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Dark Art Show 2018

Dark Art Show 2018

The Dark Art Show presents a collection of new works by 21 artists that promises to entrance and delight while challenging the viewer.

Join our list for an advanced ONLINE CATALOGUE.

Slide your toes beyond the threshold. Dark things await; you might wrestle with them, or you might hold them close to you while you slip back into the light.

This is the nature of dark art: it can be both beautiful and macabre, appealing to our morbid curiosity while captivating us through their aesthetic. The works in this exhibition are often ominous and sometimes humorous. Whatever they depict, though, they demand consideration, appealing to the farthest reaches of our psyche.

Chris Leib

“Origin of dreams” – Oil painting by Chris Leib for Dark Art Show 2018.

Participating artists: Shaun Tan, Brom, Anton Vill, Stephanie Inagaki, Emil Melmoth, Laurie Lee Brom, Naoto Hattori, Nick Sheehy, Ben Howe, Chris Leib, Beau White, Ross Vaughn, Paul Neberra, Fergus Dupleix, Clare Toms, Costa Magarakis, Annita Maslov, Sai-Wai Foo, Chad Pierce & Christian Perez.

OPENING NIGHT: Saturday, April 7, from 6pm – 9 pm. Free entry.

This exhibition runs from April 7 to April 29 and runs alongside David Stoupakis’ solo exhibition – A World Between.

Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

Stephanie Inagaki

“Disentangle” – Charcoal & watercolour drawing by Stephanie Inagaki for Dark Art Show 2018.

CONTACT US for enquiries.


PHONE+61 3 9939 3681

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

David Stoupakis Solo Exhibition – A World Between

David Stoupakis - A World Between

A World Between is an exhibition of new oil paintings by internationally renowned artist David Stoupakis.

Join our list for an advanced ONLINE CATALOGUE.

This show is inspired by a simple but universal premise: every religion shares a common thread that is sewn into the emotional and intellectual awareness of people’s dependence on powers that are not human. In this new series of works by New York-based artist David Stoupakis, that awareness is seen as a way to explore worlds built by both light and dark, sun and moon, fire and water, bird and snake. These images, symbols, perfections and imperfections carry a knowledge expressed outside the human mind. David’s paintings for this show are representative of worlds unknown and out of reach, and they serve to express what we would like to be but also what we can never be.

OPENING NIGHT: Saturday, April 7, from 6pm – 9 pm. Free entry.

This exhibition runs from April 7 to April 29 and runs alongside the Dark Art Show 2018 – Opening Night

Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.


David Stoupakis was born in Newton, Massachusetts, in 1974. He currently lives and works in New York. His work, inspired by fables, fairy tales and nostalgic allusions to the places and situations of his childhood, has always been focused on the evocation of dreamlike landscapes and complex characters that seem to have a mind of their own and their own story to tell. From his first works with the series God is Dead, The Hours and Murder of Us, we see clear references to an intricate narrative of religious symbolism and that he is broadly influenced by Renaissance art. David’s characters and their interactions with their own worlds can often point to unspoken understandings, and his creative process in turning certain memories and anxieties into well-rendered depictions of his interpretation of reality has been and remains an extension of his emotional and intellectual response to the world. David’s work can be found in many private collections and has been featured in numerous group and solo exhibitions in both galleries and museums.

PHONE+61 3 9939 3681

CONTACT US for enquiries.

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

The Cat Show – Celebrating the feline in art

The Cat Show

The Cat Show is a group art exhibition celebrating the favoured feline, and its subjects are featured in all manner of cattitudes, from gentle muscular repose to improbable anthropomorphism.


Whether of the big, jungle variety or the smaller, allegedly domesticated kind we enjoy as companions, cats demand our attention precisely because they often don’t seem to care if they have it. They are usually too busy doing cat things: padding stealthily through the jungle on giant paws, stalking crickets in the garden, sleeping under a fern or hunting the tie from the bread bag that’s fallen to the kitchen floor.

The felines in The Cat Show have every wish to be admired, and some will be watching you, too. Don’t be surprised if you find yourself wanting to take one home.

Marina Dieul

Miniature oil painting by Marina Dieul for The Cat Show

Participating artists: Mab Graves, Naoto Hattori, Adipocere, Matthew Grabelsky, Rene French, Cinta Vidal, Jim McKenzie, Anthony Ausgang, Heidi Taillefer, Marina Duel, Lucia Heffernan, Courtney Brims, JoKa, Jel Ena, Zane York, Mali Moir, Beau White, Scott G Brooks, Fergus Dupleix, Emma Mount, Zoe Keller, Zoe Williams, Jessica Dalva, Annita Maslov, Steve Cross, Erich j Moffitt, Angela Lizon, David Rice & Melissa Hartley.

OPENING NIGHT: Saturday, March 10, from 6pm – 9 pm. Free entry.

This exhibition runs from March 10 to April 1.

Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

Lucia Heffernan

Oil painting by Lucia Heffernan for The Cat Show

CONTACT US for enquiries.


PHONE+61 3 9939 3681

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

Stephen Ives Retrospective

Stephen Ives Retrospective

Stephen Ives Retrospective

beinArt Gallery presents a retrospective of bricolage sculptures by Stephen Ives.


The works selected cover 2011 to the present, including time he spent living, working and exhibiting in Europe as well as his recent solo exhibitions at Backwoods Gallery (Melbourne, Australia.) While his earlier work featured high-quality finishes and smooth assimilation of objects, in his later work, he has sought a more expressive, immediate style. Throughout, his concepts have remained solid, connecting the pieces in the retrospective like veins through the body.

OPENING NIGHT: Saturday, February 17, from 6–9 pm. Free entry. Stephen will be in attendance.

This exhibition runs from February 17 to March 4 and runs alongside Tim Molloy solo show, Strange Parades.

CONTACT US for enquiries.


Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.


Stephen Ives Retrospective

Stephen Ives (Melbourne, Australia) is a bricoleur: he creates his work from a meta pile of toys, junk, found objects, model kits and malleable extras such as polymer clays and aluminium. He organizes his ideas similarly, a collision of thoughts, feelings, current and past ideas, history and popular culture. Concepts are edited and refined and materials are collected, cut, morphed, distorted and eventually brought together in an homogenous whole that is both a thought form and a candy apple treat.

