There will be something for everybody at Shellharbour Arts Society’s A Reason for Being exhibition at the Old Fire Station in Kiama. The exhibition will be on display from Thursday until next Wednesday with the officially opening to be held by Society president Gennifer Anderson on Saturday at 2pm.A Reason for Being will showcase over 14 artists, photographers and sculptors. At the opening, Anderson will speak about the opportunities for artists within the Illawarra and beyond, based on her personal experiences with public art and ways to engage in volunteering. “Art for me is very much associated with belonging, so I love to do public art and as the president of the arts society, I love to help members showcase their talents and organise exhibitions. “We have a watercolour artist that does almost hyper-realistic items, we have the most amazing potter that makes the most glorious pottery combined with weaving - there is something for everybody,” Anderson said. When asked what the benefits of showcasing art in an intimate setting are, she explained: “It allows people to experience art in ways that you wouldn’t necessarily experience them.” Extensive global research signifies the positive influences that art has not only within communities, but also individually. “I often encourage young people about getting involved in public art and activities, and channelling some of that creativity and energy, it can be quite healing” Anderson said. Anderson is an award-winning artist and has featured in print media, public displays, art shows, group exhibitions, and numerous solo exhibitions across NSW.

Theatre director Michael Futcher read George Orwell’s 1984 at school - like most of us - but for him it was far more than just required reading.“It really stayed with me. It wasn’t one of those books that you often read at school - you read it and you just do what you have to do to get your assignments done and then you just forget about it,” he said.“This book stayed with me and it became lodged really in my consciousness for a long, long time. "I had lots of other projects throughout my career where I would often make reference to the book and the situations explored in 1984.”Futcher is directing a new stage adaptation of 1984, presented by Shake & Stir Theatre Co., coming to Shoalhaven Entertainment Centre on 3 June for one night only.While the 1948 novel is rich with ideas, predictions, and chilling insights, Futcher says it’s also simply a compelling story.“It's a thriller, really - the story. You're not really sure what's going to happen to the protagonist as he tries to challenge the system. It's like one man against the world. "But at the same time it’s also a love story and a story about courage and a story about standing up for what you think is right,” said Futcher.Another photo of rehearsals of Shake & Stir's 1984. Photo: Joel Devereux“And how long can people hold out to do that in the face of enormous power against them?”This isn’t the first time Futcher has taken on the challenge. He first directed the play in 2012, followed by a national tour in 2014. Now, as he prepares for a second national run, he believes the themes of 1984 have only grown more relevant.“I think over the last few years our whole concept of what freedom actually is has been put under pressure. In the days when we first did the show, which was 2012-2014, we thought of authoritarian regimes as being very far off,” he said.“But lately, the whole notion of a strong leader who does things for the people in spite of the petty bureaucracies that normally go alongside democracies, has become quite an attractive prospect to many people because they think that that's the only way things can get done.”Futcher also sees Orwell’s warnings about media control and truth manipulation reflected in today's fractured media landscape.“The notion of the power of the press as a representative of the people to keep a government honest, has now has not only largely been taken over by interested parties on both sides of the political spectrum. “It's also the notion of a fourth estate in itself,” said Futcher. “All the blogs and the online individual news sites have taken over people's minds in a lot of ways and that has become a new challenge to our freedom.“And I think that that's what this play really looks at: What is the truth? Is the truth in the mind of the ruling power or is it an objective thing that no one can touch?”And for those that remember correctly, the novel is written largely within the thoughts of the main character Winston - which famously makes it quite hard to adapt, but Futcher and his team have found a creative solution.“What we've done is we've circumvented that issue by making that a very active thing in the play, where you actually get to hear Winston thinking about his dilemmas. And we do that in a very dynamic way,” said Futcher.“We use modern digital technology extensively in the production. We have a live feed going on as a way of getting inside Winston's mind. The set incorporates a lot of screens. We have 12 very big 65-inch screens on the set, which creates this big wall of technology, which we use to affect in various ways during the show. It's quite disturbing for the audience, but it's very effective theatrically.”Futcher urged anyone local who was interested in theatre and art to get to Shoalhaven Entertainment Centre for a night that will be truly different.“You're transported into a different world. You get into the theatre and you're confronted with searchlights picking you out. It's a really different, fresh experience,” said Futcher.“And even though the subject matter is quite confronting, it's a very positive thing to go and see because you feel like you're more informed about the way the world works. And also, you come out with a sense that each and every one of us can actually make a difference, in a small way, to how we perceive, and how we can change the world.”Futcher and Shake & Stir’s gripping production of 1984 plays for one night only at Shoalhaven Entertainment Centre on 3 June. You can find tickets here

