study, he graduated with an Associate Degree in Visual Art from Adelaide Central School of Art. 
 
Quentin now works full-time as a professional artist. His design knowledge and experience greatly influences his arts practice.
He has a studio in the Adelaide Hills and a hands on approach to making art, producing and exhibiting his sculpture regularly over the last two decades. His artworks are typically inspired by forms and patterns found in nature and whenever feasible utilise found objects or recycled materials particularly timber, metal and stone. He has a deep interest in environmental protection and conservation and is an active volunteer with The Nature Foundation

Join master potter Guy Ringwood in our most popular class for beginners and intermediate ceramicists. Learn the fundamentals of clay wheel throwing, and finish your wares with expert guidance in shaping, trimming, painting and glazing ceramics.

Please bring a towel (we supply one but you may need more) and wear clothes you don’t mind being soiled with clay.

The Dog Exhibition

March 27 - April 26, 2026

Dog Fashion Parade - Saturday March 28 at 2pm

Exhibition Opening Event - Saturday March 28 at 3pm

The Dog Exhibition returns for 2026, with a curated selection of works by established Adelaide artists, and a community show in our large upstairs gallery space. We’ll also be holding the Dog Fashion Parade, inviting your dog to dress to impress and compete to win fun prizes. We’re inviting the community to reflect on their relationship with the dogs in their life and express their appreciation through art.

To enter your artwork for exhibition, follow the link below:

Sophie Hann, Marina Finlay

Heysen Reimagined: Re-reading the South Australian Landscape

May 1 - June 21, 2026

Sophie Hann revisits South Australia’s landscape and figurative painting tradition from 1926–2026. Engaging with Hans Heysen and Robert Hannaford, Hann explores conservation, settler mythologies, and landscape as a contested space. Concurrently, Marina Finlay presents new still-life and sheep portraits reimagined through a contemporary lens.

Hahndorf Academy Museum, Curated by Callum Docherty

Connecting Histories – Imaging Futures: Selected Works From the Collection

May 1 - June 14, 2026

Discover significant historical and contemporary works from the Hahndorf Academy Museum Collection in this museum exhibition, curated by Callum Docherty. These rarely seen works by local and Australian artists reveal layered narratives, inviting reflection on Hahndorf’s past, present, and future through shared and contrasting perspectives.

India Flint

The Blood Herb: An Exploration of the Social History of St John's Wort

May 1st - June 14, 2026

This exhibition by artist India Flint explores the social history of Hypericum Perforatum (St John’s Wort), a medicinal perennial often seen as a weed but traditionally used to treat various ailments, dye fabric and to make ink. Its yellow flowers, blooming in midsummer, trace European landscapes and settler routes in Australia and North America.