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Showing and Q&A

When: Thursday, October 15, 5-6pm, and Friday, October 16, 4-5pm and 6:30-7:30pm

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

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive 15 minutes early to get a drink.
This event will be 1 hour (including the Q&A).
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.
The entrance into The Breakout is wheelchair accessible, with no internal steps.
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.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Hanna Instrell-Walker collaborates with Alix Kuijpers, Caroline De Wan, Sophie Hollingworth and Jazzy Williamson-Gray to explore modern Japanese society and its need for constant work and lack of rest.

I’ll Sleep When I Die is a direct reference to the unethical, overworking culture in Japan. With new original sound by Alix Kuijpers, Japanese horror and art along with experimentation of light and darkness help to inform the storytelling of this new work-in-progress, creating a melancholic reminder that sometimes it’s okay to slow down.

About the artist:

Hanna Instrell-Walker is a Japanese-Australian dance artist and creator working on Kaurna Land. Shortly after graduating from Adelaide College of the Arts, she co-founded Alchemy Dance Collective alongside colleagues
Kate Burgess and Caroline De Wan. Alchemy has given Hanna a platform to produce her own work, SOUL (Adelaide Fringe 2023), plus co-produce and co-curate events and works including Trilogy Film Fest (2023) and J.A.C.D (2023-2024). Independently, Hanna has also choreographed as part of Mimi Yoshii’s Les Japonaises (2023), worked as tour manager for Alix Kuijpers’ Grim Grinning Ghosts for Melbourne Fringe 2024, as well as co-produced Kate Burgess’ Full Time Ex-Lover (Adelaide Fringe 2025).
In Hanna’s current choreographic research, she is deeply influenced by the idea of quantum entanglement, intrinsic connection, manifestation, and the human subconscious. Movement styles such as Nihon Buyo, Butoh, plus Japanese horror aesthetics mixed with these philosophies make up Hanna’s interests when building work.
Alix Kuijpers is a multidisciplinary performing artist working across contemporary dance, choreography and sound design, with an independent queer practice.
A graduate of Adelaide College of the Arts, Kuijpers creates dance theatre while generating original sound scores for their work. They were the first person to complete a dance honours at a South Australian institution, earning First-Class distinction for the solo IMMATERIAL. Their work has received major recognition, including the 2023 Adelaide Fringe Emerging Artist Award for the duo i know the end, and the 2024 Centre Stage and Dancehouse Residency awards at The Mill for the solo Grim Grinning Ghosts.
In 2025 they joined the inaugural B12:Mavericks program in Berlin, supported by the Ian Potter Cultural Trust. Between 2023 and 2025 they contributed sound work to collaborations with Johannes Wieland (BER), Motus Collective (SA), Sarah Wilson (SA), Circus SA (SA) and Silverfish (NYC).
Caroline De Wan started ballet at the age of 5. She realised her true interest lay in contemporary dance and began training at QL2 Dance. Here she worked with choreographers such as Kristina Chan, Daniel Riley, Sara Black, and James Batchelor. In 2018, Caroline choreographed and produced her first full length work for Sydney Fringe, To Fall in Love With An Artist.
Following her return from Sydney she was commissioned for two further works, Comfort Ending II, performed at the Canberra Museum and Gallery, and You're Not Special (because you went to a party) performed at a rave.
Caroline moved to Adelaide in 2019 to complete a Bachelor of Creative Arts (Dance). After graduating, Caroline founded Alchemy Dance Collective with Kate Burgess and Hanna Instrell-Walker, providing performance and training opportunities to the Adelaide dance community. She has also developed a keen interest in dance videography and teaches accessible videography skills to other artists.
Jazzy is a movement artist and performer based on Kaurna Yerta (Adelaide, South Australia). She graduated with a Bachelor of Creative Arts (Dance) from Adelaide College of the Arts and has since worked internationally with ilDance’s ilYoung program in their production of Skin Issues.
She has also worked with Australian Dance Theatre, Restless Dance Theatre, Sound of Circus Australia, and a variety of independent projects, allowing her to gain experience in diverse contexts and refine her artistic identity.
Jazzy’s choreographic interests include explorations of the complexities of the human condition and embracing the unusual and uncomfortable, including exploring social, political and philosophical matters and darker themes, often using improvisation as a tool to uncover potent world-building and rich imagery.
Her evolving movement language is grounded in elements of tension, release, and interrupted momentum to invite unexpected pathways and possibilities within the body.
Sophie is an Australian dance artist, teacher, and performer based on Kaurna Country.
Her practice is rooted in deep research, focusing on movement as a process of constant exploration in intuition, physicality, and deep listening. She is profoundly interested in investigating how being present in different places transforms and influences her body, mind and dance.

Since her graduation from Adelaide College of the Arts in 2022, Sophie has been privileged to work alongside many Australian artists and companies. Making her professional debut in 2023 in Motus Collective’s The Leftovers, she has since collaborated and performed works with DanceHub, Shifting Lives Theatre, Motus Collective, Murk Lurker, Tayla Hoadley, Alix Kujipers, Isobel Stolinski, and Zoë Dunwoodie. Sophie’s work the great thinning premiered in early 2026 as part of NEW ROMANTICS, winning Weekly Best in Dance at the 2026 Adelaide Fringe Festival. This was Sophie’s first self-choreographed and solo-performed work, marking a significant and exciting milestone in her creative career thus far.

This showing has support from

galleries, public program

Exhibition: Hamish Fleming, NOWHERE IS EVER REALLY THAT DARK

Adele Sliuzas · October 10, 2026

Photo: Hamish Fleming, *The Roof is Leaking*, (detail) 2024. Courtesy of the artist.

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October 16, 2026 - January 15, 2027

Opening night: Friday, October 16, 5:30-7:30pm

list of works

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Nowhere Is Ever Really That Dark in Gallery I, located at The Mill, 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s galleries are 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.

We are excited to present NOWHERE IS EVER REALLY THAT DARK, a new exhibition of paintings by Hamish Fleming.

Working within his signature gritty realist style, Hamish Fleming presents a series of nocturnal scenes, backstreet roadsides and spaces of intimate solitude. Works depict everyday scenes seen through new light, pragmatic building such as fast-food chains and service stations are reframed through the slow and lingering attention necessary for painting from life.

A contemporary artist who paints contemporary subject matter, Hamish takes a decidedly traditional approach to his artistic practice. Painting solely from life without the use of reference images, his work brings a classical approach to painting into a raw, contemporary context. A pursuit of understanding and mastery sit at the core of the work, going as far as hand making a large portion of his paints and mediums from scratch. Hamish treats these materials with the same sentiment as his subject matter, taking them for what they are and working with, rather than against these properties.

Hamish’s influences are broad, incorporating references to art, literature and music, alongside a blunt approach to his depiction of daily life. The resulting works present viewers with everyday subject matter, but almost always depicted in a manner in which they’ve never considered.Hamish contrasts modern subjects with his traditional approach creating what he calls a ‘harmonious contradiction’. He writes ‘These paintings possess a sense of inherent solitude, drawn from lived experience. The resulting works used this common experience to invite the viewer into an intimate dialogue that is at times amusing, bleak and comforting.’