Artist Mat Heaney will unveil his latest exhibition, Agony, at SEVENMARKS Gallery in Kiama starting this Saturday - and he’s the first to admit the title might feel intense.“You call a show Agony and people are going to think, ‘This guy’s just a total nihilist,’” says Mat. “But I think it’s more realistic than nihilistic. Life does have its agonies - the existential questions of why we’re here, why we’re in these bodies. I find those topics interesting.”Despite the heavy title, Mat says the works are not just about darkness, but also the beauty and hope that can emerge from it.“There’s hope in it as well. It gives me a reason to keep going, especially when there’s so much heaviness in the world - politically, and in people’s minds. I can’t really shy away from that. But I’m not trying to dwell on it or make it negative - I want to find the beauty that can still be found.”Agony features nine paintings unified by a thematic thread inspired by the biblical story of Christ’s anguish before his crucifixion.“I think the best paintings explore the human condition. I wanted to reflect on life and where it’s heading - our eventual death. "That Christian myth of ‘agony in the garden’ just felt like a distilled version of what we all go through. Every day, we wrestle with life and death, and the small agonies that come with being human.”The works themselves are dreamlike, existing in the liminal space between memory and imagination, fact and fiction, consciousness and the subconscious.“Life is kind of like that - a bit of an illusion,” says Mat. “I love how painting lets you tap into the dream side of life, your subconscious world. I think when you engage with those realms, you gain a deeper understanding of the world and what’s happening around you.”Walking through the two connected rooms at SEVENMARKS, the paintings feel like scenes from a film - each work a chapter that builds on the last. Together, they explore recurring themes and invite viewers into a contemplative journey.Three of the paintings revolve around a recurring abstract figure. One features birds. Two portray gardens dissolving into darkness. Another, titled Absinthe, is an intense green screen that could be seen as a kind of visual reset - cleansing the viewer’s palette before starting the journey again.And because most of the works are abstracts and unclear, you can see it however you’d like - Mat invites all interpretations to his work.“You can lay on top what you want. I wanted to empty out the image - get rid of the image - so you could just sort of walk into it and contemplate whatever image you wanted,” says Mat.Agony runs from 24 May to 28 June at SEVENMARKS Gallery, Kiama. Mat Heaney will be present on opening night, offering visitors a chance to engage with the artist and his process. Head down to one of Kiama’s most thought-provoking and visually striking venues to experience this moving body of work.

Three local choreographers are set to debut their new triple-bill experimental contemporary dance work, Turnout, at the Phoenix Theatre in Coniston.For two nights only - 13 and 14 June - Elizabeth Apter, Mara Glass, and Bella Lopes De Oliveira will each present a 20-minute original piece, exploring distinct ideas through the expressive language of contemporary dance.“We each have our own pieces with different ideas,” says Apter. “Mine is about girlhood through the lens of soul, spirit, and body. Then there’s a piece about generative AI and its implications on the art world, and another exploring embarrassment, using the theme of a circus performance.”Rehearsals for Turnout. Photos supplied.All three choreographers have been active in the Illawarra’s dance scene for years and are passionate about showcasing original work locally rather than defaulting to Sydney.“There’s not really anything like it in the area,” says Apter. “Contemporary dance tends to have a stronger presence in Sydney, so this is a great opportunity to feature that kind of work here in the Illawarra.”The pieces make use of contemporary dance’s subversive and expressive nature, while also incorporating elements of physical theatre, sound, technology, and audience interaction to deepen each work’s narrative and impact.“My piece is more traditional in the sense that it's just dance, pretty much,” says Apter. “But there are definitely physical theatre influences and a lot of theatrics. Bella’s piece invites the audience to participate - they actually become part of the performance. And Mara incorporates projected video throughout her work.”“There’s a lot of technological involvement mixed in with dance, acting, physical theatre - and, of course, the music, costumes, and sound design.”Apter says this fusion of artistic disciplines is what draws her to contemporary dance as an artform, and she hopes audiences are just as intrigued.“It’s a physical amalgamation of so many things. It’s layered, subversive, and a very powerful form of individual expression,” she says. “Unlike a painting that can simply hang on a wall, dance requires collaboration - music, lighting, performance, movement - it’s all essential.”She adds, “I love seeing the pieces I create come to life on stage. It’s a rare and valuable form of art, and not something we see often in the Illawarra.”Tickets for Turnout are available now via Humanitix - don’t miss this rare opportunity to support local artists and experience bold, original dance theatre in the Illawarra.

Members from the Kiama-Shellharbour Camera Club will be exhibiting their work at the Old Fire Station next Thursday - and Kevin O’Gorman it marks a personal milestone.O’Gorman, a retired teacher and librarian, joined the Kiama-Shellharbour Camera Club as just something to do in retirement and after six years it has grown into something much more.“I retired roughly seven years ago from work and then a year later I ran into some friends who were involved with the club, knowing that I had done photography in the past, they said I should try it out,” he says.“Initially I thought it was just going to be another hobby in retirement but after six years of enjoying it so much, I've actually enrolled to do formal training at TAFE this year because I realised I wanted to go further.”O’Gorman’s work will be featured in the exhibition which begins on Thursday, 22 May until 28 May and it’ll be the second time his work has been featured as a part of the club’s group exhibitions.“I was very hesitant to put work into the exhibitions, even though I've been with the club for many years. But last year, I took some photographs, mostly portraits, and entered them. And one of mine was the first one to sell,” he says.“It sort of affirmed that I was doing the right thing and I think that's one of the reasons the club is important because it gives you an avenue and the confidence to put your work out there,” he says.O’Gorman’s growth as an artist in the one year since that first exhibition can be seen clearly in the more experimental work he has chosen to submit for this one.“I've got one that's more of a creative composite as well as two macro shots and one that's an actual travel panorama that I did when we were in New Zealand,” he says.“And that’s one of the big benefits of being in the club, we do various shoots. We do a lot of landscape as well as street photography, event photography. We go to places like Cockatoo Island and White Bay Power Station, places that have some interesting architecture.”“We've just recently had a presentation by a photographic artist who does imaginary composite photos using photographic elements that she combines into very imaginary pictures. It’s really eye opening.”The club has also been using Zoom to connect with photographers all around Australia and even in the UK which has broadened their horizons and expanded the main thing that O’Gorman enjoys about the club - the community.One of Linda Fury's photos in the exhibit of Bombo Quarry. Photos supplied.“I think the main part that has helped my development is actually being part of the club, because the people in the club share their expertise. And when we go on shoots, members are there to give suggestions and talk about how they go about things,” he says.“I actually think it's the teamwork of the club that's the most important thing for improving your photography. I think when you're sharing the same interests with people who understand what you're talking about and what you're trying to achieve, it makes it easier and it creates a safe and friendly place to practice photography.”Also joining Kevin at the exhibition will be Kiama-Shellharbour Camera Club members Geraldine Lefoe and Flavio Spedalieri as well as President of the Club Linda Fury. If you are interested in joining the Kiama-Shellharbour Camera Club, visit their website and get in touch with Linda.

