scotch college residency

Scotch College Residency 2026: Piri Eddy

Adele Sliuzas ·

We are thrilled to announce Piri Eddy as the recipient of the 2026 Scotch College Residency.

In partnership with Scotch College, Piri will receive a six-week paid residency within the English Faculty. Aiming to help further develop students’ writing and communication skills responding to creative themes.

About the writer:

  • Piri Eddy is an award-winning writer and producer living and working on Kaurna land.

    As a screenwriter, Piri won Best Short Film at the 54th AWGIE awards for The Last Elephant on Earth, which had its international premiere at the prestigious Sitges Film Festival. His fiction and non-fiction have appeared in such places as The Saturday Paper, Island Magazine, and Westerly Magazine and he has written arts criticism and reviews for Australian Book Review and CityMag. 

    Piri’s debut play Forgiveness won the 2020 Jill Blewett Playwright’s Award. His follow-up The Spoil was nominated for the same award in 2024 and was a finalist for the 2026 Australian Theatre Festival NYC New Play Award.

    Piri has been a writer-in-residence at the Adelaide Festival Theatre, The Mill, and Writers SA, and was a 2025 SA Literary Fellow at the State Library South Australia. He has a PhD in Creative Writing from Flinders University.

read more about the program

Photo: Courtesy of the writer

 

Presented in partnership with Scotch College

 
 
 

theatre residency, public program

Theatre Residency: Nicky T. Li, Signal 2.0

chloe metcalfe ·

Photo: Courtesy of the artist

Showing and Q&A

book tickets

When: Friday, August 14, 6-7pm

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

Cost: $10 (+ booking fee)

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

  • This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

    Please arrive at 5:45pm for a 6pm sharp start.

    This event will be 1 hour (including the Q&A).

    Accessibility

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

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

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

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

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

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

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

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

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

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

About the artists:

  • Nicky T. Li is a Kaurna-based Hong Kong artist with a passion for music theatre and experimental arts. She graduated from UniSA with a Bachelor of Arts in 2020. She developed and presented Signal: A Theatrical Mixtape through ActNow Theatre's MakeSpace Residency in 2022. Nicky was part of Nexus Arts’ 2023 Interplay cohort where she grew as a singer-songwriter. After receiving the Helpmann Creative Development Grant, she presented a sold out season of retro bilingual cabaret Leslie & Anita: Fallen Stars of Hong Kong in Adelaide Fringe 2024. Her work is highly endorsed by the local Hong Kong community and fellow Asian Australian artists. Through her work, she navigates through newfound identities and attempts to replant her heart in her heritage. In her performance, she speaks authenticity, in the hope of finding a community.

    Being socially conscious, she provided cultural consultancy to RUMPUS, State Theatre Company SA and Australian Dance Theatre. Nicky became a published reviewer through ArtsHub’s Amplify Collective and Helpmann Academy InReview Mentorship. 

    In 2025, Nicky made her professional stage debut in Adelaide Festival’s international opera Innocence. Nicky is currently a Captain Starlight at the Starlight Children's Foundation, bringing joy to sick children and their families in hospitals.

  • Jamie Hornsby is an award-winning playwright, performer, composer, photographer and emerging screenwriter. He is the winner of two AWGIE Awards from the Australian Writers' Guild, including the prestigious David Williamson Prize for Excellence in Writing for Australian Theatre, as well as the Frank Ford Memorial Young Achiever Ruby Award.

    His work has been seen nationally and internationally, most recently with his play Python being presented for three Off-Broadway readings as part of the 2024 Australian Theatre Festival NYC. He received his third AWGIE nomination in 2026 for We've Got All The Time in the World* (Terms and Conditions Apply).

    He has been commissioned three times by Jopuka Productions, most recently for The Boys on the Bus, remounted in 2023 at ATYP’s Rebel Theatre in Sydney. He has written for ActNow Theatre/State Theatre Company South Australia’s Decameron 2.0, and he has been a finalist in the Shane and Cathryn Brennan Prize for Playwriting, the Stoddard Playwright Award, and the Australian Theatre Festival’s New Play Award. 

