Bayside Gallery

Bayside Gallery Art Gallery funded by Bayside City Council, Victoria Bayside City Council reserves the right to remove any content at its discretion. Thank you

The Gallery @ BACC, located in the Brighton Town Hall, presents a series of high quality temporary exhibitions, public programs and visual arts events, in both conventional and new media. Supporting the work of local Bayside artists and arts organisations, as well as giving visitors the opportunity to engage with important work by non-local significant and established practitioners, The Gallery pr

ovides a space for people to engage with art at all levels. Open:
Wednesday to Friday 11am - 5pm
Saturday & Sunday 1pm - 5pm

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Jordan Marani’s painting is part of a series of works that draw from his time packing boxes on the shelves of a warehous...
31/05/2026

Jordan Marani’s painting is part of a series of works that draw from his time packing boxes on the shelves of a warehouse in Richmond. The paintings are based on various pallet patterns he collected from the bases of the cardboard boxes. A combination of high art and working-class realities is typical of Marani’s work. Here the artist employs what appears as formal geometric abstraction, based on his experience of manual labour, systems of efficiency and productivity.

‘As wide as magenta’ by Aaron Carter is a study in the way colours, with their alluring, disorienting capacity, generate both tangible and intangible feelings. Carter explains, ‘The processes of staining and dying loose hessian and coffee sacks produced swatches of various intensities of natural and synthetic dyes and inks. The painting is assembled from an accumulation of these separate parts; here both lurid and luxurious colour is soaked into the raw material then stretched onto board as units, which are measured, dissected or fractured then tessellated into a form that carries, holds each swatch in a system.’

In ‘Formation 2’, Samara Adamson-Pinczewski incorporates super fine metallic acrylic paints developed through experimentation during her residency at The Sam & Adele Golden Foundation in New York in 2024. Highly reflective paint colours are applied in multiple thin layers to create scintillating visual effects. Drawing on everyday city dweller experiences of reflection, spatial warping, and disorientation, the work investigates illusory spatial tensions to create new perceptual and optical experiences.

These works are on display at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits and image descriptions available in comments.]

29/05/2026

Hear from artist Betra Fraval, winner of the Beckett Local Prize in the 2026 Bayside Painting Prize, as she shares insights into her practice and her winning work, Taking flight (2025).

In this video, Fraval reflects on the development of Taking flight and the remarkable works on view in this year’s exhibition. With just two weeks remaining, now is the time to experience the Bayside Painting Prize at Bayside Gallery, on display until 14 June.

is represented by Nicholas Thompson Gallery, Melbourne

[Image description: Video of artist Betra Fraval describing her art practice and her painting Taking Flight, 2025]

The natural world has always been a great inspiration to artists.Seth Birchall’s ‘Appleshine’ reimagines romantic landsc...
28/05/2026

The natural world has always been a great inspiration to artists.

Seth Birchall’s ‘Appleshine’ reimagines romantic landscape traditions, blending expressive brushwork with atmospheric light and colour, inspired by Impressionism and
Expressionism.

Martin King’s painting explores the historical connections between Australia, the UK, and India, with the hybridisation of three indigenous trees symbolising the intersection of colonised and native habitats.

For Adam Pyett, the act of painting takes precedence. Known for still lives and native florals, his practice has expanded into evocative Australian landscapes.

Graeme Altmann’s expansive scenes reflect the rhythm of walking—thoughts drifting through coastal tracks, captured in the quiet weight of autumn light.

Anthea Kemp’s work draws on research into regeneration and seed conservation, translating native species into compositions alive with colour, form, and ecological memory.

On view now as part of the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-5: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 6: Seth Birchall, 'Appleshine' 2025, oil on canvas. Courtesy the artist and Sullivan + Strumpf, Melbourne 7: Martin King, 'Tree of life 3 continents' 2026, printed woodcut, ink, watercolour on aluminium. Courtesy the artist, Australian Galleries, Melbourne and King Street Gallery 8: Adam Pyett, 'Boulders, Cobaw State Forest, pink' 2025, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 9: Graeme Altmann, Moonah steps 2026, oil on linen. Courtesy the artist 10: Anthea Kemp, Moments of different covers 2026, oil on canvas. Courtesy the artist]

[Image descriptions available in comments.]