When Jenny Hicks, director of Dale Frank - Nobody’s Sweetie - a documentary based on the life of the Australian artist - first met Dale, it was under unusual circumstances. She was searching for a two-storey farmhouse for a film.“I had a real estate agent in Singleton who told me there was an artist up the hill who had a two-storey house. I tracked him down online and went to check it out as a potential location,” Hicks says.“And of course, it was nothing like a farmhouse.”No, Dale Frank’s house is not your typical home. It has achieved near-mythic status, much like many aspects of Frank’s life. It's a big, solitary place out in the bush - where the reclusive artist lives and works.That chance encounter marked the beginning of Hicks’ entry into Frank’s eccentric, fiercely private world - contributing to, or perhaps deconstructing, the mythology that surrounds him.“A year or so later, when my film came out, he rang me and asked, Why didn’t you use my house?” Hicks says. “And I told him, Because it’s an artist’s house, not a farmer’s house. And he said, Well, why don’t we make a film together? So I went round for a cup of tea.”She was greeted by Frank’s lush botanic garden, filled with palm trees, cacti, and all sorts of plants he had collected and cultivated. Inside, the house revealed quirky yet beautiful interiors and taxidermied animals scattered throughout.“Dale is a mega creative force. Everything he touches, sees, or surrounds himself with is beautiful. I mean, you open a drawer in the kitchen to get a tea towel, and all the tea towels are beautiful. Everything in the house is beautiful,” she says.“He does the finest of everything - not in a showy or silver-spoon way - but with care and vision. His interiors, his colours, the gardens, the paintings - he has this incredible eye. He’s an artist with a capital A.A shot of Dale's house from the documentary. Source: Umbrella Entertainment“And yet, the only thing he wears is a pair of grubby old shorts covered in paint - he looks like a hobo half the time. But everything he surrounds himself with is stunning.”The documentary captures these lesser-seen aspects of Frank’s artistry - those personal, everyday expressions of creativity that never make it into galleries but stem from the same artistic impulse. And, of course, it showcases the work itself.For those that don’t know, Dale Frank is one of Australia’s foremost contemporary artists. Since the 1970s, Frank has enjoyed a successful international career and in the documentary we watch as Dale evolves - his styles, themes, and ideas shifting with each new collection. He’s incredibly prolific, so there’s a lot to cover.Dale in the middle of his process. Source: Umbrella EntertainmentBut even though the film dwells on his art, its true focus is the man himself - which is what makes it so compelling.Rather than feeling like a tour through a gallery, the documentary becomes an intimate portrait: Dale tells stories, pushes back, shares secrets. We learn about his struggles with autism, his existential fears, and his complicated relationship with the art world. It’s like spending an hour inside his wildly creative, chaotic mind.And although he opens up more than expected, especially for someone so isolated, there’s a clear sense that he’s still holding something back - evident in a glance at the camera or the way he carefully phrases an answer.“I think there was a lot of trust between us,” says Hicks. “But he’s still pretty guarded. When I’d ask direct questions, he’d pause and think very carefully before responding.”The film ends with Frank presenting a new exhibition and walking through the gallery, interacting with guests. He doesn’t say a word - but the look in his eyes reveals the discomfort and pain of being forced to socialise. And in that moment, despite all his bravado, we see the vulnerability beneath - the fear.Fear of not being liked. Of not being able to continue making art. Of dying. Of embarrassment. Of everything. But it’s this same fear, paired with his outward confidence and occasional obnoxiousness, that allows him to push through and keep creating. That, Hicks says, was the most inspiring part of working with him.“A few times, when I was having a nervous breakdown while making the film - for one reason or another - he would get right behind me and say, ‘This is your film. You do it your way,’” Hicks recalls.“He gave me these little pep talks, reminding me not to compromise just because of the money or other people’s expectations. And I hope some of that rubbed off on me. Even now, when I’m having a rough day, I think: What would Dale do?”Dale Frank - Nobody’s Sweetie, directed by Jenny Hicks, is out 1 May and showing at Dendy Cinemas.

The Gerringong Music Club will present Cellissimo - a powerful showcase of Australia’s favourite instrument, performed by four outstanding cellists.Bringing together four talented musicians, Cellissimo celebrates the cello, which was voted Australia’s most loved instrument in 2023.“If you’re a fellow cello fan, this is the concert for you,” says musical director Imogen Stewart.“With its warm, human-like tone and expressive range, it’s no surprise the cello topped the list. "This performance highlights everything that makes it so special.”Expect rich, layered harmonies as the quartet delivers a sound experience that’s both intimate and immersive.The concert begins at 2pm on Sunday 18 May at Gerringong Town Hall. Tickets are available at the door or online. Entry is free for members, children, and students; visitors $30.