Ives was born in England in 1970 to an Australian mother and English father. He lived on the outskirts of the historic town of Lewes before coming to Australia when he was 12. Most of his childhood was spent in a large pile of Lego creating whatever he could imagine or running around on the South Downs having adventures. As a teenager, he practiced drawing as well as making model tanks and planes.

He has been practicing and exhibiting his work in Melbourne since his mid-20’s. He has also exhibited in galleries in London, Paris, Brussels, New York, Santa Fe and Copenhagen.

His work has been bought by collectors in Australia, England and Germany as well as some of the foremost art collectors in Denmark, including Christian Stadil (Thornico, Hummel Sport), Lars Christian Brask (EFG International) and the Danske Bank.

Tim Molloy – Strange Parades – Solo show

Tim Molloy - Strange Parades

beinArt Gallery presents Strange Parades, an exhibition of new ink and watercolor paintings by Tim Molloy.


On a sweet breeze comes the sound of weird instruments, playing songs conceived in other worlds and heard only in dreams. In the distance, impossible shapes cavort and tumble, appearing to evolve with weird biological fluidity. The monsters come into sight and pass you by; their cacophonous bestiary stretches from horizon to horizon. The strange parade marches through sun-drenched jungles, gardens of flesh and the spaces in between.

Tim Molloy has assembled an eccentric collection of enigmatic pictures, brimming with hypnogogic imagery, candy-coloured whimsy, and writhing tentacles. Fall in line, lock step and join the parade!

OPENING NIGHT: Saturday, February 17, from 6–9 pm. Free entry. Tim will be in attendance and will be signing copies of his graphic novels.

This exhibition runs from February 17 to March 4 and runs alongside Stephen Ives’ retrospective show.

Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

CONTACT US for enquiries.


Tim Molloy

Watercolour painting by Tim Molloy for Strange Parades.

Tim Molloy (Melbourne, Australia) makes weird comics. His main character, Mr. Unpronounceable, has now wandered through some 400 grotesque pages and two award-winning collections.

Molloy’s work is an ever-expanding and interconnected web of dreamlike and nightmarish storylines soaked heavily in delusion, confusion and a general sense of unease. He draws heavily on surrealist techniques, symbolist ideas, synchronicity and dreams to construct his stories. Recurring themes include death, rebirth, the nature and expansion of consciousness, self-destruction and discovery. There is a kind of pre-apocalyptic tension throughout, balanced with a sense of humor.

Molloy has been making art in one form or another since he could clutch a crayon. In his last year of high school, he became involved with self-publishing and the poetry/art/comics/music scene in his hometown of Auckland City, New Zealand. He studied animation and went on to work in the local industry for a couple of years before moving to Australia almost a decade ago. After some time in Melbourne he was picked up by Jacky Winter Illustration Agency, and later Milk Shadow Books began publishing his comics. His work has appeared in numerous periodicals, art shows, festivals, conventions and fairs.

When Molloy is not making comics, he fronts the Sci-Fi-delic party band Plague Doctor and works in an art store. He lives in Melbourne with his wife, son, and two cats.

PHONE+61 3 9939 3681

CONTACT US for enquiries.

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

Tim Molloy

Three Watercolour paintings by Tim Molloy for Strange Parades.

Interview with Mahlimae


Left: “Gatekeeper I” – Mixed media sculpture.  7cm (2.8″)

Go out to the garden, sneak under the ivy and listen ever so quietly for the whispers of echoes. Fear not these little creatures, for they have untold gifts within and timeless secrets drawing you into their world, a world that Nicole Watt aka Mahlimae connected to when she was very young. These tiny beings whispered for her to bring them to life and now we can all share in their exquisite presence.

My favourite things are coming together this January, beinArt gallery and Mahlimae, for her solo show Lost souls of the Erlking. The details of the King’s story can’t go untold and we were lucky enough to have an in-depth chat with Nicole. We spoke about the origins of the story, the beginnings of her creations and delved into the journey of bringing this fable to life.

“For me, he is the harbinger of loss, the plunderer of innocence, the indistinct faceless predator concealed in each psyche. It was the capacity he holds for vampirizing innocence and twisting the child-like heart into a blinded thing whilst society turned away, that connected me with this character on a deeply personal level…I have met this creature before, many times.” —Mahlimae


“Lost Child XI” -Mixed media sculpture. 12cm (4.7″)

Kylie Dexter: We have to begin with The Erlking himself! When I first heard that you were going to base your solo show around this tale, I spent some time reading all the different versions of the fable and some of the poetry based on the original story. I would love to hear your interpretation of it and what connected you to its origins?

Mahlimae: There are indeed a great many tales recounted by elders over the centuries that revolve around an Erlking-like figure. Whilst his title has morphed and contorted many times through the years in poetry, musical compositions and in literature as recently as the 1980’s, the spirit of the Erlking remains one to be feared. For some he is an omen of death, to others he mirrors a source of confinement and impending depredation. For me, he is the harbinger of loss, the plunderer of innocence, the indistinct faceless predator concealed in each psyche. It was the capacity he holds for vampirizing innocence and twisting the child-like heart into a blinded thing whilst society turned away, that connected me with this character on a deeply personal level…I have met this creature before, many times.

In tangible terms, he was very difficult to conjure up emotionally, but also as his form is so fluid and completely open to artistic interpretation it seemed wrong to give him a recognisable anatomy. I won’t say much more as hopefully his vision will speak more to this than I can at this stage.


“Lost Child I” -Mixed media sculpture. 14 cm (5.5”)

KD: You have been working so intensely on this show for almost the last year. How has the journey been so far? The creation process must have been an incredible one as I know it was important to you to honour the story and its characters.

M: Yes it has taken me over 12 months to prepare and create for this show and I know it sounds cliché, but it has been an incredibly cathartic experience. As I touch on in the next question, I needed to tell this story for my personal growth and healing. Each character within this exhibition from the gathering of lost children down to the tiny sleeping snail has a ‘real world’ face for me and as such, it was incredibly important to convey these souls and their unfortunate truth with honesty and in a way that accurately reflected my inner vision, rather than what I thought people would be expecting to see. Reconciling all those elements in my mind and coming to terms with the fact that there isn’t a ‘correct’ way to tell a story was a major hurdle to overcome throughout the creative process but the process itself was well worth it.


