Exhibition: Toni Hassan, The Sea is Talking

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

March 27 - May 15, 2026

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

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

  Accessibility

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

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

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

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

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

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

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

• About the artist

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

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

• Artist Statement

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

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

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

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Exhibition: Anthea Tsigros Jones, Think Differently

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

March 27 - May 15, 2026

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

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

  Accessibility

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

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

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

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

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

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

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

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

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

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

• About the artist

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

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

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

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

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

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

• Artist Statement

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

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

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

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

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

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

  “Everything begins with a story” - Joseph Campbell

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FORUM: Our coast - creativity, responsibility and response

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

Artist Forum

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

Galleries, 154 Angas St, Kaurna Yarta

Free entry, bookings essential

• Event details

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

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

  6-7pm the forum will take place.

  Accessibility

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

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

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

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

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

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

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

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

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

About the artists:

• Toni Hassan

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

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

• Dr Faith Coleman

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

• Lindl Lawton

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

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

• Sandy Marion

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

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

Adelaide Fringe 2026: WAYIN:THI, 'Fibres'

Photo: Jack Fenby.

Adelaide Fringe 2026

When: February 20 - 22

Where: Tandanya Theatre, 253 Grenfell St, Kaurna Yarta

Cost: From $15-25

Duration: 60 minutes

• Getting to the show

  Fibres will be held at Tandanya Theatre.

  Accessibility

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

  For more detailed accessibility information visit FringeTIX.

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

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

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

• About the artists

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

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

  Her notable collaborations include:

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

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

  • Karul Projects on the piece SSHIFT.

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

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

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

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

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

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

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

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Fibres is supported by the Government of South Australia through CreateSA, a Nexus Arts 40 for 40 Quick Response grant and funding from The Adelaide Fringe Fund

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

Photo: Daniel Marks.

March 20, 2026

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

Artist Spotlight with Carmen Alcedo: 4:30pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  Accessibility

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

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

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

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

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

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

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

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

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These exhibitions have support from

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

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

January 27 - March 20, 2026

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

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

  Accessibility

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

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

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

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

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

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

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

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

• About the artist

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

• Artist Statement

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

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

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

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

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This exhibition has support from

Exhibition: Nadera Rasulova, Kosh-Chenar

Image: courtesy of the artist

January 27 - March 20, 2026

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

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

  Accessibility

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

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

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

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

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

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

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

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

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

• About the artist

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

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

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

• Artist Statement

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

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

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

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

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

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

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

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This exhibition has support from

Exhibition: Christian Best, The House of a Thousand Faces

Image: Courtesy of the artist

January 27 - March 20, 2026

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

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

  Accessibility

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

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

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

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

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

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

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

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

• About the artist

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

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

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

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

• Artist Statement

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

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

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

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

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This exhibition has support from

Adelaide Fringe: The Mill 2026 Program

February 19 - March 21, 2026

We’re back with another jam-packed season for Adelaide Fringe 2026!

This year, we have everything from theatre and cabaret, through to film, comedy and exhibitions. We have a crowd favourite returning this year, along with an incredible line-up of shows from 13 incredible companies.

Make sure to throw your support behind these independent acts and grab your tickets!

• Accessibility

  You can find our Adelaide Fringe season at 154 Angas St, Kaurna Yarta (Adelaide).

  Accessibility

  The Mill’s entrance has a small step into the building. We have a ramp available, please let us know of your access needs when booking tickets and our friendly team will make sure they’re accommodated.

  During our season, 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.

Photo: Kyahm Ross

Meteors
February 19-March 7

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

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

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Photo: Daniel Marks

My Grandpa Doesn’t Follow Me On Instagram
February 19-March 7

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

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

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

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Photo: Jack Fenby

Fibres
February 20-22, at Tandanya

This work explores the natural fibres — once used for healing, weaving, storytelling, dance, painting and crafting. More than resources, these fibres hold story, culture and connection to Country.

Through touch, texture and movement, we follow the gestures of threading, knotting, interweaving and mending, drawing on their strength and care. Dance becomes a bridge between fibre and story, body and Country.

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DUST
February 21-March 7

England-2020-Pontefract-Lockdown-2:20AM. A man fights for each breath, determined to make it home to Dot. In his isolated, morphine-fuelled delirium, we witness a frail man reliving his fragmented past: a boxer, a soldier, a boilermaker, a miner—dancing with Lady Luck as he battles to win. Dust is dedicated to the servicemen who fought for their country, the seven men who tragically lost their lives in the 1973 Lofthouse Colliery disaster, and to every miner who lived their life in darkness so we could live in the light. 

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Ripe
February 25-March 8

The different worlds of Claire and Elisabeth collide as they navigate a series of weird and often terrifying events one fateful New Year's Eve in Sydney. Run-away Claire has fled her mother’s fury following the discovery of Claire’s relationship with Duncan, an older family friend. Elisabeth is on the streets to avoid the rage of her drug-addled boyfriend simply because she's taken his dog for a walk. Claire and Elisabeth are changed by the long night and each other. Midnight fireworks light the night sky. Happy new year.

