January 27 - March 20, 2026

Opening tickets

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

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.’

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.
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

galleries, public program

Exhibition: Christian Best, The House of a Thousand Faces

Adele Sliuzas · December 10, 2025

January 27 - March 20, 2026

Opening tickets

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

list of works

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.

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.
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.

This exhibition has support from

galleries, public program, workshop

Workshop: Abstract painting with Nadera Rasulova

Adele Sliuzas · December 9, 2025

Workshop

Buy tickets

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

Gallery II, 154 Angas St, Kaurna Yarta

Cost: $45 (+ booking fee)

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.

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.
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

galleries, public program

Artist talk: Nadera Rasulova, Kosh-Chenar

Adele Sliuzas · December 5, 2025

Artist Talk

register tickets

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

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.

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.
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

galleries, public program

Exhibition: CHARTS Community Housing Art Awards

Adele Sliuzas · December 3, 2025

December 5 - 16

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.

galleries, public program

LIMITLESS 2025 Fundraiser Exhibition

Adele Sliuzas · October 8, 2025

September 17 - October 10

opening tickets

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

submit work

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.

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.

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

galleries, public program

Finissage: LIMITLESS 2025 Fundraiser Exhibition

Adele Sliuzas · October 5, 2025

Finissage

book tickets

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

submit work

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find LIMITLESS in our galleries, located at 154 Angas St, Kaurna Yarta (Adelaide).
Our galleries are open Monday-Friday, 10am-4pm.
Accessibility
The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.
During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
Read more in-depth information on our accessibility web page.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
Read more in-depth information on our accessibility web page.

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.

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)

galleries, public program

Exhibition: Shane Cook, Which Way Next Here

Adele Sliuzas · September 26, 2025

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

October 17 - November 28, 2025

Opening tickets

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

exhibition catalogue

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.

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.
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.

This exhibition has support from

Shane received support from Guildhouse’s Catapult + Tarnanthi Mentorship

galleries, public program, kayangan outcome

Exhibition: Dai Trang Nguyen, alONEness - một

Adele Sliuzas · September 25, 2025

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 tickets

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

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.

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.
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.

This exhibition has support from

galleries, public program

Exhibition: Rhubee Neale, Fleeting Moments

Adele Sliuzas · September 23, 2025

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

October 17 - November 28, 2025

Opening tickets

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

list of works

exhibition catalogue

Foyer Gallery, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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.’

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.
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.

This exhibition has support from

visual arts studio, workshop, public program, kayangan outcome, galleries

Workshop: Meditative art-making with Dai Trang Nguyen

Adele Sliuzas · September 21, 2025

Workshop

buy tickets

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

Where: Gallery II, 154 Angas St, Kaurna Yarta

Cost: $45 (+ booking fee)

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.

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.

This workshop has support from

galleries, public program

Artist Talk: Shane Cook and Rhubee Neale for Tarnanthi 2025

Adele Sliuzas · September 21, 2025

Image 1: Shane Cook, *Landscape Scars*, 2025,courtesy of the artist. Image 2: Rhubee Neale, *Two Nanas Cooking Damper,* courtesy of the artist.

Artist Talk

register tickets

When: Friday, November 14, 12:30-1:30pm

exhibition catalogue

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Shane’s exhibition in The Mill’s Gallery I, and Rhubee’s exhibition in our Foyer gallery 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.

Join exhibiting artists Shane Cook and Rhubee Neale for a lunchtime artist talk. Shane and Rhubee will have a chat with The Mill’s Visual Arts Curator Adele Sliuzas about their exhibitions, Which Way Next Here and Fleeting Moments, both presented as part of Tarnanthi 2025. Hear the artists speak about making work as contemporary First Nations Artists, and the importance of letting Country take the lead.

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.
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.

FrankieTheCreative-AdelaidePhotographer-LotFourteenWomensDayMarket+CEORoundtable-0018 (1).jpg

This exhibition has support from

Shane received support from Guildhouse’s Catapult + Tarnanthi Mentorship

galleries, public program

Artist Talk: Dai Trang Nguyen, alONEness - một

Adele Sliuzas · September 15, 2025

Artist Talk

register tickets

When: Friday, November 28, 5:30-6:30pm

exhibition catalogue

Gallery I& II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Dai Trangs’s exhibition in The Mill’s Gallery II, 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.

Join exhibiting artist Dai Trang Nguyen in conversation with The Mill’s Visual Arts Curator Adele Sliuzas for a chat about her exhibition, alONEness - một. Hear the artists speak about process, material and making work about aloneness and oneness.

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.

This exhibition has support from

This exhibition received support from Geoff Martin and Sorayya Mahmood Martin

galleries, public program

Exhibition: In Reflection: In Response, curated by Stella Martino

Adele Sliuzas · July 29, 2025

Image: *Filling in the Blank(et) - Stitching Stories* by Elina Priha, Eline Gaudé, Stella Martino, Anna Kozonina, Martta Nieminen, Onerva Heikka

July 18 - September 5, 2025

Finissage tickets

curator essay

Finissage: Friday, September 5, 4:30-6:30pm

List of Works

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find In Reflection: In Response 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 SALA Festival 2025, we are excited to present In Reflection: In Response, a new group exhibition curated by Stella Martino, featuring the work of five South Australian artists; Shani Engelbrecht (textiles), Tash Evele (textiles), Carman Skeehan (glass), Lotte Schwerdtfeger (ceramics) and Yana Lehey (sculpture). In Reflection: In Response has been developed through a collaborative, community-driven component led by Stella, who sites Ursula Le Guin’s essay The Carrier Bag Theory of Fiction in the conceptual underpinning of the exhibition.

