Exhibition: Held, Joeulla Coulthard, Juanella Donovan, Lisa Khan and Sally Scales

Image: Juanella Donovan, Knowledge Holders, Photo: courtesy of the artist

July 27 - September 4, 2026

Opening night, Wednesday, July 29, 5:00- 7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Held in The Mill’s Foyer Gallery, located at 154 Angas St, Kaurna Yarta (Adelaide).

  The Mill’s galleries is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

For SALA 2026 we are excited to present Held, a new group exhibition featuring new work by First Nations artists Joeulla Coulthard (Adnyamathna, Kuyani), Juanella Donovan (Adnyamathanha, Luritja and Arrernte), Lisa Khan (Yankunytjatjara/ Antakirinja/ Pitjantjatjara) and Sally Scales (Pitjantjatjara). This exhibition explores the artists practices across painting, weaving, sculpture and ceramics. As mothers, each of these artist’s plays a vital role in caring for family and caring for Country. We know that mothers hold so much strength and tenderness, veracity and knowledge. These qualities are passed down through generations from mother to child, and for these women, their art practices reflect the ongoing practice of holding and sharing knowledge and stories.

This exhibition is presented with support from Ku Arts and the City of Adelaide’s Arts and Community Arts and Cultural grants.

• About Joeulla

  Joeulla Coulthard is an Adnyamathna, Kuyani artist who grew up on Country in the northern Flinders Ranges. Her work includes painting and ceramics which speak about the landforms where she grew up, the seasons, and the cultural stories of Yarta. For Joeulla, artwork is a conversation piece, talking about the meaning and why it was made keeps her art and culture alive. Joeulla has exhibited in Blinman Art, Tarnanthi, and Wilpena Art.

• About Juanella

  Juanella Donovan nee McKenzie, is an Adnyamathanha, Luritja and Arrernte woman of South Australia living and working on Barngarla land, Port Augusta. Juanella is a multi-disciplinary artist, best known for her unique ability to make intricate works with woven emu feathers. She has been in countless exhibitions since childhood and, in recent years, won Malka aboriginal Art Prize 2020, won the breaking Ground award 2021, Ramsay Art Prize Finalist 2021, Pt Augusta NAIDOC Artist of the year 2022, NATSIAA finalist and people’s choice winner 2022, NATSIAA finalist and people’s choice winner 2025. Hazelhurst Art on Paper Award finalist 2025 and Wollongong Art Prize finalist 2025. She is currently developing work for The National Textile Triennial which will open in September 2026 in Tamworth NSW and later tour nationally.

• Lisa Khan

  Lisa Khan is a Yankunytjatjara/ Antakirinja/ Pitjantjatjara artist from Coober Pedy. Lisa paints her Grandmother's ngura (my home, the land and rockholes) as well as her Grandfather’s country, he was born at Wallitina Station. She says ‘when I paint, I feel connected to my country and my grandparents who aren't here anymore, It is my job to look after the country and the stories from my grandmothers.’

• About Sally

  Sally Scales is a proud Pitjantjatjara woman from far west of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. She creates vibrant landscapes that represent her ancestral home and Tjukurpa. She combines the artistic styles of her two grandmothers, Kuntjiriya Mick and Kunmanara (Wawiriya) Burton, and her mother, Josephine Mick. Sally won the People's Choice Award at the 2021 NATSIAA, and the Roberts Family Aboriginal and Torres Strait Islander Prize at the AGNSW in 2022. The BBC named Sally as one of the 100 women of the year 2022.

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Exhibition: Jen Trantor, CONGRATULATIONS

Image: Jen Trantor, CONGRATULATIONS, on not shooting anyone today, CONGRATULATIONS, you didn’t poison anyone today, CONGRATULATIONS, on taking a great shot, photo: Russell Millard

July 27 - September 4, 2026

Opening: Wednesday, July 29, 5-7:30pm

Foyer Gallery, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Jen’ exhibition in The Mill’s Foyer Gallery, located at 154 Angas St, Kaurna Yarta (Adelaide).

  The Mill’s galleries is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present CONGRATULATIONS, a new exhibition by Jen Trantor. With cheeky humour and more than a touch of sarcasm, Jen offers the least of us an opportunity to be celebrated. Her delightful series of medals commemorate mundane and everyday achievements - CONGRATULATIONS, you made it out of bed!!! We all get a chance to be decorated with rich velvet ribbons, embellished beading and gold work.

For Jen this is an opportunity to share about her own small wins. Each of these daily achievements are what add value, enjoyment and creative fulfilment to our lives. Sure, you could go run a sub-two-hour marathon, or, you could celebrate yourself for living your life in line with your values, knowing yourself deeply, and cherishing your friends. Don’t get too mushy about it though, this is all meant to be a bit tongue in cheek!

• About the artist

  Jen Trantor is an installation artist using beads, embellishments, fabric and wire. Her work is a playful  commentary, combining traditional craft methods with a contemporary twist and a touch of humour.

• Artist Statement

  Jen Trantor is a petty and slightly ironic artist.

  This body of work is based on the jealousy of her very athletic partner who has so many medals……..it’s ridiculous!

  So she has created an exhibition around the medals that she should have been awarded.

  She hopes that others can relate.

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Disability Access Studio 2026: Chloe Noble

We are thrilled to announce Chloe Noble as the recipient of the 2026 Disability Access Studio.

Chloe will receive a 6-month studio space in our community, and will work towards an exhibition outcome later this year.

About the artist:

• Chloe Noble

  Chloe Noble (she/they/he) is an emerging artist based in Kaurna Yerta / Adelaide.

  Their practice includes expressionist portraiture and impressionist landscapes, using watercolours, oils, acrylics and digital mediums. Noble transforms personal experiences into a unique visual language characterised by gestural mark making and vibrant colour harmonies.

  They often explore digital art, video, and installation, examining the interplay between traditional and contemporary mediums in relation to identity and place. Drawing from lived experiences of disability, chronic illness, neurodivergence, trauma and queerness, Noble creates deeply resonant works that engage emotional themes, inviting reflection and dialogue with audiences.

  They have previously held studio spaces at Collective Haunt Inc., Carclew, and Floating Goose Studios Inc.

Photo: Courtesy of the artist

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This program has support from

Exhibition: Toni Hassan, The Sea is Talking

Image: Toni Hassan, Behold, the Rainbow Cale (Heteroscarus acroptilus), detail, 2025, Photo: Pro Lab, courtesy of the artist

March 27 - May 15, 2026

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Toni’s exhibition in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Gallery I is open Monday-Friday, 10am-4pm.

  Special weekend opening hours, one-off Saturday April 11, 11am - 4pm, with both artists on site for a meet and greet.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present The Sea is Talking, a new exhibition by Toni Hassan. In this exhibition Toni works across multiple modalities to honour the lives of the countless marine creatures, some of which she witnessed dead, or struggling, as the South Australian coastline became impacted by the harmful algal bloom. Her regular walks along the city’s shoreline have revealed the incredible biodiversity of our local waters, sparking curiosity as well as sadness.