Nowhere Is Ever Really That Dark is an eclectic collection of work produced across two years. The title comes from a brief moment in conversation after I said that I almost exclusively paint my landscape works at night, which was met with the question “what do you paint? Isn’t it just dark?”, which after months of this activity, wasn’t something I thought of as I had learned that in the contemporary environment nowhere is ever really that dark – or at least too dark. Each piece in this body of work seeks to present a sort of coherent contrast, two or more aspects that seem immiscible but exist seamlessly in these images. The items and furniture in the still life’s and interiors possess a sense of classic grandeur but are also patinaed and even shabby. And it is that shabbiness, that light decay that makes these things even more alluring, taking them for what they are rather than what they aren’t – a sentiment that runs through each work not only these interior settings.
The darkly lit nocturnes take the tradition of plein air painting – usually focussed on sunlight and open natural air and apply that practice to settings where the natural and synthetic interlock with at atmospheric tension so dense it’s almost serene, like the fine line between radio feedback and white noise. They are also lingering depictions of spaces usually only regarded in passing. These paintings, while notably tonally dark, are inherently of and about light. This whole body of work is, in many ways, intentionally “dark”, it's just not light.
The work in this exhibition almost exclusively depicts mundane subjects. Working solely from life brings an inherently autobiographical nature to the works. Combined with my intent to remain fairly candid in my depiction of daily life, these works are intimate and personal, while also being broadly relatable – especially to an Australian audience. Taking aspects of Australian culture – which isn’t particularly closely tied to painting and tends to prefer emotionally lighter tones and using them to tap into a sense of shared solitude. These works, drawn from very personal, often solitary experiences are an open invite to the viewer to engage in an intimate dialogue that is admittedly, a little dark but gentle and comforting.
Hamish Fleming was born in Adelaide, South Australia 2002.The child of two New Zealand-born parents, an agricultural scientist and a paediatric palliative care nurse, art was not necessarily closely involved in his upbringing. Fleming graduated from high school in 2019, after being awarded and attending the National Summer Art Scholarship earlier the same year – an opportunity that directly steered his career ambitions from the age of sixteen. After a brief trial of formal tertiary education, he decided to embark on educating himself independently, with the informal aid of established artists as mentors. Within the first three years of leaving high school, his work was exhibited in thirty different exhibitions. In 2023 he won the Young Artist (under 25) category at The Adelaide Parklands Art Prize for Nightwalk - a painting of a parklands waste bin and was acquired into the City of Adelaide Contemporary Art Collection the following year with his urban nocturne: Round the Side. He has since taught several workshops at both Wilderness and Seymour College as well as being Wilderness Artist in Residence in 2022. Most recently, Fleming has been a finalist in The Lennox St Art Award 2025, Prospect Portrait Prize 2025, the Live Well, Die Well Art Prize 2025 and The Heysen Prize for Landscape 2026.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

Exhibition: Sharifah Sorayya, The Unspoken: Intimate portraits & silent dialogues

Adele Sliuzas · October 8, 2026

book tickets

October 16, 2026- January 15, 2027

Opening night: Friday, October 16, 5:30-7:30pm

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find The Unspoken: Intimate portraits & silent dialogues in Gallery II, located at The Mill, 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s galleries are 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.

We are excited to present The Unspoken: Intimate portraits & silent dialogues, a solo exhibition by Sharifah Sorayya as part of OzAsia Festival 2026.

Using the photogravure technique, this layered, mixed-media series explores her identity as an Asian woman of mixed heritage, reflecting on family, her transcontinental existence as a global citizen and the resilience forged through life's unexpected challenges.

The Unspoken: Intimate portraits & silent dialogues is a deeply personal exhibition, unraveling memories of places, people, connection and disconnection. We see landscapes from Malaysia, England and Australia, layered with abstracted figures, torn pages and envelopes stuffed full with notes from home- letters, as well as money. Divine architecture is overlaid with Sorayya’s mother and father’s handwriting, linking and contrasting with Sorayya’s own asemic text; illegible but full of meaning.

In this series I show my photogravure work reflecting my heritage and its significance to me, my life’s journey before settling in Australia. I have lived in Australia for almost 26 years. This work has taken all that time to distil and about 12 months to pull together into a cohesive exhibition. These prints serve as both personal archives and universal monuments to the psychological weight of relocation.
My work tends to be layered, reflecting my life experience and my cultural heritage as well as my interest in mark making. With time memories fade and all I had to cling to were the few photographs of my childhood. I have lost the photos of much of my parents and my and my children's growing years. When I close my eyes to look back or think I see snapshots of images in black and white although I love colour. So photography and photogravure printmaking appealed to me. In this body of work I try to recreate what I have lost using symbolism and abstraction. Photographs represent a moment in time. Some recollections are so detailed and others murky. Some happy, others sad.
I came to Australia, two children in tow, as a skilled migrant who decided I wanted to build a new life. Not a better life. I had been sheltered all my life and provided I conformed to societal rules, all would be right. Personal events followed which resulted in my being made to doubt my personal decisions while I lived with a restricted life as a single mother which required me to comply with the social mores. I had two little children who depended on me. I could not be me and I needed to be me to be happy and to bring them up differently, not to expect an easy life but to be resilient as life had already shown me then that it was not going to be easy. I needed a new life. This did not mean I would leave the fabric of what was me behind.
In my enthusiasm to start life anew I did not expect to face difficult challenges on almost all fronts: personal, family, professional and cultural. There is an expectation that when we migrate we leave everything behind as if it is all bad or needs to be forgotten. The reality is that my experiences were not considered important to most people here: there was no need to learn who I am, where I came from, what I could give or contribute or what I sacrificed to be here. I was expected to just be happy or grateful.
What I had going for me was my heritage, my upbringing which nurtured resilience and my determination to succeed supported by the love of my husband.
The prints in this exhibition serve to illustrate my past as well as contemplate what is current, the future and where I truly belong and want to be. I add my own hand to the printing process. Each image talks to me and how I resolve each work is dependent on the emotions my memories and experiences evoke. With each imprint I exercise ‘pasado pisado’, the Spanish proverb for learning to let go. With each act of letting go I hope to grow.
Photogravure is a printmaking process combined with photography which uses a light sensitive plate etched to produce details and tones of an image or combination of images. This is then printed onto paper. The etched quality of the photogravure process, the act of pressing an identity onto the new surface, leaving an indelible mark while altering the new often blank surface resonates with me.
I do not believe I have reached the end point of this explorative series yet. The journey continues along my river of life which brings something new with each bend I navigate. Hopefully I will be stronger and wiser with each twist and provide a firmer foundation for my children and for generations to come.
Sharifah Sorayya is a Malaysian-born interdisciplinary artist based on Kaurna land by way of England, Saudi Arabia, and Canada. She is heavily influenced by her familial and personal lived history, particularly through pre- and post-independence Malaysia including the May 13, 1969, racial riots, her boarding school life In England and her lived experience in the Middle East, Canada and now Australia, all of which have impacted on how she deals with trauma and life’s challenges.
Growing up, her home was a dynamic socially aware venue for people from various walks of life, and her early home life was strongly influenced by the political and social legacy of first-wave feminism.
She dances between abstract paintings, textiles, drawing and printmaking – entering a dialogue with the materials and techniques to highlight the complexities of her life: its joys, sadness, unexpected turns and survival.
Her work has been exhibited throughout South Australia, in Victoria, New South Wales and is published in ‘Unmasked – Reflections on Virus Time’ curated by Sharmini Flint (Singapore), and is held in private collections across Australia, Malaysia, Singapore, the Middle East, and the UK. Her batik was exhibited as a visiting guest among Indonesian Batik alumni in the Cultural Museum in Jogjakarta in 2023 which was a great honour and it was accepted into the juried 1st International Batik Exhibition in Naples, Florida (USA), commemorating the International Year of Batik 2024/2025, where she was the sole representative for Australia. She has a published article “Batik Wax: A ritual steeped in belonging” in the July 2026 Batik Guild magazine Her photography was shown in Japan for a recent international exhibition and her photogravure print is part of a folio of 53 artists invited to be in the Baldessin Press Studio 25th Anniversary Collection which was launched at the Sydney Art Fair in September, will be on show at the National Galleries, Victoria in November and be part of the State Library Victoria Collection later this year.
She is a member of Central Studios, Kent Town, Bittondi Printmakers in South Australia, the Batik Guild UK and has close associations with batik artists in Jogjakarta, Indonesia.
Her work has been exhibited throughout Australia, Japan and Indonesia, and is held in private collections across Australia, Malaysia, Singapore, the Middle East, and the UK.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

GOOD SHOP: Sharing South Australian stories through craft, design and practice

Adele Sliuzas · October 7, 2026

October 16 - January 15

Foyer, 154 Angas St, Kaurna Yarta

Free

You can find GOOD SHOP, located at The Mill, 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s galleries are 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.

GOOD SHOP celebrates the people, ideas and creative businesses that make South Australia such a good place to live, work and enjoy.

This pop-up shop features an array of lovingly crafted items; from ceramics and prints through to tote bags, tea towels and more. Every item has been created at The Mill by our community of over 70 studio artists.