For each of the artists, this exhibition has been an opportunity to come together, share ideas, collaborate, form communal bonds and develop their work. We’re excited to see the artists’ process, both in their individual practices and in creating collaborative work, showcased together in the gallery.

In Reflection: In Response is a group exhibition with collaboration at its core. This exhibition explores how we collect memories, experiences, time and stories and how we share them with our community. The idea of the exhibition is an extension of previous research and projects I (the curator) have been part of; a shared hand-sewn quilt, a collective recipe book and creative non-fiction short stories exploring the same themes. There are lots of little things that connect every project I undertake, but the single connecting thread is Ursula Le Guin’s essay The Carrier Bag Theory of Fiction. Le Guin’s essay challenges the idea of stories that centre one individual and instead offers the viewpoint that stories are a collection of moments and experiences gathered over time. Le Guin uses the term ‘carrier bag’ as a figurative and literal image of how we collect things and put them in a vessel to save for a time when those things are shared amongst others. In this exhibition, you’ll find various forms of ‘carrier bags’ or vessels that have been created by each artist using their chosen medium. In each of the artists’ pieces are motifs and acknowledgements of one another. At the centre of this collaborative exhibition is a shared patchwork sampler created over three residency workshops hosted at The Mill. In these workshops, the artists were invited to use various fabrics and materials to hand-stitch, sew or embroider stories, memories and pieces of themselves that are important to them, their community and their practice. Each workshop was a chance for the artists and myself to spend time together, tell stories, ask questions, share skills, share food, share thoughts to create our collective ‘carrier bag’.
Stella Martino is an emerging curator and writer originally from Dharug/Sydney, now based in Tarndanya/Adelaide. Stella completed her Master of Arts (in Visual Cultures, Curating and Contemporary Art) from Aalto University in Finland in 2023. Since then, Stella has undertaken a curatorial internship at The Mill under the mentorship of visual arts curator Adele Sliuzas. While studying in Finland, Stella co-curated and was a participating artist in the group exhibition Ghost Elephant Stitches in the Snow and co-created and developed the community arts and recipe book Recipes for Resilience and Care in the Climate Emergency. Stella is interested in queer ecologies and how the more-than-human interacts with their environments and in art. Her master's thesis aimed to understand how various forms of memory inform storytelling and their impact on our well-being. Through her research and previous projects, Stella also explores the benefits of community care practices within and beyond art spaces.
Dear diary, is a homage to the diary I received from my cousins during my first trip to Fiji in 2013. I was homesick and used it to comfort myself, writing that I would be okay and that I’d be home soon. Since then, I’ve returned to the diary at the end of each year to write a letter to my future self. While some years were missed, the ritual has continued for almost a decade. I reflect on the year, set goals, and often end with, “Good luck, future me!” The diary has become a vessel carrying my past selves and hopes for the future.
For this work, I recreated the diary cover using fabrics, sewing techniques and drawing to introduce softness and texture. I wove raffia along the edge to reference the handmade detailing of my original diary. I invited each artist in our group to write a letter to their future self and included my own past letters. I interpreted these letters into small fabric pieces, drawing from handwriting styles to create visual textures. A single thread connects all elements, symbolising a shared stream of consciousness linking our thoughts, hopes, and futures.
Shani Engelbrecht (she/they) is a multidisciplinary artist of Indo-Fijian and Scottish-Irish heritage, creating and living on Kaurna Land, South Australia. She holds an Honours degree in Visual Arts (2022) and a Bachelor of Creative Arts (2021) from Flinders University. Her work predominantly explores her identity and sense of belonging in the space she grew up in. Race and identity are at the core of Engelbrecht’s practice as she interrogates the incidences of racism experienced by people of colour daily. By using performance, photography, video, drawing and painting, her work blends traditional and contemporary techniques to convey the duality of her upbringing and to reflect on the feelings of otherness. Engelbrecht has shown works in multiple exhibitions including Art That Walks OFF the Walls (Goodwood Theatre & Studios 2024), Hatched: National Graduate Show Exhibition (Perth Institute of Contemporary Arts 2023), not white/not brown (FELTspace 2023).
The Pools explore connection between artists, family, community, and the wider world. I have always felt a profound safety and sense of calm when standing in the sea. Wherever I am in the world, wherever my loved ones may be, we have the ocean between us.
Each rockpool in the installation acts as a miniature world, a reflection of the individual artists featured in the exhibition. Crafted with care and intention, these rockpools are filled with ocean treasures I collected alongside my family. When holidaying together recently, we collected shells, sponges, sea glass and more, embedding the work with personal memory, gratitude and the quiet power of shared experience.
I asked each artist in our collective to do their own reflection on special memories at the beach. The photos provided are stitched together and mixed media is used to add elements of interest.
By recreating these small tidal worlds, I wanted to honour both the individuality of each artist and the collective beauty of community.This installation is a reminder that, even in our own tiny ecosystems, we are part of something vast, unexplored and deeply interconnected.
Broken mirror fragments embedded within the pools invite literal and figurative reflection from the viewer. Finally, a single, continuous rope, weaves through the work, tethering us together as one. The rope itself was made by attaching discarded, found fragments together to create one connecting string.
Calamity Tash, local queer Craft Wizard, believes art is for everyone and is most passionate about inclusivity and accessibility to the creative arts. Over the last decade Tash has been skill sharing with communities across the globe. The spreading of craft joy will continue as Tash becomes an enthusiastic resident at The Mill. Tash’s signature sparkle and use of whimsical dolls have been her wearable art trademark. Calamity Tash joins us on a journey of self expression and discovery. Her private studio will see the creation of many a weird and wonderful thing.