“Erlking” – Mixed media sculpture. 42 cm (16.5”)

KD: The story is a dark one in origin, what draws you to explore these themes and to help bring them to life in such a honest way, I mean the innocence that the echoes hold allows us to move freely into the depth of those darker narratives.

M: Before making the change to creating art full time, I spent the majority of my professional life working with and advocating for our most vulnerable children in need of protection. Over the decade in that job, I encountered what I would consider the most evil of human beings, and in contrast, some of the purest of souls. It was through those experiences and my vicarious trauma, I came to feel like darkness was all around me and somewhere within that abyss I became lost. I lost my direction, my sense of self, my confidence and any hope in humanity. What ensued is a long and personal story but as that beautiful line from one of my favourite Roethke poems quotes “In a dark time, the eye begins to see”. Once your mind’s eye adjusts to that kind of darkness, even if it isn’t a place you reside permanently any longer, it is inevitably easier to navigate your way around those depths and the narratives that take you back there. It is important to my healing and my sense of duty to those little ones I couldn’t help, to let their light shine through the eyes of my Echoes so they may finally be given the acknowledgment they deserve. They will forever be my guide to grant me safe passage through the infinite night.


“Lost Child II” – Mixed media sculpture. 14 cm (5.5”)

KD: What do you hope the viewers will experience when meeting these works in person?

M: Ideally I would love for viewers to meet my work for the first time in a silent, dimly lit room, with nothing around to distract them from what they have to say. That’s a near impossible ask, but I would hope that people could stand in front of this installation, take a deep breath, silence all the voices in their mind and connect to it in their own way. Whatever the result I am grateful people would take the time to come and view it in person.


“Sapling II” -Mixed media sculpture. 15cm (5.9″)

KD: I know you have a deep connection with nature and of course your beautiful home where you are surrounded by it, in its most rugged form. Please do tell of the whispers and energy you get from your surroundings and your incredible studio and how it influences your work?

M: These whispers you speak of are definitely one of the two loudest guides in my life and my work but I would say one of the most difficult to articulate. I vividly recall the moment when my husband and I first stepped foot on our property here in Tasmania; there was something in the air that day which I felt in my bones and still do. This place, the groans of the trees, the chatter of the birds at dawn, the smell of the air, the vibrations under your feet if you walk barefoot on the moss…it is pure inspiration and speaks to me so clearly in a language I can’t interpret for anyone in any way other than to create with it.

There is a sign I read whilst walking in the Tarkine Forest in north-west Tasmania a few years ago, it reads “Deep in the forest the land holds many secrets, take care as you walk this land, remember that the spirits of the old people remain”. Whilst my Echoes may host many stories, one of the consistent themes running through them is the sense of disconnect, of sadness and loss that I feel when I look from the outside in at the world we are becoming, the intuitive knowledge we are losing, and the skills our children are no longer observing and the deep connection with nature we have disfigured and twisted into servitude. I often wonder what those ancestral spirits would have to say about the way we are treating the Earth.


“The Hunted I” – Mixed media sculpture. 12cm (4.7″)

KD: What do you think it is that makes so many people connect with your sculptures on such a deep level?

M: This is such a difficult question to answer and one I have asked myself so many times before. Perhaps the best way to start to understand why this is so perplexing for me is the knowledge that these Echoes are not actually something I set out designing with intent. There was little premeditation involved in their initial existence as they have been with me in some form or another since childhood; lurking in the corners of my imagination, my sketchbook, my stories. I had no sculptural experience before I decided to bring them to life in this way so they are very much instinctively formed from inner vision. Over time they have come to inhabit a deeper narrative, but overall I feel in some way they chose me, not the other way around. This is an incredibly humbling thought and the main reason I am floored when I receive a message or email from someone sharing with me their deeply personal experiences with my sculptures; it is truly astonishing for me.

A common thread that seems to run through a lot of the feedback I have received from people is that my Echoes connect with some an intangible sense of home within, their eyes reflect a subtle familiarity, like a mirror to the world or ourselves…a feeling of belonging. I understand for some this would be confronting, but perhaps for many is it just enough to make them feel like they’re not along in this world and some days that’s all we need.


“Lost Child IV” – Mixed media sculpture. 14 cm (5.5”)

KD: I am so privileged to own some echo’s, some from their early beginnings to more from recent times. They have changed in character themselves, how do you think you as a human have changed over the last few years of this journey.

M: Trusting in my own instincts and vision as an artist has always been one of the most difficult things for me to grasp. The form of my work is and always has been outwardly simple, which has attracted both commendation and criticism. Yet it is this seemingly simple form which I feel imparts their complex vulnerability, an emotion further nuanced by the situation of the viewer. For me this is a unique capability I feel would be overshadowed and concealed by detail if they were any other way. Learning to eloquently balance an intricate story housed within an uncomplicated shell, has been particularly challenging when self-doubt is sitting on my shoulder humming her paralysing siren song in my ear. As time goes on however, I am discovering ways to silence her and keep going…this has probably been the biggest change for me since I started sculpting at the end of 2013 and has opened the flood gates for greater possibility which I think reflects in my work. Aside from the aesthetic changes that they have undergone as my skills have become slightly more refined and deliberate, over the last two years especially, I feel that I have begun to grant myself the freedom to imagine them in a wider range of settings which in turn, has allowed them to speak on a broader spectrum of issues and emotions.


“Lost Child XIV” – Mixed media sculpture. 15cm (5.9″)

KD: We would love to hear more about where you live in Tasmania, and what a day in your life is typically like as a full time artist?

M: I live in the far South of Tasmania, on 20 acres of forest covered property on which my husband and I built our own home 10 years ago. We built my studio in the trees a short way from the house about four years ago using some left over building materials and some recycled windows, as it started becoming clear my small desk space in the house was no longer appropriate. My studio has now become an integral part of my life and my creativity; the space and all within it really is an extension of myself, I feel safe to be myself in there.

A day in my working life usually starts at dawn (our roosters take care of ensuring I don’t often miss the sunrise) with animals to be fed, dogs to be walked and school lunches to be made before the rest of the house awakens. Work begins once my little ones are out the door but I usually try to meditate for 15 mins or so before I get started, which is my gateway, I step into between the reality outside of my work and the alternate world within it. Once inside my studio I switch off, make a pot of tea and that’s where I remain until my girls are home from school and my focus shifts back to family until they are in bed. Usually at this stage I could curl up and sleep but often there are emails to return, sketches to finish, photos to edit and so the day ends this way.