Through large scale coloured pencil drawings, video, and mixed media installation, Toni creates a feeling within the gallery akin to the emotional response she has had on the beach. We feel the physicality of the experience: a sense of awe, coupled with grief. We get a sense of the tide as it often was, washing in with creamy foam, and we observe an eel in a gripping dance, fighting for breath. Toni ponders our current environmental realities, positioning the algal bloom as a barometer for our world, asking, 'If the sea is talking, who's listening?' Further, 'What does it mean to truly listen?'

• About the artist

  Toni Hassan is an award-winning visual artist and writer. She is committed, in her multidisciplinary practice, to being a witness, seeking to express interconnections and inspire care. In her drawing, painting, digital and installation work she investigates contemporary events, patterns of human relating and nature (including non-human centric perspectives).

  This is Toni’s third solo show since she graduated from the School of Art and Design at the Australian National University in 2021. Her artwork is held in public and private collections.

• Artist Statement

  These works respond to what I encountered on walks along the beaches of Adelaide’s Gulf of St Vincent and south, along the Fleurieu Peninsula in 2025. I felt the sea was talking. Countless marine creatures appeared, like secrets of the sea. Their appearance provoked both pathos and surprising awe and delight.

  All life forms have intrinsic value, independent of their utility to us. Environmental events challenge us at many levels, as planet Earth talks. With the harmful algal bloom, I began to wonder, again, ‘What is mine to do?’ I was provoked to consider the role of ecological ethics that can be expressed through art. As Ashlee Cunsolo and Karen Landman argue in their introduction to Mourning Nature: Hope at the Heart of Ecological Loss and Grief (2017), it is vital to "disrupt the dominance of humans and expand the circle of the grievable beyond the human.”

  Drawing allowed for a meditation on nature’s beauty and abundance, and our interconnectedness and dependence on nature. While hearing nature groan, there was something about noticing contour and shape, colour and texture, that helped open up space to move from disenchantment to enchantment. Material collected along the seashore inspired other work that allowed for play, helping process my sense of loss and to express hope of renewal.

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Exhibition: Anthea Tsigros Jones, Think Differently

Image: Anthea Tsigros Jones, The snail and the unicorn (detail), 2026, courtesy of the artist

March 27 - May 15, 2026

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Toni’s exhibition in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Gallery I is open Monday-Friday, 10am-4pm.

  Special weekend opening hours, one-off Saturday April 11, 11am - 4pm, with both artists on site for a meet and greet.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present Think Differently, a new exhibition by Anthea Tsigros Jones. In Think Differently Anthea explores personal narratives through a series of fantastical, embellished and slightly surreal paintings, collages and sculptures. Reimagining childhood scenarios, Anthea places versions of herself amongst world filled with strange dolls and unsettling horizons.

In these works, she utilises her training in classical realism, slipping seamlessly between crisp renditions and loose, painterly backgrounds that conceal more than they reveal. In Hot Chicks she references the Three Graces of greek mythology, with blonde and blue eyed nude barbie dolls bringing to light Anthea’s experience of misogyny and patriarchy.

Alongside her paintings, she presents new sculptural installations - dioramas of a life imagined through playfulness. Anthea’s Think Differently- the 3 (dis)graces) places three nude barbies (as seen in the previously mentioned painting) inside a two story gallery and studio, complete with holographic wallpaper, disco lights and an eternally spinning circular platform. We see their blank faces and abject sections of their bodies reflected back at us from the mirror, while outside the walls of the doll house are plastered graffiti style with misogynistic slurs.

Layered paper collages form the third and significant part of this exhibition, showcase Anthea’s unique process. Through these works, she shares the playful, open and responsive process that she uses to develop compositions for her paintings. Artworks in their own right, these multimedia works mirror the themes of the exhibition, speaking about childhood desires, awkward social interactions, and time spent alone engrossed in her own world.

Through Think Differently, Anthea speaks to the pressures of women of her generation - the expectations of her parents, the role she took on as a wife and mother, and now the freedom of expression she experiences as an artist. Alongside the dark and surreal elements, we are also offered joy and play; Anthea’s pleasure is palpable in The pavilion of dreams, a circus tent complete with carousel of unicorns and twinkling fairy lights, made spontaneously with complete submission to her inner child- an absolute delight!

• About the artist

  Anthea is a visual artist born in Millicent, now residing in Adelaide.

  Deriving new found pleasure from creating with mixed media, she has fused textiles, paper and found objects to create this body of work, Think Differently, expanding her ouvre beyond self-imposed strictures that limited her exhibited arts practice to drawing and painting.

  Think Differently is Anthea’s first solo exhibition since completing formal studies in 2023 and two self-directed residencies in France in 2024/25. Her formal qualifications include an Advanced Diploma in Visual and Applied Art, a Graduate Diploma in Management (Arts), a Graduate Certificate in Art History and a Diploma in Atelier Arts.

  Anthea’s formal studies have been supplemented by a summer school at the London Academy of Realist Art and a week of life painting with the acclaimed Shane Wolf in the UK.

  Anthea has exhibited in numerous shows and her work is held in private collections in Adelaide, Melbourne, Washington, New York and The Diderot Collection at Château d’Orquevaux.

  If there was one word Anthea would use to describe her arts practice it would be meraki, a Greek word meaning the act of doing something with soul, creativity or love, putting “something of yourself” into the work. It signifies leaving a piece of your essence in what you do and describes a total devotion to a project.

• Artist Statement

  Somewhere over the rainbow, way up high,
  There's a land that I heard of once in a lullaby, Somewhere over the rainbow, skies are blue,
  And the dreams that you dare to dream really do come true..’

  This song has always resonated with me. I love rainbows. They are truly beautiful. No one can ever own one. To create a magnificent rainbow we need the rain and the sunshine and to truly appreciate the visual experience one must be fully present in the moment it occurs. Serendipity, synchronicity and magic all come to mind when I think of rainbows and I’m always transported to far away places when I encounter one during an ordinary day.

  Think Differently began, earnestly, in 2024 as purely a painting project. This singular mission took a compelling turn when due to personal development work I found myself questioning my life experiences in general and how I used them in the context of self expression, particularly in my art practice. It felt imperative that I address this yearning to invoke my authentic artistic voice, in whatever capacity it was available to me.

  Think Differently evolved, organically when I became engrossed in my creative ‘side hustles’ away from the easel and I realised this was where the joy was hiding. By reinventing old art works and creating new narratives I found history in the layers and textures of these works, both conceptually as well as physically.

  Thus, it would be fair to say that my authentic practice is structured, academic traditional painting and drawing techniques fused with mixed media collage, sewing and construction.

  Reflecting my childhood practice of making do, my aesthetic is Greek Village Chic - start where you are, use what you have, do what you can. Without exception, every piece in the exhibition started life as something else and I relish the challenge of turning trash into treasure.

  “Everything begins with a story” - Joseph Campbell

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Dance Residency 2026: Tobiah Booth-Remmers, In The End

We are thrilled to announce Tobiah Booth-Remmers as a Dance Residency recipient for 2026.

Tobiah will be in residency for two weeks, continuing his research and development of his latest work In The End.