GOOD DESIGN
GOOD IDEAS
GOOD QUALITY
GOOD BUY

Featured artists

Alicia Butt is a South Australian emerging artist specialising in ceramics. Butt explores the importance of tactility to the medium of ceramics by creating handcrafted functional pieces with textured surfaces that are pleasing to look at and pleasant to handle. Her work shows a thoughtful approach to the making process and a sense of curiosity to the possibilities of the materials.
She hopes to capture a sense of elegance in her designs and takes pride in the precision she shows in the refinement of each piece. She is driven by a desire to master her craft and to share her practice with others through the unique pieces that she creates. Each piece is made with patience and care to create something one of a kind for people to enjoy using in their everyday lives.
Alicia graduated from Flinders University and Adelaide College of the Arts in 2020 with a Bachelors Degree in Creative Arts (Visual Arts). She is currently working alongside other creatives at The Mill to establish her own small business Ali Potter Ceramics which is a one-woman operation.
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.
A long time ago Robert Viner-Jones, AKA Bob Window left Adelaide in search of all things fashion.
4 years of fashion studies, 25 years as a fashion designer with a side distraction of 3 years at The National Art School, Darlinghurst learning all things textile design and printing left him with a hunger to combine beautiful hand printed fabrics with his obsession with the mid century aesthetic, hence ‘bob window’ was born.
Bob believes colour and whimsy should be a part of everyone’s life. He also believes in the purity of individual design and hand printed, hand made treasures.
He’s back in Adelaide now and creating all manner of loveliness at The Mill.
Calamity Tash, local queer Craft Wizard, believes art is for everyone and is most passionate about inclusivity and accessibility to the creative arts. Over the last decade Tash has been skill sharing with communities across the globe.
The spreading of craft joy will continue as Tash becomes an enthusiastic resident at The Mill. Tash’s signature sparkle and use of whimsical dolls have been her wearable art trademark. Calamity Tash joins us on a journey of self expression and discovery. Her private studio will see the creation of many a weird and wonderful thing.
Lauren Kathleen (she/her) is an Adelaide-based illustrator, whose bright, colourful work is inspired by nature and her wanderings through the world. She works primarily digitally, and with oil or acrylic paint to capture simple, everyday moments of beauty and stillness, finding pockets of peace in gardens, forests, the ocean, and the sky. The building blocks of her work are always long walks, exploration, and contemplation.
Lauren also writes poetry and prose, and can often be found with a film camera in hand, observing always and collecting inspiration from the world around her in all forms, sometimes visually, sometimes in writing. She enjoys using all these components of her creative practice together, to develop projects that incorporate the poetry of both words and images.
Lauren’s current focus is on finding new applications for her art, exploring new mediums, and creating more than she consumes, to develop an ever-evolving portfolio of work that represents her perspective.
My name is Lisa Khan, I'm from Coober Pedy. Yankunytjatjara/ Antakirinja/ Pitjantjatjara is my language. I paint my Grandmother's ngura (my home, the land and rockholes), she was born near Coober Pedy. I paint My Grandfather’s country, he was born at Wallitina Station. I paint the parente tjukurpa, it travels through mintabie, mimili, indulkana. I also like to paint my home Coober Pedy, minyma tjukurpa.
Growing up we used to follow our parents out bush and look for Opal, we'd play in the sand but had to watch out for shafts. My grandmother showed us how to hunt lizards, we caught the ankata (bearded dragon), at school we used to go on day trips with the elders and look for bush tucker and different bush fruits. 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.
GOOD SHOP features a collaborative project between Lisa Khan and Brand South Australia.
Under my label Days of August, I make sculptural stainless steel jewellery that's restraint in form but bold in scale.
Melissa Au (She/They) is a ceramicist with a tendency for overthinking.
To combat their overthinking, they use repetition and automatic making.
The resulting collections of work can be developing iterations of a concept; explorations of subconscious influences; or created just for fun.
River Flowings is an emerging ceramic artist, currently practicing their craft in Adelaide.
River’s work incorporates intricate surface manipulations and detailed paintings. They use high quality clay to create functional pieces that express their originality and unique style. River employs their technical skills and decorative techniques through playful experimentation. Their pieces tell stories, and allude to experiences and scenarios; the creations are intuitive and based on memories and subconsciously stored impressions or knowledge, referencing imagery they are still in the process of extracting and analyzing.
Living with a “dynamic disability” can make everyday tasks difficult. Working in ceramics has provided River with a meaningful pathway to express their thought processes, their detail oriented way of noticing the world around them, and their imagination and approach to life.
Making ceramics has assumed a therapeutic approach that allows them to process a world that challenges them on many levels.
Through their ceramic work River engages with their environment, their community, and the person that will use the ceramic form they created. “When one struggles to communicate in ‘normal’ ways, a tangible piece of ceramic connects people in ways beyond words or pictures. People can come to a mutual understanding without language through the appreciation of the making and the use of an object.”
River’s mentors include Toni Strazdins (Urth Clay Studios) and Rolf Bartz (Adelaide ceramicist) who are ongoing teachers and guides. River does not have any formal art school training, as institutionalised learning is challenging due to their disabilities.
River is currently working from The Mill which allows them to immerse themselves in a thriving arts community that enlivens their creative process, provides momentum and supports their sense of belonging.

good shop terms and conditions

GOOD SHOP is a collaboration with our Studios Partner

public program

Studio Tours

Adele Sliuzas · October 4, 2026

January - November, 2026

register tickets

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

groups 6+ inquiry

The Mill Foyer, 154 Angas St, Kaurna Yarta

45 minutes duration

Free entry, all welcome

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.

brand x residency, public program

Brand X Exchange: Joshua Di Mattina-Beven and Mym Kwa, NAUSEOUS CONDITIONS

chloe metcalfe · October 3, 2026

book tickets

Showing and Q&A

When: Friday, November 6, 6-7pm

Where: The Breakout, 154 Angas St, Kaurna Yarta

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive 15 minutes early to get a drink.
This event will be 1 hour (including the Q&A).
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.
The entrance into The Breakout is wheelchair accessible, with no internal steps.
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.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Presented in partnership with Brand X, join us for the work-in-progress showing of Joshua Di Mattina-Beven and Mym Kwa’s NAUSEOUS CONDITIONS, a duet of mutual transformation.

Born from early developments with Brand X and Readymade Works in Sydney, Josh and Mym have been misusing wayfinding systems to reorient the body and self in space.

Layering movement systems such as google maps, semaphores, gyroscopes and hypnotism, NAUSEOUS CONDITIONS seeks to make contact with the unexpected.

The showing will be followed by a short Q+A with the artists and The Mill CEO/Artistic Director Katrina Lazaroff.

About the artists:

Joshua Di Mattina-Beven is an artist and creative producer currently working on unceded Gadigal land. Joshua graduated from UNSW Art and Design with a double degree in Fine Arts/Arts (Sculpture/Performance Studies), winning the Ross Steele Fine Art Prize for highest achievement in Fine Art. They have gone on to receive highly commended at the Gosford Emerging Prize for their ensemble wrestling performance Tussle. Their recent projects include a performative reading for Critical Path’s 20th Birthday Festival Every Wild Idea, and WaterWorks, a 7 person endurance fountain for Shopfront’s ARTSLAB Festival 2026.
Mym Kwa is a multidisciplinary artist working across theatre and screen as an actor, dancer, performance artist and facilitator. She holds an Advanced Diploma of Performing Arts from ED5International. As a dancer and deviser, Mym has worked closely with Danielle Micich’s Force Majeure, performing in their works Gardener’s Apprentice (2025) and POWER (Sydney Biennale 2024). In 2024, she created and performed her debut solo dance work The Girl is/a Glitch (Shopfront ArtsLab Residency) – a 3+ hour endurance movement installation.
Drawn together by their aligned creative desires to unpack queer relations, build intimate worlds and question choreographic practice, Mym and Josh have been working as collaborators for 2 years. Most recently, Mym and Josh worked together for WaterWorks in 2026 and during their Moving Ideas Residency at ReadyMade Works in 2025.

Photo: Jones King

This showing has support from

brand x residency, public program

Movement Workshop: NAUSEOUS CONDITIONS

chloe metcalfe · October 2, 2026

book tickets

Workshop

When: Saturday, November 7, 2-4pm

Where: The Breakout, 154 Angas St, Kaurna Yarta

Cost: $20 subsidised tickets (+ booking fee)

This workshop will be held in The Breakout. Please come to The Mill at 154 Angas Street, we will meet in the foyer.
Please wear comfortable clothing for movement and bring a water bottle.
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.
The entrance into The Breakout is wheelchair accessible, with no internal steps.
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.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Presented in partnership with Brand X, we present a workshop with Mym Kwa and Joshua Di Mattina-Beven.

Drawing from their ongoing development of NAUSEOUS CONDITIONS, we invite you into their shared performance practice.