I put it here so I wouldn’t forget
I’ve always kept small things—gifts, fragments, found objects—on a little rack at home. It’s where I put pieces of the world that feel like mine: tiny markers of memory, small gestures of joy. For this exhibition, I’ve made a version of that rack in glass. Each object is a response—to the time shared, the conversations, the stitching, the slowness of sitting beside others and making something by hand. A clover. A safety pin. A necklace. Teeth. A bag. Candles, pencils, thread.
These are replicas of real things, made in glass, they feel a little removed from the world, but still intimate—fragile, exact, sometimes strange. They hold the trace of someone’s story, or a moment passed between us.
Ursula Le Guin reminds us that stories aren’t always linear or heroic—they can be soft vessels, carriers of collective experience. That idea stayed with me as we stitched and talked and shared time.
This shelf is both archive and offering. A way of holding memory that isn’t fixed, but refracted—through glass, through time, through others. In the making, I’ve come to know, understand, and appreciate the group I’ve worked alongside—through their stories, their hands, their quiet generosity. It’s a collection of small things that don’t belong to just me, gathered with care and left open to interpretation.
Carman Skeehan is a glass artist and maker, living in Adelaide, South Australia. Having completed the Jam Factory associate program in 2023, Carman has hit a milestone in her work, elevating her artistic practice. Guided by the meticulous creative process, Carman centres her work on the art of storytelling through glass, exploring the intersection of narrative and materials. Skeehan draws inspiration from early oil paintings and still lifes, creating a unique likeness in glass materials. Her work is an exploration of these elements, seamlessly blending them to create unique and compelling pieces of art.
A human thing: useful, edible, or beautiful
A leaf, a gourd, a shell, a net, a bag, a sling a sack a bottle a pot a box a container, a Sea Sponge Vessel
My practice has often included collaborations with artists, working in tandem and responding to each other's work, presence and life; creating and complicating narratives and expanding our boundaries together. The residencies sessions to create a textile work were both daunting and exuberant, in facilitating connecting between a group of relative strangers. I followed this formula, inviting the participating artists to visit my studio and work one on one alongside me on a large scale ceramic vessel.
After hand-building a very large vase shape with thick walls; I guided each artist in technique, and together we cut away pieces from the vessel, creating a delicate lattice structure.
This ‘porous vessel’ references a net, basketry or fish trap, objects often traditionally crafted in group settings. It is a vessel to capture our experiences and time spent getting to know each other.
Whilst our hands were busy and eyes averted, conversation through joint work facilitated deeper connection.
To further this metaphor we created beads from offcuts of clay, stringing together our work and experience into a continuous thread of coral fragments.
My ceramic works repeatedly reference motifs of sea creatures such as corals and sponges. These colonial animals have become symbols of the fragility of nature, as the first flag of the environmental system collapses. However these foundation species, the architects of ecosystems have long endured climate fluctuations across deep geological time. Just as algae and animal cells cooperate to build a reef and it is only by collaborating that humanity can create the narrative of our future.
Lotte Schwerdtfeger is an artist and is currently a studio tenant at the JamFactory Ceramics Studio, Tarndanya/Adelaide. She is materially led across many mediums, being consistently drawn to ceramic processes. Lotte hand builds ceramics, coiling and pinching both functional, sculptural and installation works; combining tendrils of research which span anthropology, biology, symbolism and revelry in the small psychedelic moments of existence. Lotte is delighted by the alchemical and elemental processes of ceramics. She is always intrigued by the role of objects, quotidian and ritual, in defining and connecting human and nonhuman experiences. Lotte is a graduate of the Victorian College of the Arts; regularly working on commission, collaborative projects and gallery exhibitions. Where possible all materials are salvaged, reused and recycled, working towards a zero waste practice.
As Above, So Below
Chews Wisely
Throughout my varied practice, the project has dictated the medium. Thus I have picked up a middling aptitude for various techniques, collecting skills like baubles. The ones I handled and polished the longest are those I have wanted or enjoyed since childhood.
This trend continues into my contribution to In Reflection: In Response. In the techniques employed and the stories shared, there is an odd tension between nostalgia and hope. The nostalgic anecdotes swapped within the group prompted me to choose floral motifs in my embroidery: common European plants which carpeted the meadows of my childhood, but struggle in the cracks here.
I explored Irish lace in an attempt to connect with a heritage of which I retain only a bastardised surname. The scale of my work lent itself to constructing wisdom teeth in response to the surprisingly common conversations about teeth in our midst. As we were encouraged to read Ursula LeGuin’s The Carrier Bag Theory of Fiction, I came to think of the mouth as a carrier bag of stories. Five teeth, five stories; wisdom optional.
Yana Lehey is an environmentally motivated visual artist based on Kaurna land. Her practice spans various mediums, covering drawing, painting, and sculpture, depending on what a project calls for. Most recently, she has applied a textile approach to petroleum-based waste materials like plastic and rubber on a large scale, creating oversized crocheted sculptural works. She developed the necessary techniques as an accessible means for every person to tackle the waste problem without the need for expensive technology and infrastructure. Yana’s interest in environmental art first started to gain traction in 2020, with her first solo exhibition Face Up, featuring monumentally scaled watercolour portraits of nine young climate activists from diverse cultural backgrounds with diverse approaches. The research behind this project formed the basis for Yana’s current practice.