27/05/2026

🎨✍️ National Reconciliation Week from 27 May to 3 June is a time for all Australians to learn about our shared histories, cultures, and achievements, and to explore how each of us can contribute to achieving reconciliation in Australia. Bayside City Council held the annual Flag Raising Ceremony on Saturday 23 May to mark Reconciliation Week and announce the winners of the Ellen José Student Reconciliation Awards, now in its ninth year. The Ellen José Student Reconciliation Awards encourage students across Bayside to design a sports jersey or submit a piece of writing interpreting ‘As a young person, what does Reconciliation means to you?’ bringing awareness of reconciliation to our young people - the future of Australia. Learn more about awards and see all the entries: bayside.vic.gov.au/EJSRA2026


Reel credit: Ellen José Student Reconciliation Awards 2026 finalist artworks.

Ellie Chalmers-Robinson () painted ‘The Parasite’ after procuring a small piece of Tasmanian tiger myrtle. The piece of ...
26/05/2026

Ellie Chalmers-Robinson () painted ‘The Parasite’ after procuring a small piece of Tasmanian tiger myrtle. The piece of timber imparts a vivid story of the life of the tree, the life of the moth, and the life of the fungus—each with its own timeline and motivations, intersecting and becoming entwined.

Nick Modrzewski’s () painting records figures in frenetic states of movement, metamorphosis, and social interaction. Fragmented faces and limbs interweave with painterly gestures and grounds, splintering and combusting in the process. Across the painting, forms stretch, distort, and recombine—at once familiar and ambiguous.

Sarah Drinan’s () title draws on ‘Uncanny Valley’, a concept from AI describing the unease produced by something almost human, suggesting both a literal valley and a psychological terrain between recognition and estrangement.

Kathy Liu’s () artwork acts as a window into the artist’s subconscious mind, revealing fragments of her childhood memories, her love of mythology, and her desire for poetry.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-2: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 3: Ellie Chalmers-Robinson, 'The parasite' 2025, oil on polycotton. Courtesy the artist 4: Nick Modrzewski, 'Jiggery-pokery at the Scriptorium' 2025, acrylic and charcoal on linen. Courtesy the artist and COMA, Sydney 5: Sarah Drinan, 'Uncanny valley' 2025, oil and acrylic on canvas. Courtesy the artist and Futures Gallery, Melbourne 6: Kathy Liu, 'The first song of Orpheus' 2025, oil on linen. Courtesy the artist and Michael Reid, Syndey and Berlin]

[Image descriptions available in comments section]

Adam Lee’s 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning ...
24/05/2026

Adam Lee’s 'Returning song' draws on the Regent honeyeater, a critically endangered bird that that has begun relearning its lost song through conservation. In the painting, this song appears as a vaporous line emitted from a flute played by the figure Abbas Anchorite—a symbolic traveller through time. Inscriptions evoke forgotten warnings from past civilisations. Amid ecological crisis, the work reflects both human endangerment and hope that, by remembering our own 'song', we might continue to survive.

David Hugh Thomas’ work is part of a recent body of paintings based on collages of the past five years. This work fuses elements such as a grim mediaeval foreboding with birds as portents of doom, pastoral arcadias and the Franklin River. It’s about the natural environment, our relationship to it, the immensity, grandiosity and redemptive power of nature.

Loosely articulated shapes—mountains, or a bird—hover between representation and abstraction in Betra Fraval’s work, allowing the image to remain open and suggestive rather than fixed. Fraval explains, ‘The tension between control and surrender allows the materials to speak. Paint is encouraged to pool, bleed and settle in unpredictable ways. Reduced forms hint at landscapes, figures and animals, rather than describing them.’

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Adam Lee, 'Returning song' 2025, oil and acrylic on canvas. Courtesy the artist and Station Gallery, Melbourne 5: David Hugh Thomas, 'And now with blackest mass dark branches gleam and warbling waters pour' 2025, oil on canvas. Courtesy the artist and William Mora Galleries, Melbourne 6: Betra Fraval, 'Taking flight' 2025, oil on linen. Courtesy the artist and Nicholas Thompson Gallery, Melbourne]

[Image descriptions available in comments section]

Darren Wardle’s 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab f...
23/05/2026

Darren Wardle’s 'Manger' blends recent field documentation of an abandoned pavilion in a Romanian park with screengrab fragments from an experimental AI video trained on his own paintings.

David Ralph’s 'Outlet' references a closed shop. Certain shops have shaped us over time, but the nature of retail is changing as shops are supplanted by the virtual marketplace. This raises the question of are we dematerialising alongside them?

'McGraths Lane' by Lynn Savery is an act of artistic flânerie, documenting a brief passing moment. The space we occupy in the city is constantly remade and unmade, always in flux.