This piece builds on ideas explored in Damaged Goods and From The Other Side of Chaos. It is an ode to humanity's tenacity in the face of constant pressure or adversity. Despite what is often a relentless cycle, we keep moving forward, supporting each other through uncertain moments and across unpredictable ground.

The piece experiments with an interactive set, a non-traditional performance format and structured improvisation.

The residency will culminate in a private showing for invited guests.

• About the artist

  Tobiah Booth-Remmers is a freelance dance director, performer and teacher originally from Adelaide, Australia. He has worked with a large variety of choreographers and directors across dance, theatre and circus, both nationally and internationally.

  Tobiah has performed in major arts festivals including the Adelaide Festival of the Arts (AUS), Brisbane Festival (AUS), WOMAD (AUS), Dance Massive (AUS), Dublin Dance Festival (IRE), Adelaide Fringe Festival (AUS) and has performed at the Barbican Centre in London.

  As a dance maker Tobiah has choreographed numerous commissioned and self-produced works, from large scale interactive pieces to theatrical solos. He has lectured on dance at Adelaide College of the Arts, LINK Honours Course, Western Australian Academy of Performing Arts, Queensland University of Technology, Transit Dance and at Sydney Dance Company’s Pre-Professional Year. He has also taught for major dance companies such as DV8, Sydney Dance Company and Australian Dance Theatre.

  Tobiah regularly works internationally and has developed projects and taught workshops on his own artistic practice in Belgium, Bulgaria, Greece, Italy, Portugal, Sweden, France, Israel and Mexico.

  In 2022 Tobiah was the Associate Artist at Australian Dance Theatre which saw him research and produce a new full length experimental performance work. In 2023 Tobiah took on the role of Program Manager at Sydney Dance Company’s Pre-Professional Year and in 2026 Tobiah began working with FORM Dance Projects as their Producer.

Image: Courtesy of the artist.

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FORUM: Our coast - creativity, responsibility and response

Image: Toni Hassan, Behold, the Rainbow Cale (Heteroscarus acroptilus), detail, 2025, Photo: Pro Lab, courtesy of the artist

Artist Forum

When: Friday, May 15, 5:30-7pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, bookings essential

• Event details

  This artist led Forum will be in our Galleries, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Please arrive at 5:30pm for a 5:45pm dance performance by Sandy Marion, in response to the exhibition.

  6-7pm the forum will take place.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We invite you to join us for an artist led forum discussing the impact of the South Australian algal bloom, and opening a discussion about climate, ecologies, and our place in the world.

This forum builds on The Sea is Talking, a new exhibition by Toni Hassan currently Showing in Gallery I. Speakers include Toni Hassan, ecologist Dr Faith Coleman, and curator Lindl Lawton. The forum will also include a short performance by artist Sandy Marion in response to Toni Hassan’s exhibited video work Death Dance (Longfinned worm eel, Scolecenchelys breviceps).

As chair of the panel, Toni brings her curiosity, advocacy background and creative insights to a lively conversation with a panel of special cross-disciplinary guests, exploring how creative practice can open new ways of thinking, feeling and responding to environmental change.

She asks; In the wake of South Australia’s devastating algal bloom, how can art help us make sense of ecological loss? And as the planet warms, what practical and imaginative roles can South Australians play in caring for our marine ecosystems?

About the artists:

• Toni Hassan

  Toni Hassan is an award-winning visual artist and writer. She is committed, in her multidisciplinary practice, to being a witness, seeking to express interconnections and inspire care. In her drawing, painting, digital and installation work she investigates contemporary events, patterns of human relating and nature (including non-human centric perspectives).

  This is Toni’s third solo show since she graduated from the School of Art and Design at the Australian National University in 2021. Her artwork is held in public and private collections.

• Dr Faith Coleman

  Faith Coleman comes from a family of environmentalists and primary producers, with multiple generations of her family working on the ecology of salinas, saltlakes and estuaries, so she was (quite literally) born with her feet in saline muds. She spent her childhood exploring tidal deltas, in some of the most remote regions of Australia. She is passionate about developing deep understandings of estuarine processes, integrated approaches to estuarine management, adaptive management of landscapes to preserve ecological features, climate change adaptation and sustainable natural resource use. Faith has also published under the name Faith S. Cook.

• Lindl Lawton

  Lindl Lawton has spent three decades in the cultural sector as an historian and museum curator, most notably as Senior Curator at the South Australian Maritime Museum. In 2016, she curated The Art of Science: Baudin’s Voyagers 1800–1804, a touring exhibition of scientific artworks from French collections, sparking her interest in how art can deepen our understanding of the natural world.

  Now Manager, Interpretation and Cultural Collections at the Adelaide Botanic Garden, she creates innovative ways to engage visitors with nature and foster environmental stewardship. Lindl manages the Museum of Economic Botany’s dynamic program of contemporary art exhibitions, where artists explore environmental challenges, respond to the Garden’s collections, and interrogate its colonial foundations. She is committed to creating programs where art, science, and community experience converge to illuminate urgent environmental issues.

• Sandy Marion

  Sandy is a dance theatre maker, multidisciplinary artist/activist and community organiser living on Kaurna Yerta, Adelaide. She is passionate about using art and community building as tools for connection and transformation, to connect people more to themselves, to others and to the world around them.

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This forum has support from a Human.Kind Ripple Effect grant

Exhibition: Tony Busch, Closer Horizons II

Image: Tony Busch, Sandstone arch, Sellicks, 2026, hand dyed jute, hand dyed cotton warp, 46 x 68 cm, Photo: Sam Roberts.

May 25 - June 26, 2026

Opening: Friday, May 29, 5:30-7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Tony’s exhibition in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Gallery I is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are thrilled to present Closer Horizons II, a new exhibition of woven textiles by Tony Busch. In this exhibition Tony brings audiences into a sense of place, exploring local landscapes; Warripari Sturt Gorge, Aldinga and Sellicks beach. Through the act of walking, Tony has gathered inspiration from the uniquely South Australian landscape- texture, colour, shape are translated through Tony’s chosen material.

Slow and generous appreciation are also part of Tony’s process- his use of hand dyed cotton warp, hand dyed jute and yarn on his hand built frame looms attenuate the pace of creation. This allows for the both the artist and audiences attention to be drawn slowly across the surface of works- we take notice of subtle shifts in tone and texture, and an understanding of the gesture of the artists hand that have skilfully manipulated the raw materials into abstracted forms. Like the act of walking, the slow process of building these woven landscapes creates a deep appreciation of beauty, and reverence for the life-force of the landscape.

• About the artist

  Tony Busch graduated in 2023 with a Bachelor of Visual Art (Hons FC) from Adelaide Central School of Art. He has been weaving for three years and is entirely self-taught. Influenced by Magdalena Abakanowicz, his work is an abstraction of natural forms, finding his cues in nature and translating the textures and surfaces he encounters into three-dimensional woven forms. His first solo exhibition at Mrs Harris’ Shop was a virtual sell-out and he has enjoyed subsequent solo exhibitions at praxisARTSPACE and Sauerbier House, Port Noarlunga, where he was the recipient of a 12-week residency in 2025. Over the past 2 years, Tony has also been involved in 6 group exhibitions including Adelaide Design Week, Fabrik in Lobethal, and 6 Manton Gallery. In 2024 he was awarded the Emerging Artist Prize at the Fleurieu Biennale as well as the Highly Commended Prize in the Irene Davies International Award at the Australian Tapestry Workshop.