“Lost Child XII” – Mixed media sculpture. 13.5cm (5.3″)

KD: Spiritwoods is your incredible new range of pure and gorgeous botanical products, I feel a relationship between your work as Mahlimae and this new venture. It all seems to lead into getting in touch with something that most of us have been too busy to connect with. Can you tell us a little about Spiritwoods and how it came to be?

M: Moving to Tasmania opened my eyes to something I was missing before. When we first moved here and started building, my husband and I lived in a caravan with no electricity, no running water, no heating other than our campfire; none of the modern conveniences of our previous life. It was when all was stripped back…when night times were spent by the fire under an expanse of stars, when days required manual labour and a reliance upon the garden for nourishment and healing, when life slowed down without distraction, my eyes were opened to the energy of this place, of the land, the symbiotic relationship between the fauna and flora, the responsiveness of the forest to the elements. For the first time since I was a child, I really connected with nature again and it became so clear to me how much I was missing before…how much many of us are missing.

Although I can’t replicate the whole of this experience for people, I am passionate about helping others forge that connection in some small way within their own lives, no matter where they live and what their daily lives entail. This is the impetus behind Spiritwoods and the products I have formulated, which I launched in September last year. Each little pot or herbal blend contains a concentrated and unique amalgam of pure, natural botanicals which I have carefully selected and combined for their properties with the intention to heal in some way – the skin, the spirit, wellbeing, ritual. It’s my way of bottling the wild magic of this place and sending it all over the world in a hope that people will grant themselves 5 minutes a day to stop and breathe it all in.


“Lost Child III” – Mixed media sculpture. 13.5 cm (5.3”)

KD: What does 2018 hold for you, any big exciting plans you can share with us?

M: 2018 is getting off to an incredible start for me with my first solo exhibition opening at BeinArt Gallery; this story has been with me for a great many moons so it’s exciting to see it finally come into its own. Breathing space will be short lived however as I will pretty much be diving straight back into my daydreams again preparing work for my mini solo at Haven Gallery, NY in November. I am thrilled to be sharing that time and space with the talented Scott Radke and another of my favourite artists yet to be announced publicly so there is much to look forward to.
Some secret plans are in the works for connecting Spiritwoods with a larger audience and my husband has just taken over the lease of a small country pub down here in the Huon Valley; so I think sleep will be hard to come by this year for us both, though much to look forward to.


“The Watcher’s Wife” – Mixed media sculpture. 12cm (4.7″)

KD: I always love to do my 10 quick questions so we can get to know you better!

Favourite food?

M: Thai

KD: If you were an animal what would you be?

M: Probably a snow leopard – we share a lot of similarities in character, a propensity for solitude, most active at dawn and dusk, preferring cold mountainous habitats and a dislike for water. Plus I have been known to wail and hiss if necessary.

KD: 3 things you would take on a desert island?

M: Well practical things like a flint stone, fresh water and a knife are fairly predictable so let me choose my sketchbook/pencil, an assortment of seeds and my dog (for company, not food)


“Lost Child VIII” – Mixed media sculpture. 13 cm (5.1”)

KD: Favourite smell?

M: The smell of the forest here after winter rain. It’s a beautiful mix of damp earth, decaying mushrooms, eucalyptus leaves, wood smoke and melting snow; it smells like home to me.

KD: Most exciting place you’ve seen?

M: The area around Cradle Mountain to Lake St Clair here in Tasmania is breathtaking; especially in the late Spring. Everything grows in response to the harshness of the weather; the shrubbery is stunted and tough, like miniature versions of their kin in sheltered habitats, leaves are tiny to avoid freezing by the snow, the bark is gnarled and dappled with lichen, there are so many birds sharing the duties of overseeing the geography with the incredible towering rocky outcrops and snow-capped mountains. It’s a very beautiful place.


“Lost Child X” – Mixed media sculpture. 12cm (4.7″)

KD: Best advice you’ve ever been given?

M: At the end of 2015 when I was considering making the change from social work to creating full time, my husband said to me “if it makes your soul happy and it’s what you want to do, then just do it”. It was a scary leap of faith but his advice made me realise life is too short not to take the chance to follow your dreams.

KD: Favourite quote?

M: There are so many quotes that move me, it is very difficult to choose a favourite but the one I have within view every day is an pertinent excerpt from a Nabokov quote “Imagine me; I shall not exist if you do not imagine me”


“The Watcher” – Mixed media sculpture. 13.5cm (5.3″)

KD: Favourite TV show?

M: If only I had enough time to watch it….Black Mirror is probably the cleverest TV I have seen recently

KD: If you could have 1 superpower what would it be?

M: As a child I always wished I could fly in real life as I did in my dreams. I imagined being able to fly would mean a version of safety from the world, a natural ability to escape in some way which has always been appealing to me.

KD: 5 people to invite to a dinner party, living or dead?

M: I’m going to avoid any obvious martyrs, royals or saints here and go for fascinating conversation:
John Muir
Sid Barrett
Helen Mirren
Andrew Chumbley
Oscar Wilde


“Lost Child IX” – Mixed media sculpture. 14 cm (5.5”)

Mahlimae – Lost souls of the Erlking – Debut solo show


beinArt Gallery invites you to walk among the “Lost Souls of the Erlking” in the debut solo exhibition of Tasmanian sculptor Nicole Watt, aka Mahlimae.


Hear the old whispers of a predatory spirit; feel the faceless malevolence formed from the damp earth and dark thickets in which he lurks, seeking out the vulnerable, ensnaring the childlike heart. This force of nature has carried several names across the centuries: Alder-King, Ellerkonge, Erlkönig…Erlking. Mahlimae lifts the veil of his black tale and reveals its rich symbolism in this exhibition, opening January 13.

OPENING NIGHT: Saturday, January 13, from 6–9 pm. Free entry.

This exhibition runs from January 13 to February 4 and runs alongside Adipocere’s debut solo show, “I do not exist.”


CONTACT US for enquiries.


Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

mahlimae solo show

Echo sculpture by Mahlimae.

With roots deeply entrenched in Scandinavian folklore, the ancient story of the Erlking has twisted its way through time, contorting and transposing with each telling before crossing the threshold to the 21st century, in which it is still recounted by the elders with sadness and stern warning. For some, the Erkling is an omen of death; to others, he mirrors a source of confinement and impending depredation. Universally, he is the harbinger of loss, the plunderer of innocence, the indistinct primal predator concealed in each psyche.

