Alana Collins: A Cloud Floating in the Flower

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5pm Saturday 6 October 2018

Exhibition continues until 17 November 2018
Private is open Saturdays 10am – 4pm and by appointment

A flower is not a flower. It is made only of non-flower elements — sunshine, clouds, time, space, earth, minerals, gardeners, and so on. A true flower contains the whole universe. If we return any one of these non-flower elements to its source, there will be no flower. That is why we can say, “A rose is not a rose. That is why it is an authentic rose.” We have to remove our concept of rose if we want to touch the real rose.

-Thích Nhất Hạnh

A Cloud Floating in the Flower explores the historical and cultural intersections of Buddhist practice and psychedelic experience. Buddhism and psychedelics both gained popularity in the West during the 1950s and 1960s, sharing the potential to alter consciousness and provide experiences of peace and love.

In both psychedelic culture and Buddhist teachings, the flower features as a common motif. Floral patterns were popular on everything from fabric to wallpaper in the Psychedelic era. The slogan ‘Flower Power’, coined by Allen Ginsberg, also became popular during this time as a symbol of non-violent protest. Many influential thinkers of this era – including Ginsberg, Alan Watts and Aldous Huxley – were influenced by their experiences with LSD and other psychedelic drugs, as well as Buddhism and Eastern philosophies. In Buddhism, flowers (particularly the lotus) appear often, symbolising awakening, the law of impermanence and interbeing.

A Cloud Floating in the Flower combines the artists interests in Buddhism, meditative practices and psychedelic form.

Alana Collins is an artist based in Hobart who works primarily in drawing and installation. Her meditative and repetitious processes give rise to intricate and ephemeral works inspired by nature and altered states.

Alana holds a Bachelor of Fine Arts (Visual Art) from The Queensland University of Technology, 2013.

Private Projects – 113 – 115 Main Road, Moonah, Tasmania
Entry off Hopkins St, up the stairs (opposite Dan Solo Comics)

Jacob Leary: Very

stuff in nature-nature in stuff copy


Jacob Leary makes fiction.His complex narratives are connected to the real but operate in realms beyond it: it is not a flight of fancy but a complex extrapolation of potential. Leary’s work is a catalogue of transmissions and cryptic messages from other worlds and modes of being.  The works are deceptively chaotic, but adhere to a logic that is inherent in all the structures he makes.

These new works explore his most recent fusions of sculptural manipulation, collage and video. Leary sees rich potential in everything and his practice explores the myriad implications of objects, how they may escape their initial roles and explode with a range of new meaning and implication.
Leary’s fiction makes new worlds, explores possibility and pierces the skin of reality.  Everything is re-made new and potent, reaching for better stories, fresher meanings and a broader, more encompassing vocabulary.

Jacob Leary is a multi-disciplinary artist with a practice spanning a range of mediums including painting, sculpture, prints, video and installation. His more recent creative outputs emerge from his current PHD research (UTAS) and its particular focus on object essences as outlined by particular aspects of speculative realism.       

In 2018 Leary was commissioned to produce Paint Dreamz for Moonah Arts Centre Haveago gallery, he also created a new body of work for Melbourne Art Week as part of Subterrain- the organic sublime and was highly commended in the Glover prize for landscape painting. He has work in two upcoming curated group shows—Systematica at the Plimsoll gallery and The Field revisited (still) at Contemporary Art Tasmania. In 2017 he presented his second solo show at Flinders Lane gallery and in 2016 he exhibited in Brainstorm at the Tasmanian College of the Arts as part of DarkMofo and at Contemporary Art Tasmania as part of their artist to artists programHe has recently undertaken a range of commissions through ARTS TAS and MONA FOMA and has won numerous awards for his work, including the 2012 John Fries Memorial Prize, a national award for emerging visual artists and he was a finalist in the Redlands Art Prize (2016). He has been collected by Artbank University of Tasmania, Justin Art House Museum, RACT Collection, Tasmanian Government, llisington collection and Ormond College. Jacob is represented by Flinders lane gallery (Melbourne) and Private Projects (Hobart).

