• Alongside new works by Sally Anderson, Joan Ross, and Fiona Lowry, Natasha Walsh will transform the booth into her working...
    Alongside new works by Sally Anderson, Joan Ross, and Fiona Lowry, Natasha Walsh will transform the booth into her working studio at Melbourne Art Fair, inviting visitors to observe the artwork as it comes to life.
     
    Throughout the fair, audiences will be able to witness her process up close, as gesture, material, and intuition unfold in real time. By relocating the act of making to the fair floor, Walsh collapses the boundary between studio and exhibition, offering a rare and intimate insight into her practice.
  • Natasha walsh
    Natasha walsh

    Natasha Walsh's practice is informed by an understanding of the artist as an alchemist. Known for her transformation of pigments on copper surfaces, Walsh's work acutely observes delicately-painted figures that emerge from the surface. ‘From the moment that I prepare the surface, it begins to naturally oxidise. I experiment with applying different ground pigments which change colour in response to this process. These paintings visibly age as I work on them. As such, my attempt to transfix time is inherently impossible and this interests me.’

     

    Walsh has been a recipient of multiple awards, prizes, and scholarships, including The Brett Whiteley Travelling Art Scholarship, Mosman Art Prize, and The Kilgour Prize, and has been a finalist in The Archibald Prize four times, The BP Portrait Award (London National Portrait Gallery), The Royal Scottish Academy Annual Exhibition (Edinburgh), and The Royal Academy of Arts Summer Exhibition (London).

     

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  • NATASHA WALSH Cornucopia, 2026 oil & pigment on copper 124 x 110 cm

    NATASHA WALSH

    Cornucopia, 2026
    oil & pigment on copper
    124 x 110 cm
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    • Natasha Walsh The window opening onto the Magnolia, 2025 oil & pigment on copper 41 x 32.5 cm
      Natasha Walsh
      The window opening onto the Magnolia, 2025
      oil & pigment on copper
      41 x 32.5 cm
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    • Photo credit: Alfonso Chavez-Lujan
      Natasha Walsh
      A garden under glass, 2025
      pencil on paper
      28 x 35.5 cm
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    • Photo credit: Alfonso Chavez-Lujan
      Natasha Walsh
      Pale wings, 2025
      pencil on paper
      26 x 26 cm
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    • Natasha Walsh, Interior garden, 2025
      Natasha Walsh, Interior garden, 2025
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    • Natasha Walsh Our Red Studio, 2024 oil on copper 50 x 55 cm (plate), 67 x 72 cm (frame) Reference: Matisse, The Red Studio (1911) Brett Whiteley, Self portrait in the studio (1976)
      Natasha Walsh
      Our Red Studio, 2024
      oil on copper
      50 x 55 cm (plate), 67 x 72 cm (frame)

      Reference: Matisse, The Red Studio (1911)
      Brett Whiteley, Self portrait in the studio (1976)
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    • Natasha Walsh Hysteria in the studio, 2024 oil on copper 50 x 55 cm (plate), 67 x 72 cm (frame) Reference: Matisse, The Red Studio (1911) Brett Whiteley, Self portrait in the studio (1976)
      Natasha Walsh
      Hysteria in the studio, 2024
      oil on copper
      50 x 55 cm (plate), 67 x 72 cm (frame)

      Reference: Matisse, The Red Studio (1911)
      Brett Whiteley, Self portrait in the studio (1976)
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    • Natasha Walsh The Lovers IV, 2024 oil on copper 9.8 x 10.5 cm
      Natasha Walsh
      The Lovers IV, 2024
      oil on copper
      9.8 x 10.5 cm
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    • Natasha Walsh The Lovers IX, 2024 oil on copper 10 x 10 cm
      Natasha Walsh
      The Lovers IX, 2024
      oil on copper
      10 x 10 cm
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    • Natasha Walsh The Lovers VI, 2024 oil on copper 9.4 x 8 cm
      Natasha Walsh
      The Lovers VI, 2024
      oil on copper
      9.4 x 8 cm
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    • Natasha Walsh The Lovers V, 2024 oil on copper 11 x 10 cm
      Natasha Walsh
      The Lovers V, 2024
      oil on copper
      11 x 10 cm
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    • Natasha Walsh The Lovers VIII, 2024 oil on copper 10 x 9.8 cm
      Natasha Walsh
      The Lovers VIII, 2024
      oil on copper
      10 x 9.8 cm
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  • Joan Ross

    Bold and experimental, Joan Ross' practice investigates the legacy of colonialism in Australia with a  particular focus on reconfiguring the colonial Australian landscape and drawing attention to the complex and ongoing issues surrounding the effects of globalisation and colonisation.