This exhibition has support from

galleries, public program

Exhibition: Erin Renfrey, Once Upon a Lemon Drop

Adele Sliuzas · July 28, 2025

Image: Erin Renfrey, *Past, Present and Future (Elspeth, Harold and Doris)*

July 18 - September 5, 2025

Finissage tickets

Finissage: Friday, September 5, 4:30-6:30pm

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Erin’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.

For SALA Festival 2025, we are excited to present Once Upon a Lemon Drop, a new solo exhibition by watercolour artist Erin Renfrey. Invoking a sense of childlike curiosity, Erin’s compositions encourage us to see the world through new eyes.

Familiar and friendly faces co-exist with unexpected, sinister and uncanny characters, and just like a Grimm fairytale, we are drawn into a conversation about social mores and societal expectations.

In Once Upon a Lemon Drop, I am presenting a collection of new, intriguing watercolour paintings. My work reveals an otherworldly journey through the lives of fantastical creatures as they search for communion with each other and the universe. Hieronymus Bosch, theatre, and vintage illustrations are just some of my sources of inspiration.
My process involves meticulously layering watercolour on paper and panel to create colourful and eye-catching imagery. Each work begins with daydreaming and doodling, which becomes conceptually realised through thrifted toys and handmade miniatures, functioning as a guide for form, light and shadow, and composition.
Erin is an emerging artist based on Kaurna Land. She commenced her Bachelor of Creative Arts at Flinders University and Adelaide College of the Arts in 2020 and graduated in 2023. In the same year she was selected for the Helpmann Graduate Exhibition, receiving the Hill Smith Art Advisory Award and Square Holes Award. She has since been a finalist in the Adelaide Parklands Art Prize and exhibited at BMGArt, Collective Haunt and St. Peters Town Hall.
Erin is currently a studio resident at The Mill.

Past, Present and Future (Elspeth, Harold and Doris) watercolour, 27 x 41., Erin Renfrey.jpg

The Garden of Unearthly Delights, (close up) watercolour, 90 x 60 cm, Erin Renfrey .jpg

This exhibition has support from

galleries, public program

Artist Talk: In Reflection: In Response

Adele Sliuzas · July 24, 2025

Artist Talk

book tickets

When: Friday, August 29, 5:30-6:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find In Reflection: In Response 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 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.

Join Stella Martino for a chat about In Reflection: In Response, presented during SALA Festival.

Stella will be chatting with artists Carman Skeehan, Shani Engelbrecht and Yana Lehey, talking about the inspiration behind the exhibition and their artistic process.

About the exhibition

In Reflection: In Response is a group exhibition curated by Stella Martino, featuring the work of five South Australian artists; Shani Engelbrecht (textiles), Tash Evele (textiles), Carman Skeehan (glass), Lotte Schwerdtfeger (ceramics) and Yana Lehey (sculpture). In Reflection: In Response has been developed through a collaborative, community-driven component led by Stella, who sites Ursula Le Guin’s essay The Carrier Bag Theory of Fiction in the conceptual underpinning of the exhibition.

For each of the artists, this exhibition has been an opportunity to come together, share ideas, collaborate, form communal bonds and develop their work. We’re excited to see the artists’ process, both in their individual practices and in creating collaborative work, showcased together in the gallery.

