Wednesday, 20 June, 2018 to Friday, 2 April, 2021

Space Pixels is an interactive light installation, made of mirrored stainless steel and intelligent pixels. The shapes and patterns are formed through reflections, changes in light, colour and intensity.

The installation, created by Nathan Street, explores methods for creating volumetric displays, using techniques found in kaleidoscopes. Multiple three-sided mirror kaleidoscopes allow the image to be viewed from multiple angles, creating the illusion of transparency and volume.

Microphones capture transient sound near the work that influence the patterns and intensity of the light. This allows the work to respond to the environment and be explored in playful ways.

Space Pixels is inspired by Atari 2600 computer games. Games like Space Invaders and Asteroids use simple animation techniques to create staggered movement as objects move around the screen, with coloured pixel explosions when asteroids are destroyed.

Sunday, 30 June, 2019 to Sunday, 1 September, 2019

Penny Evans, Blue swamp banksia 1 – 8 2017, white earthenware clay, copper carbonate, black slip, pooling glazes, translucent glaze, sgraffito. Redland Art Gallery Collection. Acquired in 2018 with Redland Art Gallery Acquisition Funds. Courtesy of the artist. Photography by Carl Warner.

Seeing Country celebrates Aboriginal ecological understandings by highlighting resilient relationships with the lands and waters. This exhibition brings together artistic practices and experiences from saltwater, freshwater and rainforest Country to share insights of place across time. Through diverse mediums and techniques artists express innovation, ancestral knowledge and the importance of the natural world. Collectively, Seeing Country translates ways of seeing that are central to culture and caring for Country.

Sunday, 30 June, 2019 to Sunday, 1 September, 2019

Libby Harward, Already Occupied series – Burial 2018, still image. Courtesy of the artist. Still from drone footage by Micah Ruedin.

Already Occupied is an ongoing art project by Quandamooka artist Libby Harward which asserts Aboriginal sovereignty through temporary installations on Country. Using hi-vis and everyday traffic signage, Harward employs humour, language and materiality to spark conversations about Country and her connection to it. This exhibition brings together Harward’s new site-specific makings, sound and documentation of ephemeral earth installations. Exploring the relationship between exploited land and the material from which colonialism is constructed she turns tools of occupation into a vocabulary of resistance.

Friday, 12 July, 2019 to Saturday, 7 September, 2019

Andrew STYAN Life support system 2016. Photo: Rebecca Carey © the artist

Experimenta Make Sense: International Triennial of Media Art is an exhibition that expresses the disconcerting and delightful world of the digital age. Both playful and challenging, each artwork asks audiences to immerse their senses into a ‘thinking’, ‘feeling’ and ‘doing’ contemplation of what it is to be human in the digital age of technological acceleration. The exhibition features over 20 leading international and Australian artists and is presented as part of Horizon Festival 2019.

Saturday, 13 July, 2019 to Monday, 7 October, 2019

In these new works Madeleine Kelly takes images of local flowers and seed pods as a starting point and interweaves them with disparate images drawn from a variety of sources. The finished paintings present a complex realm where references from mythology, politics and art history intersect with and the artist’s concern for the environment.

Saturday, 13 July, 2019 to Sunday, 8 September, 2019

David Hockney Afternoon Swimming 1980, Lithograph, Edition of 55, 80.6 x 100.6 cm © David Hockney / Tyler Graphics Ltd. Photo Credit: Richard Schmidt.

Over 80 works by one of the most influential British artists of the 20th century, and an important contributor to the 60s pop art movement.

Saturday, 20 July, 2019 to Saturday, 7 September, 2019

Judy WATSON / Museum piece 1998 / etching / Toowoomba Regional Art Gallery – Toowoomba City Collection 499 / Reproduced by kind permission

This exhibition features works from Toowoomba Regional Art Gallery’s Toowoomba City Collection that reference the marks of time on landscapes. From artworks that physically use earth in their construction to works that evoke forces of nature whether subtle or more obvious, these works encourage an awareness of time passing.

Wednesday, 24 July, 2019 to Saturday, 10 August, 2019

Image Credit: Cuts by Grace Blake, 2018. Image courtesy of the artist.

Grace Blake's exhibition will be comprised of predominantly new work that considers a future dominated by non-human and hybridised beings. Blake will model formative anatomies and ecologies through the use of digital modelling software and 3D printing combined with 2D elements.

OPENING / 6pm, 24th July 2019

EXHIBITION / 24th July – 10th April 2019


The gallery is free to visit. Visiting hours are 9am to 4pm Monday to Friday and 2pm to 4pm Saturday.