Using clothing and costume as a starting point, participants will be guided through movement exercises designed to disrupt the architecture of the body. Questioning how the self is organised and communicated, this workshop seeks to renegotiate the terms by which we present ourselves onstage and in public.

Participants can expect a brief introduction to the artist’s working methods, before moving onto the floor for guided investigations and informal sharing.

Come play with us!

About the artists:

Joshua Di Mattina-Beven is an artist and creative producer currently working on unceded Gadigal land. Joshua graduated from UNSW Art and Design with a double degree in Fine Arts/Arts (Sculpture/Performance Studies), winning the Ross Steele Fine Art Prize for highest achievement in Fine Art. They have gone on to receive highly commended at the Gosford Emerging Prize for their ensemble wrestling performance Tussle. Their recent projects include a performative reading for Critical Path’s 20th Birthday Festival Every Wild Idea, and WaterWorks, a 7 person endurance fountain for Shopfront’s ARTSLAB Festival 2026.
Mym Kwa is a multidisciplinary artist working across theatre and screen as an actor, dancer, performance artist and facilitator. She holds an Advanced Diploma of Performing Arts from ED5International. As a dancer and deviser, Mym has worked closely with Danielle Micich’s Force Majeure, performing in their works Gardener’s Apprentice (2025) and POWER (Sydney Biennale 2024). In 2024, she created and performed her debut solo dance work The Girl is/a Glitch (Shopfront ArtsLab Residency) – a 3+ hour endurance movement installation.
Drawn together by their aligned creative desires to unpack queer relations, build intimate worlds and question choreographic practice, Mym and Josh have been working as collaborators for 2 years. Most recently, Mym and Josh worked together for WaterWorks in 2026 and during their Moving Ideas Residency at ReadyMade Works in 2025.

This showing has support from

galleries, public program

Artist Talk: Hamish Fleming, NOWHERE IS EVER REALLY THAT DARK

Adele Sliuzas · October 1, 2026

register

Artist Talk

list of works

When: Friday, November 13, 5:30-6:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free

You can find Nowhere Is Ever Really That Dark in Gallery I, located at The Mill, 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s galleries are 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.

Join exhibiting artist Hamish Fleming in conversation with The Mill’s Visual Arts Curator Adele Sliuzas.

Together, they’ll be chatting about process, material and inspiration behind Hamish’s solo exhibition NOWHERE IS EVER REALLY THAT DARK.

Adelaide-based painter Hamish Fleming blends the unlikely combination of grunge aesthetics and classical realism, creating a distinctive style that merges the raw with the refined. Driven by a fundamental curiosity and an obsessive pursuit of understanding, Fleming often focuses on unremarkable aspects of contemporary life, capturing scenes and objects that are usually overlooked. His work frequently explores subtle juxtapositions, creating an intriguing tension between the familiar and the unexpected.
Despite his contemporary subject matter, Fleming approaches his art with a deep respect for tradition. He works exclusively from life, rejecting reference photos and digital aids, and even makes much of his own paint from raw pigments. This hands-on process reflects his blunt artistic demeanor, rooted in a desire to understand the inherent qualities of both materials and subjects. He embraces what is present, rather than seeking idealized representations.
The result is a series of paintings that exude a palpable atmosphere, drawing the viewer in with gritty yet harmonious details. The works invite deeper reflection, encouraging viewers to lose themselves in the subtle complexities of everyday life, captured through Fleming's unique lens.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

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

Adele Sliuzas · August 23, 2026

Image: Lisa Khan, *Intergenerational Wealth of Knowledge* (detail) Photo: courtesy of the artist

book tickets

July 27 - September 4, 2026

Read Catalogue

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

list of works

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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), and Lisa Khan (Yankunytjatjara/ Antakirinja/ 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.

Yura Billa, 2026
stoneware
This particular sculpture holds great cultural significance, this shows the two Moiety systems in Adnyamathanha Culture also known as Velnarpa, the two points on this sculpture is a representation of Arraru (North Wind) largest point and Marthari lower point ( South Wind). This was our two marriage systems and the children always follow the mothers bloodline.
Idiawi (Edeowie), 2026
stoneware
This sculpture is Ikara (Wilpena Pound) Looking from the western side of the mountain range. The concentric circle represents Awi (Water) and the other concentric shapes is the Yarta (Country).
Ikara Undu Ulla Ulla, 2026
stoneware
This sculpture represents Ikara ( Wilpena Pound) from sunset side, the lines down the side presents the sun hitting the side of the range on sunset as the concentric shapes on the top is the Yarta (country) that settles on the top of the mountain range.
Ikara Yurlu, 2026
stoneware
This Platter is Ikara ( Wilpena Pound) the meeting place where Yurlu( King Fisher Man) travelled to hold the ceremony for our people. Ikara has many sacred spots, one being a birthing Place for woman many years ago.
Yarta, 2026
stoneware
This Sculpture is Yarta (country) this represents the Flinders Ranges the Adnyamathanha people. Adnya means rock and Mathanha means people, we are the rock people, the hill people of the Flinders Ranges.
Ikara, 2026
stoneware
This Sculpture is a part of Ikara (wilpena) Pound you can see this particular spot from the Western side of the mountain Range.
Ikara Vurtu vurtu (wilpena Dusty Dusty) , 2026
acrylic on canvas
This painting Represents the land formations surrounding Ikara (Wilpena Pound) the concentric lines that continue in each other is my representation of the land looking down from a Birds Eye view. Ikara is a special place as its where we held cultural ceremonies. The colour represents the change in season when the country is dry and dusty.
Awi Awing Yarta, 2026
acrylic on canvas
This painting is a representation of country. Specifically, after large rain, the blues represent the rain the sits on country across the vast mountain ranges, surrounding and including Ikara (Wilpena Pound). After rain the country is in abundance.
Yarta (country) is important to me, it’s where I grew up learning from my family, it’s where I continue my art and it’s where my kids now learn culture.
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.
Hold me, 2022
natural fibres, waxed Hemp thread, human hair, recycled fabrics of Juanella’s Grandmother and woven emu feathers
Hold Me is a woven carry dish symbolic representing 5 generations of women connected through the woman's line passed mother to daughter. My great grandmother, grandmother, mother, myself and my daughters. Each woven with a cloth or hair belonging to or fibre representing, through time our DNA intertwined and becoming one. Passing on of tradition, knowledge, sacred customs, identity and belonging.
Watarchi, 2026
raffia and woven emu feathers
Yutara and Ita, 2026
native lemongrass, raffia and white cockey feathers
Kookaburra, 2026
raffia and kookaburra feathers

Sacred Vessel: These vessels tell the story of knowledge of country and continuity of cultural practices. The importance of handing the knowledge to the next generation to carry us into the future. As women our bodies are vessels for life, we care for, nurture, love, protect and teach the keepers of tomorrow. Every songline, every custom, and every deep truth is gathered and held safe, poured into the vessels of our collective memory. Cultural preservation sustains us It is who we are, a sacred legacy ensuring longevity and that the fire of our identity is never extinguished. We fill our vessels of knowledge, understanding the profound importance of handing this knowledge down to the next generation.
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.
Kungkarangkalpa (Journey of the Seven Sisters) I-III, 2026
acrylic on canvas board