• Artist Statement

  Walking and weaving are entwined for me; one feeds the other. Walking ties me to place and this ‘sense of place’ feeds my creative energies which find their outlet in the process of weaving. Thus my work is an exploration of the elusive expression of place, specifically the Sturt Gorge, Warripari in Kaurna language, south of Adelaide, and the coast around Aldinga and Sellick’s Beach. Walking a landscape deepens my understanding of its beauty, its energy and its importance as I learn about its changing seasonal face, its bones, its structure and its content. My work is an abstraction of natural forms. I find my cues in nature and then try to express the essence of the textures and surfaces I encounter. I choose to work with jute fibre because I believe its textural qualities are closest to those found in the Australian landscape. I hand-dye it to achieve subtle variations in colour and use frame looms I built myself. I also continue to experiment with dyeing my cotton warp to mimic the effects of underpainting, deliberately allowing a little of the warp thread to show through the weft in places. My practice continues a dialogue with materiality, giving agency to the materials I works with and exploring the potential opportunities they provide. Each work is woven in a continuous piece, not sewn together, and employs techniques I developed myself to add a third dimension to the traditional flat woven surface. 

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Exhibition: Kathrine Hoffman and Anna Goodhind, You Ask Me to Talk About the Interior

Image: Anna Goodhind, Face to Face (detail), courtesy of the artist

May 25 - June 26, 2026

Opening: Friday May 29, 5:30-7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find You Ask Me to Talk About the Interior’s exhibition in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).

  The Mill’s galleries is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are thrilled to present You Ask Me to Talk About the Interior, a new exhibition featuring work by Kathrine Hoffman and Anna Goodhind. This exhibition explores colour, repetition and form through ceramics and collage, looking at how artists build meaning through layering, repetition and pattern. Both Anna and Kathy are current studio artists at The Mill.

Kathrine's intuitive abstract ceramics are built using the Japanese nerikomi technique, working with coloured clay to build patterns that are embedded into the body of her vessels. Using the slow, repetitive technique Katherine creates unique abstract designs, experimenting with colour theory to draw the eye across the surface of the vessel. She says 'For me working with clay is very tactile. I find the connection between the hand, the eye and the brain and the repetition very calming.'

Anna brings a series of collage works to the exhibition, using found images to build narrative through colour and form. Each collage becomes a window into a world, opening a conversation to themes of life, and death, geology, the passing of time and the universe. We see delightfully unexpected characters on backgrounds of repeated patterns, nature and science brought together with infinite horizons.

This exhibition takes its title from Carolina Ebeid's poem 'You Ask Me to Talk About the Interior', a poem about humanness- made of wilderness & sky, a new anatomy, an overbright comet burning through the infinite. Like the poem, Kathrine's works fold and repeat, creating an infinite and intricate interiority. Nerikomi traditionally reflects the harmony of nature and as an expression of the artist's soul. Likewise, Anna's work speaks to the human condition, the interiority of each of us that is complex and in flux, and part of a web of connection through systems of biology and physics, of community and care.

• About Kathrine

  Kathrine Hoffman graduated with a Bachelor of Visual Arts from Adelaide Central School of Art in 2019, where she was mentored in ceramic by Anna Couper. In 2025 she exhibited in the Red House Group Exhibition at Gallery M, as part of a SALA Exhibition at Fraser Hay Gallery and had works on display at Adelaide Central School of Art. She was a finalist in the 2023 Watershed Art Prize and the Little Things exhibition (NSW). Her work has also featured in the Campbelltown Arts Show, Murray Bridge Art Show and Victor Harbour Art Show. She currently has a studio at The Mill.

• About Anna

  Anna Goodhind is a multidisciplinary artist whose practice centres around themes of family, mortality and the natural world. Working across various mediums including painting, textile, collage, sculpture and installation, Goodhind often explores existential conflict within the human condition through the subjective experience of the individual.

  Her most recent solo exhibition Presence – Absence at Sauerbier House in November 2024, opened up a means for grieving through a reshaping of time, place and inheritance following the death of her mother in 2018 and her father in 2023. Goodhind also works as an art installer and exhibition curator. Her continuing practice focuses on a process of exploration and experimentation.

• You Ask Me to Talk About the Interior, Carolina Ebeid

  You ask me to talk
                 about the interior

  it was all roadside flowers & grasses
                 growing over the cities

  was made of wilderness & sky
                 with God washed out of it

  was the foreign prayer-word
                 it was a list of missing persons

  was the solid bronze charging
                 bull on the famous street

  was like the Roman method for making bees

  was its taken-down carcass
                 & its bed of apple-branches & thyme

  was a new anatomy      a beaten hide
                 a skeleton sweetening to glowing fluids

  & the bee born out & the grist of them born
                 glistening as coins

  it was anthem
                 was the listening

  the way a searchlight listens over a lake
                 it was the prayer-word out of your mouth

  your thousand-noun request
                 it goes up up to the florescent weather

  was hurdle & burn      burning through
                 the infinite      your overbright comet

  was made of stones      made of berries & plastic & boxtops & eggshells
                 it was like the word having reached the ear

  & the words pollinated the dark      there was darkness there
                               like the afterhours inside a library

  About Carolina Ebeid

---

Studio Tours

Photo: Bri Hammond.

January - November, 2026

Fortnightly tours alternating Tuesdays, 11am, and Fridays, 4:30pm

The Mill Foyer, 154 Angas St, Kaurna Yarta

45 minutes duration

Free entry, all welcome

• Visiting us

  The Mill’s monthly Studio Tours will begin in the Foyer at 154 Angas St, Kaurna Yarta.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

Discover your next favourite artist or maker at The Mill. See behind the scenes of our 70+ studio on a free, fortnightly studio tour.

We open our doors for tours on alternating Tuesdays and Fridays; inviting audiences to explore our studios and engage with our community.

Whether you're an art lover, a curious wanderer, or just keen to see creativity in motion, these tours promise inspiration and new connections at every turn.

Social clubs, community organisations and groups of 6+ can register for private tours by emailing info@themilladelaide.com.

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Writer in Residence 2026: Melanie Bakewell

We are thrilled to announce Melanie Bakewell as the recipient of the 2026 Writer in Residence.

The Writer in Residence program, in partnership with CityMag, supports emerging writers from a variety of disciplines. The program creates a broader audience for writing through leadership, mentorship and publication.

About the writer:

• Melanie Bakewell

  I’m an emerging writer, audio producer and artist currently based on Kaurna land.

  I write essays, creative non-fiction and reportage, and my writing has been published in Australian literary magazines including Overland, Kill Yr Darlings, fine print and Debris Magazine (forthcoming 2026).

  With an interdisciplinary background in community media, art and audio documentary, my radio writing, audio storytelling and journalism has been published by community radio across Australia, ABC RN, and The Wheeler Centre (VIC).

