A tranquil yet powerful collaboration built over time, conversations, beach walks, and sharing material inspiration. Grounded and restorative, yet pushing boundaries and ideas for both artists with themes that are a natural fit, from deep within.
Honoured to be recognised by the Australian Society of Marine Artists, Jane Millington has also been a finalist in the Pro Hart Outback Prize in 2024, the Gallipoli Art Prize in 2023, the Talburac Art Prize in 2025 and more.
Kirsty Manger, whom many of you know from her valued presence in the gallery, is going from strength to strength, deepening and clarifying her themes, committing to sustainable values within her practice and work itself, and also gaining commendable recognition with back-to-back nods as a finalist in the Klytie Pate Ceramics Award in 2023 and 2025. This is her first feature exhibition.
Jane Millington ASMA
‘Sanctuary’ is an immersive collection of quiet reverence that captures the interplay of light, shadow and form across our shorelines and the sea.
Jane’s new collection of paintings has built softly over time to form a body of intuitive works that recreate the movement of the water through a multiplicity of hand-painted lines.
She welcomes the delicate patterns that emerge as layers of fine glazes and lines overlap to offer moments of stillness and introspection.
‘Each painting is a fragment of emotion captured in oils, that provides a meditative space – a muted window for contemplation and reflection.’
Focused on providing the viewer with a point of connection to nature, this exhibition offers a space to gently both lose – and find – yourself in.
Kirsty Manger
My ceramic practice is grounded in a long-standing relationship with the coast. Walking its edges, observing erosion and collecting fragments has shaped how I think about form, surface and time. The ocean is both a visual and emotional touchstone – a place where ideas surface, reflection becomes possible, and problems quietly loosen.
The works in SANCTUARY draw on shell forms, vessels and eroded fragments as metaphors for memory, protection and place. These forms hold a tension between rugged exterior surfaces and quieter interior spaces, inviting the viewer to pause and look closely.
Materiality and process are central to this body of work. The majority of works have been wood fired with Rob Barron at Gooseneck Pottery, allowing flame, ash and atmosphere to collaborate in the final outcome. The extended firings introduce unpredictability and chance, creating surfaces shaped as much by process as by intention. Others have been pit fired in saw dust, seaweed and copper. A few carved back into to reveal the vivid natural ochre hues of the sandstone clays dug locally.
SANCTUARY invites a moment of quiet contemplation. An offering of space to slow down, reflect, and experience beauty shaped by time, material and environment.
