Art Wank

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Sally Anderson’s work is strongly influenced by her personal life, including her experiences of home, motherhood and relationships, as well as second hand experiences of landscapes. She explores how meaning and memory are held, stored and carried.
Born in Lismore, Sally Anderson began studying Visual Art at Southern Cross University before moving to the College of Fine Art in Sydney. She has been a finalist in the Sulman Prize at the Art Gallery of New South Wales, the Portia Geach Memorial Award, the Sunshine Coast Art Prize and the Paddington Art Prize. In 2014 she took part in a residency with the Association of Icelandic Visual Artists in Reykjavik, Iceland. In 2017 she won the Brett Whiteley Travelling Art Scholarship through the Art Gallery of NSW and completed a residency at the Cité Internationale des Arts in Paris.
These ideas continue in her upcoming exhibition at N Smith Gallery, opening on 9 April. Called Holding Pattern, River Hug, it builds on her interest in cycles, care, and repetition, with new paintings that shift between abstract and more realistic forms.
Sally is represented by N.Smith Gallery (Sydney, Australia) and Edwina Corlette Gallery (Brisbane, Australia).

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Nikky Morgan Smith is an Australian artist whose practice explores the intersection of memory, place, and emotional resonance through a refined visual language. Working across painting and mixed media, her work is characterised by layered surfaces, nuanced colour palettes, and an intuitive balance between abstraction and representation.
Drawing inspiration from the Australian landscape as well as personal narratives, Smith’s compositions evoke a sense of atmosphere and quiet contemplation. Her process often involves building and reworking surfaces over time, allowing traces of earlier marks to remain visible and contribute to the depth and history of each piece.
Smith has exhibited in a range of group and solo exhibitions, with her work held in private collections. Through her practice, she continues to investigate how environments, both physical and psychological, shape perception, inviting viewers into spaces that feel at once familiar and open to interpretation.
She is an artist based in the Northern Rivers of NSW. Completing a cross institutional bachelor of visual arts at SCU/RMIT in 2003, Nikky has staged solo exhibitions in Melbourne, Brisbane, Sydney and participated in group exhibitions nationally and internationally.
Her work has been selected as a finalist in many prestigious awards, most recently the Jacaranda Touring Drawing Prize and has also been the recipient of various artists in residence programs, most recently the Suzzane Bastien Foundation artist in residence.

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In late 2025, we met with artist Edward Inchbold in his studio in Sydenham. A self-taught painter, he is deeply interested in the surface and texture of paint, as well as art history and the philosophies surrounding art-making. 
Edward began his practice in 2020 at the age of 25. Since 2021, he has presented five solo exhibitions, including a recent trilogy at Stella Downer Fine Art spanning eighteen months: Brand New People (2024), Wisteria Lemonade (2025), and Shedding Velvet (2026). This body of work signalled a series of pivotal shifts in both his approach and philosophy, positioning his practice within a broader contemporary context.
Inchbold’s paintings are defined by constant reinvention and a resistance to fixed stylistic identities. His compositions are built through processes of compression, erasure, and revision, resulting in dense, atmospheric surfaces. He employs a dynamic and controlled handling of materials, working with brushes, knives, and large scrapers to articulate his images.
Alongside his solo practice, Inchbold has participated in numerous group exhibitions since 2021, with presentations at Velvet Lobster (Sydney, 2026), Brenda Colahan Fine Art (Sydney, 2025–26), Straitjacket Art Space (Newcastle, 2025–26), and AK Bellinger (Inverell, 2023–25). His work has been recognised in several art prizes, including the Lloyd Rees Memorial Youth Art Awards (2021), the Lethbridge Landscape Prize (Salon), The Lethbridge 2000 (Salon), and the Galerist Emerging Art Prize (2021), where he was highly commended. His paintings are held in private collections both in Australia and internationally.
Inchbold approaches painting with a commitment to sincerity, material risk, and sustained inquiry, avoiding irony or sentimentality. His works are driven by tension rather than resolution, seeking to unsettle while holding the viewer’s attention over time.
Edward is represented by Stella Downer Fine Art in Sydney, and his exhibition Shedding Velvet runs from March 31st - 25th April. - 
'Shedding velvet marks a transitional phase in a deer's antler development, one of renewal. While growing, the antlers are wrapped in a soft, living layer called velvet, rich with blood and nutrients. As growth concludes, internal changes slowly withdraw this support, causing the velvet to dry and decay. In response, the deer presses and scrapes its antlers against trees and rough surfaces, gradually peeling away the withered covering. What remains is bare bone. Hardened, exposed, and newly formed, they eventually, through some labour, reveal a structure shaped through both gentle nourishment and the necessity of abrasion. This deliberate and forceful act prepares the animal for the coming season of competition and display.'

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In this episode, we speak with Alex Wisser, Co-Founder and Artistic Director of the Cementa Festival, a unique contemporary arts festival held in the rural town of Kandos, New South Wales. Known for transforming a former cement-making town into a hub of experimental art, performance, and community collaboration, Cementa has become one of Australia’s most distinctive regional arts events.
Alex shares the story behind Cementa’s founding and how the festival grew from a grassroots idea into a nationally recognised platform for contemporary artists working outside traditional gallery spaces. We discuss the role of regional arts festivals in shaping cultural identity, building creative communities, and bringing ambitious artistic projects to unexpected places.
The conversation also explores the relationship between artists and place—how the industrial history, architecture, and landscape of Kandos influence the work presented during the festival. Alex talks about the curatorial philosophy behind Cementa, the challenges and rewards of producing large-scale arts programming in regional Australia, and why collaboration with the local community remains central to the festival’s success.
We also dive into Alex’s own artistic practice and how these perspectives inform the direction of Cementa today.
Whether you’re an artist, curator, festival producer, or someone interested in the power of art to transform regional communities, this episode offers insight into how creativity can reshape place, spark dialogue, and connect people.
Cementa will be held 17-20 September 2026

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We spoke with artist @meagan.jacobs.art about her life and work in Ampilatwatja, a remote Indigenous art centre. The conversation looks at daily creative practice on Country and the realities of living in a desert community.

Meagan Jacobs is an Australian landscape painter whose practice has been shaped by years living and working in remote Indigenous communities. Born in Sydney and now based in Ampilatwatja (Alyawarre Country), her work reflects an ongoing relationship with Country and the desert environment. Her paintings use restrained colour palettes, interlocking forms and open space.

Meagan Jacobs is represented by @defiancegallery, where she has held several exhibitions, including North of Capricorn (2025). She is currently included in the group exhibition Gathering at @defiancegallery until 28 March.

Jacobs has also worked within remote Indigenous art communities, including as Art Centre Manager for Artists of Ampilatwatja. This work has influenced her approach, grounding her practice in lived experience and time spent in desert landscapes. 

Episode recorded end of 2025