Mahlimae’s small yet deeply emotive sculptures take you on a journey to another world, exposing the unseen and inviting you to discover for yourself what remains of the bewildered heart.

Mahlimae (Australia) is an internationally exhibited self-taught mixed-media sculpture artist living and creating in the wilderness of Southern Tasmania, Australia. Her exquisitely simplistic and emotionally driven characters blossom from a world long forgotten, hidden in the shadows of imagination where the wind blows wild and the trees groan with ancient secrets born from the whispers of the ancestors. Finding inspiration in ancient ritual and folklore, Nicole’s melancholic works take you on a compelling journey into the darkness and light of human nature, drawing you in to explore the stories hidden within their subtle and fragile expressions. Each piece is carefully hand sculpted using stone clay, foraged natural materials and tattered hand-dyed textiles. The final works are pulled together by a common theme of possibility, a longing for connection and an aim to intrigue.

PHONE+61 3 9939 3681

CONTACT US for enquiries.

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

Adipocere – I do not exist – Debut solo show


beinArt Gallery presents “I do not exist,” the debut solo exhibition of Melbourne-based embroidery artist Adipocere.


This exhibition explores the unique relationship between a somewhat innominate artist and their artwork. At this showing, they present a wide allegory derived from a level of personal, physical separation to depict studies of abnegation.

OPENING NIGHT: Saturday, January 13, from 6–9 pm. Free entry.

This exhibition runs from January 13 to February 4 and runs alongside Mahlimae’s solo show, “Lost souls of the Erlking.”

CONTACT US for enquiries.


Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.


Hand embroidery by Adipocere.

Adipocere (Melbourne, Australia), a self-taught hand embroidery artist, primarily creates their imagery for the therapeutic catharsis evoked through the medium. Their work focuses on displaying what they refer to as emotional self-portraiture while operating within the confines of a constantly developing, overarching fiction, one with small roots in reality but using motifs and symbolism to delineate concepts such as martyrdom, asceticism, existentialism, and the eventuality of death. Adipocere is inspired by their environmental science studies, focusing on misrepresented fauna and the point at which humanity intersects.

Adipocere has primarily displayed their work across the United States via the Hive Gallery, Light Grey Art Lab, Gristle Art Gallery, Paradigm Gallery, Last Rites Gallery, Stranger Factory and Superchief Gallery, as well as in their hometown via beinArt Gallery. As an emerging artist, they’ve been recently branded “Artist on the Rise” by the prolific Beautiful Bizarre magazine and have been published in the likes of Yen magazine and across digital blogs, including Haute Macabre and Bleaq.

PHONE+61 3 9939 3681

CONTACT US for enquiries.

WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

Reliquaries – Shawn Barber | Mike Davis | Dan Witz | Peter Ferguson | El Gato Chimney | Jean Labourdette

Reliquaries - Shawn Barber

Reliquaries is a group show guest curated by Jean Labourdette. This show includes new works by Shawn Barber, Mike Davis, Peter Ferguson, El Gato Chimney, Dan Witz and Jean Labourdette.


A reliquary is a container or shrine for holy objects, and the participating artists have been inspired by this theme to varying degrees: some works obviously depict a reliquary and others are influenced by the idea, though, as Labourdette suggests, paintings by their very nature can be considered sacred objects which capture some of the soul of the artist who created them.

WHEN: Opens Saturday, DEC 9, 6pm – 9pm. FREE ENTRY!

Exhibition runs until DEC 20, closes over the Christmas and New Year break, then reopens JAN 7. Exhibition ends on JAN 10.

Complimentary wine will be available at the opening. For those wanting a non-alcoholic option, we will also have drinks provided by Remedy Kombucha.

Jean Labourdette

“Reliquaire” – Oil painting by Jean Labourdette AKA Turf One.

Jean Labourdette AKA Turf One (Canada) is somewhat obsessed with Russian icons, dead things, carnival sideshows, seedy theatre stages and Victorian-looking midgets sporting dandy facial hair. Technically, his paintings are reminiscent of the 15th-century Flemish Primitives. Labourdette has forged a unique artistic vision and signature aesthetic over years of compulsive creation. He got his start in the late 1980s as a graffiti artist in Paris, gaining renown for his distinctive and surreal characters. He evolved into a prolific and sought-after artist working as an illustrator, comic artist, filmmaker and painter. Since the early 2000s he has dedicated himself to painting full time. Turf One’s work has hung in such prestigious venues as Yves Laroche Gallery (Montreal), Jonathan LeVine Gallery (New York), La Halle St-Pierre Museum (Paris), Thinkspace Gallery (Los Angeles), Copro Gallery (Los Angeles), the Art Basel in Miami Beach and the Museum of Contemporary Art, Los Angeles.

“The Hermit” – Oil painting by Shawn Barber.

Shawn Barber’s (United States) body of work focuses primarily on painting, portraiture and documenting contemporary tattoo culture. Barber’s intimate renditions of tattooed individuals balance meticulous brush strokes and loose energy. His large paintings take on abstractions with explosive colors, meandering lines and paint dripping down the canvas. Barber earned his B.F.A. from Ringling College of Art in 1999 and his A.A.S. from Cazenovia College in 1997. His paintings are held in private collections throughout the United States, Canada, Asia, Europe and Australia. Barber’s work has been shown in Somerset House Museum (London), Craft and Folk Art Museum (Los Angeles), Halle Saint Pierre Museum (Paris), Pinnacles Gallery (Townsville, Queensland), Joshua Liner Gallery (New York) and Billy Shire Fine Arts (Los Angeles).

Mike Davis - Inward, Outward, Upward

“Inward, Outward, Upward” – Oil painting by Mike Davis.

Mike Davis (United States) is a modern surrealist painter who lives and works in San Francisco. Self-taught, Davis began painting seriously in 1997. His inspirations range from his mother’s woodwork, hand-tooled leather and home projects to art of the ancient world, surrealism and the Flemish masters of the Northern Renaissance. He renders complex works in which symbols of mortality, folly and hubris are fixed within whimsical compositions. Davis’s works are featured in the permanent collection at Jordan Schnitzer Museum of Art, many publications (Juxtapoz, Hi-Fructose, HEY!, Art Ltd., Pop Surrealism: the Rise of Underground Art and Beyond Tattoo: Art, Graphics and Illustration by the World’s Leading Tattoo Artists) and prestigious private collections around the world. In addition to painting, Davis is an active musician and woodworker and is the owner of the internationally renowned Everlasting Tattoo.