    Recent composing credits include The Glass Menagerie (State Theatre Company South Australia) and Four Quartets (Wounded Surgeon/Old Fitz, Sydney)


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

Photo: Courtesy of the artist

This residency has support from

 
 

galleries, public program

Exhibition: Tony Busch, Closer Horizons II

Adele Sliuzas ·

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

May 25 - July 17, 2026

Book opening night tickets

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

Gallery I, 154 Angas St, Kaurna Yarta

list of works

Free entry, all welcome

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

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

    Accessibility

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

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

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

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

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

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

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

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

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

galleries, public program

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

Adele Sliuzas ·

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

May 25 - July 17, 2026

Book opening night tickets

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

Gallery I, 154 Angas St, Kaurna Yarta

list of works

Free entry, all welcome

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

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

    Accessibility

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

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

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

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

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

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

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

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

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

  • Artist Statement

    Traditionally an abstract painter, I began working with clay after a brain injury. I found it hard to go back to painting, I knew I should be able to paint but couldn’t. Working with clay was good therapy for me; the tactile nature of clay enriched my psychosocial care as well as my physical and cognitive recovery. My motor function and memory skills also improved. Around this time I met Anna Couper, a local ceramic artist, and she has been my friend and mentor through this journey. 

    Working with clay brings a sense of calm in my body and mind. It is an escape that taps into my body’s relaxation response and brings me a sense of peace far away from the chaos that lives in my head. 

    I began working with Nerikomi about five years ago. I have given up a few times because it is a long process and at first, has few rewards. Nerikomi is a traditional Japanese ceramic technique involving stacking, folding and slicing coloured clay to create intricate patterns that run through the clay body. I think that what kept drawing me back to Nerikomi was the connection i found between abstract painting and Nerikomi. I don’t start out to make a particular pattern, I just fold, manipulate and slice the clay and see what pattern is created making decisions as I work just as I do when painting. 

    Biography

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

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

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

  • You ask me to talk
                   about the interior

    it was all roadside flowers & grasses
                   growing over the cities

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

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

    was the solid bronze charging
                   bull on the famous street

    was like the Roman method for making bees

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

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

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

    it was anthem
                   was the listening

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

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

    was hurdle & burn      burning through
                   the infinite      your overbright comet

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

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

    About Carolina Ebeid

public program, wayinthi

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

Adele Sliuzas ·

Photo: Kyahm Ross.

Showing and Q&A

Book tickets

When: Friday, July 3, 4-5pm

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

Cost: $10 (+ booking fee)

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

  • This showing and Q&A will be held in The Breakout. Please come to The Mill at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

    Please arrive 15 minutes early to get a drink.

    This event will be 1 hour (including the Q&A).

    Accessibility

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

    The entrance into The Breakout is wheelchair accessible, with no internal steps.

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

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

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

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

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

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

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

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

Photo: Kyahm Ross

 
 

galleries, public program

Finissage: Closer Horizons II, You Ask Me to Talk About the Interior

Adele Sliuzas ·

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

July 17, 2026

register tickets

Finissage: Friday, July 17, 4:30-6:30pm

list of works

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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

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

    Accessibility

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

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

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

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

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

We invite you to join us for the closing event for Closer Horizons II and You Ask Me to Talk About the Interior.

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

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

wayinthi

WAYIN:THI Performances

chloe metcalfe ·

WAYIN:THI creates greater visibility for powerful cultural storytelling through movement and performance.