  My print and digital journalism has been published in independent media outlet The Westsider, and RMIT’s The City Journal. I studied Creative Writing as part of my BA undergrad, and in 2024 completed a Grad Dip in Journalism from RMIT.

  My creative non-fiction and essays interrogate the systemic and personal, with a particular interest in social justice, community building and the arts, and I am a current member of Writers SA.

  Across print and audio, my practice favours local and community storytelling, arts profiles, access to justice, and community activism. I’m driven by responsible reportage and narrative beats, and love delving into story structure and stakes to find the most compelling way to hook a reader or listener.

  An experienced interviewer and in-depth researcher, I can flip between hard news and feature writing to personal essays and profiles, and love to creatively tackle nuance and context in features to make them accessible and engaging.

  Most recently, I was a scholarship recipient for Faber Academy’s short course Writing The Essay with cultural critic and essayist Eda Gunaydin in late 2025.

Photo: Melanie Bakewell

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The Writer in Residence program is presented in partnership with CityMag.

Photographer in Residence 2026: Zane Qureshi

We are thrilled to announce Zane Qureshi as the recipient of the Photographer in Residence program for 2026. Presented in partnership with the Ana and Christopher Koch Foundation Fund, Zane will receive a 12-month studio space in 2026 and an exhibition outcome as part of our Visual Arts Program in 2027.

About the artist:

• Zane Qureshi

  Zane Qureshi is a multi-talented neurodivergent photographer and designer based in Adelaide, South Australia. He loves capturing the raw beauty and emotion of his subjects, bringing fresh ideas to life, making new friends on set, and supporting fellow creatives and like-minded individuals. He specialises in fashion, editorial, and portrait photography.

  Additionally, he has experience with creative direction, casting, fashion styling, magazine/book publishing, curation, and event management. Driven by his passion for art and photography, Zane is dedicated to empowering young creatives through his self-run publication and community-driven project, FRND Magazine and independent casting agency showcasing diverse faces, FRND Models. He finds fulfilment in showcasing their unique talents and inspiring others to pursue their dreams.

Photo: @cashmereflipflops

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This residency has support from

Adelaide Fringe 2026: WAYIN:THI, 'Fibres'

Photo: Jack Fenby.

Adelaide Fringe 2026

When: February 20 - 22

Where: Tandanya Theatre, 253 Grenfell St, Kaurna Yarta

Cost: From $15-25

Duration: 60 minutes

• Getting to the show

  Fibres will be held at Tandanya Theatre.

  Accessibility

  Tandanya has step-free mobility aid access through the main entrance with an accessible bathroom.

  For more detailed accessibility information visit FringeTIX.

This work explores the natural fibres — once used for healing, weaving, storytelling, dance, painting and crafting. More than resources, these fibres hold story, culture and connection to Country. Through touch, texture and movement, we follow the gestures of threading, knotting, interweaving and mending, drawing on their strength and care. Dance becomes a bridge between fibre and story, body and Country.

This work is presented by WAYIN:THI Collective produced by The Mill - a bold new platform grounded in culture, self-determination, and performance-making. The Collective is dedicated to amplifying the voices of South Australian First Nations dance and performance artists.

This is movement. This is story. This is WAYIN:THI.

• About the artists

  Caleena Sansbury is a prominent First Nations artist whose diverse background and extensive experience have established her as a leading figure in the arts. Her heritage, encompassing Ngarrindjeri, Narungga, and Kaurna cultures, deeply influences her work and perspective.

  A graduate of NAISDA Dance College, Caleena’s career spans various disciplines including performance, choreography, and program coordination. She has showcased her talents on both national and international stages, working with respected artists and companies.

  Her notable collaborations include:

  • Vicki Van Hout on productions like Long Grass and Les Festivities Lubrufier.

  • Thomas E. S. Kelly on the performance work [MIS]CONCEIVE.

  • Karul Projects on the piece SSHIFT.

  Caleena’s experience extends to children's theatre, where she has performed in shows produced by InSite Arts such as Saltbush and Our Corka Bubs, and with Polyglot Theatre in Tangled. Her work demonstrates a deep understanding of both dance and theatre, particularly in contexts involving young audiences.

  In addition to her performance career, she has contributed to theatre as an actor in Legs On the Wall’s The Man With The Iron Neck and has showcased her organizational skills as a producer for the Melbourne Fringe in 2018. She has also toured South Australia with Taree Sansbury’s Mi:wi 2019, and performed in Jacob Boheme’s dance work Gurranda in 2024. Caleena continues to perform and practice dance in and throughout South Australia. 

  Currently, Caleena is a Program Coordinator at The Mill, an award-winning multi-disciplinary arts organisation. Her role at The Mill continues to reflect her commitment to fostering a vibrant and dynamic First Nations arts community.

  Arrernte and Gurindji Contemporary Dance Artist, Kaine Sultan-Babij, is making a lasting impact on the world of dance and drag.

  With a background that includes performing with Leigh Warren and Dancers, Bangarra Dance Theatre, and the Australian Dance Theatre, Kaine has skilfully blended Contemporary Dance and Contemporary Indigenous Dance. Based in Kaurna Country, Kaine stands as an Independent Dancer and Choreographer, contributing to the vibrant Australian performing arts scene.

  Beyond Kaine's achievements in the dance world, the emergence of Estelle, a captivating Drag Performer and Persona, has added another layer to their artistic repertoire. Estelle quickly gained recognition, establishing herself as a standout performer in the Adelaide Drag Scene. Through electrifying performances, Estelle has earned a respected place in the realm of drag.

  Together, Kaine and Estelle embody a powerful fusion of Tradition, creativity, and contemporary expression, making a lasting impression on the dance and drag communities in Australia.

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Fibres received support from Nexus Arts 40 for 40 Quick Response grant

Adelaide Fringe 2026: Yoz Mensch, 'My Grandpa Doesn't Follow Me On Instagram'

Photo: Daniel Marks.

Adelaide Fringe 2026

When: February 19 - March 7

Where: The Breakout, 154 Angas St, Kaurna Yarta

Cost: From $30-35

Duration: 60 minutes

• Getting to the show

  My Grandpa Doesn’t Follow Me On Instagram will be held in The Breakoutwill be held in The Breakout at The Mill. Please come to the foyer at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

  Accessibility

  Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

  If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

They drove from Cornwall to the Scottish Highlands – one grandparent, one grandchild, one unspoken truth.

Multi-award-winning storyteller, Yoz Mensch, weaves a darkly funny and haunting solo show about dingy hotel rooms, dog-eared maps, and the strained intimacy of travel.

Drawn from hundreds of real Instagram Stories posted during the trip, Yoz revisits what they shared with their grandpa – and the secrets they didn’t. 

Blending clowning, found footage, and intimate confession, 'My Grandpa Doesn’t Follow Me On Instagram' unravels what it means to hide yourself from the people you love.

★★★★★ “Mesmerising” Mindshare

★★★★★ “Utterly genius” Binge Fringe

★★★★★ “Masterful” The List

• About the artists

  Yoz Mensch (they/she) is a multi-award-winning clown, comedian, writer, and performer living and working on Kaurna Yerta. Their primary arts focus is storytelling that engages through humour and offers thoughtful catharsis.