Stella Martino is an emerging curator and writer originally from Dharug/Sydney, now based in Tarndanya/Adelaide. Stella completed her Master of Arts (in Visual Cultures, Curating and Contemporary Art) from Aalto University in Finland in 2023. Since then, Stella has undertaken a curatorial internship at The Mill under the mentorship of visual arts curator Adele Sliuzas. While studying in Finland, Stella co-curated and was a participating artist in the group exhibition Ghost Elephant Stitches in the Snow and co-created and developed the community arts and recipe book Recipes for Resilience and Care in the Climate Emergency. Stella is interested in queer ecologies and how the more-than-human interacts with their environments and in art. Her master's thesis aimed to understand how various forms of memory inform storytelling and their impact on our well-being. Through her research and previous projects, Stella also explores the benefits of community care practices within and beyond art spaces.
I put it here so I wouldn’t forget
I’ve always kept small things—gifts, fragments, found objects—on a little rack at home. It’s where I put pieces of the world that feel like mine: tiny markers of memory, small gestures of joy. For this exhibition, I’ve made a version of that rack in glass. Each object is a response—to the time shared, the conversations, the stitching, the slowness of sitting beside others and making something by hand. A clover. A safety pin. A necklace. Teeth. A bag. Candles, pencils, thread.
These are replicas of real things, made in glass, they feel a little removed from the world, but still intimate—fragile, exact, sometimes strange. They hold the trace of someone’s story, or a moment passed between us.
Ursula Le Guin reminds us that stories aren’t always linear or heroic—they can be soft vessels, carriers of collective experience. That idea stayed with me as we stitched and talked and shared time.
This shelf is both archive and offering. A way of holding memory that isn’t fixed, but refracted—through glass, through time, through others. In the making, I’ve come to know, understand, and appreciate the group I’ve worked alongside—through their stories, their hands, their quiet generosity. It’s a collection of small things that don’t belong to just me, gathered with care and left open to interpretation.
Carman Skeehan is a glass artist and maker, living in Adelaide, South Australia. Having completed the Jam Factory associate program in 2023, Carman has hit a milestone in her work, elevating her artistic practice. Guided by the meticulous creative process, Carman centres her work on the art of storytelling through glass, exploring the intersection of narrative and materials. Skeehan draws inspiration from early oil paintings and still lifes, creating a unique likeness in glass materials. Her work is an exploration of these elements, seamlessly blending them to create unique and compelling pieces of art.
Dear diary, is a homage to the diary I received from my cousins during my first trip to Fiji in 2013. I was homesick and used it to comfort myself, writing that I would be okay and that I’d be home soon. Since then, I’ve returned to the diary at the end of each year to write a letter to my future self. While some years were missed, the ritual has continued for almost a decade. I reflect on the year, set goals, and often end with, “Good luck, future me!” The diary has become a vessel carrying my past selves and hopes for the future.
For this work, I recreated the diary cover using fabrics, sewing techniques and drawing to introduce softness and texture. I wove raffia along the edge to reference the handmade detailing of my original diary. I invited each artist in our group to write a letter to their future self and included my own past letters. I interpreted these letters into small fabric pieces, drawing from handwriting styles to create visual textures. A single thread connects all elements, symbolising a shared stream of consciousness linking our thoughts, hopes, and futures.
Shani Engelbrecht (she/they) is a multidisciplinary artist of Indo-Fijian and Scottish-Irish heritage, creating and living on Kaurna Land, South Australia. She holds an Honours degree in Visual Arts (2022) and a Bachelor of Creative Arts (2021) from Flinders University. Her work predominantly explores her identity and sense of belonging in the space she grew up in. Race and identity are at the core of Engelbrecht’s practice as she interrogates the incidences of racism experienced by people of colour daily. By using performance, photography, video, drawing and painting, her work blends traditional and contemporary techniques to convey the duality of her upbringing and to reflect on the feelings of otherness. Engelbrecht has shown works in multiple exhibitions including Art That Walks OFF the Walls (Goodwood Theatre & Studios 2024), Hatched: National Graduate Show Exhibition (Perth Institute of Contemporary Arts 2023), not white/not brown (FELTspace 2023).
As Above, So Below
Chews Wisely
Throughout my varied practice, the project has dictated the medium. Thus I have picked up a middling aptitude for various techniques, collecting skills like baubles. The ones I handled and polished the longest are those I have wanted or enjoyed since childhood.
This trend continues into my contribution to In Reflection: In Response. In the techniques employed and the stories shared, there is an odd tension between nostalgia and hope. The nostalgic anecdotes swapped within the group prompted me to choose floral motifs in my embroidery: common European plants which carpeted the meadows of my childhood, but struggle in the cracks here.
I explored Irish lace in an attempt to connect with a heritage of which I retain only a bastardised surname. The scale of my work lent itself to constructing wisdom teeth in response to the surprisingly common conversations about teeth in our midst. As we were encouraged to read Ursula LeGuin’s The Carrier Bag Theory of Fiction, I came to think of the mouth as a carrier bag of stories. Five teeth, five stories; wisdom optional.
Yana Lehey is an environmentally motivated visual artist based on Kaurna land. Her practice spans various mediums, covering drawing, painting, and sculpture, depending on what a project calls for. Most recently, she has applied a textile approach to petroleum-based waste materials like plastic and rubber on a large scale, creating oversized crocheted sculptural works. She developed the necessary techniques as an accessible means for every person to tackle the waste problem without the need for expensive technology and infrastructure. Yana’s interest in environmental art first started to gain traction in 2020, with her first solo exhibition Face Up, featuring monumentally scaled watercolour portraits of nine young climate activists from diverse cultural backgrounds with diverse approaches. The research behind this project formed the basis for Yana’s current practice.

Photo: Daniel Marks

This exhibition has support from

public program, galleries

Exhibition: Walytja munu Ngura, Art and Films from the Aṉangu Lands Partnership

Adele Sliuzas · June 18, 2025

June 25 - July 11, 2025

Galleries I & II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find the Waltja munu ngura exhibition in The Mill’s Galleries, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s Galleries are 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 Walytja munu Ngura, a new exhibition of Art and Films from the Anangu Schools Lands Partnership, Department for Education, South Australia.