Nicola Smith’s work was inspired by a photograph in a book titled ‘Roma: Le Fontane’ by Bruno Brizzi (Casa Editrice Colombo, 1972) that depicts two caryatids from the fountain of Acqua Vergine, at Villa Giulia’s nymphaeum, designed by Bartolomeo Ammannati and Giorgio Vasari and built circa 1550.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy 2: Darren Wardle, ‘Manger’ 2026, acrylic and oil on linen. Courtesy the artist 3: David Ralph, ‘Outlet’ 2025, oil, acrylic and particle board on canvas. Courtesy of the artist and Dominik Mersch Gallery, Sydney 4: Lynn Savery, ‘McGraths Lane’ 2025, oil on board. Courtesy the artist 5: Nicola Smith, ‘Two caryatids from the fountain of Acqua Vergine III’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

Sean Crowley’s work depicts a small pond, with a fountain in the centre, drawn from memory and imagination and inspired ...
21/05/2026

Sean Crowley’s work depicts a small pond, with a fountain in the centre, drawn from memory and imagination and inspired by the 2013 French animated documentary film by Michel Gondry ‘Is the man who is tall happy?’ about the linguist, philosopher, and political activist Noam Chomsky.

Rebecca Suares-Jury’s ‘Choral field vision II’ explores beauty in small moments, emphasised in decorative motifs like the imagined flower, central to the composition. ‘Choral field vision II’ features fragments from a mix of cross-cultural references, such as Indian miniature paintings, Dutch floral still life, and Victorian floriography and acknowledges the flower as a vulnerable and fleeting object.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Sean Crowley, ‘Is the man in the small pond happy’ 2026, oil on linen. Courtesy the artist and Sophie Gannon Gallery, Melbourne 3: Rebecca Suares-Jury, ‘Choral field vision II’ 2026, oil on canvas, 200 x 140 cm. Courtesy the artist]

[Image descriptions available in comments.]

‘Unwinding’ by Kevin Chin tests how landscape and architecture converge, as he explains: ‘the comfort of domestic interi...
19/05/2026

‘Unwinding’ by Kevin Chin tests how landscape and architecture converge, as he explains: ‘the comfort of domestic interiors and the expansiveness of nature paradoxically interweave, because both connect us to feelings of safety and respite.’

Greg Creek’s ‘Rot Blossom-Ikea Passenger painting’ uses raw canvas grounds and assembled painted off-cuts, tenebrous naturalism, screen prints, painterly scumbles and compositional perspectives to create spatial effects in an abstracted environment where figure and interior motifs unsettle one another.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1: Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 2: Kevin Chin, Unwinding 2025, oil on linen. Courtesy the artist, This Is No Fantasy, Melbourne and Martin Browne Contemporary, Sydney. 3: Greg Creek, 'Rot blossom-Ikea passenger painting' 2026, oil and acrylic on cut linen. Courtesy the artist and Sarah Scout Presents, Melbourne]

[Image descriptions available in comments.]

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 ref...
17/05/2026

From quiet regional horizons to inner city gardens and storied skies, these works in the Bayside Painting Prize 2026 reflect the many ways artists connect with the natural world.

Cathy Brown’s ‘Fall and rise’ captures a moment of stillness at Shepherd’s Flat, regional Victoria, an atmospheric meditation on transformation, tonal balance and the calm of a setting sun.

Natasha Bieniek’s work ‘Dapple’ turns our attention to inner city gardens, exploring the psychological and physical necessity of green space amid urban pace and density.

In ‘The haze and the hush’, Clare Jaque Vasquez presents the sky as an act of cultural remembering — a gesture of resilience, beauty and ancestral continuity.

View these works at the Bayside Painting Prize 2026 exhibition.

📅 On display until Sunday 14 June 2026
📍 Bayside Gallery, Brighton
🕰️ Wed–Fri: 11am to 5pm, Sat–Sun: 1pm to 5pm
🔗 Learn more via link in bio

[Image credits: 1-3: ‘Bayside Painting Prize’ 2026, Bayside Gallery installation view. Photo: Mark Ashkanasy. 4: Clare Jaque Vasquez, ‘The haze and the hush’ 2025, acrylic and impasto on canvas. Courtesy the artist and Vivien Anderson Gallery, Melbourne 5: Natasha Bieniek, ‘Dapple’ 2025, oil on wood panel. Courtesy the artist and Sophie Gannon Gallery, Melbourne 6: Cathy Brown, ‘Fall and rise’ 2026, oil on linen. Courtesy the artist]

[Image descriptions available in comments.]

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