  In 2024 they trained in Clowning, Le Jeu and Buffon at L’Ecole Philippe Gaulier 2024, toured No Babies In The Sauna to Perth, Adelaide, Prague, and Edinburgh Fringes, and Melbourne International Comedy Festival, picking up the Best Comedy Award at Prague Fringe, and the House of Oz Purse Prize at Adelaide Fringe.

  YOU’RE ALL INVITED TO MY SON SAMUELS FOURTH BIRTHDAY PARTY received the Melbourne Fringe Tour Ready Award at Adelaide Fringe 2022, and picked up the Spirit of The Fringe Award at Melbourne Fringe 2022. They co-wrote, directed and performed in the ambitious sketch-sci-fi ensemble The End is High-Concept - which garnered positive reviews and pioneered live motion-capture for animated on-stage characters. They also co-produced, co-wrote and co-presented HUGE NEWS for Radio Adelaide, a satirical news sketch programme turned live podcast for Edinburgh Fringe 2018.

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Adelaide Fringe 2026: The CRAM Collective, 'Meteors'

Photo: Daniel Marks.

Adelaide Fringe 2026

When: February 19 - March 7

Where: The Breakout at The Mill, 154 Angas St, Kaurna Yarta

Cost: From $18-28

Duration: 60 minutes

• Getting to the show

  Meteors will be held in The Breakout at The Mill. Please come to the foyer at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

  Accessibility

  Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

  If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Grief isn’t part of the conversation. Especially not as a young person. No one knows what to say, so it’s simply left unsaid.

This premiere work from The CRAM Collective explores the complex impact of the immediate and lingering effects of grief on young people. Melissa tells the story of the death of her mother, too many lasagnes brought over by neighbours and the continual search for something or someone out in the sky.

This show was developed through our Centre Stage Residency, in partnership with Adelaide Fringe.

• About the artists

  Melissa Pullinger is an Australian/ English theatre and film actor and is a 2020 Honours graduate of Flinders University Drama Centre. Growing up in England, Melissa appeared in the Andrew Lloyd Webber production of The Sound of Music (2008) at the London Palladium, where she played Brigitta Von Trapp for six months. Upon emigrating to Adelaide, Melissa performed in Border Project’s Disappearance (2008) and then Windmill Theatre and the Adelaide Symphony Orchestra’s Granpa (2008).

  Along with specialising in devising and physical theatre, Melissa is a co-founder of independent theatre collective, The CRAM Collective.Since graduating, Melissa has toured with Perform! Education in their Book Week Tour, Bigger, Better, Brighter! (2021) and Story Quest (2022). Since co-founding CRAM, Melissa has produced and starred in the sold-out world premieres of New World Coming, Something Big, The Future is You and EDGE. In 2022, Melissa travelled to England after being selected to train at Frantic Assembly’s International Summer School.

  Melissa began working as a puppeteer for Slingsby’s collaboration with A Blanck Canvas, for Illuminate Adelaide. She then joined the USA & Canada tour of Bluey’s Big Play puppeteering both Bluey and Bingo and touring through 2023 & 2024. She then joined the UK & Northern Ireland tour of Bluey’s Big Play, puppeteering Bingo. In April, Melissa toured across New Zealand with Bluey’s Big Play, puppeteering Bluey.

  Connor Reidy is a South Australian director and theatre maker. He graduated with first class Honours in Directing at the Flinders University Drama Centre. His directing credits include pool (no water), BC, Control, Iphigenia in Orem, The Seagull, and Lungs (Flinders DC).

  In 2021, Connor co-founded The CRAM Collective, a South Australian independent theatre company. His credits for CRAM include NEW WORLD COMING, Anna Barnes’ Something Big and THE FUTURE IS YOU. CRAM is the proud recipient of the 2022 Helpmann Academy Creative Innovator seed funding. 

  Connor’s professional assistant directing credits include Circle Mirror Transformation (Sydney Theatre Company), Lines and The Bleeding Tree (Theatre Republic), Oleanna (Flying Penguin Productions), and The Normal Heart and Hibernation (STCSA). Connor recently directed Emily Steel’s The Worst (Theatre Republic) AND Proud (Famous Last Words).

  Ren Williams is an Australian film & theatre actor, having trained with Honours at the Flinders University Drama Centre. Also specialising in directing and writing, Ren is a co-founder of independent theatre company CRAM Collective. After graduating in 2020, Ren has performed in theatre shows such as Kinetik Collective's STCSA StateSide show Kill Climate Deniers (Dir. Clara Solly-Slade), the North American Tour of Bluey’s Big Play as Bluey (Dir. Rosemary Myers), the one-woman show at DreamBIG Guthrak (Dir. Matthew Briggs), Hits at the AFC (Dir. Rebecca Meston), CRAM Collective's world premiere Something Big (Dir. Connor Reidy) and Slingsby Theatre Company’s trilogy A Concise Compendium of Wonder (Dir. Andy Packer) premiering in the 2026 Adelaide Festival. With a screen-acting diploma from Actors Studio UK at the prestigious Pinewood Studios, Ren has appeared in a number of short films such as The Hitcher which premiered at the 2024 Adelaide Film Festival (Dir. Henry Reimer-Meaney, With Love, Lottie premiering at the 2025 Sydney Film Festival (Dir. Lily Drummond), and ABC’s Beep & Mort Season 2 as an additional puppeteer. Ren’s latest directorial short This is Fine. won Best Directing and Best Film at the 2024 Adelaide 48HFP, sending it to the Filmapalooza Seattle wining 3rd Best Film; where it will now go to the 2025 Cannes Film Festival Short Film Corner

  Connor Pullinger graduated Flinders Drama Centre with a First Class Honours degree in Acting.

  Key roles include the AACTA award winning SBS mini-series The Hunting as OLIVER. In 2024 he starred in SAPOL’s Stop Flirting With Death TVC State-Wide campaign. Connor led BULLDOG, which was officially selected at 5 Film Festivals across Australia. Connor plays the titular role in The Hitcher, which premiered at AFF2024. Connor has seven shorts and one indie feature awaiting release/festivals this year. 

  These projects collaborated with Closer Productions, Heesom Casting, Proetic Productions, Stepney Studios & Showpony Advertising. 

  Extending beyond screens, Connor starred in The CRAM Collective’s sold out 5-Star theatre production FAG/STAG, as well as the encore season -  continuing the critical and commercial success. In 2024 he led Deus Ex Femina’s 5-Star award-winning Fringe show Dirty Energy and WHORE for Flinders University. 

  This year he was chosen to be an actor for the BAFTA and Golden Globe nominated Sophie Hyde in her LAUNCH LAB Directors Workshop.

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Perth Moves / The Mill Bursary 2026: Rhianna Dunaiski

The Mill is thrilled to announce Rhianna Dunaiski as the recipient of the 2026 Perth Moves / The Mill Bursary.

This residency is presented in partnership with STRUT Dance (WA), designed to connect and elevate dance-makers across Australia through dedicated professional development. This opportunity encourages national exchange and sector-wide conversation through active participation and visibility.