Image: Jacob Leary, Stuff in Nature, Nature in Stuff, 2018.



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Japanese word (Rippa) is translated as (splendid or Fine)

and Japanese word (Gorippa) is polite language (very splendid Or super Fine)

Born in Tokyo. Tokyo & Kyoto-based Wataru Komachi takes inspiration from the graffiti and Zen Gardens. Wataru Komachi’s art is influenced by Robert Raushenberg, Andy Warhol and 1977’s Punk Rock Movement such as The Ramones, D.I.Y Punk Band Flyers.

Wataru Started Band in schooldays. basically playing Punkrock music And Maked energetically Own Band Flyers.

AfterthatWataru has received offers from film distributing agency for Movie Film ( Last Movie / Directed by Dennis Hopper ) Japanese Edition Brochure’s Back Cover Collage.

It Was the First Commision Work.

The Back Cover Collage were collected By Mr.Dennis Hopper

The Works is Wide Range of Expression are Very Topicality and Wit, at The World Level Has Earned High Praise.

Image: Cosplayer from Paradice, 2018 from the Arcade Angel series. 21 x 29cm mixed media on paper. 

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Exhibition launch: 5pm 18 August 2018

Saturday 18 August – 29 September 2018
Open Saturdays 10 – 4 and by appointment



5pm Saturday 28 March 2018

Every animal leaves behind traces of what it was. Man alone leaves traces of what he created.

– Jacob Bronowski, The Ascent of Man, 1973

I become nature

Nature becomes me

Matter becomes energy

Energy becomes matter

Nothing ceases to exist

Nothing remains unchanged

The Earth, the universe, in a constant state of flux.

Carbon examines the intersection between human and nature, between deep time and life-time, history and now, the Anthropocene and the tiny amount of Earth time it’s taken for humans to wreck it all.

Gabbee Stolp creates relics, monuments and offerings about the human relationship with nature that want for mending, but are critical of the egotistical role we play in shaping the landscape.

Gabbee Stolp grew up in Tasmania. The peaks of Sentinel Range, on the way to Strathgordon and the neon beer mug light on top of the Maypole Hotel in New Town were two of her favourite things.

Gabbee’s artistic practice exists across several mediums, with a primary focus on contemporary jewellery, object-making and textiles. Her works explore human inter-connectedness with nature, invoking both biological and metaphysical themes and examining the current geological epoch, dubbed the Anthropocene, during which time human impacts on the environment have become indelible.

For the past five years Gabbee has lived in Melbourne, completing a Bachelor of Arts (Fine Arts) First Class Honours at RMIT University in 2016. In 2017 she was a finalist in the Victorian Craft Award and a recipient of the Maggie Fairweather Studio Residency, for RMIT Gold and Silversmithing graduates.

Gabbee has exhibited extensively in Victoria and Tasmania, in both solo and group exhibitions. She has been included in several publications, including Narrative Jewellery: Tales from the Toolbox (2017, ed. Mark Fenn) and Back to Back (2016, ed. Dr Kirsten Haydon).

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Saturday 28 April – 2 June 2018
Open Saturdays 10 – 4 and by appointment


5pm Saturday 10th March 2018

Hey Stewart, i received your package of Items found with used books.

We would like to show it in our gallery, we would like to make a zine with one item per page.

The cover would be the envelope you sent, in some reasonable edition.

The zine would be called  – Items found with used books.

The items from the envelope would be displayed in the gallery.

We would drink beer and look at it.

The exhibition would be called – Items found with used books.

what say ye? 

Stewart Home, is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative 69 Things to Do with a Dead Princess, The 9 Lives of Ray The Cat Jones,  his re-imagining of the 1960s in Tainted Love, and earlier parodistic pulp fictions Pure Mania, Red London, No Pity and Defiant Pose that pastiche the work of 1970s British pulp fiction, political agit-prop, and historical references to punk rock and avant-garde art. He once picketed a Stockhausen concert in Brighton, threatening to levitate the building.