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DNA
March 5-12

DNA by Dennis Kelly is a gripping, fast-paced thriller about a group of teenagers whose cruel prank spirals into a shocking cover-up. Darkly funny and disturbingly real, the play exposes how peer pressure, fear, and the desperate need to belong can twist morality and silence truth. With sharp dialogue and relentless tension, DNA pulls the audience into a world where loyalty clashes with conscience, and survival means complicity.

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Phoebs, You’re A Lesbian
March 8-21

A thespian and her keyboard leap out of the closet - it’s a metaphor and a stage direction. Featuring a catchy original score, sparkly doc martens, and too many niche anecdotes to count. Join Phoebe Rodger as she explores the euphoric highs, embarrassing lows, and awkward in-betweens of the lesbian experience. From hilarious cabaret bops, to witty parodies, to power ballads, there is something for everyone in this show! All are welcome. (Including homophobes, I’ll still take your money xx).

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The Sensemaker
March 4-7

Have you ever been stuck on hold, listening to muzak on a loop while a robotic voice keeps telling you that your request is being processed?
Yes, you have… and so does the protagonist of unclassifiable, Black Mirror–ish 'The Sensemaker' — until she is gradually pushed beyond her limits.

With razor-sharp humour and unsettling precision, this multi-award-winning solo-show stages a dystopian battle between a woman and an answering machine.

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Only Bones
March 11-22

Explore a microscopic universe in this intimate and mesmerising work of nonverbal physical theatre. Join a jelly-like solo performer as they pluck creatures from evolutionary history, pushing, bending and twisting the laws of physics. The ordinary becomes extraordinary and the strange becomes familiar.

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Spoon Show
March 13-20

A clown explores the comedic capacity of cutlery.

It's unclear where they got so many of these metal wonders, or for what purpose. With a fool’s brain, a dancer’s body and a determination reserved only for the truly idiotic, Fumble the Clown presents an unforgettable hour of culinary comedy. Simple, inventive and surprisingly heartfelt, this work brings its audience on a ride through the ridiculous imagination of a spoon-obsessed fool.

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Before We Begin
March 11-15

An experimental solo about consent and queer intimacy. Explored through a series of escalating invitations for performer and audience.

Naughty, playful, awkward, joyful, and surprisingly tender. A vulnerable act of trust, patience, and curiosity - navigated in real-time. An important conversation that never feels like one.

Say yes, say maybe, say not today. Nothing happens without your say-so. What does happen might surprise you.

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The Cycling Man
March 18-22

One of the best reviewed shows of the Edinburgh Fringe 2025 comes to Adelaide. Middle-aged and newly single, The Cycling Man has spent the salary of a nurse on lycra and he's on the verge of a breakdown. Get to know this absurd and deeply flawed man as he gets to know himself. 

Goofy drag king show from award-winning British character comedian Kathy Maniura, BBC New Comedian shortlisted, 2023 and Sketch Off winner, 2020.

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I Can Have A Dark Side Too
March 18-21

His Mother calls her 30-year-old son her "Ray of sunshine" but beneath this child entertainer's cheerful facade lies a dark secret...

A one-man black comedy, featuring puppetry and upbeat songs. Ray, a children’s entertainer, starts to unravel as he deals with a personal tragedy. Attempting to process his grief, he begins confiding in his puppet, Emmett, who encourages him to tap into his dark side. As his cheerful facade begins to shatter in front of the kiddies, Ray must come to grips with something terrible in his past… Will he be able to keep it together when he embraces the truth?

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This program has support from

Workshop: Abstract painting with Nadera Rasulova

Image: Courtesy of the artist

Workshop

When: Saturday, March 14, 12:30-2:30pm

Gallery II, 154 Angas St, Kaurna Yarta

Cost: $45 (+ booking fee)

• Visiting us

  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 artist Nadera Rasulova for an abstract painting workshop exploring inherited stories.

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

What to expect:

Seated within Nadera's exhibition, this two-hour workshop invites participants to explore abstract painting through memory, material, and intuition.

Working with a personally significant object or textile as a reference point, participants will be guided to translate story and emotion into colour, gesture, and texture - without the pressure of representation or a finished outcome. The focus is on process: layering, responding, obscuring, and revealing.

All materials are provided, including a canvas board and acrylic paints. Participants will take their artwork home on the day.

Guests are asked to bring one object or textile of cultural, familial, or personal significance.

Tea, coffee, and light refreshments will be available.

• About the artist

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

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

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

• Artist Statement

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

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

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

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

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

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

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

---

This exhibition has support from

Artist talk: Nadera Rasulova, Kosh-Chenar

Image: courtesy of the artist

Artist Talk

When: Friday, February 20, 4:30-5:30pm

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting us

  You can find our Artist Talk in Gallery II 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.

Join exhibiting artist Nadera Rasulova in conversation with The Mill’s Visual Arts Curator Adele Sliuzas for a chat about her exhibition, Kosh-Chenar. Hear the artist speak about process, material and making work about belonging and place.  