These three paintings tell the story of Kungkarangkalpa (The Seven Sisters), one of the great ancestral stories of Australia’s Western Desert. It is a living cultural story shared across many Aboriginal nations and one that belongs to my Yankunytjatjara, Antikirinja and Pitjantjatjara heritage.
For Aboriginal people, these stories are more than legends. They are living knowledge that connects us to Country, family, culture and the night sky. They teach us how to live, how to care for one another and how our ancestors shaped the land we know today.
My middle name is Purveen, a Persian name popular in Pakistan, meaning Pleiades - the star cluster known around the world as the Seven Sisters. I’ve always loved that both sides of my heritage share this connection to the same stars. Although the stories are different, they remind us that people across cultures have long looked to the night sky for meaning, guidance and belonging.
I was taught the Kungkarangkalpa story by my family from a young age. As a child I lived at Cave Hill near Amata on the APY Lands, a place deeply connected to this story. My great-grandfather’s family came from this area, and it remains an important cultural landscape today, with ancient cave paintings, sacred places and generations of knowledge held within the Country itself.
The Seven Sisters descended from the sky and travelled across the desert, creating and naming places as they journeyed. Their travels formed waterholes, landmarks and sacred sites that continue across hundreds of kilometres of the Western Desert. These places are connected through songlines / ancient cultural pathways that carry history, law and knowledge from one generation to the next.
Throughout their journey the sisters are pursued by Wati Nyiru, a powerful ancestral man who can transform himself and use deception in his attempts to catch them. The sisters survive because they stay together, listen to one another and follow the wisdom of the eldest sister.
She has always been my favourite part of the story. She is calm, observant and protective. She teaches her younger sisters to recognise danger and not to be deceived by appearances. At one point she warns them not to eat fruit from a beautiful tree because she knows it is a trap. Her wisdom and leadership keep the sisters safe.
I think this is why the story has stayed with me throughout my life. It reminds me of the strength of Aboriginal women, the importance of listening to our elders and the responsibility we have to protect one another. These teachings remain just as relevant today as they have been for thousands of years.
Across these three paintings, the story unfolds as one continuous journey. The flowing lines represent the movement of the sisters across Country and the pathways that connect places, people and stories. The circular forms represent camps, significant places and the sisters themselves. The largest circle symbolises the eldest sister, while the red circle in the central painting represents Wati Nyiru, whose presence follows throughout the journey. In the final painting, the sisters return to the sky, becoming the Pleiades star cluster that can still be seen above us today.
Creating this series has been deeply personal. It honours the stories passed down through my family and celebrates the connection between both my heritages through the shared significance of the Pleiades.
For me, these works are ultimately about women holding one another through knowledge, love and protection. They reflect the spirit of Held: the quiet strength of mothers, sisters, aunties and grandmothers who carry culture, safeguard knowledge and continue to hold families and communities together across generations.
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.’

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

Exhibition: Nicolas Ottavio Saccardo, A scratch to a whisper

Adele Sliuzas · August 20, 2026

Image: Nicolas Ottavio Saccardo, *Untitled*, 2026, coloured pencil on found wood and masonite box, 50cm x 91.9cm x 6.5cm, image courtesy of the artist.

book tickets

July 27 - September 4, 2026

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

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Nicolas’ 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 A scratch to a whisper, a new exhibition by Nicolas Ottavio Saccardo. In this exhibition Nicolas explores materiality, mark-making and trace through a series of works on found surfaces. Using previously discarded panels, boards and pages, Nicolas examines the relationship between surfaces and the body, both as the material of our human ecology and as artefacts of our culture.

Through this body of work Nicolas draws our attention to mark making, honouring found marks- carpenters measurements once hidden on the inside of cabinets, scuffs from use, the wearing away of surface through repetitive touch. Through studio practice, they add layers of text like marks, sometimes referencing writing, scribbles, shopping lists, diary entries, and sometimes gestural, abstract marks across the surface.

Nicolas Ottavio Saccardo (they/them) is an emerging visual artist living and practicing on Kaurna land. Utilising primarily drawing and sculpture, their work revolves around an interest in human-object dynamics and finding unexpected ways of viewing often mundane, found materials. Through material-led experimentation, they attempt to intervene with objects as a way to dislodge them from familiar day-to-day contexts and blur the lines between material, place, self, and others, all in a world that grows increasingly dense and chaotic.
Nicolas is a recent graduate from The Adelaide Central School of Art (2024) and is also an active member of Highhorse Collective, a multidisciplinary artist-run group active in the SA arts scene.
A scratch to a whisper is a collection of artworks that explore the concept of the trace, and how mundane human rituals render themselves into physical memory. Sparked from a wider interest in material histories, this body of work makes use of drawing and mark-making as tools to document narratives of who, how, where, and what. Each piece carries with it an abstract record of a particular moment in time, as passing interactions, thoughts, gestures, and routines are archived onto the object’s surfaces - mindlessly, compulsively, curiously.
The work examines the crossovers between humans and objects, and how the spaces we inhabit and the materials we use remember us. Routine registers itself a physical existence through our collisions with the material world – a door, opened daily, leaves a reminder of itself through scuff marks on the floor. Notations are inscribed on whatever materials are on hand – phone numbers copied on receipts, to-do lists scribbled in the margins. Mundane traces of our actions become preserved as anthropological artefacts. In much the same way, I myself have become frozen into the spatial and temporal record, whispering out upon the surfaces of these objects and calling to the viewer and others beyond.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

Exhibition: Jen Trantor, CONGRATULATIONS

Adele Sliuzas · August 17, 2026

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

book tickets

July 27 - September 4, 2026

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

list of works

Foyer Gallery, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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!

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.
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.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

Artist Talk: Juanella Donovan and Lisa Khan, Held

Adele Sliuzas · August 15, 2026

book tickets

Artist Talk

When: Friday, September 4, 4:30-5:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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

Join exhibiting artists Juanella Donovan (Adnyamathanha / Luritja / Arrernte) and Lisa Khan (Yankunytjatjara / Antakirinja / Pitjantjatjara) in conversation with The Mill’s Visual Arts Curator Adele Sliuzas as part of our SALA exhibition Held.

Hear the artists speak about process, material and making work about caring for family and caring for Country.

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

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 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.’

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body

galleries, public program

LIMITLESS 2026

Adele Sliuzas · August 13, 2026

September 16 - October 9

opening party tickets!

Opening party: Friday, September 18, Session 1: 5-6:30pm and Session 2: 6:30-8pm

Finissage & Awards Night: Friday, October 9, 4:30-6:30pm

Closed Monday, October 5

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find LIMITLESS in our galleries, located at 154 Angas St, Kaurna Yarta (Adelaide).
Our galleries are 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.

LIMITLESS 2026 is our annual fundraiser exhibition, featuring over 250 South Australian artists.

Together we’ll be raising vital funds for The Mill, helping to provide opportunities for local artists, while celebrating the abundance of talent within the South Australian arts community.

It's kind of like that other popular anonymous exhibition, but we'll have A5 artworks priced at $100 and a selection of larger works at a higher price point.

And, importantly, we split sales with the artist 50/50, putting money back in their pockets.

All artworks will be anonymous in the exhibition, with artists' names and details shared with buyers at the end.