Private Projects

Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

Saturday 10th March – 14th April

Open Saturdays 10 – 4 and by appointment



The freeways, the rivers, the mountains in the horizon, the oceans.
The wet grass and the hot cement, especially the cement. Gas stations old and new, the endless bars with the smell of old beer lining the floors, piss in the bathrooms, the familiar sting of whiskey.
Most places feel the same.

I took one of these photos out from its sleeve and now I’m not sure where it belongs. I can’t seem to figure out where I was or even what year it was taken. I put it back in a random sleeve because I guess it doesn’t matter anyway. I’m easily distracted and highly sensitive and almost never content. The air in the apartment, in this city, feels stagnant and lifeless.

Nikki Greene is a Brooklyn based photographer.
Private is proud to present her first Australian exhibition.

LAUNCH 5pm Saturday 27 January 2018

 27th Jan – 3rd March
Open Saturdays 10 – 4 and by appointment

Slight Foxing


Found Images. Old photographs. At once meek and undeniable in their materiality. One copy. This copy. Caches. Hoards. Boxes. Widely and haphazardly distributed until on a threshold of zero to negative value. Images from before the feed. the stream. the cloud. the disc. the drive. Images not yet on the internet. Theres the whole categorisation as vernacular thing, but that begins from a place of privilege and empire. There’s the whole studium, punctum thing. Which thankfully dissolves as you describe it so… Theres the separation we are performing, of these images from their original intended, personal audiences. Theres the nostalgia thing which can initially mask the lingering tone of mortality, but thats not what we are doing here. However you slice it, we age faster than the images we render. These are old, found photographs, we found them and chose them. Now we intend to look at them.

5pm Saturday 9 December 2017

Private Projects
Suite 7, Level 1, Moonah Centre.
Enter from Hopkins St, up the stairs.


Saturday 9th December – 6th January
Open Saturdays 10 – 4 and by appointment

Having problems finding us?
Call 0408358671

Lisa Sammut: Modest Monument


Modest monument includes woodwork objects and timepieces that play with observable representations of time unfolding. Sammut’s work draws on the shapes of ancient universal symbolism, cosmography, celestial architecture and forms of diagrammatic planetary dynamics. Considering the likeness,
alignments, chemistry, and mimesis between things as a relational tool, they
perform or embody a sense of expansion.

12 – 3pm Saturday 4 November 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

4 November – 2 December 2017
Open Saturdays 10 – 4 and by appointment

Working across sculpture, collage, video art and model-based installation, Lisa Sammut seeks to gain a tangible sense of cosmic time, distance and scale through material production. Taking the speculative fields and spatial situations of astro-archaeology and celestial architecture as a starting point, her current interest centres on the relations between cultural artefacts, handmade objects and natural forms as sensory tools for grasping the many versions and magnitudes of deep space and deep time. Recent solo exhibitions include tapestries for galaxies, Verge Gallery (2017), for the time being, Bus Projects (2016), every now and then, Firstdraft (2015). In 2016, Lisa received a Sainsbury Sculpture Grant to undertake an intensive woodcarving course at the Geisler-Moroder Schnitz und Bildhauerschule in the alpine region of Tirol, Austria and is currently a MFA by Research candidate at UNSW Art & Design, Sydney.

Kwanchai Sinpru: Sinner’s Battle


The world of Thai artist Kwanchai Sinpru is one filled with demons, rampant in their violence and impulsive destructiveness. Mixing the eerie fallen angels and malevolent ghost figures of Thai folklore with images of contemporary violence, Sinpru is working in a powerful tradition of grotesque imagery, using it to comment on and dissect human failings and ugliness.

Kwanchai Sinpru’s work is informed by customs of folk art and lore that are strong throughout South East Asia, mixed in with bleak truths about humanity. Guns, living missiles, unholy fire and diabolic engines all feature in a blend of manic energy and a fascination with the dark and confronting. Sinpru manipulates traditional forms to create a new spectacular monstrosity – one to which our gaze is irresistibly drawn.