• About the artist

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

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

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

• Artist Statement

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

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

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

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

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

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

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

---

This exhibition has support from

Exhibition: CHARTS Community Housing Art Awards

Photo: Sam Roberts

December 5 - 16

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

  Our galleries are open Monday-Sunday, 10am-4pm.

  Accessibility

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

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

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

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

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

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

We are excited to present the third iteration of CHARTS, the Community Housing Art Awards. We love having this exhibition in our galleries, and congratulate all of the artists involved.

The Community Housing Art Awards (CHARTS) were created to celebrate and showcase the creative diversity, depth and talent of tenants in community and social housing. This is the third CHARTS Awards event, the first in 2021, and another event in 2023, held here at The Mill.

This year’s CHARTS has been a collaborative effort between Community Housing Industry Association SA and 9 Community Housing Providers: Access2Place, Believe Housing Australia, Common Equity Housing SA, Community Housing LTD, Junction Australia, Unity Housing Company, Uniting SA Housing, Westside Housing, YourPlace Housing.

Community Housing Providers are not-for-profit organisations that provide affordable, stable, secure, and safe housing to people living on low to moderate incomes, facing disadvantage and/or with specific needs.

CHARTS is an event that has been open to all tenants of these Community Housing Providers and incorporates four award categories: 2D/Painting/Drawing; 3D/Sculpture Art/Textiles/Craft; Photography/Digital; Poetry and Literature, with 15 awards being given out, including the People’s Choice Awards, Artist Living with A Disability and First Nations Artist.

We hope CHARTS helps tenants find a sense of belonging – we know art brings people together, and by displaying tenants’ artwork in this exhibition at The Mill, and by making it accessible to the public, we hope it inspires engagement and a feeling of belonging to the community.

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Centre Stage Residency: WAYIN:THI, Fibres

Photo: Jack Fenby

Showing and Q&A

When: Friday, December 12, 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).

• Getting to the showing

  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 an intimate private work-in-progress showing of Fibres, the latest creation by WAYIN:THI, choreographed by Kaine Sultan-Babij with support from Caleena Sansbury - The Mill’s First Nations Co-Leads and Coordinators.

Fibres weaves together movement, story and culture, drawing inspiration from the natural materials once used for healing, weaving, dance and art. Through gesture, texture and rhythm, this work threads connection between body and Country - honouring the strength, care and memory held within every fibre.

Come witness this powerful new work as it takes shape - raw, resonant, and full of life.

Please RSVP before Thursday, December 11.

Fibres is being developed as part of our Centre Stage Residency, in collaboration with Adelaide Fringe, and will be presented as part of our 2026 Adelaide Fringe program.

The showing will be followed by a short Q&A with WAYIN:THI, 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:

• Kaine Sultan-Babij

  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.

• Caleena Sansbury

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

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

  Her notable collaborations include:

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

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

  • Karul Projects on the piece SSHIFT.

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

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

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

Photo: Jack Fenby

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This showing has support from

LIMITLESS 2025 Fundraiser Exhibition

Photo: Bri Hammond

September 17 - October 10

Opening event: Friday, September 19, 5:30-8pm

Finissage: Friday, October 10, 4:30-6:30pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

Please note we are not open on Monday, October 6, due to the public holiday.

• Visiting the exhibition

  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.

We are excited to present LIMITLESS, our annual fundraising exhibition shining a light on over 200 local artists.

This exhibition will raise funds for The Mill; a vibrant, creative home where artists collaborate, experiment and take risks. It will also celebrate the abundance of artistic talent within the South Australian visual arts community, including work by our studio artists and alumni, visual arts students and graduates and local artist studio collectives.

We invite you to find your favourite piece to add to your collection.

All A5 artworks are priced at $100, with artists working in diverse mediums and styles. This year, the exhibition also features a selection of larger works, priced at a higher level, from our studio artists, program alumni and invited contributors.

The exhibition features emerging alongside established artists, with all artists’ names kept anonymous in the exhibition. Artists’ names and details will be revealed when the buyer takes the work home. 

Sales from this fundraising exhibition support the artist and The Mill, helping us to continue championing artistic experimentation in our fantastic state.