Vivid Sydney 2025 will kick off on May 23, and this year, the Australian National Maritime Museum will present Tunku and Ngaadi  - the story of Mirriyaal, the creator, who shaped the first humans from the stars and entrusted them with the task of creation.Told through striking animation, sound, and storytelling, Tunku and Ngaadi will be projected onto the museum’s rooftop nightly from May 23 to June 14, between 6pm and 11pm.The animation and artwork, created by Walbunja and Ngarigo artist Cheryl Davison, brings to life the story of Mirriyal, the creator of the first humans - Tunku and Ngaadi - who shape the land, animals, and trees using a stick and stone.As exhaustion and conflict emerge, Tunku is cast into the sky as the moon, while Ngaadi’s grief gives rise to rivers, oceans, and the waratah flower - a powerful symbol of life and nature.Developed in collaboration with Studio Gilay, the animation beautifully captures this myth of creation and enduring love.A still from Tunku and Ngaadi. Source: Vivid SydneyThe experience is enhanced by a soundscape performed by the Djinama Yilaga choir, which can be heard from Pyrmont Bridge. Other great vantage points include King Street Wharf and the Vivid Light Walk.Museum Director and CEO, Daryl Karp, says the installation is the perfect place to begin your Vivid journey and connect with this year’s theme, Dream.“We are thrilled to partner with a First Nations artist and animation team - Cheryl Davison and Studio Gilay - and to showcase the choral works of the Djinama Yilaga choir as part of the world-renowned Vivid Festival, bringing this timeless Dreaming story to life,” said Karp.Vivid Sydney runs from May 23 to June 14. For more information and to plan your visit, head to vividsydney.com.

Tickets are now available for the upcoming Orry-Kelly Dressing Hollywood Gala, set to take place at The Sebel Kiama on Saturday, 26 July.Hosted by the Kiama Icons and Artists Association, the gala will celebrate the life and legacy of Kiama-born costume designer Orry-Kelly, who won three Academy Awards and worked on more than 300 Hollywood films, including collaborations with stars like Marilyn Monroe, Bette Davis, Carry Grant and Katharine Hepburn.The event is part of the wider Orry-Kelly Celebration and coincides with the unveiling of a NSW Government Blue Plaque in his honour. The plaque will be installed at The Sebel, acknowledging Orry-Kelly’s international success and local roots.Kiama Icons and Artists Association founder Catherine Menzies says she was inspired to create the event after realising that many locals were unaware of Orry-Kelly’s achievements.“No one in Kiama knew who Orry-Kelly was, and it made me think, something needs to be done,” she says.“Orry-Kelly started here. He came from an amazing Kiama family, and he deserves to be recognised.”Cate Menzies (Middle) at the Sunday Sippers for Orry-Kelly in December 2024. Source: Kiama Icons and ArtistsThe gala also marks the tenth anniversary of Women He’s Undressed, a 2015 documentary chronicling Orry-Kelly’s life and career. The film’s screenwriter, Katherine Thompson, and producer, Damien Parer, will attend the gala and take part in a discussion panel.Acclaimed Australian director Gillian Armstrong is also expected to attend, with confirmation to be announced closer to the event.The evening will include a Hollywood-themed performance by a professional dance troupe, a panel of industry speakers, and a display of Orry-Kelly’s original costumes and artwork.“In my head, I could hear glamour,” says Menzies. “It couldn’t just be a talk - it had to be fabulous. Something Orry would have loved.”Event details:Date: Saturday, 26 July 2025Venue: The Sebel KiamaExhibition Access: From 5:00 PMGala Start Time: 6:00 PMTickets: $115 per person (includes exhibition access, a welcome drink and canapés)Booking: Available now via TryBookingEarlier that day, the public will also be able to view the Orry-Kelly Exhibition between 11:00 AM and 4:00 PM, with tickets available at the door.

I’ve always been a rugby league player. I loved the game from a young age and became obsessed with every part of it - whether it was playing, supporting, or any other way I could engage. But I’ve never felt like I truly fit in with the culture that surrounds it.When you think of a rugby league player, a very specific image comes to mind - and no matter how much I’ve tried, I’ve never quite matched that.In Head South, the new film from New Zealand director Jonathan Ogilvie - based on his own life - we follow Angus (Ed Oxenbould), a teenager in 1979 Christchurch, who also hasn’t found his people yet.The film opens in a small, boxy 4:3 aspect ratio (think old TVs), but as soon as Angus listens to his first post-punk record, the film visually and sonically transforms.“The screen becomes wider, the sound expands - it goes into surround sound - and the colour grade is slightly different. The world becomes more colourful from that point. It's a much greyer, greener tone before, and when it opens up it introduces more oranges and reds - it’s a brighter world,” Ogilvie said.Angus with his Dad, played by Márton Csókás. Photo: Dougal Holmes“Suddenly you discover this possibility of music, which I dare say is like a gateway drug to the world of ideas. Music can be so immediate, but it also leads you to investigate literature and art and the whole world of ideas.”From that moment, Angus becomes obsessed with post-punk - changing his clothes, haircut, even his attitude, and trying to embed himself in this new scene. But it’s clearly a mask. His real self keeps peeking through.He claps after a song at a gig. He doesn’t know the names of bands he’s “supposed” to. And most telling is his big, goofy smile - breaking through the emotionless post-punk front he tries to wear.There’s a quote early in the film that sums up the heart of his struggle. Angus’ dad tells him: “A pilot lost his bearings - he confused true south with magnetic south. "You’d be surprised how much that happens: confusing the magnetic with the true - getting lost.”Ogilvie adds: “The theme for Angus is the difference between the magnetic and the true. He's attracted to Holly - an incredibly glamorous young girl with a Cockney accent who fits perfectly into that world.Angus with Holly, played by Roxie Mohebbi. Photo: Dougal Holmes“And the antagonist, Malcolm, is the most extremely magnetic - to the point of being nasty and horrible to people - because in his mind, that’s what punk rock is. "So there’s that journey of trying to fit in, while also figuring out who is magnetic and who is true.”This all builds to the main tension: Angus has made up a band and is now pressured into performing with them - despite not having anything ready. With just a week to pull something together, he’s scrambling to avoid completely embarrassing himself.And when his band finally performs, it’s a standout scene. The walls around the punk scene - the egos, the coolness, the posing - are all broken down. For one beautiful moment, the music is just ... fun. Shared joy. What it should be.Ogilvie says there was pressure to end the film there - but doing so wouldn’t have been honest to his story.“If it was a Disney film, that’s where you’d end it. But it’s a coming-of-age, and those stories are about learning. And this is a hard lesson.“Because it’s based on true events, I was never going to let go of that fourth act. We needed it. I think it comes like a punch in the stomach - but in a good way.”Head South is a relatable, energetic, and entertaining coming-of-age film that takes you back to the time when your passions were everything - when music, or sport, or whatever it was, felt like your whole world.And while the whole cast is strong (Márton Csókás, Stella Bennett, Roxie Mohebbi), it’s Ed Oxenbould who shines. He’s in nearly every frame, and his childlike sincerity - the way his real self shines through the punk façade - makes him impossible not to root for.Head South is playing exclusively at Dendy Cinemas in Newtown. It’s well worth the trip.