5 – 8pm 7 October 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

7 – 3 November 2017
Open Saturdays 10 – 4 and by appointment

Kwanchai Sinpru is a Bangkok-based artist.
Image: Kwanchai Sinpru, Dooooooooooom!!!, 2017. Drawing, chinese ink and pastel on paper



Collusion Personnel brings together a number of text works by Sydney based artist MP Hopkins.
Using video, sound, drawing objects and photography, Hopkins rejigs, redacts and refocuses the language of social media, politics and advertising in odd ways; political rhetoric is refashioned into dissenting anagrams; targeted advertising is lampooned through altered, out of date fax offers; and the conflicted nature of social media postings are dissolved via a video poem that absorbs the inconsistencies into a chalky abyss.

In conjunction with the exhibition Hopkins will launch a new book of poetry Upright in the Field published by Sydney based imprint Ruin Press.

A reading from the book will occur at the opening of the exhibition on Saturday 5 August 2017.

5 – 8pm 5 August 2017

Private Projects
Suite 7, Level 1, Moonah Centre. Enter from Hopkins St, up the stairs.

5 August – 16 September
Open Saturdays 10 – 4 and by appointment

MP Hopkins is a Sydney based artist working with sound, words and occasionally things in rooms. Hopkins has released recordings through Penultimate Press (UK), Vittelli (UK), Thalamos (GR), Alberts Basement (AU), RIP Society (AU), and Canti Magnetici (IT). He has performed at the NOW now (AU), Avantwhatever Festival (AU), Liquid Architecture (AU), TUSK (UK) and Colour Out of Space (UK), and works as part of the duo ‘Half High’ with Lucy Phelan.

Hopkins has written articles for Runway Experimental Art journal and un Magazine, and his first collection of writing Upright in the Field will be published by Sydeny-based imprint Ruin Press (late 2017). MP has presented mixed media installations at various artist-run and commercial galleries across Australia and abroad such as 55 Sydenham Rd (AU), Firstdraft (AU), Tin Sheds (AU), TCB (AU), Margaret Lawrence Gallery (Au),  MCA (AU), Artspace (AU), Gertrude Contemporary (AU), LaSalle College of the Arts (SG), Tiny Creatures (US), COR&P (US), and Turner Gallery (JP).

Kate Geck – RLX:tech


RLX:tech specialises in meditation strategies to manage the demands of your connected life. Our perennial waiting room features augmented, artist-designed wall hangings that are accessible through a simple, free app available for smart devices. Once activated, they stream a range of guided meditations designed to alleviate many common psycho-social-media ailments.

A new language of interaction is evolving, and the emerging codes can be confusing (read but not replied), unpredictable (gangnam style) and tiresome (#yolo). In a recursive nod, RLX:tech provides space for you to manage these stressors through the very devices that trigger them.


5 – 8pm Saturday 1 July 2017

Private Projects

Suite 7, Level 1, Moonah Centre, 113 – 115 Main Road, Moonah 7009

Enter from Hopkins St, up the stairs.


1 July – 29 July

Open Saturdays 10 – 4 and by appointment

Kate Geck is an artist working with digital and sensory space. Her work considers ways that technology can skew and amplify sensory experience. She works with acrylic sculpture, neon, kaleidoscopic projections and augmented, digitally printed substrates. These works explore modes of materialising the immaterial, often processing mediated experiences into something tangible.
Exhibitions include Athens Digital Art Fest 2016, NARS NY, ISEA 2015 (Vancouver), International Centre for Contemporary Art (Singapore), San Francisco Art Festival, Nextwave, NGV Studios, Liquid Architecture, Channels and L’Atelier Kunst (Berlin). She has received awards from Australia Council, City of Yarra, NAVA, Copyright Agency, commissions from State Library of QLD, Metaverse Makeovers, RMIT, SIGNAL, Polyglot, Brisbane Festival.