• Meet the artists

  Abbey Rawson, Adam iljee, Adelaide Xerri & Bob Window for Cisarua Learning, Adele Justice, Aisha Sultan, Alice Hu, Alison von der Borch, Alix Rogerson, Amman Knight, Ana Koch, Anastasia Comelli, Andrea Sainsbury, Angela De Palma, Anna Goodhind, Anna Horne, Annelise Forster, Annie Millard, Anthea Jones, Ariela Rose, Ashley Mossman, August Porter, Aya Trevisan, Ayesha Aggarwal, Aysh Field, Belinda Guerin, Bella Bianchini, Ben Brown for The Surf Film Archive, Beverley Southcott, Bianca Joanna Buliga, Billy Oakley, Blakesby, Bob Window, Brent Leideritz, Bri Hammond, Bridget Uppill, Bridgette Minuzzo, Cam, Cameron Read, Caitlin Mohr, Callum Docherty, Carina Lee, Carly Tarkari Dodd, Carmen Alcedo, Carolyn Corletto, Celia Dunne, Charlotte Meekins, Chin Ton (Naomi) Tang, Christian Lock, Christiane Niess, Christine Cholewa, Crista Bradshaw, Cynthia Schwertsik, Dai Trang Nguyen, Danielle Festejo, Danika Nedić, Danny Jarratt, David Markus, David Musch, David Smith, Debbie Lord, Deborah Smalley, Delphine Allert, Donna Hedstrom Gold, Eleanor Alice, Elisabeth Blomberg - Wiinya, Ella Pietsch, Emiko Artemis, Emily Boswell, Emma Helana, Erin Renfrey, Evie Hassiotis, Evy Moschakis, Fabiola Calderon Reyes, Fran Callen, Gail Hocking, Gassan Aqel, Gemma Fettke, George Gilles, Georgia Price, Hamish Fleming, Holley Rentsch, Indygo Kidd, Isabella Bianchini, Isabella Nunez, Jacqueline Eyers, Jacqueline Lagonik, Jada Sharp, Jade Zander, Jen Gibson-Smith, Jen Trantor, Jennifer Eadie, Jennifer Joy O'Neill, Jenny Berry, Jessica Harrison, Jingwei Bu, Joe Felber, John Hopkinson, Jonathan Pearce, Juliane Brandt, Juliet Michell, Juliette Thomas, K Raams, Kaitlyn Manko, Kari Cooper, Kat Ordway, Kate Cuthbert, Keeks, Kelly Rowe, Kimberly Lane, Kristy Lee Bennets, Kristyan Evele, Lachlan Mackenzie, Lara Kittel, Laura Gent, Lauren Kathleen, Leah Leventeris, Leanne Rowett, Leigh Warren, Leila Koth, Leon Ferrente, Liliana Pasalic, Lily Peard, Lin Markus, Linda Andary, Linda Robin, Lisa Khan, Lotte Schwerdtfeger, Lucky Smith, Lydia Eden, Lyn Anstey, Lynette Fisher, Madeleine Coates, Maggie Robson, Makeda Duong, Marisha Matthews, Mark Judd, Martine Whalley, Meg Mader, Meg Riley, Melanie Cooper, Mel Heatley, Melissa Au, Melody Marshall, Michelle Yazbeck, Miranda Bede, Molly Pfeiffer, Monty Flora, Nadera Rasulova, Nicolas Ottavio Saccardo, Nicole Haynes, Oliver Gerhard, Olivia Isherwood, Olivia Kathigitis, Patricia Walton, Peter Baka, Peter Francisco, Poppy, Quinn, Rebecca O'Leary, Rebekah Rocca, Renata Rozenbilds, Robert Viner-Jones, Robert Wuldi, Romina Ienco, Roy Ananda, Sahara Trevisan, Sair Bean, Sakthivel Eakambaranathan, Sam Wiechula, Sandhya Mulchandani, Sara Boni, Sarah McDonald, Sarah Subritzky, Sascha Ševelj, Sayge Conniff, Seb Calabretto, Shalini Kacker, Shirlinda Elston, Simone Kennedy, Simone Wise, Siobhan Harley, Sophia Bedford, Sorayya Mahmood Martin, Stephanie Doddridge, Stephanie Radok, Stu Nankivell, Sue Ninham, Suzie Lockery, Susan Charlton, Tash Evele, Therese Williams, Timothy Gambell, Thomas Readett, Tom Borgas, Tom Philips, Tori Nguyen, Vern Schulz, Wendy Campbell, Will Nolan, Xinyue Yan, yeahdope, Yana Lehey, Yolanda Boag and more to come!

Photo: Bri Hammond

Photo: Bri Hammond

Photo: Bri Hammond

Photo: Bri Hammond

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Finissage: LIMITLESS 2025 Fundraiser Exhibition

Photo: Bri Hammond

Finissage

When: Friday, October 10, 4:30-7:00pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  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.

We invite you to join us for the finissage event for LIMITLESS 2025, an opportunity for artists and creative industry professionals to network, and celebrate the work of over 200 local artists.

This exhibition will raise funds for The Mill; a vibrant, creative home where artists collaborate, experiment and take risks. It will also celebrate the abundance of artistic talent within the South Australian visual arts community, including work by our studio artists and alumni, visual arts students and graduates and local artist studio collectives.

We invite you to find your favourite piece to add to your collection. This closing event is a last chance to buy a work from LIMITLESS 2025.

All A5 artworks are priced at $100, with artists working in diverse mediums and styles. The exhibition features emerging alongside established artists, with all artists’ names kept anonymous in the exhibition. Artist’s names and details will be revealed when the buyer takes the work home. 

Sales from this fundraising exhibition support the artist and The Mill, helping us to continue championing artistic experimentation in our fantastic state.