June 25-nguru July 11-kutu, 2025

Galleries 1 & 2, 154 Angas St, Kaurna tjutaku ngurangka

Nganana pulkara pukularinyi nyuranya nintintjaku Walytja munu Ngura, exhibition kuwaritja, panya Anangu Lands Partnership-angku palyantja tjuta. Panya kuula tiinpa ngaranyi partnership nyangangka: Kuula panya aitpa ngaranyi APY Land-ta, kuula kutju Maralinga Tjarutjala, munu kutju Yalatala ngaranyi. Anangu munu Piranpa educator tjutaya tjungu waakaripai kuulangka munu putingka kulu-kulu.

Exhibition nyangangka (ini panya Walytja munu Ngura), art munu film kuulangka palyantja tjutala nintini, panya yiya kutjupa, yiya kutjupa nganana palyantja tjuta nintilpai Fregon Arts Festival-ta. Ka waaka nyanganpa student, walytjapiti, munu kiminiti tjutangku visiting artist tjutangka tjungungku palyantja tjuta ngaranyi ka tjukurpa kutjupa tjuta video-ngka ngaranyi. Ka video tjutangka tjukurpa wiru tjuta ngaranyi palyanku nyinanytjatjara munu kiminitingka wirura nyinanytjatjara. Wangka kutjarangkaya video-ngka tjukurpa wangkapai; Pitjantjatjara munu English.

There are 10 Anangu schools in remote South Australia: 8 are located on the red dirt of the APY (Anangu Pitjantjatjara Yankunytjatjara) Lands, with Oak Valley located on the red dirt of the Maralinga Tjarutja Lands, and Yalata on the coastal sands of the far west where Anangu Educators work shoulder to shoulder with non-Anangu educators in classrooms and learning on Country.

Walytja munu Ngura (Pitjantjatjara and Yankunytjatjara for Family and Place) is an exhibition of art and films from the schools of the Anangu Lands which are presented annually at the Fregon Arts Festival. The works are created by students, family, and community, in collaboration with visiting artists, and include videos of stories that explore concepts of wellbeing and citizenship, narrated in Pitjantjatjara and English.

public program, galleries

Exhibition: Lucky Smith, Under 30's Eat Free

Adele Sliuzas · May 11, 2025

Lucky Smith, *I stood 10 Feet from accountability inside Purgatory*, detail, 2025, oil & Acrylic on Canvas,

April 11- June 20, 2025

finissage tickets

Opening: Friday, April 11, 5:30-7:30pm

list of works

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

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Under 30’s Eat Free 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 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 Under 30’s Eat Free, a new solo exhibition by studio artist Lucky Smith.

Combining pop-art flatness with anthropomorphic characters, Lucky explores contemporary anxieties in a way that is both jovial and deadly serious. Bold and bright, and slightly disconcerting, we see his subjects navigating everyday scenarios in unusual ways - a day at the beach turns into a most strange place to adopt a kitten, while a Rapa Nui (Easter Island) moai statue spills the tea on a date at a Parisienne bistro. Lucky has also begun exploring the addition of textured oil paint within his otherwise modernly flat scenes, bringing a new quality within the paintings.

The body of works are uncanny and relatable, shedding light on the ‘coming of age’ we experience as we enter our 30s.

The impending turn of thirty is an age of paralytic decision-making, the frazzled and hurried pursuit of escaping dreams, and an overwhelming sensation one is not where they need to be as they are compared to their contemporaries and generations before them.
Under 30s Eat Free is a visual representation of my comparative and anxious feelings towards turning 30 in the present day.
This introspection began through reading about Peter Freuchen, an early twentieth century Danish explorer who before thirty had raised a family of three in the midst of mapping the borders and climate of the arctic circle, and literally fought off wolves that encroached on his weather recording outpost - a three day sled from the expeditions’ operations command centre.
He spent five years in the arctic. Upon returning home to Denmark Frechuen journaled, “I felt like a stranger when I encountered my old friends. I was proud of my strength and ability to live for long periods without food, but these things meant nothing to them.”
As the biological urge to start a family and forego the insecurity of contract work weighs, I began a transition from the fast paced and tortuous nature of the film industry to the seemingly more sensible corporate 9 to 5. I feel the aforementioned quote summarises my experience in making this transition quite well.
My most recent experience in the film industry consisted of 14 hour days, six day weeks, an eight week stretch without a lunch break, six weeks of social isolation, Non Disclosure Agreements loaded with very real threat of legal action, and crippling heat all done for the largest serial commissioned in Australia, by the biggest streaming platform of our age. However, within short succession I was informed by BUPA I have the option to stay on my parents’ private health insurance until the age of 32, and I was told by my new workplace if I wish to come in early to get work done I first need to earn the company’s trust via a year long probation before being granted access to the security alarm code.
In this exhibition nine images in oil and acrylic on canvas, empathetically visualise many contemporary lifestyle and workplace problems shared by Generation Z and their fringes. Such concerns include whether to choose a career of passion or financial comfort, the requirements to enter a job with a wealth of knowledge beyond one’s years, whether to choose a soul mate or children, and the confiscation of autonomy, which all seemingly prolong childhood into one’s late-thirties.
This series of works is my life and career retrospective built on strong fluctuating binary feelings of guilt, shame, regret, anger, and self-loathing which necessitates expressive colour, scale, and visuals that demands the viewer’s attention, like a pub banner announcing free meals for us kids. The imagery is confusing and abrasive, uncanny, dreamlike, familiar and yet… off, perpetuated by a fluctuating use of palette knives and brushes, and the contrast of thickly layered oils on an acrylic background.
The creation of these artworks journal my epiphany into what I believe adulthood is; that old adage, if you want to be treated like an adult you have to behave like an adult.
Lucky Smith is a passionate expressionist painter from rural South Australia, now living and working in Adelaide. Lucky specialises in large scale portraiture of pop culture personalities and surrealist scenes using oil & acrylics. An avid painter from the age of six, his organically developed style has blossomed into grand and colourful artworks that fill a wall, brighten a room, and invite a crowd into vibrant conversation.
Lucky is an imaginative storyteller, learning foundations from John Collee’s AFTRS Screenwriting seminar, and travelling to New York in 2022 to study story structure under screen and writing lecturer Robert McKee. Lucky uses these storytelling principles to construct scenes in his artwork which empathetically explore complex interpersonal exchanges and idiosyncratic social situations, with recurring motifs such as anthropomorphised animals and retro pop culture.
Lucky has worked in graphic design and the film industry for over a decade, working on such
significant projects as The Tourist (2020, STAN), La Brea (2020, NBC), & Territory (2024, NETFLIX).
Lucky’s artwork is displayed in numerous public and private collections domestically and internationally. His solo exhibition ‘Your Spectrum is Showing’ was held at Linhay Gallery in Auburn SA in 2022. Lucky has a studio at The Mill - Adelaide, and will be exhibiting as part of The Mill’s Visual Art program in 2025.

