5pm Saturday 29th June 2019
Exhibition continues until 10th August 2019

These are images i have made for something to do, when I enjoy it the most it’s because the pictures make up fun stories about how all of their contents came to be together in the one place.

Energy is Eternal Delight

You could call them Psychic Landscapes, or Dream Diagrams, or Paintings and Collages.

I could say what they are, but then we’re in my movie.

I don’t much like the letters that I’m using to contain meaning right now.

I do find it interesting that you can’t choose to not understand them.

I have preference for those forms which cannot be still, those that when one thinks that they have beheld them, one realises that there is no one-thing to behold, but something more like an infinite-fluid-creative-potential. 

I like to think that every act of creation is the act of creation.

I like to think that every manifestation illustrates the laws by which all that proceeded it operate, and yet possesses the power to inform an altar those same laws.

Anthony Something Feeney born 1980-or-90 something, not the oldest or youngest of some people, somewhere not the best or worst. Sleeps Standing, Speaks Sleeping, Eats Brussels Sprouts.

Skateboarding-Irish-Roman-Catholic-Superstition-Armchair-Mysticism-’80’s USHC-’60’s Haircut Music-Psilocybe Cyanescens-Cotard Delusion-Hallways and Doors to everyone-where-and-when & so on and so forth and all that comes in between and Beginning Eats the End.

There is a way to eternity, it is where everything is, it is perfect communication.

There is nothing to do, so you will have do something with your time.

Buddy Holly, Blue Moods, The Marriage of Heaven and Hell, Gnostic Cosmology, Ray Barbee No-Comply Variations, The Red Book, Iz-ness, I-Ching, Penny Frontside Flips, Panpsychism, Ronnie Boykins – The Will Come Is Now, Fellini Satyricon, Mysterium Tremendum, Coincidentia Oppositorum. Leary’s Letter to Monk. McKenna’s Elves. Beardsley’s grotesque. Blake’s Vision.

Anthony Something Feeney went to school etc. rode the bus and everything.

Is or Seems? It can be so hard to tell.

This is As Far As The I Can See 

I am usually alive and well in Melbourne, Australia.

Open to conversing with strangers.




Joey’s art comes from his observations and experiences of life during late capitalism. He picks up the discarded, looks at the logos, notices the cameras in the sky and wonders where it all goes. He’s as much an activist as he is an artist, with a nuanced political sense informing much of his output. Joey is also a magpie, collecting, collating and configuring colour and form, noticing coincidences and reading between the lines. His work is often sprinkled with satire, but also a strong hope for a better world and a different way of living. He is also a realist, unable to avoid the harsh realities of what he sees.

Joey Gracia is a Hobart-based artist.

Linda Persson: Speaking in Tongues

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LAUNCH: 5pm 18 May 2019

Exhibition continues until 22 June 2019

Private Projects is open 10 – 4 Saturdays and by appointment.
Please email us if you wish to visit outside our opening hours:

Speaking in Tongues, is an exhibition that offers a surreal journey based on ongoing research around thin places and their connection to the immeasurable, old knowledge, and communication beyond language. Linda is showing two installations consisting of moving image works (16mm digitalised) and multiple ceramic sculptures made 2019.

“My recent years of artistic research have engaged with the loss of language caused by colonialism and the scars felt in the landscapes we wander. Starting with a personal or historical memory, I use a sort of ‘tracing back’ as a transformative ritual to position my artistic practice as an engagement with in-depth research revealed in place. Since 2008, I have been following these traces and acting upon the unknown encounters that develop from actually going to particular places, meeting people and engaging with folklore and oral traditions. This challenges the economics of the ‘body in motion’ as it explores borders and limits via the actual body (here, my body), which also highlights my own privilege as a white woman. As borders and infrastructures continually close down for anyone ‘other’, the importance of articulating this challenge becomes all the more pertinent.

What interests me in these places are their harsh landscapes, the histories and legends that surround them, and how they still carry superstitions that makes themselves known as an exchange or a speculative economic act. All these places are usually sites for change, be it of industry (mining), natural disaster, colonialism, or even geological deep time. And still, there is evidence of the human hand interacting over time, which gives these sites ‘humanness’ despite the extremity of the first encounter. Engaging with the oral tradition and the embodied experience of being and acting in place, provides a countermeasure that explodes and expands beyond the limitations of the accepted knowledge and value of the official collected archive. For me the ‘(re)-telling’ of a story, an anecdote related to landscape or a ‘thing’, is a magical thing in itself”.

The exhibition has been made possible with support by The Swedish Arts Grants Committee.