Rhianna will travel to Perth [Boorloo] in February to attend the Perth Moves Workshop Series, a three-week program of deep-dive workshops with leading figures of the dance world, hosted by STRUT Dance.

The Mill CEO/Artistic Director Katrina Lazaroff will join Rhianna at the end of the festival to support her with additional networking opportunities.

About the artist:

• Rhianna Dunaiski

  Rhianna Dunaiski is an emerging movement artist with European and English ancestry. Based in South Australia, she graduated from Adelaide College of the Arts with a Bachelor of Creative Arts (Dance) and an Advanced Diploma of Professional Dance (Elite Performance). Through her evolving dance and choreographic practice, Rhianna is committed to expanding the audience reach of contemporary dance by prioritising accessibility and enhancing public engagement within its conceptual frameworks. Inspired by the interdisciplinary collaboration between improvised live music, visual arts, and dance, she enjoys finding new movement pathways that test the athleticism and artistry of those who perform it.

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This residency has support from

Finissage: Hasta La Raíz, Kosh-Chenar, The House of a Thousand Faces

Photo: Daniel Marks.

March 20, 2026

Finissage: Friday, March 20, 4:30-6:30pm

Artist Spotlight with Carmen Alcedo: 4:30pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We invite you to join us for the closing event for Hasta La Raíz, Kosh-Chenar, and The House of a Thousand Faces, and an Artist Spotlight from exhibiting artist Carmen Alcedo.

Hasta La Raíz has been developed through our Photographer in Residence program by artist Carmen Alcedo, presented with support from the Ana and Christopher Koch Foundation and Black and White Photographic. Through layered digital and analogue collage, Carmen creates atmospheric images referencing her personal experience of migration from Spain to Australia.

Kosh-Chenar has been developed through our Visual Arts Studio Residency program by artist Nadera Rasulova, presented with support from Drs Geoff Martin and Sorayya Mahmood Martin. Nadera draws on the cultural lineage of handwoven ikat, its motifs, colours, and tribal symbolism while reflecting both Australian and Central Asian landscapes.

The House of a Thousand Faces is a solo exhibition by multidisciplinary artist Christian Best. The first instalment in his series of photographic portraits, Christian introduces us to 36 of his planned 1000 portraits; each joyful personality captured is a contact or connection from Chris’ life and travels.

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These exhibitions have support from

Exhibition: Carmen Alcedo, Hasta La Raíz (to the root)

Image: Carmen Alcedo, Poner el mundo boca abajo (detail), 2025, courtesy of the artist

January 27 - March 20, 2026

Opening event: Friday, February 6, 5:30-7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Carmen’s exhibition in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Gallery I is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present Hasta La Raíz, a new exhibition by Carmen Alcedo developed through our Photographer in Residence program, presented with support from the Ana and Christopher Koch Foundation and Black and White Photographic.

Through layered digital and analogue collage, Carmen creates atmospheric images referencing her personal experience of migration from Spain to Australia. Archival images and elements from her hometown of Sevilla are layered with portraits of her grandparents, nieces and her younger self, and contrasted with photographs taken over her four years of living here in Australia. The opera house, iron rich red dirt and twisting branches of gum trees sit alongside images of her children in makeshift La Semana Santa costume; Carmen’s beloved nieces play under the watchful eye of a golden winged angel; petals open portals to connection and play.

Deeply complex, and brimming with symbolism and personal narrative Carmen’s new body of work invites us into an emotional reflection. What are the emotions that we feel when we think of home? What happens when the idea of home that we long for is no longer a physical place that we can visit? How does identity ebb and flow through our every day life? What anchors us in culture, identity and memory?

• About the artist

  Carmen Alcedo is a Spanish-born freelance photographer based in Adelaide, South Australia, with a background as a lawyer. With over seven years of experience in professional photography, her work focuses on storytelling, capturing personal narratives and intimate moments through both portrait and documentary photography. Carmen’s artistic practice explores themes of identity, transformation, and human connection, often delving into how we relate to our environment and the people around us. She combines technical proficiency with emotional depth to create visual narratives that resonate with the viewer. Carmen’s exhibitions include Imaginary Journeys (SALA 2024), currently on display at Cherrybomb Cafe in Adelaide, and my participation in the group exhibition TEACHERS, LEAVE THE KIDS ALONE at 229LAB in Paris (2024), the Hybrid Art Fair (2016-2018) and the Affordable Art Fair in Sydney (2022). Currently, Carmen is involved in community-driven art projects in the Brompton Community Garden, where she collaborates with others to create work that fosters connection and environmental awareness.

• Artist Statement

  Memory never returns as it was lived; it arrives transformed, layered with distance, imagination, and longing. What we love becomes shaped by absence, turning into a kind of fiction, a version charged with nostalgia and emotion. The fragile space between truth and imagination is where my practice unfolds.

  This exhibition is about my personal experience of migration and the constant negotiation of identity it involves. The cultural clash of displacement leaves me feeling suspended, forcing me to question every day who I am, where I come from, and how to situate myself in a place that does not belong to me. From the most ordinary details to the most unexpected, everything fractures, creating an abyss where familiar anchors - culture, identity, memory - recede, demanding the reconstruction of a world from zero, yet built with all that you already are and all that you belong to.

  Each photograph I create carries a deeply personal story through overlapping layers and collage. These layers include images I have taken since arriving in Australia four years ago in a really intuitive way, from the landscapes that surround me here to fragments of my grandmothers’ homes in Spain. Within them, I place the ache of moments never lived, the strangeness of cultural fragments, and the difficulty of transmitting my heritage to my children in a way that feels alive rather than imposed.

  The process of making this body of work has been an exercise in giving voice to what I am, to what converges within me, and to honour the places, the people, and the culture I come from. Here, photography becomes not only a medium of documentation but also of transformation. By layering images, I attempt to bridge distances - between countries, generations, and languages - while also honouring what remains unbridgeable. My practice is a way of inhabiting those gaps with honesty, tenderness, and resilience.

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This exhibition has support from

Exhibition: Nadera Rasulova, Kosh-Chenar

Image: courtesy of the artist

January 27 - March 20, 2026

Opening event: Friday, February 6, 5:30-7:30pm

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Nadera’s exhibition in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).

  Gallery II is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present Kosh-Chenar, a new exhibition by Nadera Rasulova developed through our Visual Arts Studio Residency program, presented with support from Drs Geoff Martin and Sorayya Mahmood Martin.

The exhibition title refers to the Uzbek plane tree, a longstanding symbol of resilience and continuity in Central Asia. Nadera draws on the cultural lineage of handwoven ikat, its motifs, colours, and tribal symbolism while reflecting both Australian and Central Asian landscapes.

Through large-scale abstract oil paintings, she examines how visual traditions migrate, adapt, and settle in new contexts. Rather than reconstructing inherited narratives, Nadera charts the points where cultural memory, place, and personal experience converge. Her palette and mark-making evoke the tonal shifts of desert light, the rhythm of woven textiles, and the layered terrain of diasporic identity.