Aaron Nassau, Abbey Louise Rawson, Adam iljee Albert Chim, Alice Hu, Alice Parle, Alison von der Borch, Alicia Butt, Alicia Dunn, Alix Rogerson, Amee Dennis, Amman Knight, Amy Southwell, Amy Yang, Ana Koch, Anadi Sharma, Anastasia Goncharova, Andrea Przygonski, Andrea Travaglia, Andrew Dearman, Aniqah Birader, Anna Goodhind, Anna Shen, Anne Smith, Annie Millard, Anthea Jones, Ariela Rose, Arlon Hall, Ash Weller, Audrey Menz, August Porter, Austin Tily, Aya Jade, Aya Trevisan, Aylan Buliga, Aysan Gholipoorkhalili, Aysh Field, Bec Francis, Bethany Cherry, Bianca Joanna Buliga, Brayden Wilkinson, Bri Hammond, Brick Laws, Bridgette Minuzzo, Brooke Walker, Bundy Bannerman, Caitlin Mohr, Cam Monaghan, Camille Rouliere, Carmen Alcedo, Casper Tucker, Cathy Matson, Catriona Smith, Chin Ton Naomi Tang, Chloe Martin-Dex, Christian Best, Christiane Niess, Christina Blair, Christina Evans, Claire Birbeck, Colwin Lee, Crista Bradshaw, Dai Trang Nguyen, Damien Warman, Dan Withey, Danielle Clark, David Grech, David Markus, David Smith, Deborah Smalley, Deklyn Hearn, Delphine Allert, Dina Psichogiopoulos, Eleanor Green, Ella Pietsch, Ellie Calligeros, Emiko Artemis, Emily Lownds, Emma Daisy, Erin Renfrey, Estephania Corbelletta, Evie, Evie Catt, Faith Monger, Fangzhou Li, Finn Watson, Fiorenzo Murabito, Frankie Acacia, Freddy Ramly-Peck, Hamish Fleming, Hamish Maggs, Hari Koutlakis, Helen Lawlor, Jacqueline Eyers, Jacqueline Lagonik, Jada Sharp, Jade Zander, Jaden Bressan, Jelena Fabri, Jen Gibson-smith, Jen Trantor, Jessie Lock, Jessie Hui, Jezabel Monkhouse, Jiguo Ma, Jingwei Bu, Jo Ferguson, John Hopkinson, Jonathan Pearce, Josh Coonan, Joshua Sleep, Joy Harvey, Judith Klavins, Jueyan Li, Julie Noble, Julie Peard, Julie Sanderson, Justina Legoe, Karen Kammermann, Karen Lownds, Kari Cooper, Karla Hitchcock, Kate Cuthbert, Kate Durham, Kate Verner, Kathy Hoffman, Katie Morris, Kayla Diamond, Keeks, Kel Hummel, Kelley Lewis, Kelly Fontanarosa, Kim Turner, Kimon Smith, Kira Raams, Kristy Bennets, Kirstie McGregor, Kirsty Martinsen, Kody Mohamad, Kristyan Evele, Koleta Kola, Laura Gent, Laura Wills, Lauren Downton, Lauren Kathleen, Leah Leventeris, Leigh Warren, Liliah, Lilla Berry, Lily Claridge Bell, Lily Peard, Lily Roach, Lin Markus, Linda Bromley, Linda Robin, Lindsay Nicholson, Lisa J Smith, Lottie Pea, Luca Rocca, Lucinda Penn, Lucky Smith, Luke Clayton, Lydia Eden, Lynelle K Williams, Maddie Stevens, Madeleine Coates, Madeline Dee, Mae Giselle Fagan, Marc Fullager, Mark O'Reilly, Martine Whalley, Matt Sheehy, Meg Mader, Megan Debicki, Mel Au, Melak Khaleel, Mia Behrens, Mia Osborn, Michelle Ann Kenney, Michelle Yazbeck, Miranda Bede, Misha Mazumdar, Mitch Hearn, Mokeira Moraa, Molly Pfeiffer, Monty Flora, Nadera Rasulova, Nadia Penta, Nella D, Nerissa Douglas, Nicolas Ottavio Saccardo, Nicole Haynes, Nicole Kolesnik, Nicole McQuillan, Oh Brother, Olivia Kathigitis, Parinita, Pat Smith, Patricia Walton, Peter Francisco, Peter Lloyd Culley, Peter Owen, Phil O'Brien, Rebecca O'Leary Rebecca Whittemore, Rebekah Rocca, Renata Rozenbilds, Riley Pickering, River, Robert Viner-Jones, Romina Ienco, Ronny Stone, S G, Sa'art Studio, Sabina Fisher-McCarron, Sakthivel Eakambaranathan, Sam Howie, Sam Wiechula, Sandhya Mulchandani, Sarah Keane, Sarah McDonald, Sarah Roberts, Sasha Dylan Bell, Sayge Conniff, Seb Calabretto, Sharifah Sorayya, Shayla Hanisch, Sienna Montgomery-Pittaway, Simone, Simone Kennedy, Simone Wise, Sonali Patel, Sophie Fagan, Sophie Goh, Sophie Zodrow, Stu Nankivell, Sue Ninham, Susan Charlton, Susanna Cooney, Susie Jenner, Suye Jung, Suzie Lockery, Tash Evele, Thom Buchanan, Tia Barr, Tiana Mitchell, Tom Borgas, Tori Nguyen, Tracey Hansell, Tracy Crisp, Trish Larkin, Tushar Patel, Véra Ada, Vern Schulz, Viola Rocca, Wan Vincy Chan, wang weiguo, Wee Shiang Tay, Wendy Campbell, Will Nolan, Willow Mader, WOODLAMBS, Xiangwei Wang, Yana Lehey, Yollie Boag, Yooyoung, Zel and more to come.
For the first time, we are excited to announce the LIMITLESS Artists Awards.
Recognising outstanding South Australian artists, the $500 awards are presented across four categories:
- The Fuller Award for Create Feeling
- The CBS Disabled Artist Award
- The Scotch College Emerging Artist Award
- People’s Choice Award supported by the K&S Langley Family
Artists can nominate for multiple awards.
Awards will be announced at the Finissage & Awards Night on October 9.

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public program, dance residency

Dance Residency: Marcus Louend, Good Mourning

chloe metcalfe · August 11, 2026

Showing and Q&A

book tickets

When: Friday, August 28, 6-7pm

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

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive at 5:45pm for a 6pm sharp start.
This event will be 1 hour (including the Q&A).
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

Good Mourning is a physical theatre work exploring grief through the relationship between the body and objects of support, examining how adornment and material forms become physical and symbolic appendages that bear the weight of the grieving body.

In unveiling the relationship to these sculptural supports, this work-in-development will also trace the body’s bond to an absent object, and how the physical experience of being supported, restricted, or transformed can leave an embodied residue.

The showing will be followed by a short Q&A with Marcus and their collaborative team, hosted by The Mill CEO/Artistic Director Katrina Lazaroff. Audiences will have the opportunity to ask questions about the development and provide feedback about the performance.

About the artists:

Marcus Louend is a dancer, performance artist, and choreographer seeking to decentralise their movement and art practice through collective organisation. Using equitable social models, their ambition is to help educate individuals seeking deeper connection and understanding to movement and its radical potential physically, emotionally, and socially.
Marcus currently works as a tutor and guest performer with Restless Dance Theatre, Australia's leading company working with neurodiverse and disabled artists. This partnership continuously offers the opportunity to inclusively work with the broader community—artists and non-artists—making movement accessible to everyone, and diversifying future practices.
As a mentor, creator, and performer, their work seeks to innovatively dismantle personal, social, structural, and systemic barriers, in order to recalibrate somatic experiences into a sustainable practice.
Nat Penney (b.1991) is an artist based in Tarntanya (Adelaide). Combining processes from timber furniture making and metal fabrication with found and formed objects, she considers the sensory desires in things, looking for subconscious object impulses. She’s driven by an obsession and confusion over psychological and emotional states and their reciprocal exchange with our relationships, environments, and the objects we engage with.
Recent works are drawing from experiences of loneliness and how they are shaped not only by absence, but by conditional presence. Looking into the atmosphere of familial domesticity she searches for pleasing points of interconnectedness between the familiar and the eerie; for absurdist moments that engage themselves through futile motion and maybe make you smirk.
Her practice often incorporates materials weighted heavily in nostalgia, such as tiles from her renovated childhood bathroom or her parents’ wooden tennis racquets, embedding personal histories into sculptural objects. These materials act as communicators and carriers of memory, yet memory and nostalgia themselves are malleable, untrustworthy, and sometimes irresponsible, reshaping perception and altering what we take to be truth.
Paige Neis-Beer (she/her) is an artist and stylist with over seven years of experience in the fashion industry, across London and Kaurna Land. Her practice spans styling, costume-making and product design.
Working between fashion and wearable art, and more recently with silicone as a core medium, her practice draws on the surreal and the strange, fusing the grotesque with the beautiful. Paige has an ongoing fascination with visceral materials and explores unconventional approaches to making. Her work often explores themes of identity, whether as the observer or the observed.
In February 2025, Paige undertook a 2.5 month residency at Household Gallery, where she collaborated with tattoo artist Hasini Wisna and developed a collection of wearable art pieces that mimic flesh-like forms and second skins.
The residency marked a turning point in Paige’s practice, introducing new materials and sculptural processes that now sit at the centre of her work.
Paige is continuously interested and passionate about collaboratively working with artists across different disciplines, to create space for conversation, exchange and connection.

This residency has support from

first nations residency, public program

First Nations Dance Residency: Keisha Barrow, Yaitya

chloe metcalfe · August 3, 2026

Showing and Q&A

book tickets

When: Friday, September 25, 6-7pm

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

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive at 5:45pm for a 6pm sharp start.
This event will be 1 hour (including the Q&A).
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

Yaitya is the first development of dance theatre work by Keisha Barrow (Wills).

The idea for Yaitya comes from Keisha's experiences of disconnection and grief alongside the many ways we find connection, identity and belonging, particularly within Aboriginal and Torres Strait Islander culture. The work will explore familial cultural identity, the return to her mob and how her Aboriginal culture has shaped the person she is today.

Keisha will be working with Kaine Sultan-Babij as artistic mentor throughout the residency, Tiarna Power as dancer/collaborator and Sascha Budimski consulting on sound design. She has also been supported by Caleena Sansbury conceiving and planning for the residency.

The showing will be followed by a short Q&A with Keisha and her collaborative team, hosted by The Mill CEO/Artistic Director Katrina Lazaroff. Audiences will have the opportunity to ask questions about the development and provide feedback about the performance.