Two years in the making, local artist and Kiama Art Workshops owner Liv Deans will present her first solo exhibition, Sitting with the Sun, the Light, and the Sea, at the Old Kiama Fire Station.Opening on Thursday, 17 April at 6:30pm, the exhibition will run until next Wednesday, with daily opening hours from 9am to 4pm.The exhibition aims to express the beauty and joy of the ocean that we so often take for granted.“I went overseas for a year and a half and didn't really get to be in the ocean and it made me feel really grateful for what we've got here. So it forced me to actually try and appreciate and enjoy the ocean as much as I could when I got back,” she said.“Painting is my way of sort of making sure that I appreciate the ocean, by painting it and showing others how amazing it is.”Sitting with the Sun, the Light, and the Sea features 17 oil paintings of varying sizes, exploring the seemingly infinite moods and faces of our local oceans.“It's all about how the ocean presents itself in so many different ways and colours. We've got the rough sea, we've got gray skies, pink skies, beautiful clear water and I also love the whales in Kiama,” says Deans.“I just love being in the water. For me, I can never ever go in the water and feel stressed or remember a to-do list or anything. I just think we're so lucky to have the ocean so close and these paintings are a reminder of how lucky we are.”Deans’ journey with art began early, learning by copying sketches from her grandfather, a local artist.“My pop used to paint, he was a local artist and I used to just copy everything out of his sketchbooks and learn that way. I'm pretty much self-taught just mainly from copying his works and I just grew up loving it,” she added.Now, as the founder and one of the main artists at Kiama Art Workshops, Deans spends much of her time helping others pursue their creative goals. This exhibition is a chance for the community to support hers.Head down to the Old Kiama Fire Station to experience a heartfelt tribute to the beauty of the local coastline, through the eyes of one of its most passionate admirers.

Kiama landscape artist Andrew McPhail didn’t exactly get off to a flying start in the art world. In fact, a disappointing mark in Year 12 art left him thinking he simply wasn’t very good at it. A few decades later - and thanks in part to the COVID-19 pandemic - McPhail now has an exhibition at the Southern Highlands Artisans Collective (SHAC) gallery, running from 27 March to 21 April.Before the 2020 pandemic, McPhail had only ever staged one exhibition - in Vancouver in 1992 - and had spent most of his working life as a teacher.McPhail's painting of Black Beach Rockpool. Source: Andrew McPhail“When COVID hit, I was leading the primary school at Shellharbour Anglican College, and it was a really busy time,” McPhail said.“I think a lot of people asked themselves during that time: what am I doing for myself? "How am I looking after my own interests? So, I thought I'd pick up the brushes again.”McPhail’s youngest son, James, had started surf photography at the age of 12, and his striking images became the inspiration for his return to painting.“I thought, I love the ocean, I love waves, I love surfing and fishing - why not paint a couple of his photos? And I did, and it was a lot of fun.”Art became a place of refuge and escape in the stressful months of the COVID pandemic.Low tide Crooked River entrance, Gerroa. Source: Andrew McPhail“You know that feeling when you're in your happy place and time just flows? "There are a few things that do that for me - spending time with family, grabbing a coffee with my wife - but also picking up a brush, sketching, capturing a beautiful scene, and seeing it through to a finished work. I just love that,” he said.Wanting to improve, McPhail reached out to Shellharbour Anglican College’s then-art teacher, Melinda Giblett, a talented landscape artist in her own right.“She gave me some great advice - the first thing she said was 'get an Instagram account'. I thought, here we go,” McPhail laughs. “So I posted four or five pictures, and one Christmas holiday, a woman named Kerry Bruce from Fern Street Gallery contacted me and said, I want to talk to you.”Thinking it was a mistake, McPhail nearly brushed it off.“I was like, No, I think you’ve got the wrong person - I’m just a nobody. But she mentored me throughout that first year and being part of the team at Fern Street Gallery really helped my work improve.”Since 2021, McPhail has been a resident artist at Fern Street Gallery, exhibiting regularly. He says sharing his love of the local landscape has brought a new level of meaning to his art.“For me, there’s so much beauty in our local area - in Kiama - and I’m really grateful for it. I want to share that. The satisfaction comes from interpreting that beauty through my art.”Country road, Sutton Forest. Source: Andrew McPhailHe often includes familiar elements in his work like beach tracks, headlands and surf breaks - details that resonate with locals and visitors alike.“People see a painting and say, Oh, I want to walk there, or I have walked there. "I want it to bring back that memory - sunlight glinting off the waves, sparkling on the sand - small specific details that bring you back to a place and time,” he says.His SHAC exhibition, From Coast to Country, showcases a range of works, including small acrylics, watercolours, and large oil paintings.Looking back on his artistic journey, McPhail credits others for helping him along the way.“I just want to acknowledge all the people who’ve contributed - the mentors, the artists who gave advice, and those who offered kind but critical feedback to help me grow,” he says.“I think one of the signs of a healthy community is its commitment to expressive art, whether it’s music, fine art, writing. Kiama has a really healthy art community, and I want to thank everyone involved.”Andrew McPhail’s work is on display at the SHAC Gallery until 21 April. Don’t miss the chance to see how far someone’s passion can take them.

