Return to Sender.: Adelaide

James Tylor is a multi-disciplinary visual artist whose practice explores Australian environment, culture and social history through photography, video, painting, drawing, sculpture, installation, sound, scent and food.

James’ artistic practice specialises in experimental and historical photographic processes. He uses a hybrid of analogue and digital photographic techniques to create contemporary artworks that reference Australian society and history. The processes he employs are the physical manipulation of digital photographic printing, such as the manual hand-colouring of digital prints or the application of physical interventions to the surfaces of digital prints. James also uses the historical 19th century photographic process of the Becquerel daguerreotype with the aid of modern technology to create new and contemporary daguerreotypes. Photography was historically used to document Aboriginal culture and the European colonisation of Australia. James is interested in these unique photographic processes to re-contextualise the representation of Australian society and history.

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A proud Pitjantjatjara woman from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in remote South Australia, Sally Scales paints vibrant landscapes grounded in her ancestral Country and tjukurpa. Her distinctive style draws on the practices of her grandmothers, Kuntjiriya Mick and Kunmanara (Wawiriya) Burton, and her mother, Josephine Mick.

Alongside her studio practice, she holds significant leadership roles, including with the Uluru Dialogue for the First Nations Voice to Parliament, the Australian Children’s Television Foundation, and the National Gallery of Australia Council. A regular finalist in major prizes, she won the People’s Choice Award at the 2021 Telstra NATSIAA and the Roberts Family Aboriginal and Torres Strait Islander Prize at AGNSW in 2022, and was named one of the BBC’s 100 Women in 2022.

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With a bold humanist style, Ross’ cross-disciplinary practice is driven by a desire to examine Australia’s shadowed colonial histories. Fluoro and furious, she reimagines colonial imagery, layering each work with cultural references that reflect shared eras – critiquing the ongoing effects of greed, globalisation and colonisation, all while leaving you with a smile.

Joan Ross recently presented a major career survey at the National Portrait Gallery, Joan Ross: Those trees came back to me in my dreams, selecting portraits from the collection to show alongside her own works – extending her long-standing exploration of collecting and collections.

Her practice spans roles as educator, mentor and judge, with works held and presented by leading institutions. In recent years, Ross has expanded into virtual reality, presenting Did you ask the river? at ACMI, followed by Collector’s Paradise for the National Gallery of Australia and I give you a mountain, projected onto the façade of the Art Gallery of South Australia.

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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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From across a room, Holly Anderson’s paintings appear to swim in the brightness of a clear sky. Bursts of sunlight populate familiar subject matter – interiors, figures, skies, and water are monochromic planes pierced with white light...

Anderson’s painting practice explores sensory encounters between light and landscape. Moving between figuration and abstraction, her brushstrokes form geometric, often monochromatic compositions whose flatness intensifies their subtle realism. Sunlight is central to her work – flashes of white disrupt gridded surfaces of stripes and squares, bending and scattering form. Familiar subjects emerge through the glare, developing a visual language attuned to the brilliance of the Australian sun.

Recent exhibitions include the Museum of Brisbane and Firstdraft. She has been a finalist in the JADA Prize and Brisbane Portrait Prize, among others, and her work is held in public and private collections. Anderson completed a BFA (Hons) at the Queensland College of Art, where she now teaches sessionally.

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Louise Zhang is an Australian multidisciplinary artist working across painting, sculpture, and installation. Her practice investigates the interplay of aesthetics and cultural identity, often embracing contrasts to evoke a sense of otherness. Drawing inspiration from mythology and botany, Zhang weaves together symbols and motifs into compositions that balance harmony with dissonance.

Materially, her practice is highly considered, paying great attention to her choices in paint, she utilises the historical and instinctive associations of colour to create visual dichotomies from her subjects. In the sweeping visual landscapes of her work, the textural consideration of her paint creates windows into another world, some elements of her works are within our grasp and others remain deeper within. As a deconstruction of the world around her, she weaves together symbols from reality and memory, transforming them into something more lucid and surreal, documenting identity in the process of its own making.

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Tom Blake’s practice draws on fragmented moments, looped imagery and recurring motifs as potential sites for contemplating the psychological, architectural and technological frameworks that surround us.

Working as a collaborative duo since 2001, Claire Healy & Sean Cordeiro’s practice reflects a preoccupation with the dynamics of global mobility, fallout of consumer society, and contemporary notion of home.

Combining playful humour with art historical references, the duo transform prefabricated structures and readymade materials, from Lego and IKEA furniture to car parts and architectural fragments, into ambitious sculptures and installations defined by deconstruction and reinvention.

Winners of the Sulman Prize in 2022, Claire & Sean have exhibited widely in Australia and internationally. Their installation Life Span featured in Australia’s presentation at the 53rd Venice Biennale, and they have participated in major exhibitions including the Auckland Triennial, the Australian Biennial of Art, and the Oku-Noto Triennale, Japan. Their work has been the subject of numerous solo exhibitions across leading institutions in Australia, Europe, and the United States.

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Kyra Mancktelow is a proud Quandamooka artist with strong cultural ties to Eulo and the South Sea Islander community of Vanuatu. Working across printmaking, sculpture, ceramics, and bronze casting, her multidisciplinary practice brings cultural stories to life through distinct material languages.

Grounded in heritage and lived experience, her work shares knowledge, challenges colonial narratives, and explores identity, memory, and resilience with both poetic subtlety and emotional depth.

Currently undertaking a PhD at the Queensland College of Art, Kyra exhibits nationally. She won the 2021 Telstra Emerging Artist Award at the National Aboriginal & Torres Strait Islander Art Awards and received a Special Commendation at the 2021 Churchie National Emerging Art Prize.

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Christopher Zanko is an artist based in the Illawarra/Dharawal region of the New South Wales south coast. Drawing on the architecture and culture of his hometown, he reimagines suburban environments through a distinctive, deeply personal lens.

Influenced by Japanese woodblock carving, Zanko focuses on the details that shape domestic identity – from red brick facades to tyre swans and terrazzo porches. Through meticulous, meditative carving, he preserves these quiet suburban markers as enduring records of place and memory.

A finalist in the Brett Whiteley Travelling Art Scholarship, Sulman and Wynne Prizes, and the King’s School Art Prize, his work is held in major collections including the White Rabbit Collection, Museums of History NSW, Wollongong Art Gallery, and the University of Wollongong.

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