Dan Witz - Woman With Mask

“Woman With Mask” – Oil painting by Dan Witz.

Dan Witz (United States) is a Brooklyn-based street artist and realist painter. He grew up in Chicago and graduated in 1981 from Cooper Union in New York. Witz is a pioneer of the street art movement. His work has been featured in three books and has appeared in Juxtapoz, Time, Arts, Public Art Review, the New York Times, the Daily News, Newsday, the New Yorker and Harper’s Magazine. Witz was an early and frequent contributor to the definitive street art website and blog the Wooster Collective, and he was one of five artists profiled in the 2006 Lou Auguste documentary Open Air. Witz’s paintings have been shown in galleries worldwide, including the Jonathan LeVine Gallery (New York), Stolen Space Gallery (London), Carmichael Gallery (Los Angeles), Addict Galley (Paris), White Walls (San Francisco) and DFN Gallery (New York).

Peter Ferguson (Canada) was born in Montreal in 1968. After graduating from the Ontario College of Art and Design in Toronto in 1992, he began his career as a professional illustrator. Currently with Three in a Box Inc., his clients include Marvel Comics, the Royal Shakespeare Company and newspapers such as the Wall Street Journal, the Chicago Tribune and the Los Angeles Times. Ferguson is also a highly sought-after fine artist whose vividly imaginative works read like a lucid dream of an alternate history, recalling the aesthetic of Dutch Renaissance painting, old National Geographic photography and 18th-century British naval history. Combining grandiose, darkly humorous narratives of the great ages of exploration with a distinctly paranormal bent, Ferguson’s work subtly straddles the lines between fantasy, surrealism, and realism.

El Gato Chimney - Before The Dawn

“Before The Dawn” – Water colour & Gouache painting by El Gato Chimney.

El Gato Chimney (Italy), a Milan-born artist, counts among his creative preoccupations subjects ranging from alchemy, magic and occultism to popular folklore and primitive and modern art. With an early interest in graffiti and street art, El Gato Chimney developed a sense of storytelling through various media from paint to pencil. He fills his paintings with hidden clues, appealing to the viewer’s imagination and interpretation of the modern world. Animals, real and imagined, describe the vices and the virtues of a world constantly split between a daytime utopia and an unquiet night. Everything from an infinity sign to a deck of cards becomes part of an eclectic mixture of cultures and eras, each whose decipherment imbues his paintings with meaning.

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WHEREbeinArt Gallery | 1 Sparta Place | Brunswick | VIC 3056 | Australia

Interview with Jana Brike

Jana Brike

Photo of Jana Brike in front of her painting “The End of a Lonesome Road”

The lyrical paintings of Jana Brike are evocative mood pieces. Her paintings feature young, usually female characters in natural environments; with their strong symbolism and elements of mythology and fairy tales, these works invite the viewer into the action as the characters interact with the world around them or experience intimacy with another—or sometimes with themselves. Brike is one of four artists featured in the show Lush, which opens at the beinArt Gallery November 18.

“Even when you break the dishes in a family argument, or mend your broken heart, or struggle to leave a job that gives you security but kills you with boredom, and so on and so on, it is all a part of this dance of transcendence. Painting just is my personal way to do that transcendence. I don’t paint the darkest heaviest material directly, because it’s all been transformed through my painting process; just a few scars are there to indicate the last bits of struggle and pain. But mostly what’s left is the quiet shining joy.” —Jana Brike

Jana Brike - lush

“Wild Honey” – Oil painting by Jana Brike for Lush.

Julie Winters: Your personal history is so interesting: you grew up in Latvia when it was still part of the Soviet Union and started training intensively in art at a very early age. Do you remember how it came about that you were directed down an artistic path?

Jana Brike: It was a rather harsh environment, with the aesthetics all about functionality or impressiveness and very little about beauty. Everywhere I caught some glimpse of it—a flower or a butterfly, grandmother’s lace or old church book illustrations, fairy tale movies or ballet performance—it just felt like it made my soul sing all of a sudden. Of course, I wanted to be part of it, a participant or, even better, a creator of it in one way or another. Beauty is still an important theme of my work.

Jana Brike - "Kissing Lessons Behind The School Shed"

“Kissing Lessons Behind The School Shed” – Oil painting by Jana Brike.

JW: How much of a say did you have in the subject matter of your work as a student?

JB: Not much in the school, as the most part of the education was for developing skills. We painted still lifes, models, and different composition, technique and style exercises. The personal compositions were always assignment based, never just free. I had much greater say in subject matter and the direction I wanted to go in my university years.

JW: You had the comparatively rare experience of having solo exhibitions at a very young age; what effect, if any, did this have on your progression as an artist? I’m thinking, I suppose, of having so much work out there for audience reaction, but I’m interested in any aspect that comes to mind.

Jana Brike - "Ascension on a School Trip"

“Ascension on a School Trip” – Oil painting by Jana Brike.

JB: I haven’t thought of that really; that’s an interesting question. Well, I changed, grew and evolved under the scrutiny of the public eye. I do realize that the path that is considered smarter from a brand-building perspective is that you first work in the privacy of your studio till your recognizable style is fully developed, and then you just stick to it. I did the opposite, as quite a lot other artists have. I don’t know what the effect is. Maybe that I am not afraid to change the direction completely, go a different path when in one I am beginning to feel stuck in or bored with, and even if the work seems to be going well, liked by the public and finding its own niche in the market, even then I can change with no fear. Although I do get a silly flash of personal irritation if someone comments that they “like my previous work better.” I don’t doubt that there are people who like ME, as I was ten years ago, better, but it doesn’t mean I could have stopped growing and changing. I do realize, though, that one person can relate to the imagery of that damaged, traumatized, alien but beautiful inner child that I created earlier. To another the themes of internal “coming of age” of the psyche are closer. Another relates to the femininity issues that I focus on now. Each theme has come with not just a distinctive style but also a development of different technique to express it better. It’s been a wonderful journey; I regret nothing (smile).

Jana Brike - "Two Wounded Angels on the Beach"

“Two Wounded Angels on the Beach” – Oil painting by Jana Brike.