Friday, 26 July, 2019 to Saturday, 14 December, 2019

Unlearning brings together new and recent artworks, commissions, collection exhibitions, artists and creative thinkers. Running for an extended duration, Unlearning considers the ways in which artists gain, shed and unravel internalised learning about bodies, memory, culture, art, and social interaction, by embracing the idea of ‘not knowing’ through empathy and curiosity. Unlearning is not about forgetting. It is about being comfortable with doubt and strangeness.

To ‘unlearn’ takes many forms: the refutation of ‘old’ or unwanted ideas, the development of new knowledge, altered rituals, different ways of being together or new vantage points. The projects in Unlearning consider labour, repose, memory, history, improvisation, play, and making as potential ways to unlearn. 

Unlearning is the first in a series of extended research inquiries that will investigate and articulate the role of the Art Museum in its broader university context and artistic ecology. Collectively titled An Art Museum in Several Acts, we aim to invert the temporal role of art museums by engaging in long-term conversations with artists, students, and our communities. We will speculate on possible futures of art institutions, collections, and artistic practice with generosity, care, and transparency. 

Lara Merrett
High Stakes

Temporary studio: April 29 – May 10
Exhibition: July 26 – December 14

Weaving the Way
Curated by Freja Carmichael
Exhibition: July 26 – December 14

Elizabeth Willing
Through the Mother

Front Window Commission: June 4 – December 14
Exhibition: September 10 – December 14

John Baldessari
Wall Painting

In progress: July 26 – August 31

Jacobus Capone
Dark Learning

Exhibition: July 26 – December 14

Opening celebrations for Unlearning: Friday July 26

Friday, 26 July, 2019 to Saturday, 14 December, 2019

Lara Merrett
Reproduced courtesy of the artist, Jan Murphy Gallery, Brisbane and Tristian Koenig, Melbourne.
Photo: Hugh Stewart.

Sydney-based artist Lara Merrett presents High Stakes: a newly commissioned project in two parts. First, a temporary outdoor studio will inhabit the grounds in front of the UQ Art Museum. Over ten days the artist will host the UQ student community to make visible the practice of painting for the public. This will culminate in a large installation inside the Art Museum. Audiences can make physical contact with the paintings, altering assumptions about what painting can be, and how we can engage with it. 

Lara Merrett lives and works in Sydney. She studied painting at the Círculo de Bellas Artes in Madrid, Spain (1993) before completing a Bachelor of Fine Arts (1996) and a Master of Arts (Painting) (1997) at the College of Fine Arts, University of New South Wales. In February 2019, Merrett will curate and exhibit in Things we do together as part of ARTBAR, Museum of Contemporary Art Australia, Sydney. Recent solo exhibitions include: Lady luck, Tristian Koenig, Melbourne (2018); High-rise, COMA Gallery, Sydney (2018); and Paint me in, Bella Room, MCA, Sydney (2018). 

Temporary studio: April 29 – May 10, 2019

Curated by Freja Carmichael
Friday, 26 July, 2019 to Saturday, 14 December, 2019

Freja Carmichael and artworks.
Photo: Simon Woods.

Top left
Maria Ware
reclaimed fishing net (ghost net) 2012
image 46 x 33 x 33 cm
Collection of The University of Queensland, purchased with the assistance of Margaret Mittelheuser AM and Cathryn Mittelheuser AM, 2013.

Top right
Abe Muriata
Jawun 2016
twined lawyer vine (Calamus caryotoides)
overall 78 x 53 x 35 cm
Collection of The University of Queensland, purchased 2016.

Hersey Yungaporta
Basket 2005
cabbage palm fibre with natural dyes
overall 7.5 x 31 x 31 cm
Collection of The University of Queensland. Gift of an anonymous donor to commemorate the University's Centenary, 2010.

Lower right
Rita Wikmunea
Basket 2005
grasses with natural dyes
overall 5 x 25.5 x 25.5 cm
Collection of The University of Queensland, purchased 2006.

Guest curator Freja Carmichael presents Weaving the Way featuring works from the UQ Art Collection. This exhibition makes visible the layers of meaning and wisdom carried in contemporary fibre works by Aboriginal and Torres Strait Islander artists. Honouring visual languages of the past through form, material and technique, the artists included in this exhibition weave together the spiritual, cultural and historical.

Artist list to be announced.

