Lawrence Wilson Art Gallery

Current and upcoming exhibitions at LWAG

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Ceramic triangular sculpture by Stewart Scambler

Stewart Scambler: Fragment

5 May - 18 August 2018

Arriving in Perth from England as a young boy, Stewart Scambler was struck by the natural environment and, in particular, the intense light of Western Australia. Both the material and aesthetic qualities of the local landscape remain central to Scambler’s practice as a potter. On his property at York in the Wheatbelt region of Western Australia, the artist grows trees to stoke his wood-fired kiln and collects materials to make his own clay body. His glazes take on the earthy, muted colours of the Australian bush, enlivened by tonal variation and surface markings that emerge during the firing process.

Though Scambler continues to produce the vessels and domestic ware that he is well-known for, this exhibition presents a new body of work - a striking assembly of large-scale sculptural forms and murals, inspired by the artist’s journey through the Pilbara and Kimberley regions of Western Australia. The installation seeks to convey something of the experience of being in these places: The sculptures do not imitate natural phenomena, but rather capture key features of the landscape, such as the sharp-edged profiles of gorges and rock formations, and the rich, red earth of the North.

Image: Stewart Scambler, Fragment II (detail), 2017-2018, oxidised stoneware, dimensions variable. © Stewart Scambler. Photograph: Kevin Gordon

Visit the Stewart Scambler: Fragment exhibition website 



jarrah sculpture by howard taylor

Modern Australian Landscapes, 1940s-1960s: Works from the University of Western Australia Art Collection

5 May - 18 August 2018

This exhibition explores the modern landscape tradition in Australian art, through works in the University of Western Australia Art Collection. It features paintings by Elise Blumann, Sam Fullbrook, Audrey Greenhalgh, Guy Grey-Smith, Godfrey Miller, Sidney Nolan, John Passmore, Howard Taylor and Fred Williams.

During the post-war period, many Australian artists were attracted to landscape painting as a means of exploring the ideas and technical innovations associated with modern art. Formal experimentation can be seen in the use of bold bands of colour which compress the compositional space, or in the repetition of quasi-abstract brush marks which create an impression of the land, full of vitality and energy.

Many paintings emphasise the underlying structures of the bush – distilling the essential elements of nature. Working beyond conventional definitions of the genre, and conveying something of the experience of being in the land, artists such as Howard Taylor integrated the materials of nature into their artworks, as in Bush Structure, 1963, made of sheoak and jarrah.

Image: Howard Taylor, Bush structure, 1963, sheoak and jarrah, burnt and painted, 111 x 50 cm. The University of Western Australia Art Collection, Presented by Pola and Bronek Stein in gratitude for the life they have enjoyed in Australia since their arrival in 1939, 1995, © Howard Taylor Estate



oil painting of three figures with bright auras in a room

Authentic Determination

5 May - 18 August 2018

Based in Adelaide, South Australia, Brigid Noone has expanded her painting practice into an experimental hybrid of artistic and curatorial processes, often incorporating the work of other artists into her wall paintings and installations or working collaboratively to produce co- authored exhibitions. As co-director of Fontanelle, a gallery and studio complex now located in the heritage precinct of Port Adelaide, Noone has been instrumental in recent discussions about feminism and community in contemporary Australian art.

Authentic Determination sees Noone apply her unique methodology to the Cruthers Collection of Women’s Art, considering the artist as ‘whole being’. Noone will open a conversation between the collection, her own work and the work of her peers, exploring how the complex lives of artists are embodied in their work.

Exhibitions from the Cruthers Collection of Women’s Art are supported by SHEILA A foundation for women in visual art. 

Image: Brigid Noone, Lucky Bitches, 2017, oil on canvas, 75x100cm. © Courtesy of the artist. Photograph by Grant Hancock



old photograph of man on a jeep pulling a cow in country

Stockyards and Saddles: A story of Gibb River Station

21 July - 8 December 2018

Stockyards and Saddles: A Story of Gibb River Station explores the lives of those living and working on the remote cattle station of Gibb River in the East Kimberley region from the early 1900s until the 1990s.

The importance of photographs as historical memorabilia often goes beyond the people represented in the images to depict a period in our country’s history. As the last generation of cattlemen recall distant memories of dusty stockyards, saddle sheds, wet seasons, and those who passed before them, this exhibition celebrates their lives through the photographic image.

Presented by the Berndt Museum, with photographs by Colin Russ, Andreas Lommel and others.

Image: Bull Catching, Colin Russ Collection, c. 1980s



a kinetic sculpture with elements of a chair and bicycle wheel

HERE&NOW18: Besides, it is always the others who die

1 September - 8 December 2018

HERE&NOW18 presents new works from Western Australian artists Dr Perdita Phillips, Dr Alex Spremberg, Carly Lynch, Peter & Molly, Julie Dowling, and Bjoern Rainer-Adamson that respond to the challenge of contemporary art set by Marcel Duchamp 100 years ago. The year 2018 marks the 50th anniversary of Duchamp’s death, as well as 50 years since the Marcel Duchamp: The Mary Sisler Collection exhibition of his work, which toured to the Art Gallery of Western Australia in 1968. To mark the occasion, HERE&NOW18 offers a contemporary engagement with the iconoclastic technical, social, and cultural legacy of Duchamp through themes of duality, process and disruption - while participating in a reflective dialogue with a private collection of Marcel Duchamp artworks and ephemera.

Image: Bjoern Rainer-Adamson, Freedom of Choice, 2008, kinetic sculpture, 100x100x120cm. Photo: Robert Pupeter.



photograph of Artemis members

No Second Thoughts: Reflections on the ARTEMIS Women’s Art Forum

1 September - 8 December 2018

Active in Perth from 1985 and with roughly 300 members at its peak, The ARTEMIS Women’s Art Forum Inc. aimed to raise the status of women in the arts and to foster interest in women’s art practice and ideas. The group produced symposia, exhibitions and a newsletter, provided childcare facilities for its members at meetings, and also ran the ARTEMIS gallery, located in the Artshouse building in the Perth Cultural Centre. After the dissolution of the group in 1990, the Artemis archive - featuring correspondence, meeting minutes, exhibition ephemera, artist files and more - was donated to State Library of Western Australia.

Taking its name from the ARTEMIS members’ exhibition held at the Film and Television Institute in Fremantle in 1988, 2018's No Second Thoughts offers a response to the ARTEMIS archive. Newly commissioned works from former ARTEMIS committee members Penny Bovell and Jo Darbyshire, and early career artists Teelah George and Taylor Reudavey made in response to this archival material are presented in dialogue with it, examining the production of memory and history in Western Australian feminist art practice and beyond.

No Second Thoughts: Reflections on the ARTEMIS Women’s Art Forum is presented by the Cruthers Collection of Women’s Art.

Former members of the ARTEMIS Women’s Art Forum Inc. are encouraged to contact the gallery.

Exhibitions from the Cruthers Collection of Women’s Art are supported by SHEILA A foundation for women in visual art.  

Image: Members of ARTEMIS Women’s Art Forum Inc. Perth c. 1986/87. L-R : Thyrza Michele, Jo Darbyshire, Linda Rawlings, Anne Jeppe, Michele Elliot, Joanne Harris, Pam Kleemann. Photograph courtesy of Louise Mayhew.



Exhibition program is subject to change. Please check our website closer to the exhibition dates.