JW: You have said that you’ve needed to unlearn a lot of what you were taught during your art education. Tell us what that unlearning involved.

JB: I didn’t talk of skills but of mindset, of course. Most of all, I had to drop the idea that there is the “correct” and the “incorrect” way to do anything at all in art, especially when it comes to storytelling, and especially when you are doing it in a way you enjoy, that rings true to your nature. The pressure in an art school where you are told you have to experiment and discover new things, push your limits, but at the same time your mistakes are evaluated all the time according to some ranking system—it was like brakes on creativity. In order to expand, you make mistakes and have failures first—that’s just natural. You have to learn to allow yourself to do that to grow, and to not judge yourself by your mistakes. In the long run, the grander the mistakes, the greater the growth. But when you’re in school—you have failed in your curriculum objectives, and you never try to push in that direction again.

Jana Brike - Lush - Search for the origin of the universe

“Search for the Origin of the Universe” – Oil painting by Jana Brike for Lush.

JW: A dominant theme of your work seems to be exploration and growth—sometimes sexual but also sometimes just relational in a nonsexual context. And in many paintings, the subject is exploring something in herself (again, sometimes sexually and sometimes not). How did this theme develop for you?

JB: Growth, expansion into something bigger is a universal principle; exploration and curiosity are the most natural things to all living things. The cultural “norms” oftentimes see the simple beauty of this aspect of nature as a shameful, dirty thing, invoking guilt and suppression and self-judgment. This is what I go against, so a lot of it is just sweetly playful, sometimes even funny.

Jana Brike - "Summer of the Wild Wallflower"

“Summer of the Wild Wallflower” – Oil painting by Jana Brike.

I would rather say that my current work is about connection rather than sexuality—connection to your own body first of all. In the society we live in and with the fast pace of time, with all the issues on the personal level and on the world stage, people live out of their bodies and inside their minds, or absorbed by the emotions completely. My painting for me means to breathe in, breathe out and focus on being the life force flowing through the body. For women it seems even more important than for men: in the body is all the life-knowledge of this earth plane. So the sexuality doesn’t mean just physical intercourse. Sexuality—it’s a root, a grounding principle, connected to surviving and thriving in the physical world. It is no wonder that so many spiritual practices have wanted to cut that root, attempting to “jump” closer to the sky. Maybe for a short time it can be sped up, but then you wither and wilt in the physical world. In the longer run, you want to be well rooted and grow strong and tall up to the sky, not just fly uprooted. I hold both of these aspects in my work, hence the symbolism of flying things like birds, butterflies and bees, the vast sky and the solid earth with its natural beauty.

That is also why a human body is important in my work—with all its scratches and bruises from being touched by the world, with all its vulnerability in its nakedness. Is it straightforward sexual in the simplest sense of the word? I honestly don’t even know… definitely not as an object for someone else’s fun and entertainment!!

Jana Brike - "Thirst"

“Thirst” – Oil painting by Jana Brike.

JW: Considering the big changes you’ve seen on a political scale in your country, has there been a time when you’ve addressed any of those explicitly in your work?

JB: No, not at all. I am glad of collapse of all unnatural, suppressive human-built systems, and I am beyond sure that more will collapse in my lifetime, but I don’t reflect on that through my art. My focus is a strong “self,” regardless of the temporary circumstance—“self” that doesn’t give its own power away to external systems or persons.

JW: What do you see as the most important development in your work over the course of your art career?

JB: I would say when I dared to make my work much more personal, emotional, reflective of my most intimate experiences—that was the biggest leap.

It’s a hard question, though. It’s a bit like trying to think which one is the most important minute of my day. I can’t really tell, as every minute leads to the next one.

Jana Brike - "First Love on the Edge of a Deep Dark Forest"

“First Love on the Edge of a Deep Dark Forest” – Oil painting by Jana Brike.

JW: One of the things I appreciate in your work is the movement in a lot of your pieces; one can see swaths of petals in the wind, clusters of butterflies in flight, waves about to crash. Looking at your work, one often feels as if one has stepped into a scene in action or caught a person in a moment; even when the figures are still, your paintings rarely feel static. In creating a piece, how do you decide whether to place characters in action together versus staring back at the viewer?

JB: I had one exhibition titled After the End of Time dedicated completely to this very idea. The scene of, let’s say, girls dancing in the sea changes in mood completely if they have a huge wave in a close background, as if about to crush them, and they are serenely and beautifully and peacefully there, as if not noticing anything around. I definitely use that in my work consciously to give the painting the intended atmosphere, sometimes to construct a metaphor about life even.

Jana Brike - "Girl With a Golden Heart Basking in the Sunshine"

“Girl With a Golden Heart Basking in the Sunshine” – Oil painting by Jana Brike.

Also, undeniably, painting is a strange medium, where countless hours, days, weeks, sometimes even years of constant energy flow and dedicated work are used to depict one single frozen moment, isn’t it? That alone can give that metaphysical feeling of a window into a world where time just flows differently and one second of their time is a million years in our reality. At least I get that kind of goosebumps feeling from some painters’ work.

As for decision making, my paintings actually change a lot in the process. Sometimes a character staring back at the viewer doesn’t work out as I had intended; then I change the face in the process. Sometimes I change huge portions of a work entirely. I have had occasions when I send finished images to a gallery, and then an hour later write them, “Wait, no, stop!” and repaint the entire background from depicting broad daylight into a starlit night. A lot of details that indicate movement are added on top of a relatively finished work.

Jana Brike - "Sweet Surrender"

“Sweet Surrender” – Oil painting by Jana Brike.

JW: You have described your work as “poetic visual autobiography.” Do you write poetry as well?

JB: I write stories. Ambiguous poetic stories, many of them accompanied by pictures. Maybe one day I’ll do a book out of those.

JW: Tell us about the place of sketchwork in your overall artistic life. Is sketching a way to work out possibilities for paintings, or is it a discipline unto itself?

JB: Sketching is completely self-sufficient. My sketches rarely, if ever, turn into paintings directly. Paintings are born as a complete image in my mind, and sketching doesn’t help there, although it helps me sometimes to remember the image if I can’t get to painting immediately. For painting, the next step would be the reference material, work with models, landscapes, occasionally mood boards. I feel like with sketching, I process my most immediate emotional life and experiences, flaring feelings and fast thoughts. Painting, where the process is much longer, is more comprehensive, even distanced sometimes, dealing less with daily emotion and more with states of consciousness. It is hard to define in words.