About the artists:

Keisha Barrow is a Kaurna and Ngarrindjeri artist with over 20 years of experience in dance, specialising in Cultural dance, jazz, contemporary, and hip hop.
Her artistic journey began in childhood through calisthenics and acrobatics, later expanding into choreography and performance with Riverland Youth Theatre and Kurruru Youth Performing Arts.
A graduate of NAISDA Dance College and AC Arts, she has performed with Bangarra at the Sydney Opera House, as a core dancer with WAYIN:THI for Gluttony and contributed to major festivals including the Australian Youth Dance Festival, and worked alongside cultural leaders like Uncle Karl, Uncle Moogy and ODAS at Indigenous AFL events.
Now an Aboriginal Community Education Officer at Victor Harbor Primary School, Keisha teaches dance to Nunga students and creates across a range of mediums including dot painting, weaving, sculpture, and song. Her work is deeply rooted in culture, community, and storytelling.
Tiarna Power is a proud young Ngarrindjeri and Narungga emerging artist, deeply dedicated to her craft and culture. With 15 years of training in hip-hop at Flava Dance Studios, she has refined her skills through various stage performances and productions, as well as more intimate showcases. Recently, her artistic journey has expanded to include traditional dance, participating in groups like WAYIN:THI produced by The Mill and Of Desert and Sea. This involvement has sparked her passion for contemporary Indigenous dance, leading her to train at NAISDA for a time. Tiarna’s unwavering commitment to her heritage and artistic expression continues to shape her unique voice in the dance community, making her a powerful presence in the world of performance.
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.

This residency has support from

galleries, public program

LIMITLESS 2026 Finissage & Awards Night

Adele Sliuzas · August 1, 2026

October 9

book tickets

Finissage & Awards Night: Friday, October 9, 4:30-6:30pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find LIMITLESS in our galleries, located at 154 Angas St, Kaurna Yarta (Adelaide).
Our galleries are 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.

LIMITLESS 2026 is our annual fundraiser exhibition, featuring over 270 South Australian artists.

Join us for the final celebration and awards night, announcing the recipients of the Fuller Create Feeling Award, the CBS Disabled Artist Award, the Scotch College Emerging Artist Award and the People's Choice Award supported by the K&S Langley Family.

Your last opportunity to purchase artworks and make a night of it.

Aaron Nassau, Abbey Louise Rawson, Adam iljee Albert Chim, Alice Hu, Alice Parle, Alison von der Borch, Alicia Butt, Alicia Dunn, Alix Rogerson, Amee Dennis, Amman Knight, Amy Southwell, Amy Yang, Ana Koch, Anadi Sharma, Anastasia Goncharova, Andrea Przygonski, Andrea Travaglia, Andrew Dearman, Aniqah Birader, Anna Goodhind, Anna Shen, Anne Smith, Annie Millard, Anthea Jones, Ariela Rose, Arlon Hall, Ash Weller, Audrey Menz, August Porter, Austin Tily, Aya Jade, Aya Trevisan, Aylan Buliga, Aysan Gholipoorkhalili, Aysh Field, Bec Francis, Bethany Cherry, Bianca Joanna Buliga, Brayden Wilkinson, Bri Hammond, Brick Laws, Bridgette Minuzzo, Brooke Walker, Bundy Bannerman, Caitlin Mohr, Cam Monaghan, Camille Rouliere, Carmen Alcedo, Casper Tucker, Cathy Matson, Catriona Smith, Chin Ton Naomi Tang, Chloe Martin-Dex, Christian Best, Christiane Niess, Christina Blair, Christina Evans, Claire Birbeck, Colwin Lee, Crista Bradshaw, Dai Trang Nguyen, Damien Warman, Dan Withey, Danielle Clark, David Grech, David Markus, David Smith, Deborah Smalley, Deklyn Hearn, Delphine Allert, Dina Psichogiopoulos, Eleanor Green, Ella Pietsch, Ellie Calligeros, Emiko Artemis, Emily Lownds, Emma Daisy, Erin Renfrey, Estephania Corbelletta, Evie, Evie Catt, Faith Monger, Fangzhou Li, Finn Watson, Fiorenzo Murabito, Frankie Acacia, Freddy Ramly-Peck, Hamish Fleming, Hamish Maggs, Hari Koutlakis, Helen Lawlor, Jacqueline Eyers, Jacqueline Lagonik, Jada Sharp, Jade Zander, Jaden Bressan, Jelena Fabri, Jen Gibson-smith, Jen Trantor, Jessie Lock, Jessie Hui, Jezabel Monkhouse, Jiguo Ma, Jingwei Bu, Jo Ferguson, John Hopkinson, Jonathan Pearce, Josh Coonan, Joshua Sleep, Joy Harvey, Judith Klavins, Jueyan Li, Julie Noble, Julie Peard, Julie Sanderson, Justina Legoe, Karen Kammermann, Karen Lownds, Kari Cooper, Karla Hitchcock, Kate Cuthbert, Kate Durham, Kate Verner, Kathy Hoffman, Katie Morris, Kayla Diamond, Keeks, Kel Hummel, Kelley Lewis, Kelly Fontanarosa, Kim Turner, Kimon Smith, Kira Raams, Kristy Bennets, Kirstie McGregor, Kirsty Martinsen, Kody Mohamad, Kristyan Evele, Koleta Kola, Laura Gent, Laura Wills, Lauren Downton, Lauren Kathleen, Leah Leventeris, Leigh Warren, Liliah, Lilla Berry, Lily Claridge Bell, Lily Peard, Lily Roach, Lin Markus, Linda Bromley, Linda Robin, Lindsay Nicholson, Lisa J Smith, Lottie Pea, Luca Rocca, Lucinda Penn, Lucky Smith, Luke Clayton, Lydia Eden, Lynelle K Williams, Maddie Stevens, Madeleine Coates, Madeline Dee, Mae Giselle Fagan, Marc Fullager, Mark O'Reilly, Martine Whalley, Matt Sheehy, Meg Mader, Megan Debicki, Mel Au, Melak Khaleel, Mia Behrens, Mia Osborn, Michelle Ann Kenney, Michelle Yazbeck, Miranda Bede, Misha Mazumdar, Mitch Hearn, Mokeira Moraa, Molly Pfeiffer, Monty Flora, Nadera Rasulova, Nadia Penta, Nella D, Nerissa Douglas, Nicolas Ottavio Saccardo, Nicole Haynes, Nicole Kolesnik, Nicole McQuillan, Oh Brother, Olivia Kathigitis, Parinita, Pat Smith, Patricia Walton, Peter Francisco, Peter Lloyd Culley, Peter Owen, Phil O'Brien, Rebecca O'Leary Rebecca Whittemore, Rebekah Rocca, Renata Rozenbilds, Riley Pickering, River, Robert Viner-Jones, Romina Ienco, Ronny Stone, S G, Sa'art Studio, Sabina Fisher-McCarron, Sakthivel Eakambaranathan, Sam Howie, Sam Wiechula, Sandhya Mulchandani, Sarah Keane, Sarah McDonald, Sarah Roberts, Sasha Dylan Bell, Sayge Conniff, Seb Calabretto, Sharifah Sorayya, Shayla Hanisch, Sienna Montgomery-Pittaway, Simone, Simone Kennedy, Simone Wise, Sonali Patel, Sophie Fagan, Sophie Goh, Sophie Zodrow, Stu Nankivell, Sue Ninham, Susan Charlton, Susanna Cooney, Susie Jenner, Suye Jung, Suzie Lockery, Tash Evele, Thom Buchanan, Tia Barr, Tiana Mitchell, Tom Borgas, Tori Nguyen, Tracey Hansell, Tracy Crisp, Trish Larkin, Tushar Patel, Véra Ada, Vern Schulz, Viola Rocca, Wan Vincy Chan, wang weiguo, Wee Shiang Tay, Wendy Campbell, Will Nolan, Willow Mader, WOODLAMBS, Xiangwei Wang, Yana Lehey, Yollie Boag, Yooyoung, Zel and more to come.
For the first time, we are excited to announce the LIMITLESS Artists Awards.
Recognising outstanding South Australian artists, the $500 awards are presented across four categories:
- The Fuller Award for Create Feeling
- The CBS Disabled Artist Award
- The Scotch College Emerging Artist Award
- People’s Choice Award supported by the K&S Langley Family
Artists can nominate for multiple awards.
Awards will be announced at the Finissage & Awards Night on October 9.

The LIMITLESS 2026 Awards are supported by

theatre residency, public program

Theatre Residency: Nicky T. Li, Signal 2.0

chloe metcalfe · July 4, 2026

Showing and Q&A

book tickets

When: Friday, August 14, 6-7pm

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

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive at 5:45pm for a 6pm sharp start.
This event will be 1 hour (including the Q&A).
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

Signal 2.0 is a new multidisciplinary work in response to the Hong Kong political climate.