The dance theatre ensemble have performed at the 2025 Ruby Awards, 2026 Adelaide Fringe Award Ceremony, Blak Night at Carclew, Common Threads Summit, 2026 Gluttony Gala and more.

send enquiry
 
 

disability studio access

Disability Access Studio 2026: Chloe Noble

Adele Sliuzas ·

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

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

About the artist:

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

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

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

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

read more about the program
 

Photo: Courtesy of the artist

 
 

This program has support from

 

galleries, public program

Exhibition: Toni Hassan, The Sea is Talking

Adele Sliuzas ·

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

list of works

March 27 - May 15, 2026

Read Geoff Hastwell's Review

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

Read Lief Gerhardy's reflection

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

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

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

    Accessibility

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

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

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

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

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

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

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

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

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

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

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

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

galleries, public program

Exhibition: Anthea Tsigros Jones, Think Differently

Adele Sliuzas ·

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

March 27 - May 15, 2026

list of works

Gallery II, 154 Angas St, Kaurna Yarta

Free entry, all welcome

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

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

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

    Accessibility

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    “Everything begins with a story” - Joseph Campbell

dance residency

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

chloe metcalfe ·

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

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

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

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

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

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

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

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

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

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

Image: Courtesy of the artist.

galleries, public program

FORUM: Our coast - creativity, responsibility and response

Adele Sliuzas ·

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

Artist Forum

register tickets

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

Galleries, 154 Angas St, Kaurna Yarta

Free entry, bookings essential

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

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

    6-7pm the forum will take place.

    Accessibility

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

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

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

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

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

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

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

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

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

About the artists:

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

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

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

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

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

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

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

writers in residence

Writer in Residence 2026: Melanie Bakewell

Adele Sliuzas ·

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

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

About the writer:

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

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

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

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

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

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

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

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

read more about the program

Photo: Melanie Bakewell

 

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

 

photog in res

Photographer in Residence 2026: Zane Qureshi

Adele Sliuzas ·

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

About the artist:

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

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

read more about the Residency

Photo: @cashmereflipflops

This residency has support from

 
 

wayinthi

Adelaide Fringe 2026: WAYIN:THI, 'Fibres'

chloe metcalfe ·

Photo: Jack Fenby.

Adelaide Fringe 2026

book tickets

When: February 20 - 22

Where: Tandanya Theatre, 253 Grenfell St, Kaurna Yarta

Cost: From $15-25

Duration: 60 minutes

  • Fibres will be held at Tandanya Theatre.

    Accessibility

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

    For more detailed accessibility information visit FringeTIX.

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

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

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

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

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

    Her notable collaborations include:

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

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

    • Karul Projects on the piece SSHIFT.

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

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

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

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

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

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

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

 
 

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

centre stage residency

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

chloe metcalfe ·

Photo: Daniel Marks.

Adelaide Fringe 2026

book tickets

When: February 19 - March 7

Where: The Breakout, 154 Angas St, Kaurna Yarta

Cost: From $30-35

Duration: 60 minutes

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

    Accessibility

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

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

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

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

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

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

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

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

★★★★★ “Mesmerising” Mindshare

★★★★★ “Utterly genius” Binge Fringe

★★★★★ “Masterful” The List

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

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

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

This program has support from

 
 

centre stage residency

Adelaide Fringe 2026: The CRAM Collective, 'Meteors'

chloe metcalfe ·

Photo: Daniel Marks.

Adelaide Fringe 2026

book tickets

When: February 19 - March 7

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

Cost: From $18-28

Duration: 60 minutes

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

    Accessibility

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This program has support from

 
 

perth moves bursary

Perth Moves / The Mill Bursary 2026: Rhianna Dunaiski

chloe metcalfe ·

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

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

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

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

About the artist:

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

This residency has support from

 
 

public program, galleries

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

Adele Sliuzas ·

Photo: Daniel Marks.

March 20, 2026

register tickets

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

Artist Spotlight with Carmen Alcedo: 4:30pm

Galleries, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • Accessibility

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

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

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

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

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

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

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

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

More about Hasta La Raíz
More about Kosh-Chenar
More about The House of a Thousand Faces

These exhibitions have support from

 
 

galleries, public program, photog in res outcomes

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

Adele Sliuzas ·

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

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

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

    Accessibility

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

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

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

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

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

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

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

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

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

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

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

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

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

This exhibition has support from