This exhibition has support from

public program, galleries

Exhibition: Meg Mader, Patterned Disproportion

Adele Sliuzas · May 9, 2025

Meg Mader, You’re Cactus!, 2024, gouache on wooden Panel, 407mm x 508mm, courtesy of the artist

April 11- June 20, 2025

finissage tickets

Opening: Friday, April 11, 5:30-7:30pm

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

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find Patterned Disproportion 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 Patterned Disproportion, a new solo exhibition by Clare Valley based artist Meg Mader.

In this exhibition Meg uses her signature vibrant painting style, taking viewers on an imaginative journey through playful, disproportionate and extraordinary scenes. Checkerboard floors and ornate wallpaper come together to give a glimpse into the lives of music-playing ornaments, mischievous gnomes and a most sophisticated doll house. We’re invited to fill in the narrative, whose beautiful house is this? Is this maggie performing a Billie Holiday tribute? Indeed, could the ornaments and pets in our own homes also have such glamorous secret lives?

In bringing to life the ordinary and everyday, Meg also imbues her characters with agency, a portrait of a dog is playfully titled ‘Fetch me Equality’, mirroring the sentiment of her portrait titled ‘Determination Inspiration Imagination’. The work is equally entertaining and playful as it is personal and political.

As an illustrative artist, I’m captivated by the vibrancy of acrylic ink and gouache, using them to bring life and colour to objects, animals, and scenes. Recently, my work has delved into the role of patterns, which evoke a sense of time and place within each composition. For this exhibition, I have created a series of paintings using objects, patterns and colour to capture an imagined moment in time. Alongside these are still-life scenes drawn from a mix of found, gifted, and personal objects—each carrying its own story—arranged in settings with playful, disproportionate scales.
The altered scales introduce a sense of surrealism, inviting viewers to see everyday objects in new and unexpected ways. Patterns within each disproportionate room add depth and rhythm, framing each scene within a distinct narrative context.
The exhibition is an entertaining, immersive journey inviting viewers to experience a new life for ordinary objects, reimagined in a timeless, dynamic space. This exhibition encourages a closer look at the ordinary, a rethinking of scale, and an interactive encounter with past and present woven together.
Meg Mader works predominantly with acrylic inks, gouache, and pen to create vibrant illustrations of animals, still life, and pop culture mash-ups. She has participated in many group exhibitions. Noteworthy are her duo exhibitions with collaborator Stu Nankivell, where she ventures into augmented reality, adding another layer to her works. In her solo exhibitions, Meg explores themes and narratives of her choice including literary mashups and still life, allowing for unrestrained expression.

Her artistic style has earned her a Highly Commended and the Incentive Award at the Clare Valley Portrait Prize along with winning the Balco Art Prize's Best Work on Paper. A pivotal moment arrived when Meg was chosen for the Nebula Program by Country Arts SA, offering her the chance to deepen her practice and build connections with fellow regional artists. Meg's art often takes the form of commissioned pieces, frequently commemorating beloved pets and cherished memories.

Since 2017, Meg has expanded her artistic practice by organising art events and workshops across South Australia and a series of large events at Puddleduck Vineyard in Tasmania. Her involvement in a local arts committee and establishment of a weekly art group are other ways to enjoy arts within the community.