This first stage development is led by Nicky T. Li in collaboration with Jamie Hornsby, under the mentorship of Valerie Berry and Joon-Yee Kwok. Hong Kong artists Vincy Chan, Lok. and Chris Siu have provided cultural consultation.

Signal 2.0 explores “how do we keep living without forgetting.” This work serves as a reminder that the revolution is not over, but simply, dormant.

This is a story for every person who has had their culture and identity suppressed, whether that is in the past, or now.

The work in progress will include elements of the work developed throughout this residency, followed by a short Q&A with Nicky and her creative team, hosted by The Mill CEO/Artistic Director Katrina Lazaroff.

Audiences will have the opportunity to ask questions about the development and provide feedback about the performance.

About the artists:

Nicky T. Li is a Kaurna-based Hong Kong artist with a passion for music theatre and experimental arts. She graduated from UniSA with a Bachelor of Arts in 2020. She developed and presented Signal: A Theatrical Mixtape through ActNow Theatre's MakeSpace Residency in 2022. Nicky was part of Nexus Arts’ 2023 Interplay cohort where she grew as a singer-songwriter. After receiving the Helpmann Creative Development Grant, she presented a sold out season of retro bilingual cabaret Leslie & Anita: Fallen Stars of Hong Kong in Adelaide Fringe 2024. Her work is highly endorsed by the local Hong Kong community and fellow Asian Australian artists. Through her work, she navigates through newfound identities and attempts to replant her heart in her heritage. In her performance, she speaks authenticity, in the hope of finding a community.
Being socially conscious, she provided cultural consultancy to RUMPUS, State Theatre Company SA and Australian Dance Theatre. Nicky became a published reviewer through ArtsHub’s Amplify Collective and Helpmann Academy InReview Mentorship.
In 2025, Nicky made her professional stage debut in Adelaide Festival’s international opera Innocence. Nicky is currently a Captain Starlight at the Starlight Children's Foundation, bringing joy to sick children and their families in hospitals.
Jamie Hornsby is an award-winning playwright, performer, composer, photographer and emerging screenwriter. He is the winner of two AWGIE Awards from the Australian Writers' Guild, including the prestigious David Williamson Prize for Excellence in Writing for Australian Theatre, as well as the Frank Ford Memorial Young Achiever Ruby Award.
His work has been seen nationally and internationally, most recently with his play Python being presented for three Off-Broadway readings as part of the 2024 Australian Theatre Festival NYC. He received his third AWGIE nomination in 2026 for We've Got All The Time in the World* (Terms and Conditions Apply).
He has been commissioned three times by Jopuka Productions, most recently for The Boys on the Bus, remounted in 2023 at ATYP’s Rebel Theatre in Sydney. He has written for ActNow Theatre/State Theatre Company South Australia’s Decameron 2.0, and he has been a finalist in the Shane and Cathryn Brennan Prize for Playwriting, the Stoddard Playwright Award, and the Australian Theatre Festival’s New Play Award.
Recent composing credits include The Glass Menagerie (State Theatre Company South Australia) and Four Quartets (Wounded Surgeon/Old Fitz, Sydney)

He is the cofounder of acclaimed independent theatre company Madness of Two, whose most recent production Starweaver premiered as part of the State Theatre Company South Australia’s 2024 STATESIDE Season to rave reviews. He is a graduate of Adelaide College of the Arts as an actor.

This residency has support from

galleries, public program

Exhibition: Tony Busch, Closer Horizons II

Adele Sliuzas · June 24, 2026

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

May 25 - July 17, 2026

Book opening night tickets

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

Gallery I, 154 Angas St, Kaurna Yarta

list of works

Free entry, all welcome

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.

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.
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.

Tony Busch, Reef II, Sellicks, 2026, 51 x 46 cm Hand dyed jute, hand dyed cotton warp

Tony Busch, Sandstone arch, Sellicks, 2026, 46 x 68 cm Hand dyed jute, hand dyed cotton warp

Tony Busch, From the Beach, Sellicks, 2025, 48 x 57 cm, Hand dyed jute, hand dyed cotton

Reef I, Aldinga, 2025, 68 x 55 cm Hand dyed jute, hand dyed cotton warp

galleries, public program

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

Adele Sliuzas · June 22, 2026

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

May 25 - July 17, 2026

Book opening night tickets

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

Gallery I, 154 Angas St, Kaurna Yarta

list of works

Free entry, all welcome

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.

Artist Statement
Traditionally an abstract painter, I began working with clay after a brain injury. I found it hard to go back to painting, I knew I should be able to paint but couldn’t. Working with clay was good therapy for me; the tactile nature of clay enriched my psychosocial care as well as my physical and cognitive recovery. My motor function and memory skills also improved. Around this time I met Anna Couper, a local ceramic artist, and she has been my friend and mentor through this journey.
Working with clay brings a sense of calm in my body and mind. It is an escape that taps into my body’s relaxation response and brings me a sense of peace far away from the chaos that lives in my head.
I began working with Nerikomi about five years ago. I have given up a few times because it is a long process and at first, has few rewards. Nerikomi is a traditional Japanese ceramic technique involving stacking, folding and slicing coloured clay to create intricate patterns that run through the clay body. I think that what kept drawing me back to Nerikomi was the connection i found between abstract painting and Nerikomi. I don’t start out to make a particular pattern, I just fold, manipulate and slice the clay and see what pattern is created making decisions as I work just as I do when painting.
Biography
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.
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
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

public program, wayinthi

WAYIN:THI, NAIDOC Week work-in-progress performance

Adele Sliuzas · June 18, 2026

Showing and Q&A

Book tickets

When: Friday, July 3, 4-5pm

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

Cost: $10 (+ booking fee)

Note: Please arrive 15 minutes early to grab a drink. This event will be 1 hour (including a Q&A).

This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive 15 minutes early to get a drink.
This event will be 1 hour (including the Q&A).
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.
The entrance into The Breakout is wheelchair accessible, with no internal steps.
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.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Join us for a work-in-progress performance inspired by 50 years of NAIDOC celebrations through contemporary Indigenous dance.

Facilitated by WAYIN:THI Co-Leads Caleena Sansbury and Kaine Sultan-Babij, produced by The Mill, with dancers Keisha Barrow, Kathleen Rankine, Rikki Wilson and Tiarna Power.

This intimate performance offers an early glimpse into the creative process, followed by a conversation with the artists.

Showing and Q&A

Getting to the showing

About the artist:

Hanna Instrell-Walker (Director/Choreography)

Alix Kuijpers (Sound Design)

Caroline De Wan (Movement Artist)

Jazzy Williamson-Gray (Movement Artist)

Sophie Hollingworth (Movement Artist)

October 16, 2026 - January 15, 2027

Visiting the exhibition

Artist Statement

About Hamish

October 16, 2026- January 15, 2027

Visiting the exhibition

Artist statement

About Sharifah

October 16 - January 15

Visiting GOOD SHOP

Featured artists

Alicia Butt

Anna Goodhind

Bob Window

Calamity Tash

Lauren Kathleen

Lisa Khan

Marie-Pier Labelle (Days of August)

Mel Au

River Flowings

January - November, 2026

Visiting us

Showing and Q&A

Getting to the showing

About the artists:

Joshua Di Mattina-Beven

Mym Kwa

Workshop

Getting to the workshop

About the artists:

Joshua Di Mattina-Beven

Mym Kwa

Artist Talk

Visiting the exhibition

About Hamish

July 27 - September 4, 2026

Visiting the exhibition

About Joeulla

About Juanella

About Lisa

July 27 - September 4, 2026

Visiting the exhibition

About the artist

Artist Statement

July 27 - September 4, 2026

Visiting the exhibition

About the artist

Artist Statement

Artist Talk

Visiting the exhibition

About Juanella

About Lisa

September 16 - October 9

Visiting the exhibition

Meet the artists

LIMITLESS 2026 Awards

Showing and Q&A

Getting to the showing

About the artists:

Marcus Louend

Nat Penney

Paige Neis-Beer

Showing and Q&A

Getting to the showing

About the artists:

Keisha Barrow

Tiarna Power

Kaine Sultan-Babij

October 9

Visiting the exhibition

Meet the artists

LIMITLESS 2026 Awards