Collective 25, a group of five local photographers and artists, has launched a new exhibition entitled Retrospective, showcasing the diverse works of Kiama residents Rowan Hollingworth and Olga Baldock, Wollongong-based artists Geraldine and Brian Lefoe, and Kiama photographer Diane Goodman.The works are on display at The Old Fire Station in Kiama until April 9. The exhibition spans a range of styles, from traditional photography to more contemporary, abstract, and emotive works. Each artist brings a unique approach to the medium, using photography to go beyond the typical "record shot" and instead creating expressive and interpretative images.The artists presenting their work at the Old Fire Station.Olga Baldock's innovative use of in-camera multiple exposure techniques results in one-of-a-kind images that blend creativity and technical skill. She has recently expanded her practice to include multimedia works, such as collage and gelli pad printing.Rowan Hollingworth, known for his flower photography, also explores landscapes and natural subjects around Kiama. His works combine surreal and abstract images, often enhanced through Photoshop compositions.Some of the work on display.Geraldine Lefoe captures the magic of Wollongong’s beaches using natural light and Intentional Camera Movement (ICM) techniques. Her work reflects an expressionistic style, focusing on the relationship between people and nature.Brian Lefoe’s striking black-and-white landscapes are complemented by vibrant colour works that often lean towards abstraction. His photographs take viewers from the waterfalls of Tasmania to the deserts of Morocco.Diane Goodman, with over 30 years of experience, blends photography with traditional media like watercolour and acrylics. Her work explores the intersection of digital and traditional practices, reflecting on nature, memory, and emotional connections.Retrospective offers an intimate look at the creative practices of these local artists and is open daily from 10 AM to 4 PM at The Old Fire Station, Kiama.Exhibition Details:Dates: 4th - 9th April 2025Location: The Old Fire Station, KiamaTime: 10 AM - 4 PM dailyDon't miss this opportunity to experience the diverse and thought-provoking works of these talented local photographers.

If you've recently been down Terralong Street, you may have spotted new artwork on local bins. The photos, taken by local photographer Rowan Hollingworth, show his stunning nature inspired work.Throughout his life, visual arts - especially abstract art, Asian art and ceramics - have piqued Hollingworth's interest. A Kiama local since 2006, Hollingworth took up photography as a new hobby, building on his years of artistic experience. His photos are now on display on bins along Allowrie Street and Terralong Street until June.Hollingworth draws inspiration from Kiama’s natural surroundings, particularly the lichens and rocks near the famous blowhole. "I like the idea of sort of abstract in nature's patterns," he said, evident in his photos of leaf veins, seafoam bubbles, and lichens stretching over rocks.His work has received a positive response from locals, both online and in person. The eye-catching artwork.While driving down Terralong Street, a woman noticed the artwork on the bins and told Hollingworth: "I really like seeing that as I drive past." He responded, "I hadn't thought about, you know, people driving past and seeing it ... it's very well placed, I think."He extends a special thank you to Kiama Council for funding this initiative to support local artists and photographers. "It gives the photographers a little boost and makes the place look a bit more interesting," he said. "I hope they'll do it again next year."If you've enjoyed seeing his photography, you can purchase it - from April 4-9, Hollingworth and his photography group will host an exhibition at the Old Fire Station in Kiama. Featured pieces, such as his photo of yellow lichens on display outside the Kiama Presbyterian Church, and his image of leaves on a pink background shown in Jamberoo, will be available for sale during the exhibition. 