• Meet the artists

  Abbey Rawson, Adam iljee, Adelaide Xerri & Bob Window for Cisarua Learning, Adele Justice, Aisha Sultan, Alice Hu, Alison von der Borch, Alix Rogerson, Amman Knight, Ana Koch, Anastasia Comelli, Andrea Sainsbury, Angela De Palma, Anna Goodhind, Anna Horne, Annelise Forster, Annie Millard, Anthea Jones, Ariela Rose, Ashley Mossman, August Porter, Aya Trevisan, Ayesha Aggarwal, Aysh Field, Belinda Guerin, Bella Bianchini, Ben Brown for The Surf Film Archive, Beverley Southcott, Bianca Joanna Buliga, Billy Oakley, Blakesby, Bob Window, Brent Leideritz, Bri Hammond, Bridget Uppill, Bridgette Minuzzo, Cam, Cameron Read, Caitlin Mohr, Callum Docherty, Carina Lee, Carly Tarkari Dodd, Carmen Alcedo, Carolyn Corletto, Celia Dunne, Charlotte Meekins, Chin Ton (Naomi) Tang, Christian Lock, Christiane Niess, Christine Cholewa, Crista Bradshaw, Cynthia Schwertsik, Dai Trang Nguyen, Danielle Festejo, Danika Nedić, Danny Jarratt, David Markus, David Musch, David Smith, Debbie Lord, Deborah Smalley, Delphine Allert, Donna Hedstrom Gold, Eleanor Alice, Elisabeth Blomberg - Wiinya, Ella Pietsch, Emiko Artemis, Emily Boswell, Emma Helana, Erin Renfrey, Evie Hassiotis, Evy Moschakis, Fabiola Calderon Reyes, Fran Callen, Gail Hocking, Gassan Aqel, Gemma Fettke, George Gilles, Georgia Price, Hamish Fleming, Holley Rentsch, Indygo Kidd, Isabella Bianchini, Isabella Nunez, Jacqueline Eyers, Jacqueline Lagonik, Jada Sharp, Jade Zander, Jen Gibson-Smith, Jen Trantor, Jennifer Eadie, Jennifer Joy O'Neill, Jenny Berry, Jessica Harrison, Jingwei Bu, Joe Felber, John Hopkinson, John Hopkinson, Jonathan Pearce, Juliane Brandt, Juliet Michell, Juliette Thomas, K Raams, Kaitlyn Manko, Kari Cooper, Kat Ordway, Kate Cuthbert, Keeks, Kelly Rowe, Kimberly Lane, Kristy Lee Bennets, Kristyan Evele, Lachlan Mackenzie, Lara Kittel, Laura Gent, Lauren Kathleen, Leah Leventeris, Leanne Rowett, Leigh Warren, Leila Koth, Leon Ferrente, Liliana Pasalic, Lily Peard, Lin Markus, Linda Andary, Linda Robin, Lisa Khan, Lotte Schwerdtfeger, Lucky Smith, Lydia Eden, Lyn Anstey, Lynette Fisher, Madeleine Coates, Maggie Robson, Makeda Duong, Marisha Matthews, Mark Judd, Martine Whalley, Meg Mader, Meg Riley, Melanie Cooper, Mel Heatley, Melissa Au, Melody Marshall, Michelle Yazbeck, Miranda Bede, Molly Pfeiffer, Monty Flora, Nadera Rasulova, Nicolas Ottavio Saccardo, Nicole Haynes, Oliver Gerhard, Olivia Isherwood, Olivia Kathigitis, Patricia Walton, Patricia Walton, Peter Baka, Peter Francisco, Poppy, Quinn, Rebecca O'Leary, Rebekah Rocca, Renata Rozenbilds, Robert Viner-Jones, Robert Wuldi, Romina Ienco, Roy Ananda, Sahara Trevisan, Sair Bean, Sakthivel Eakambaranathan, Sam Wiechula, Sandhya Mulchandani, Sara Boni, Sarah McDonald, Sarah Subritzky, Sascha Ševelj, Sayge Conniff, Seb Calabretto, Shalini Kacker, Shirlinda Elston, Simone Kennedy, Simone Wise, Siobhan Harley, Sophia Bedford, Sorayya Mahmood Martin, Stephanie Doddridge, Stephanie Radok, Stu Nankivell, Sue Ninham, Suzie Lockery, Susan Charlton, Tash Evele, Therese Williams, Timothy Gambell, Thomas Readett, Tom Borgas, Tom Philips, Tori Nguyen, Vern Schulz, Wendy Campbell, Will Nolan, Xinyue Yan, yeahdope, Yana Lehey, Yolanda Boag and more to come!

Photo: Bri Hammond (Copy)

Photo: Bri Hammond (Copy)

Photo: Bri Hammond (Copy)

Photo: Bri Hammond (Copy)

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Exhibition: Shane Cook, Which Way Next Here

Image: Shane Cook, Landscape Scars, 2025, courtesy of the artist

October 17 - November 28, 2025

Opening event: Friday, October 31, 5:30-7:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

  You can find Shane’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.