Artist Linda Persson was born in Sweden and lives / works in Stockholm & London. Recent projects includes ISCP New York, with curator Elina Suoyrjö; Art Gallery of Western Australia / North by South East /International Art Space (2018/19); Momentum Biennial, Norway; and, Luzern Kunstmuseum, Switzerland with Laure Prouvost (Higher Her-Love amongst artists, 2017).

She is currently showing her alchemical installation SiO2.n4H2O, as part of Prima Materia, Bundoora Homestead Arts in Melbourne (until 7th July). Linda was nominated and selected for the forthcoming publication (Aug 2019) 100 Sculptors of Tomorrow, by Thames & Hudson.



Cacophony_Digitial Print on Archival Paper_2019web
5pm Saturday 23rd March 2019
Exhibition continues until 11th May 2019

“Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness”
Virginia Wolff, Modern Fiction (1919)

Minds distract easily. Stuck in a groove we ruminate on times past or times yet to pass. Without warning we are plucked from these loops and whisked down some other path of inquiry, we ask, “Was that wall always red?” We meditate, or try to, constantly focus focus focus focusing on the nostrils, where we first feel the breath. We get snapped away by a thought, we follow its track…

Gertrude Stein wrote “Artists do not experiment… An artist puts down what he knows and at every moment it is what he knows at that moment”.
A rose is a rose is a rose is a rose, and there are no accidents.

Kate Hodgetts was born in Tasmania and lives and works in Melbourne. She holds a Bachelor of Fine Arts in photography from the Victorian College of the Arts and a Master of Cultural Material Conservation from the University of Melbourne. Her current practice utilises both camera and camera-less photographic techniques and she literally pushes and pulls the medium to its physical limits. In this exhibition, The Excitingness of Being, intuition is key.  Guided by internal rhythm, the photographic negative is scored where the tool falls and both decisive moments and indecisive moments mingle together in the single frame. Hodgetts is interested in the traditional tropes of photography: memory and time, and her broader practice spans video, sound and photography.



5pm Saturday 23rd March 2019
Exhibition continues until 11th May 2019

Every day the view would be different from the last, never the same. The colours, the sounds, the sky, the sea, always changing, yet always the same. For about 100 days I stared at this view never knowing what to expect. In the summer of 2013-2014 I spent 3 months on Maatsuyker Island, a tiny Island off the bottom of Tasmania, as part of an Arts Tasmania wilderness residency. These photographs are a small glimpse of the view from the house in which I was living and a little bit of what the island is like, they were shot on slide film.

Peter Maarseveen is a Hobart based photographer, camera builder, object maker. His main practice is pinhole photography, in which he builds cameras out of found materials. Since graduating in 2011, majoring in photography and sculpture, he has had numerous solo exhibitions and undertaken residencies, including one in North Carolina, U.S.A. He is currently studying honours, exploring plant based camera-less photographic techniques

Dexter Rosengrave: America 35mm


5pm Saturday 24 November 2018

Exhibition continues until 29 December 2018
Private is open Saturdays 10am – 4pm and by appointment

Sitting with a homeless man at 4am while he draws my portrait
Eating all the food in the hostel and getting kicked out after the first night
Choosing the swamp over Beyonce and regretting it
Cheap cigarettes and even cheaper beer
Neon graveyards.

Almost skidding off the road on the way back from a packed waterfall
Feeling moved by a plant that grew flowers inside of itself
Margaritas in a bottle for breakfast in Nevada
Never fully comprehending all the weirdness

The sound of a saxophone cutting through the Seattle Freeze
Stripping all my clothes off too early
Free bags of coke and shots of Fireball with a Russian American man
Philly Cheesesteaks in the City of Roses
The view from the High Line.

Thinking that they really know how to take care of their National Parks
Never getting to the end of Tinder
Standing outside Steve Powers closed studio when it was raining but not cold
Watching someone get BDSM hypnotized on Thanksgiving
Dusty sandstorms.

Falling in love in San Francisco
Being called a witch the day George Michael died
Having a moment with two desert dogs
Getting cruised in a foyer of a sexual health clinic
A trolley full of trash filling my frame.

America, 35mm is a collection of expired film photographs and story telling from Dexter Rosengrave’s 2016 trip to the USA.

Dexter Rosengrave is a queer transgender emerging artist based in Hobart,
Tasmania. Their work currently exists at the intersection of performance, multi media, gender, body and identity. Their lived experience of being queer and transgender has recently shifted to the forefront of their practice and they are beginning to develop a significant interest in community focused art projects which blend archival documents and personal stories with queer history.

Rosengrave completed their Bachelor of Fine Arts with Honours in 2018 and they were recently awarded the 2019 funded Rosamond McCulloch Residency in Paris.

Private Projects – 113 – 115 Main Road, Moonah, Tasmania
Entry off Hopkins St, up the stairs (opposite Dan Solo Comics)
Having problems finding us?
Call 0408358671

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