Jaz Corr, an Aboriginal artist and educator based on the South Coast, is ready to unveil her latest exhibition which is complex, interactive, and deeply rooted in the real and ongoing issues of Australia's past and present.Entitled Wounds, her new exhibition will be on display at the SEVENMARKS Gallery in Kiama from March 29 to May 10.This ambitious exhibition will span the two rooms of the stunning gallery, with each room exploring distinct themes and ideas surrounding the Indigenous Australian experience.Through the exhibition, Jaz aims to uplift and represent her people from the Yuin and Dharawal communities.The first room features a sculptural installation titled Isolated Ruins, Middens, which consists of 564 painted abalone shells, each collected from the Aboriginal community.“The meaning in this work is layered,” Jaz says. “I've used shells to pay my respects to the Aboriginal artists of the South Coast. “Shells hold a deep historical significance in our culture, and I’m honouring that legacy while bringing it into the present. I’m asking the audience to consider the number of shells and reflect on how it makes them feel.”The 564 shells represent the 564 Indigenous deaths in custody, painted black to symbolise the ongoing desecration of Country and the lack of access to clean drinking water in local Aboriginal communities.“As a society, we often treat deaths in custody as isolated incidents, but the reality is much broader. I'm urging the audience to look deeper and reflect on the meaning of 564 in a room,” Jaz says.“The abalone shells are painted black because my community, where my aunt and uncle live, can’t drink the water from their taps. This is just 70km away from Kiama, and yet little is said or known about it. It’s always treated as an isolated issue rather than a widespread crisis.”This piece is further enriched by a poignant inscription on the wall: Not for sale. Pay the rent.“The community is not for sale. Our culture is not for sale. These issues can't be bought or ignored. It's easy for artists to raise their prices, but I know where I come from. I’m part of a community I won’t leave behind,” says Jaz. “With these opportunities, my cultural duty is to ensure I’m not the only Black person in the room - that my mob comes with me.”In the second room, Jaz presents Land Wounds, The First Iteration, a nuanced piece comprising 450 individual 15x15cm canvases. Each one represents a parcel of land, and between these canvases are six spears created by Uncle Richard Campbell of Gumaraa. These spears commemorate the six Aboriginal people massacred at Minnamurra River in 1818.The work also incorporates an interactive element: “When an audience member purchases one of the small paintings, it’s immediately replaced with another,” says Jaz.“The piece starts with a green composition. When one is purchased, it’s replaced with earth ochre, and with the third purchase, it becomes rust. The transformation of the work depends entirely on the audience’s participation, and it evolves throughout the exhibition.“This is a reflection of the ongoing trauma of land dispossession and the commodification of land. It’s about how we consume land and the way that is reflected through art.”Each canvas is worth $150, and Jaz admits she won’t make much profit due to the cost of materials, paint and time. “But that’s the point. Land, like art, is not accessible to everyone, and the price of it is a significant barrier,” she says.The paintings also become a symbol of reclamation. Over 15,000 Indigenous artefacts were destroyed in the Dunmore sandmine and, through this artwork, Jaz hopes to symbolically replace those lost treasures.“By purchasing a piece, the audience helps to restore what was lost. The art becomes a symbol of reconciliation, acknowledging our collective responsibility toward the land, our mother. This is more than just a lovely painting - it’s an act of activism that invites the audience to participate in,” Jaz explains.Through her deep passion for her community and her belief in art’s power to express emotion and history, Jaz is telling profound stories that invite reflection, engagement and conversation.

Kiama Art Workshops presented their first group exhibition at the Kiama Fire Station over the past week with a collaboration of work from class, workshop participants and facilitators.The group exhibition showed work by artists who had never shown their work before, and some who are new to painting or their exhibited style.Olivia Deans, owner of Kiama Art Workshops, said these exhibitions provide valuable experience for artists in understanding what it takes to hold a show.“It’s been a great learning experience. Some of the artists have learned how to manage and run an exhibition, interact with the community, and connect through art,” Deans said. “It’s about building confidence, learning to answer questions about their work, and getting comfortable displaying and selling their art publicly.”One of the featured artists, Faith Cunningham, sold four pieces of her work in a single day at the exhibition.“I did a workshop with Sharon Blair, who’s also part of Kiama Art Workshops. My four main pieces are already sold - a guy took them, so how good is that?” she said.“I really enjoy doing it with other artists. It’s a lot of work to set up an exhibition, and it can take hours to hang everything. But when you’re in a group, the load is shared, and it’s much more manageable.”To learn more about Kiama Art Workshops, visit their website.Sandra Kay infront of ‘African Princess’. Source Olivia Deans.

Say My Name is an uncomfortable film to watch. It is beautiful and emotional and human and inspirational, but it’s also profoundly upsetting because of how real and raw it is.And that discomfort is something we should embrace. That tingling feeling of unease triggers something inside us, sparking reflection, and maybe even action. Isn't that the essence of art?Say My Name is an Australian short film based on Mel Baker’s memoir, Sleeping Under the Bridge. The film has earned over 90 international film awards.It follows Mel’s journey as a young girl, enduring abuse and exploitation by her father and his friends, before being abandoned on the streets of Sydney as a vulnerable teenager. Despite the darkness of her past, Mel’s strength, courage, and resilience shine through as she finds hope - even as her traumatic history threatens to resurface.The film aims to ignite conversations on critical issues like child sexual abuse, domestic violence, homelessness, teenage suicide, and mental health.A still from Say My Name. Photos supplied.Baker shares how writing her memoir and working on the film helped her heal. “I feel healing through writing it because I'm a strong visual person. I visualise myself back in that situation, especially when writing about my childhood, and I feel everything I felt as a child,” she says.“I put myself right back in that space. And it’s harrowing and repulsive what I went through, but I find healing in getting through that and reflecting on how I survived through different traumas. It’s a therapeutic process.”However, Baker’s primary motivation for revisiting these painful memories is to help others who’ve gone through similar experiences.“For me, it’s about other people more than myself. I felt like the film could embrace these themes and show people who have lived through it that there’s hope - there’s a way to live life again, to find yourself, transform, and get through these really difficult things,” says Baker.“And people can latch onto whatever part resonates with their own lives, whether it was domestic violence, violence on the streets, or something else.”Baker is the co-writer and producer of the film, which is directed by Rhoyce Nova, with cinematography by Zachary Peel-Mcgregor. The film does an excellent job of conveying intense, impactful emotions without words. It handles confronting subject matter while also offering a sense of hope for those going through similar struggles.Set around the city of Sydney, the film was a personal challenge for Baker, as revisiting the locations tied to her traumatic past was emotionally difficult.Baker with the composer (who also plays her in the film). Photos supplied.“The hardest thing for me was going back to those same locations. I’ve made peace with the Sydney Harbour Bridge because it’s changed so much since I slept under it. But Kings Cross was tough - I hadn’t been back there, and filming a night scene there was really hard,” Baker says.“Even though it’s been cleaned up so much and is different from the ‘80s, there were still some of the same shops and pubs. It was confronting, and I had to push through because I was also a counsellor on set, making sure the cast and crew were okay with the heavy themes we were dealing with.”There’s also a particularly disturbing scene involving a roulette wheel, which Baker found difficult to be near.“That roulette wheel prop stayed in my car for months. I couldn’t throw it out or donate it to charity. I just couldn’t touch it. I couldn’t even look at my car boot. It was so hard to get it out of there,” says Baker.“Plus, I still had the bloodied shirt and some clothing the actress wore, who played me as Mel. It felt like Mel from the past was living in my car for months.”Say My Name is now available to watch for free on Vimeo. Despite its unsettling subject matter, stories like these need to be shared and embraced because they are real. The first step in addressing a problem is acknowledging its existence - saying its name.