For Tarnanthi 2025 we are excited to present Which Way Next Here a new collection of photography by Wulli Wulli and Koa (Guwa) artist Shane Cook. The exhibition invites you to slow down, and take a moment to connect with Shane’s storytelling - a visual narrative through mark making, and connection to Country. 

Shane has been mentored by artist, arts worker, community facilitator and advocate Jo-Anne Driessens, (Guwa Koa, Gungarri, Kuku Yalanji) through the support of the Guildhouse Catapult + Tarnanthi mentorship. We are thrilled to have collaborative works by both Shane and Jo-Anne in the exhibition, layering images of Guwa Koa Country with Shane’s signature graphic elements. With a background in street art and tattoo, Shane brings a unique approach to the work. Bold colours and complex textures meet with mark making that reference movement, body and connection. 

At the heart of this exhibition is Shane’s connection with the landscapes of his ancestors, and contemporary connection with family and Country. His journey as an artist reflects the time he has invested in collecting archival materials, and in conversation and exchange. All of this has laid the groundwork for him to be present and intuitive when on Country and in the studio. The resulting images are powerful statements of grounding and openness. 

• About the artist

  Inspired by both street and country environments, nature and urban landscapes, his people and his lived experience. Shane Cook is a proud Wulli Wulli and Koa (Guwa) man with many family connections throughout Queensland.

  Shane was born on Kaurna Yerta (Kaurna Country/Adelaide). He has successfully followed in the footsteps, of many ancestors who were also artists and retraced family bloodlines that were lost for many years due to colonisation.

  Shane’s practice as an artist began from a young age learning to paint from his mother, his interests then developed further into graffiti culture, murals and tattooing as he got older. These art movements are hugely prominent in Shane’s unique contemporary style he has developed which has led him to become a nationally recognised artist.

  Shane was named Mankitya which translates to ‘the scarred one’ by his Kaurna family and Elders.

• Artist Statement

  Grounded in storytelling; stories carried through generations, through movement, image, and connection. 

  Over the past few years, that journey has brought me home: back to Country, back to family, and back to myself. This return has reshaped my practice, deepening the way I create and listen. What began as collecting family stories, photographs and journals has evolved into a process of healing, reconnection and truth-telling, allowing Country to inspire and evolve my practice.

  Through my mentorship with Aunty Jo-Anne Driessens, I’ve been learning to slow down and focus in. Her guidance reminds me that the camera is not just a tool of capture, but a "vessel for memory" a way to preserve the visual story of who we are and where we come from. Our conversations have become exchanges between generations of artists: sharing knowledge, stories of collecting archives, and ensuring our families’ histories are honoured and protected.

  Time on many different Countries has taught me to separate what is personal from what is to share. I’ve learned to trust instinct, to sit still, and to recognise that creativity flows best when I’m present and open to the lessons Country wants to teach.

  This next chapter, beginning with Tarnanthi 2025, represents more than an exhibition, it’s the continuation of a journey of reconnection. Acknowledging our ancestors and the landscapes that call us home, and the ongoing responsibility we have as contemporary First Nations artists to create with respect and truth. From here, the journey starts guided by Country and community.

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This exhibition has support from

Shane received support from Guildhouse’s Catapult + Tarnanthi Mentorship

Exhibition: Dai Trang Nguyen, alONEness - một

Image: Dai Trang Nguyen, Threads of Life (detail), 2025, yarns, repurposed fabric and wire, dimensions variable, courtesy of the artist

October 17 - November 28, 2025

Artist talk: Friday, November 28, 5:30-6:30pm

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

  Accessibility

  The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

  Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

  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 alONEness - một, a new exhibition of sculptures and installations by Vietnamese artist Dai Trang Nguyen.

Developed through our Kayangan Residency, with support from donors Geoff Martin and Sorayya Mahmood Martin, the exhibition explores identity, connection, and the spaces between, using mindfulness as a compass. một, meaning “one” in Vietnamese, reflects Dai Trang’s journey through aloneness, loneliness, and oneness. The work flows from a place of authenticity and vulnerability, where the tension between solitude and connection becomes visible.

Through large-scale textile-based sculptures, she transforms the gallery into a multifaceted environment. The installation embodies the solidity of being alone, the struggles of isolation and the universal longing for connection. It invites viewers to reflect on their own experiences of being alone and together, offering a quiet moment of shared understanding amidst life’s chaos. 

• Artist statement

  một, meaning “one” in Vietnamese, reflects both individuality and unity. This exhibition captures a journey of contracting and expanding through aloneness, loneliness and oneness. Emerging from years of solitary practice, it marks a first opening reaching toward life while allowing life to flow through. It gathers all the “ones” held within aloneness, loneliness, oneness and the spaces in between.