Freja Carmichael is a Ngugi woman belonging to the Quandamooka People of Moreton Bay. A graduate of UQ’s Master of Museum Studies program (2014), Carmichael is a curator working across the Aboriginal and Torres Strait Islander visual arts and culture sector. Carmichael recently curated Around and within, Space Gallery, Sydney (2018), and was a co-curator of The Commute, Institute of Modern Art, Brisbane (2018). Carmichael is also a member of Brisbane-based Indigenous curatorial trio, Blaklash Collective. In 2014, Carmichael received an Australia Council for the Arts Emerging Curator’s Fellowship with Redland Art Gallery and was awarded the National Gallery of Australia International Indigenous Arts Fellowship at Aboriginal Art Museum Utrecht, The Netherlands (2016).






Friday, 26 July, 2019 to Saturday, 31 August, 2019

John Baldessari, Wall Painting, initially curated by Tara McDowell at MADA Gallery, Monash University in October-November 2017.

Renowned American conceptual artist John Baldessari’s Wall Painting will be staged at UQ Art Museum in collaboration with UQ students. Existing only as a concept for over 50 years, Wall Painting was first initiated in late 2017 by curator Tara McDowell at Monash University, Melbourne. The concept is simple: each day a new UQ student is invited to paint one wall of the UQ Art Museum a single colour – any colour – of their choosing, in exchange for an honorarium. Over 31 days, a different student will paint the same wall a different colour. Participants negotiate with one another to learn about time, decision-making and its relationship to their labour.

Forum: August 31, 2019

Friday, 26 July, 2019 to Saturday, 14 December, 2019

Jacobus Capone
Dark Learning 2015 (detail)
7-channel video, high definition, colour, audio duration 0:22:21 mins
Collection of The University of Queensland, purchased 2017.
Reproduced courtesy of the artist.

Jacobus Capone’s Dark Learning (2015) is an immersive seven-channel film installation that unfolds in performative gestures within extreme locales. Dark Learning tests the body and asks questions about our relationship to the natural world and how we come to learn about it. Capone is invested in the Chinese philosophical concept Xuanxue, which literally translates as the learning of the mysterious and profound. Xuanxue encourages a distancing of intellectualisation from actions, instead placing faith in sensation to embrace a deliberate unknowing.

Dark Learning was acquired by UQ Art Museum in late 2017.

Western Australian artist Jacobus Capone is known for his ambitious performances that are often undertaken in remote landscapes without an audience. Capone uses his body to endure extreme conditions as a way of connecting to the environment he is in. He received a Bachelor of Visual Arts, Edith Cowan University, WA in 2007. Recent solo exhibitions include: Double enigma, Michael Bugelli Gallery at ‘the tunnel’, Old Mercury Building, Hobart (2018); Passage, Turner Galleries, Perth (2018); and Forgiving night for day, Perth Institute of Contemporary Art as part of Perth International Arts Festival, Perth (2017). Recent group exhibitions include: Hadleys Art Prize (finalist), Hadley’s Orient Hotel, Hobart (2017); Primavera, MCA (2017); and Ramsay Art Prize, Art Gallery of South Australia (2017).

Saturday, 3 August, 2019 to Sunday, 1 September, 2019

London Heir / Seclusion 2019 / watercolour on paper / 30 x 39cm / Reproduced by kind permission.

Local artist London Heir’s latest body of work Unanchored explores femininity through ethereal watercolours. Over the past year, Heir has collected different species of pet fish and observed their movements to incorporate into her paintings. Heir has drawn connections between femininity, water, flora and fauna, whose graceful and interesting forms complement one another. The resulting images are intended to mimic the calming, elegant influence the fish seem to possess.


Opening & Artist Talk 
Saturday 3 August @ 1.30pm
Free event | All welcome | RSVP (07) 4688 6652


This exhibition is part of the Cam Robertson Gallery exhibition program that showcases the work of artists, curators and arts organisations in the Toowoomba Region.

Installation view Creative Generation Excellence Awards in Visual Art 2018 / Toowoomba Regional Art Gallery / Reproduced by kind permission

The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland’s state and non-state schools.

Now in its 29th year, the program has helped raise community awareness of the degree of sophistication in concepts, diversity of technical competence, and the high standard of visual art education in Queensland secondary schools. This regional exhibition displays the creative talents of senior high school visual art students from the Darling Downs and South-West Queensland region for 2019.


Award Ceremony
Sunday 25 August @ 1.30pm


The Creative Generation Excellence Awards in Visual Art is an initiative of the Department of Education, supported by Toowoomba Regional Art Gallery.