HERO IMAGE - Meg Mader - The Swooping Notes - 2025 - Gouache on Wooden Panel - 407mm x 508mm - Photography Meg Mader.jpg

Meg Mader - Fetch Me Equality - 2025 - Gouache on Wooden Panel - 305mm x 229mm - Photography Meg Mader.jpg

Meg Mader - The Dining Room - 2024 - Gouache and Gold Leaf on Wooden Panel - 305mm x 229mm - Photography Meg Mader.jpg

This exhibition has support from

public program, marina deller, galleries

Exhibition: The Myth of the Lonely Artist, Marina Deller

Adele Sliuzas · May 7, 2025

April 11- June 20, 2025

opening tickets

Opening: Friday April 11, 5:30-7:30pm

Gallery Foyer, 154 Angas St, Kaurna Yarta

Free entry, all welcome

You can find The Myth of the Lonely Artist in The Mill’s Gallery Foyer, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Mill’s galleries are 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 The Myth of the Lonely Artist, a new Foyer exhibition featuring 2025 Writer in Residence Marina Deller. The digital exhibition explores the stereotypes forced onto writers and artists, focusing on the bright spots of companionship which form part of an art practice or day-to-day life.

I have long been fascinated by stereotypes. This fascination began after deciding I wanted to be a writer when I ‘grew up’. I was interested in the way stories were built, and especially in the idea that characters could have ‘tropes’ like plots could. As a queer teenager, I faced a different kind of stereotyping. It encouraged me to consider what kinds of stereotypes are rife in not only stories but the world they depict, and how – when unexamined, when taken as truth – these can veil or derail true and complex personhood.
Writers are often painted as poor, obsessive to the point of destruction, and lonely. Though the first two I can attest to, the last never sat quite right with me. I asked myself, ‘In examining the world through artistic forms are artists doomed to feel lonely?’
Undertaking the Writer in Residence program at The Mill has been a transformative experience and has helped me explore this question. Early 2024 I was at a kind of post-PhD crossroad professionally and creatively. I craved a space to reconnect with my practice beyond academia. At The Mill, I fell in love with the capacity for a collection of creative humans to inspire, challenge, and support one another. Even the smallest moments – hellos in the hallways and chats over coffee – lit my days. I also found myself inspired by the multi- and inter- disciplinary nature of many of the artists’ works. As well as writing, I wanted to paint and draw (even if badly) and found myself reaching for my camera often. Being at The Mill in this period of change, I felt keenly that the world had a lot to offer me. I also began to observe where and how I was being kept company in my practice and taking note of it, which led to this hybrid project.
So, is there such a thing as a lonely artist? I’m sure there is, somewhere, just as I am now certain I have never been one. My hope for this work is that it allows you to focus on the small, bright spots of companionship which form part of an art practice or simply day-to-day life.
Marina Deller is writer, academic, and critic, working and creating on Kaurna Land. Marina has a PhD in Creative Writing (Life Writing) from Flinders University, where they are an award-winning teacher of Writing and Literature.
In their creative practice Marina examines art, culture, (queer) identity, family, love, and loss. They write essays, short stories, poetry, and hybrid works incorporating objects, art, and photography.
Their writing appears in such outlets as The Conversation, Westerly, Voiceworks, Archer, Babyteeth Journal, and InDaily and has been painted on the city streets as part of Raining Poetry in Adelaide. Their short story “Nostos” was shortlisted for the Rachel Funari Prize for Fiction 2021, and their essay “Dresses, heavy with water” was highly commended in the AAWP/Westerly Magazine Life Writing Prize 2022.
Marina is also a recent recipient of the Island View Writers’ House Emerging Writer Residency and an active member of the Life Narrative Lab where they curate and run reading events which platform emerging life writers.

This exhibition has been created as a personal project through The Mill’s Writer in Residence program.

January 27 - March 20, 2026

Visiting the exhibition

About the artist

Artist Statement

January 27 - March 20, 2026

Visiting the exhibition

About the artist

Artist Statement

Workshop

Visiting us

What to expect:

About the artist

Artist Statement

Artist Talk

Visiting us

About the artist

Artist Statement

December 5 - 16

Visiting the exhibition

September 17 - October 10

Visiting the exhibition

Meet the artists

Finissage

Visiting the exhibition

Meet the artists

October 17 - November 28, 2025

Visiting the exhibition

About the artist

Artist Statement

October 17 - November 28, 2025

Visiting the exhibition

Artist statement

About the artist

October 17 - November 28, 2025

Visiting the exhibition

About the artist

Artist Statement

Workshop

Accessibility

What to expect:

About the workshop leader

Artist Talk

Visiting the exhibitions

About Shane

About Rhubee

Artist Talk

Visiting the exhibitions

About the artist

July 18 - September 5, 2025

Visiting the exhibition

Curatorial Statement

About Stella

About Shani

About Tash

About Carman

About Lotte

About Yana

July 18 - September 5, 2025

Visiting the exhibition

Artist Statement

About the artist

Artist Talk

Visiting the exhibition

About the exhibition

About Stella

About Carman

About Shani

About Yana

June 25 - July 11, 2025

Visiting the exhibition

April 11- June 20, 2025

Visiting the exhibition

Artist Statement

About Lucky Smith

April 11- June 20, 2025

Visiting the exhibition

Artist Statement

About Meg Mader

April 11- June 20, 2025

Visiting the exhibition