  The installation embodies shifting states of being: the solidity of solitude, the hollowness of isolation and the universal longing for connection. It arises from a place of authenticity and vulnerability where the tension between solitude and togetherness becomes visible. At times, overwhelm and emptiness press in so strongly that all one can do is sit, breathe and simply be. In these moments, the work becomes a shelter, a gentle embrace holding as it is held. What emerges from within returns to envelop like the endless interwoven cycles of life.

  Each piece is a living record, shaped by the moment and made tangible through materials at hand. Wire reaches outward, bold and visible; thread folds inward, delicate and almost imperceptible. In moments of enoughness, the canvas opens into space and simplicity.

  Created slowly and intuitively with mindful awareness, these works are marks of presence, connecting with space, people and the more-than-human world. They invite reflection on being alone and together, offering space for shared understanding amidst the ever-changing flow of life.

• About the artist

  Dai Trang Nguyen is a Vietnamese artist and designer based in Kaurna Country, with a creative journey spanning Vietnam, the UK and Australia. Originally trained in graphic design, her practice has evolved from structured precision to a meditative, intuitive approach rooted in mindfulness, presence and the unfolding of each moment.

  During the solitude of COVID-19, art became her sanctuary and a guide for self-understanding, leading to her first solo exhibition in Vietnam and inspiring her move to South Australia in 2022 to pursue a Master’s in Contemporary Art. Since then, her practice has deepened through introspection and experimentation, expanding materially from digital illustration into tactile forms.

  Living far from home has enriched her connection to her Eastern heritage. Influenced by Zen Buddhist roots and her experience as a migrant, Dai Trang’s process is slow and embodied, embracing making as meditation - each gesture responding to internal and external conditions. Working with textiles, found objects and mixed media, she creates contemplative sculptures, wall pieces and installations that reflect life’s fluidity, impermanence and interconnectedness.

  Her Kayangan residency at The Mill Adelaide marked a first step toward relational, community-connected making, opening her process to place, people and the more-than-human world, while remaining grounded in herself through mindfulness.

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This exhibition has support from

Exhibition: Rhubee Neale, Fleeting Moments

Image: Rhubee Neale, Two Nanas Cooking Damper, courtesy of the artist

October 17 - November 28, 2025

Opening event: Friday, October 31, 5:30-7:30pm

Foyer Gallery, 154 Angas St, Kaurna Yarta

Free entry, all welcome

• Visiting the exhibition

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

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

  Accessibility

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

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

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

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

For Tarnanthi 2025 we are excited to present Fleeting Moments a new collection of paintings by Anmatyerre and Arrernte woman and contemporary artist Rhubee Neale.

Rhubee has been a regular artist in the Ku Arts studio at The Mill, and we are thrilled to be working with her to show this new group of paintings as part of Tarnanthi. Rhubee’s paintings are joyful and full of life, their brightly coloured narratives take us on a journey to what she refers to as ‘paradise places’. When making these paintings, Rhubee is both imaginative and reflective, recollecting moments from her life including growing up on Country with her family. She also paints dreams and imaginings, capturing on canvas some of the fleeting moments of beauty that she has experienced.

Rhubee is generous in sharing her story, which is underpinned by a deep connection to Country and Kin. She speaks about interconnectedness, care, friendship and beauty. And, she also shares about her struggles and the balance between strength and fragility, which must be honoured. Rhubee’s journey as an artist is multifaceted and not without its complexities, but the underlying message of this exhibition is about holding tightly to love.

She says ‘Fleeting Moments is more than an exhibition — it’s an invitation to pause, breathe, and reflect on the moments that define us. These works speak to the echoes of the past, the whispers of ancestry, and the weight of memory, all while celebrating the enduring connections that sustain us.’

• About the artist

  Rhubee Neale is a proud Anmatyerre and Arrernte woman from Alice Springs (Mparntwe), now living in  Kaurna Country. An award-winning artist, singer-songwriter, and speaker, Rhubee uses her art and music to promote resilience, healing, and cultural celebration. Her mantra, "even a small whisper can create change," reflects her gentle yet powerful approach to advocacy. 

  Named 2024 NAIDOC SA Artist of the Year, Rhubee’s bold and vibrant contemporary paintings have been exhibited across Australia. Rhubee is also known under her creative moniker Desert Rhubee’s Creation

  As a cultural educator, Rhubee shares her journey through art and public speaking. Her dream is to share her art and music globally, fostering understanding and connection. 

• Artist Statement

  In Fleeting Moments, I lean into the gentle truth that nothing in this life stays the same. Time slips quietly through our hands, carrying with it people, places, and moments — yet each one leaves an imprint that lingers, shaping who we are. These paintings are woven glimpses — fragments of life I have lived, stories I have been told, and visions born in imagination. Some are real, some are dreamt, yet all hold the tender pulse of life’s fleeting beauty. For me, creating is also an escape — a way to step outside the noise of the everyday, to lay down the weight of trauma, and to find a quiet place where my spirit can rest. My Anmatyerre and Arrernte heritage guides my hand. Every brushstroke is a meeting place between memory and cultural story, a space where resilience, love, and connection to Country are carried forward. These works are not simply to be seen — they are to be felt, walked through, and remembered. I invite you to wander within them, to find your own reflections, and to honour the beauty that lives in moments that cannot last forever, yet stay with us always.