     

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    • Joan Ross Hidden in plain sight, 2026 acrylic on board 51 x 40.5 cm
      Joan Ross
      Hidden in plain sight, 2026
      acrylic on board
      51 x 40.5 cm
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    • Joan Ross I see you in everything, 2026 acrylic on board 51 x 40.5 cm
      Joan Ross
      I see you in everything, 2026
      acrylic on board
      51 x 40.5 cm
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    • Joan Ross Infiltration, 2026 acrylic on board 41 x 30.5 cm
      Joan Ross
      Infiltration, 2026
      acrylic on board
      41 x 30.5 cm
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    • Joan Ross They popped up everywhere, 2026 acrylic on board 51 x 40.5 cm
      Joan Ross
      They popped up everywhere, 2026
      acrylic on board
      51 x 40.5 cm
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    • Joan Ross The past is also present, 2026 acrylic on board 41 x 30.5 cm
      Joan Ross
      The past is also present, 2026
      acrylic on board
      41 x 30.5 cm
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    • Joan Ross The tears of the past, 2026 acrylic on board 41 x 30.5 cm
      Joan Ross
      The tears of the past, 2026
      acrylic on board
      41 x 30.5 cm
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    • Joan Ross They are even in your flowers, 2026 acrylic on board 41 x 30.5 cm
      Joan Ross
      They are even in your flowers, 2026
      acrylic on board
      41 x 30.5 cm
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    • Joan Ross The creep of colonisation, 2026 acrylic on board 41 x 30.5 cm
      Joan Ross
      The creep of colonisation, 2026
      acrylic on board
      41 x 30.5 cm
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  • Sally Anderson

    'Deep within, her paintings carry autobiographical elements heavy with memory and meaning...'

     

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    • Sally Anderson Green with orange jug, 2025 acrylic on polycotton 102 x 122 cm
      Sally Anderson
      Green with orange jug, 2025
      acrylic on polycotton
      102 x 122 cm
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    • Sally Anderson Reclining middle mother, PP's nude in a garden, birth plants, NO vessel, 2025 acrylic on polycotton 137 x 168 cm
      Sally Anderson
      Reclining middle mother, PP's nude in a garden, birth plants, NO vessel, 2025
      acrylic on polycotton
      137 x 168 cm
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    • Sally Anderson on-going orchid, birth plant, EV's linen cupboard, 2024 acrylic on canvas 102 x 122.5 cm
      Sally Anderson
      on-going orchid, birth plant, EV's linen cupboard, 2024
      acrylic on canvas
      102 x 122.5 cm
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    • Sally Anderson birth plant, GM Bridal Veil, bowl hold, orange jug EV interior, 2024 acrylic on polycotton 122 x 112 cm
      Sally Anderson
      birth plant, GM Bridal Veil, bowl hold, orange jug EV interior, 2024
      acrylic on polycotton
      122 x 112 cm
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    • Sally Anderson Marry You Horizon, Sea Room, Sirius, Unfolding Self, 2024 acrylic on polycotton 168 x 137 cm
      Sally Anderson
      Marry You Horizon, Sea Room, Sirius, Unfolding Self, 2024
      acrylic on polycotton
      168 x 137 cm
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    • Sally Anderson MA Vessel SL, EV Linen Press Window, 2024 acrylic on canvas 153 x 137.5 cm
      Sally Anderson
      MA Vessel SL, EV Linen Press Window, 2024
      acrylic on canvas
      153 x 137.5 cm
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  • Fiona Lowry
    Fiona Lowry

    Fiona Lowry’s practice has explored the complexity of the human condition. Through the use of airbrushed pastels and monochromatic colour palettes, Lowry’s images maintain an overarching softness and ambiguity.

     

    Her paintings of the Australian landscape depict the bush as both alluring and unsettling. Rendered in dreamlike colour and diffused through her distinctive technique, these scenes become surreal theatres for human intervention, charged with unease and quiet menace.

     

    A winner of the Archibald, Moran Portrait, and Fleurieu Landscape Prizes, her work is held in major collections including the National Gallery of Australia, Art Gallery of New South Wales, National Portrait Gallery, and The University of Queensland Art Museum.


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  • Neva Hosking

    These drawings do not wish to place you inside Neva's world, but rather outside it and force you back to your own...

     

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    • Neva Hosking Michael's Bathtub, 2024 ink on paper 41.5 x 28 cm (sheet, irregular)
      Neva Hosking
      Michael's Bathtub, 2024
      ink on paper
      41.5 x 28 cm (sheet, irregular)
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    • Neva Hosking A Curtain Of Philodendron Micans At The Caravan Park, South Mission Beach, 2024 ink on paper 90 x 44.5 cm (sheet), 101 x 58 cm (framed)
      Neva Hosking
      A Curtain Of Philodendron Micans At The Caravan Park, South Mission Beach, 2024
      ink on paper
      90 x 44.5 cm (sheet), 101 x 58 cm (framed)
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    • Neva Hosking Alocasia Clypeolata Under The Palms At Michaels, Tully, 2024 ink on paper 29.5 x 42.5 cm (sheet, overall)
      Neva Hosking
      Alocasia Clypeolata Under The Palms At Michaels, Tully, 2024
      ink on paper
      29.5 x 42.5 cm (sheet, overall)
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    • Neva Hosking No-name Anthurium In The Bushhouse At Jindis, Kuranda , 2024 ink on paper 28 x 21.5 cm (sheet)
      Neva Hosking
      No-name Anthurium In The Bushhouse At Jindis, Kuranda , 2024
      ink on paper
      28 x 21.5 cm (sheet)
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    • Neva Hosking Yellow Saraca Shades Anthurium Guatemala At Pats, Innisfail, 2024 ink on paper 27 x 20 cm (sheet)
      Neva Hosking
      Yellow Saraca Shades Anthurium Guatemala At Pats, Innisfail, 2024
      ink on paper
      27 x 20 cm (sheet)
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    • Neva Hosking Pencil Yam, round a tree at Jo's place, 2025 ink on paper 56 x 58 cm (paper), 71 x 73 cm (frame)
      Neva Hosking
      Pencil Yam, round a tree at Jo's place, 2025
      ink on paper
      56 x 58 cm (paper), 71 x 73 cm (frame)
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