‘It’s a conversation between inherited culture and the land I live on; a meditation on memory, belonging, and identity,’ she notes. ‘Kosh-Chenar is an exploration of the spaces we inherit and the ones we forge. It reflects the quiet work of reconciling where you come from with where you are, and finding new ground between the two.’

• About the artist

  An emerging abstract artist, Nadera Rasulova’s practice investigates the intersections of cultural memory, materiality and our relationship to changing environments. Drawing on her Uzbek cultural heritage and a life shaped by migration across Australia (particularly years spent living along the NSW coastline), she explores how identity is formed through movement, landscape, and inherited visual languages.

  Her work is informed not only by the rhythms and motifs of handwoven Uzbek ikat, but also by her parallel career in climate resilience and sustainability. These experiences cultivate a sensitivity to ecological systems, impermanence, and the ways in which land holds memory. This awareness manifests in her layered, textured compositions, which often unfold as abstracted landscapes built through sweeping vertical gestures.

  Nadera's paintings invite reflection on how place shapes the self: culturally, emotionally, and environmentally. Through abstraction, she opens spaces for viewers to consider the shifting ground between heritage and lived experience, and the entanglement of personal and planetary change.

• Artist Statement

  Kosh-Chenar brings together the two worlds that have shaped me: the visual traditions of my Uzbek heritage and the landscapes and rhythms of my Australian upbringing. While my practice is rooted in oil painting, the influence of Uzbek ikat runs quietly through the work, not as a technique I reproduce, but as an underlying way of seeing. The ikat pattern’s soft edges, shifting repetitions and pulsing colour transitions help guide how each painting takes shape.

  I build the surfaces through vertical, layered brushstrokes. This up-and-down movement forms a kind of painted terrain, where colour settles like sediment and then rises again through new layers. The result is a topographic sense of place, but one that feels internal as much as geographic, a map of memory, emotion and cultural inheritance. I think of these works as slow accumulations, where each layer holds part of a story, even if it is later covered or transformed.

  Growing up in Australia, I absorbed the openness of the landscape: the long stretches of sky, the glare of afternoon heat, colours that sit somewhere between dust and light. These tones enter the work alongside the deeper, more saturated hues I associate with Central Asia. When the two meet on the canvas, they create moments of tension and harmony, soft transitions reminiscent of ikat dyeing but filtered through the sensibility of painting and the Australian environment.

  The title Kosh-Chenar refers to the traditional pairing of two plane trees in Uzbek culture. They symbolise duality, resilience and the idea of belonging to more than one place at once. That idea sits at the heart of the exhibition. Each painting is a way of holding both lineages at the same time, not choosing between them but allowing them to coexist, overlap and influence one another.

  In this body of work, I am interested in how identity forms gradually, through layers that are not always visible but still shape the whole. The paintings do not offer literal landscapes or clear narratives. Instead, they invite a slower kind of looking, a chance to sit with colour, texture and rhythm and to sense what emerges between them.

  Kosh-Chenar is an exploration of the spaces we inherit and the ones we create. It is about the quiet work of piecing together where you come from and where you are, and finding new ground in between.

  As an extension of these themes, I will be leading a workshop during the exhibition that invites participants to bring a textile or object of cultural, familial or personal significance. These items will act as starting points for creating abstract paintings through colour, pattern, texture or a more intuitive emotional response. The workshop reflects the intentions of Kosh-Chenar: to explore how the things we inherit carry stories, and how those stories can be reinterpreted and made new through the act of painting.

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This exhibition has support from

Exhibition: Christian Best, The House of a Thousand Faces

Image: Courtesy of the artist

January 27 - March 20, 2026

Opening event: Friday, February 6, 5:30-7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Christian’s exhibition in The Mill’s Foyer, located at 154 Angas St, Kaurna Yarta (Adelaide).

  The Mill is open Monday-Friday, 10am-4pm.

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

  During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

  The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

  Read more in-depth information on our accessibility web page.

We are excited to present The House of a Thousand Faces, a new solo exhibition by multidisciplinary artist Christian Best. The first installment in his series of photographic portraits, Christian introduces us to 36 of his planned 1000 portraits; each joyful personality captured is a contact or connection from Chris’ life and travels.

In The House of a Thousand Faces we are greeted by street performers in Scotland, film crew in Fiji, housemates, friends, artists and collaborators. Each image is a point of connection with Chris, who visually shares stories about community and friendship from around the globe. Together the images create a multiplicity, within which there is beauty in the non-hierarchical. Every face represents a moment of generosity, the subject shares a smile or pose, as they hand trust to the photographer to capture their essence.

As the first iteration of an ongoing project, there is a sense of infinite possibility. Each portrait is framed in a hand made frame, a new skill acquired by Chris in the making of this exhibition.

• About the artist

  Christian Best is a Kaurna based artist with unknown origins. For the past 6 years Chris has thrown himself into the arts with reckless abandon. His artistic practice is driven by gratitude and audacity and spans a multitude of different outlets. 

  Since arriving in Adelaide, Chris has spent time in the following roles: the face of South Australian tourism, a champion for under represented voices, an actor on stage and on screen, a writer in association with The State Theatre of South Australia, a consultant for developing artistic practices, a writer for Festival City Adelaide, a reviewer for the Fringe, a mentor for young writers through Soul Lounge, DREAM BIG, OzAsia, an english tutor to Australian immigrants, a poet for Red Room Poetry, a judge for the South Australian Library Awards, and a photographer documenting life and events in the surrounding area. 

  Chris is working on two large scale projects concurrently. As a founding member of the South Australian Puppetry Network, Chris is currently involved in the build of a 4-meter tall puppet with support from the Australian Migrant Resource Center. The puppet is being built in observance of 2026 as the Year of the Puppet.

  At the same time, Chris is working to complete this project, The House of a Thousand Faces. This is the first of a multi series exhibition that will culminate in one immense exhibition featuring one thousand photos in one thousand handmade picture frames. In this endeavour he is in need of support. If you’re interested in helping, please reach out.

• Artist Statement

  July 2024. I’d just been made redundant by a company whose employment was keeping me in the country on a work visa. Without any other options I sold all my belongings and prepared to leave. I boarded a one way flight with my camera and partner, Cat, to Scotland. For how long, I did not know.

  The idea for The House of a Thousand Faces sprouted when I learned about a fun little loophole for Americans in Scotland that stipulates “from the day you land in the UK, you can work in the arts for up to 30 days without a visa”. The idea was that if I could find a venue willing to let me tape 1,000 portraits to their walls then I could charge for entry. That could allow me to eat for a little while, at least for the duration of the festival. The lovely people at the Joker and the Thief agreed but The House never happened and I ended up selling sausages for an English couple instead.

  Fast forward 10 months, one juggling convention, three continents and five geriatric cats later, and I made it back home to Adelaide. I feel like I’ve been everywhere; like I’ve lived 20 years in one. While I was displaced I found myself clinging to things that I had control over. For almost a year that was exclusively my camera. And now here we are. What you see before you is the very first instalment in a series of what will be 1,000 portraits. 

  Each one of these pieces represents someone like you. Someone who decided, even for an instant, that it was ok for me to take up space. This is my monument to them, and to you, for hosting me as I continue to occupy your space for a little while.

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This exhibition has support from