Seasonal Shifts

Tracing the rhythms of life, memory, identity and human influence on the environment, ‘Seasonal Shifts’ is a group exhibition presenting artists whose works unveil our multifaceted relationship with the passage of time and our natural surroundings.

As observers of nature we bear witness to moments of seasonal change, and the beauty and unpredictability of our environment. We feel the impact of natural forces on our minds and bodies, and actions. A favourite flower, the smell of rain, or a familiar rock formation can become markers of experience, a record of our personal histories told through objects and places. As time unfolds, we see the traces we leave behind and the ways human presence alters the landscape, both subtle and drastic, temporary and permanent.

‘Seasonal Shifts’ reflects how we experience nature in cycles—its transformations marking time and seasons, anchoring memories, and stirring metaphors that deepen our sense of self. Through exquisite depth and imagination, each artist invites consideration of our role within, not apart from, the natural world.

Featuring: Matt Arbuckle, Wona Bae and Charlie Lawler, Tamara Dean, Brian Robinson, Annika Romeyn, Hiromi Tango, and James Tylor.

Image credit: Annika Romeyn, detail from 'Endurance 9', 2021, watercolour monotype on paper, 250 x 190 cm, image courtesy of the artist and Flinders Lane Gallery.

Download the catalogue

Seasonal Shifts catalogue 3.09 MB [PDF] 15 February 2025

Exhibition photography

Browse the exhibition by scrolling through the image carousel below.

This image depicts a detailed black and white linocut artwork. It combines natural, celestial, and technological elements. On the left, there are representations of flora and fauna, including birds, fish, turtles, crocodiles, and various plants. The centre features intricate patterns that transition into depictions of outer space, with planets, stars, and spacecraft. The right side of the composition includes human figures, structures, and maritime elements such as boats and underwater life. The entire artw

Brian Robinson, ‘Zugubal: The Winds and the Tides Set the Pace’, 2022, linocut, 100 x 188 cm, image courtesy of the artist and Mossenson Galleries.

This image shows an installation artwork featuring a large, dyed fabric panel. The fabric is suspended and draped across the corner of a white gallery space, attached to wooden supports that are fixed to the walls. The fabric displays variations in colours that shift from green, to orange and purple, creating a gradient-like effect, and is arranged in a flowing, wave-like formation. The installation interacts with the surrounding architecture, with the fabric appearing to move between tension and looseness.

Matt Arbuckle, ‘Vice Versa’, 2021, acrylic on knitted polyester voile and acrylic on found timber,190 x 1600 cm, Image courtesy of the artist and Daine Singer, Photograph by Tim Gresham.

This image shows a landscape featuring a natural rock formation shaped like an arch. The scene is rendered entirely in shades of blue, creating a monochromatic effect. The rock surface is textured with intricate patterns resembling dense clusters or foliage, and small trees or shrubs grow on top of the formation. The arch opens to a view of the background, where additional rock formations and sky are visible. The sky is marked with painterly streaks and variations in tone. The foreground includes more textu

Annika Romeyn, 'Endurance 9', 2021, watercolour monotype on paper, 250 x 190 cm, image courtesy of the artist and Flinders Lane Gallery.

The black-and-white photograph shows rolling grassy hills with scattered trees under a textured, cloud-filled sky. The terrain slopes upward, with vegetation varying in density. In the foreground, a large, solid black circle contrasts with the rough grass. Scattered trees are dispersed across the hills, with one near the crest standing against the sky. The background features more hills and a fading tree line.

James Tylor, ‘(Vanished Scenes) from an Untouched Landscape 8’, 2017, inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 38 x 38 cm, image courtesy of the artist and Vivien Anderson Gallery.