  Through vividly imagined and fictional places woven together, the work invites viewers to pause and reflect on the fleeting yet powerful moments that shape our lives. It celebrates the interconnectedness of people, generations, and cultures, while honouring the fragility and beauty of these bonds.

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This exhibition has support from

OzAsia Festival Residency: Sulochana Dissanayake, Free-doom Down Under

Photo: Bri Hammond

Showing and Q&A

When: Thursday, October 23, 5pm and Friday, October 24, 4pm and 6pm

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).

• Getting to the showing

  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

Bold and thought-provoking, Free-doom Down Under takes a cheeky look at the experience of skilled migrants who come to Australia in search of a better life.

Blending theatre, photography, multimedia and interactive installations, artists Sulochana Dissanyake and Dinuka Liyanawatte explore identity, culture, and the struggle of integration.

This work-in-progress showing is a first glimpse of a personal perspective on what it takes to fit-in.

About the artist:

• Sulochana Dissanayake

  Sulochana Dissanayake, founder and artistic director of Power of Play (PVT) LTD, is dedicated to creating works that reflect identity, diversity, equity, and inclusion while advocating for social change.

  With a cum laude degree in Economics and Theater from Bates College (2009), she combines her expertise in theater, directing, puppetry and writing to craft experiences that engage and challenge audiences on critical societal issues.

  Dissanayake’s experience with leading theatres in the U.S. (Guthrie Theater and Williamstown Theater Festival) has shaped her approach to performance as a powerful tool for social advocacy. She uses creative and interactive methods to spark conversations around cultural and social divides. A Watson Fellowship recipient (2009/10), she traveled to South Africa and Indonesia to explore how performance can foster community engagement and cross-cultural understanding. Her work in Sri Lanka focuses on empowering marginalized voices and promoting social justice through the arts.

  In 2024, Dissanayake migrated to Adelaide with the hope of expanding Power of Play to Australia for intercontinental collaborations. Dissanayake remains active in both countries & capitalises her experience in USA, Europe, Africa and Asia to customise unique communication solutions for communities of South Australia & Sri Lanka. For more information visit www.linkedin.com/in/sulochana-d

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This showing has support from

Workshop: Meditative art-making with Dai Trang Nguyen

Image: Dai Trang Nguyen, Threads of Life (detail), 2025, yarns, repurposed fabric and wire, dimensions variable, courtesy of the artist

Workshop

When: Saturday, November 8, 2025, 1-3pm

Where: Gallery II, 154 Angas St, Kaurna Yarta

Cost: $45 (+ booking fee)

• Accessibility

  Our entrance on the corner of Angas Street and Gunson Street is accessible by ramp, as it has a small step from the pavement. The doorway is 84.5cm wide.

  During gallery hours - Monday to Friday, 10am to 4pm - the door is unlocked. There is a doorbell at an accessible height that can be pressed if you need assistance.

  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 artist Dai Trang Nguyen for a mindful, meditative art-making workshop exploring oneself and oneness.

This workshop offers a space to connect with yourself, others and the more-than-human world, while embracing intuition and the unfolding of the present moment. Immersed in Dai Trang’s way of making, participants will transform 120 minutes of time, space and life’s conditions into tactile artworks with textiles and mixed media.

A selection of materials will be provided. Participants are welcome to bring their own, particularly textile-based, to weave into their creations.

What to expect:

Seated within Dai Trang's exhibition, guests will spend two hours creating mindful textile artworks, reflecting on Dai Trang’s artistic ethos and process. A selection of materials provided, participants can take their creation home on the day.

Tea, coffee and light refreshments will be available.

• About the workshop leader

  Dai Trang Nguyen is a Vietnamese artist and designer based in Kaurna Country, with a creative journey spanning Vietnam, the UK and Australia. Originally trained in graphic design, her practice has evolved from structured precision to a meditative, intuitive approach rooted in mindfulness, presence and the unfolding of each moment.

  During the solitude of COVID-19, art became her sanctuary and a guide for self-understanding, leading to her first solo exhibition in Vietnam and inspiring her move to South Australia in 2022 to pursue a Master’s in Contemporary Art. Since then, her practice has deepened through introspection and experimentation, expanding materially from digital illustration into tactile forms.

  Living far from home has enriched her connection to her Eastern heritage. Influenced by Zen Buddhist roots and her experience as a migrant, Dai Trang’s process is slow and embodied, embracing making as meditation - each gesture responding to internal and external conditions. Working with textiles, found objects and mixed media, she creates contemplative sculptures, wall pieces and installations that reflect life’s fluidity, impermanence and interconnectedness.

  Her Kayangan residency at The Mill Adelaide marked a first step toward relational, community-connected making, opening her process to place, people and the more-than-human world, while remaining grounded in herself through mindfulness.

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This workshop has support from