Jana Brike - "The Wildlife"

“The Wildlife” – Sketch by Jana Brike.

JW: Have you received criticism for depicting young people in sexual contexts, and if so, how have you responded to that?

JB: Do I paint actual direct sexual contexts? I sometimes paint young couples in love, excited with each other and their mutual feelings. Maybe that intensity of that first attraction is what fascinates me. Usually I paint a single figure, though. But in either case there is never any predator present, nobody is ever being hurt or endangered, nobody is being misused, or taken advantage of for sexual pleasure of another. Never ever. And I don’t objectify the body; in fact, the characters are mostly my self-portraits in one form or another. If I paint a youngster frolicking in grass, basking in sunshine, swimming naked in a river—it’s just that, a human being having the best day of their life, exploring themselves and the world around, with no one “other” to restrain or touch them. Just as I myself did (and still do) in the country in summertime. It’s a completely subjective, deeply personal perspective on the human condition. Simple physical joy of being! Maybe someone can feel as an uncomfortable voyeur in front of my painting in a case when they can’t associate at all with this theme personally. I don’t know about that; it’s hard for me to take a voyeur position in front of a creation of my own heart, and to try to explain that position. But it’s actually not that often that I meet people like that.

Jana Brike - "Gardener and The Centre of The Universe"

“Gardener and The Centre of The Universe” – Oil painting by Jana Brike.

When I look at people who buy my art or to whom I have a longer dialogue about my themes, 90% are actually women, with similar feelings, experiences that bond them with my work on an emotional level. It’s all been a touching and beautiful exchange mostly.

At the same time, I can’t deny I listen to the opinion of the public: in this time and age it is nearly impossible not to. Let’s take for example the intimate flower piece Gardener and the Center of the Universe that I exhibited with beinArt for the first time a few years ago. I had painted similar pieces for some years in my studio, completely rawly intimate to me, exploring the body-related themes so important to each woman. But I was honestly scared to show it publicly. It meant showing openly where I am most vulnerable, what is so sacred to a woman but is so casually abused in our society. In daily life, you just don’t invite more emotional abuse by openly and with no guard held up showing to others how this theme is important to you, by talking about a woman’s body in this subjective way. Without the social media feedback, this one would probably have sold like other paintings, and it would not even register to me how important that theme, that loving approach, is to other people, and especially women! So, for the few bullies that I get, I wouldn’t give up that instant communication.

Jana Brike - "No Escape from this Beautiful Dream"

“No Escape from this Beautiful Dream” – Oil painting by Jana Brike.

JW: Some of your pieces shine with quiet joy; even with some characters who seem like they might be haunted or have gone through something difficult, there is imagery that conveys beauty and hope. Are these things there because they are important to you personally, or do they constitute a message you’re actively trying to get to your audience?

JB: It is so wonderful you say so! It’s not a conscious linear message, but it is so important to me. I actually like to think that a human is some kind of an energy-being with a task of perpetual transcendence. It’s as if we take heavy matter and transform it into light through a difficult internal process. Sometimes [we] break or get sick under the weight of it, sometimes [we] pass a big part of that weight to others, even generation to generation, needing help with the heaviness of it, but still go on step by step by step in this eternal dance of transcendence, doing it as well as each of us can at every given moment.

Jana Brike - "Summertime Melancholia"

“Wild Honey” – Oil painting by Jana Brike for Lush.

It is actually an important part of my ethnic heritage—the world view where the life is not split into “profane” and “spiritual” as every single thought, feeling and action is a part of this spiritual journey. Even when you break the dishes in a family argument, or mend your broken heart, or struggle to leave a job that gives you security but kills you with boredom, and so on and so on, it is all a part of this dance of transcendence.

Painting just is my personal way to do that transcendence. I don’t paint the darkest heaviest material directly, because it’s all been transformed through my painting process; just a few scars are there to indicate the last bits of struggle and pain. But mostly what’s left is the quiet shining joy—that is so true.

Jana Brike - "The Butterfly Effect"

“Wild Honey” – Oil painting by Jana Brike for Lush.

JW: I mentioned earlier some of the imagery used in your work, including flowers, water, and butterflies. These things convey beauty, joy, hope, turmoil. How do you decide what kind of imagery to use in your work?

JB: Not all is decided very consciously. A lot of my process is like a playful and free-flowing poem. A lot of the little details are added in the very last stage of my work. I don’t have everything thought out, and I don’t have a symbol dictionary where I would look up what stands for love or hope, or fear, or whatever I try to depict. It’s actually quite the opposite: when I notice something keeps reappearing in my work in a haunting way to me, I start to do some analysis or research. When I paint and make decisions in the actual process, it’s not about the looks I envisioned but the feeling, atmosphere, which is often formed by subtle unconscious associations, multiple layers of meanings that are both very personal and comprehensive. It’s all according to what feels right at the moment.

Jana Brike - "Goodbye Eden"

“Goodbye Eden” – Oil painting by Jana Brike.

JW: What do you look for or enjoy in the work of other artists?

JB: It’s very undefinable. It’s all about the feeling it gives me. And the best of all is when the feeling is strong, very familiar, but when I can’t quite put my finger on it and describe it in words, when it’s some strange heart-to-heart communication. I as an artist can’t fake it or learn from someone to do it; it takes a lot of ruthless honesty towards oneself, commitment, love and care to produce a work like that.

Jana Brike - "The End of a Lonesome Road"

“The End of a Lonesome Road” – Oil painting by Jana Brike.

JW: In addition to your November show at beinArt Gallery, do you have any shows or other activities on the horizon that you’d like to tell our readers about?

JB: I have a couple of solo exhibitions on the horizon. The closest is in April at Gallery House, Toronto, and also a very big project coming up at the end of 2018, the biggest paintings I have ever done, at San Diego Art Institute, curated by Distinction Gallery. And I am very, very excited about that!

Jana Brike

Jana Brike finishing her painting “Death and one of her Sisters” for Lush.

The LUSH group exhibition opens on 18 November 2017 at 6pm at BeinArt Gallery in Brunswick in Melbourne, Australia, featuring the art of Jana Brike, Redd Walitzki, Rodrigo Luff and Ray Caesar.