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.

Saturday, 22 June, 2019 to Saturday, 17 August, 2019

Flathead, Jarrod Beezley (Kabi/Bundjalang), Nyin Gung-Wului (Salt Water Life) exhibition, 2008. Gladstone Regional Art Gallery & Museum collection.

An exhibition of new works, as well as a selection of early lino prints and paintings, by Jarrod Beezley (Kabi/Bundjalang). Artworks will be accompanied by their stories, and in recognition of the importance of language with First Australian Communities, will be shown in both the artist's language and in English.

Saturday, 22 June, 2019 to Saturday, 17 August, 2019

On the Wall exhibition overview, Gladstone Regional Art Gallery & Museum, 2019. Photograph: E. Korotkaia.

An eclectic assortment of memorabilia from the Gladstone Regional Art Gallery & Museum’s archives, featuring objects that have adorned the walls of homes and businesses in the Gladstone Region.

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.

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.

Saturday, 6 July, 2019 to Sunday, 11 August, 2019

Dan ELBORNE / Permanence 2019 / Installation view Rosalie Gallery, April 2019 / Photographer: Kirsty Lee / Reproduced by kind permission. 

Permanence is an exhibition by Dan Elborne comprised of objects constructed primarily from the bi-product of another work. Deathgate, created over a number of years and recently presented in Toowoomba, is made up of 1.3 million individual pieces formed into an installation that memorialises those who entered Auschwitz | Birkenau: those lost and those who survived. The objects in Permanence are made from particles of fired clay that were sourced from locations of influence and significance to the artist in Australia and beyond. These clay particles, fragments and damaged shards were collected from the kiln firings for the 1.3 million Deathgate pieces. In Permanence these ‘leftovers’ find their purpose as heavy, contained sculptural columns that continue the homage embodied in the earlier work through their formal presentation. Honouring the intention of Deathgate, these enduring objects combine to claim what remains.


Opening & Artist Talk
Sunday 7 July @ 1.30pm
Free event | All welcome | RSVP (07) 4688 6652


The Regions, managed by the Alexandra Lawson Gallery, brings local, national and international artists to the Toowoomba Region to undertake a series of contemporary art projects in local communities. This project has received financial assistance from the Regional Arts Development Fund, which is a partnership between the Queensland Government and the Toowoomba Regional Council to support local arts and culture in regional Queensland.

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 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, 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, 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

Flash Lights in Low Visibility investigates the detachment of incarcerated members of our community, who are never returned to full citizenship. The exhibition is concerned with the way that the legal framework and isolation of prison reproduces specific individualizing and moralizing systems. Heightened rates of Indigenous and Transgender incarceration undermine the validity of these systems. In considering these imbalances, the work also draws attention to the organization of space as a force for policing binaries, and for determining both the hyper-visibility and the invisibility of non-binary individuals.

OPENING / 6pm, 24th July 2019

EXHIBITION / 24th July – 10th August 2019


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

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).