Did you snap a cracking shot at this year’s Kiama Show? A golden sunset over the showground, fireworks lighting up the sky, or maybe just a perfect moment that sums up the magic of show day? Well, don’t let it gather digital dust, enter it in the March 2025 Photo Competition!Each month’s winner gets their photo featured in the 2026 calendar.Imagine flicking through and spotting your shot, immortalised for all to see.It’s easy to enter, so why not give it a go? We can’t wait to see Kiama through your lens! 📸✨

Darren Parlett is no stranger to the Kiama arts scene. Known for his evocative photography, he has a knack for freezing fleeting moments - whether it’s the golden hues of a sunrise over the Blowhole, the intricate textures of coastal rock formations, or the candid vibrancy of local life. His work transcends mere documentation, weaving narratives that resonate with the local scene. Parlett’s deep connection to Kiama shines through in every frame depicting a lens on Kiama’s soul. “I’ve always been drawn to the raw beauty of this place,” Parlett says. “Kiama has a way of speaking to you through its landscapes and its people. My goal is to share that conversation through my photography.”Cin Cin Wine Bar, nestled on Tingira Crescent, has quickly become a fixture in Kiama since its opening. More than just a spot for fine wines and intimate gatherings, Cin Cin has embraced its role as a supporter of local arts. Owners Michael and Melanie have made it a priority to transform their venue into a dynamic space where creativity thrives. From hosting live music to showcasing visual art, the wine bar has established itself as a cultural hub.The decision to feature Darren Parlett’s photography in a new display aligns perfectly with Cin Cin’s ethos. “We believe wine and art go hand in hand,” Michael explains. “Darren’s work captures the soul of Kiama in a way that complements the experience we want to offer our guests - a chance to slow down, savour the moment, and connect with something meaningful.”Incandescent Rock Pool - an example of one of the artworks on displayThe collaboration with the Expressive Art Trail elevates this project to new heights. The Expressive Art Trail, an initiative under the broader Expressive Art Experience, is dedicated to showcasing local talent across Kiama and the Illawarra region. By linking artists with venues like Cin Cin, the trail creates a network of accessible art experiences that invite the public to engage with creativity in everyday settings.Michelle Springett, the driving force behind Expressive Art Experience, describes the partnership as a natural evolution of their mission. “Darren’s photography brings a fresh perspective to the trail,” she says. “Pairing his work with Cin Cin’s ambiance allows us to reach people who might not typically visit a gallery. It’s about making art a part of life.”The trail has previously collaborated with Cin Cin for events like the “Corks & Canvases” series and exhibitions featuring artists such as Kathy Karas and Jennifer Porter. Parlett’s display continues this tradition, offering a visual journey that complements the venue’s intimate, welcoming vibe.Launched in March 2025, Darren Parlett’s new art display at Cin Cin Wine Bar features a curated selection of his photographs. The display focuses on Kiama’s coastal landscapes and subtle nods to its community spirit. Expect to see Parlett’s signature style - bold compositions, rich contrasts, and an almost painterly attention to light and shadow.To celebrate the launch, Cin Cin hosted an opening event on March 8, 2025. With a bubbles in hand and an opportunity to meet Parlett himself it was an occasion not to be missed. The event underscored the collaborative spirit of the project, bringing together art lovers, food and wine enthusiasts, and supporters of Kiama’s creative community.This collaboration between Darren Parlett, Cin Cin Wine Bar, and the Expressive Art Trail is more than just an art display - it’s a testament to the power of local synergy. In a world where digital screens often dominate, Parlett’s photography invites viewers to pause and reconnect with the tangible beauty of their surroundings. Cin Cin provides the perfect backdrop, blending sophistication with a down-to-earth charm, while the Expressive Art Trail ensures that this creativity reaches a wider audience.Sally Bursell - Destination Kiama- with photographer Darren Parlett at his exhibition at Cin Cin opening with Expressive Art Trail For Kiama, a town that thrives on its artistic heritage, this project reinforces its reputation as a destination where culture and community intertwine. Whether you’re a local sipping a glass of red or a visitor exploring Tingira Crescent, Parlett’s work offers a window into the heart of the region.The display is open to the public during Cin Cin Wine Bar’s regular hours, with no entry fee required. Located at 6/4 Tingira Crescent, Kiama, the venue is easily accessible and promises a warm welcome. For those interested in exploring more of the Expressive Art Trail, additional events and exhibitions are listed on their website, expressiveartexperience.com.Darren Parlett’s new art display is a must-see for anyone who cherishes the intersection of art, place, and community. As the sun sets over Kiama’s shores, his photographs at Cin Cin remind us that beauty is all around - if we only take the time to look.