Transitions 2026

Carly Sheil with Fernando do Campo

Artist mentee Carly Sheil worked online with their mentor Fernando do Campo, exploring themes of otherness and social justice through conceptual and narrative approaches. Carly's work continues their interests in shared characteristics of certain humans and certain animals, such as flying foxes and snails. The artist has begun to develop artworks which subtly highlight these affinities to animals, with a particular focus on neurodivergent and non-binary people's experiences; advocating for a shared approach of kindness for all species. The most recent have developed into snail-inspired, sensory-safe seating works. Fernando has helped Carly refine these works, as well as the conceptual through-lines that underpin them.

Screen capture of Carly Sheil and Fernando do Campo's online meeting.

Carly Sheil presenting in the third Group Critique Session. Photograph: Sonia Warrell. 

A page from Carly Sheil's art journal from the Transitions program.

Carly Sheil's art journal and experimentation, exploring articulated gloves and wings as extensions of humans; sharing an affinity with flying foxes. 

A page from Carly Sheil's art journal from the Transitions program.

Carly Sheil's latest works-in-progress from the program - snail-like seats that will become covered in fabrics and stitched.

Matilda Mathieu with Barbara Cheshire

Throughout their mentorship, Matilda Mathieu has worked with her mentor Barbara Cheshire to expand her visual arts practice while refining her technical skills in oil painting portraiture. The pair have also explored the concepts of observation and personal narrative emerging across Matilda’s work, developing these with greater clarity and intention. Matilda has experimented with form, colour and composition, working diligently and prolifically to extend her understanding. Matilda's resultant portraits of her sister are accordingly accomplished - highlighting nuance, intimacy and reverence.

Matilda Mathieu, Between The Lines, 2026, Oil on canvas, 50 x 40cm. Photograph courtesy of the artist. 

Matilda and Barbara at the start of the program. Photograph: Amanda Galea. 

Matilda presenting her blind contour experiments in the second Group Critique session. Photograph: Sonia Warrell. 

Matilda's graphite studies of her sister Renée. Photograph courtesy of the artist. 

Matilda presenting her portrait works-in-progress in the third Group Critique session. Photograph: Sonia Warrell. 

Michael Klekar with Stephen Coutts

At the start of the Transitions program, Michael Klekar (artist name Drosera) had a very specific idea for a contemporary bust form, which he has adjusted with guidance from his mentor Stephen Coutts. The sculptural work has been interogated and developed through material experimentation and conceptual refinement. Michael has studiously worked through diverse techniques, including building up armatures and forms, carving, casting, assemblage and surface treatment. The bust combines figurative and abstracted elements to reflect on symbols and modes of perception.

Stephen Coutts and Michael Klekar. Photograph: Sonia Warrell. 

Michael deconstructing his bust work in the third Group Critique session. Photograph: Sonia Warrell. 

Michael shares his concept ideas during the first Group Critique session. Photograph Sonia Warrell.

Michael and Stephen working together in The Studio at Umbrella. Photograph courtesy Michael Klekar.

Michael speaking about his work in the second Group Critique at Umbrella. Photograph Sonia Warrell.

Kate Fulton with Lisa Ashcroft

Mentee Kate Fulton (artist name Ekam Tra) worked with her mentor Lisa Ashcroft to expand her visual arts practice, incorporating painting and mixed media approaches. Kate's extensive experimentation with abstraction, collage and painting has led to refined conceptual clarity, layered aesthetics, dynamic compositions and a better understanding of her own practice. Kate has simultaneously juggled health challenges, channeling that experience and personal reflections into her works on canvas. 

Kate Fulton and Lisa Ashcroft at Umbrella in front of installation artwork by Squeak + Bubble. Photograph Sonia Warrell. 

Kate's work-in-progress on a triptych (Baby Blues). Photograph: Lisa Ashcroft.

Kate presenting during the second Group Critique session. Photograph: Sonia Warrell.

Kate's progress on the Baby Blues triptych. Photograph: Lisa Ashcroft.

Kate working on a mixed media triptych in Lisa's studio. Photograph: Lisa Ashcroft.

Sonia Zabala with Jonathan McBurnie

Writing mentee Sonia Zabala met online with her mentor Jonathan McBurnie for the Transitions program. With a background in theatre, Sonia's writing has highlighted advocacy for the enjoyment and importance of visual art. She has explored different approaches including viewer perspectives and personal reflections, and she is developing a greater understanding of how to adapt tone, style and context for diverse publications, platforms and audiences. Jonathan has also helped Sonia with insights into professional pathways for arts writing. Selected excerpts from Sonia's writing are included below:

The images appear almost photographic at first glance. Ellis’ works begin as digital images which he manipulates before tracing onto the canvas.  He further manipulates the images with layers of airbrushing, painting, gels or glazes to strategically mute or saturate colour, soften lines and skew perspective.  This gives each piece a definitive focus and heightens the emotional response to the work...

Part installation, part performance piece, Dameboy incorporates interactive games and multimedia amid crafted exhibits of discarded objects. This clutter of objects, colours and sounds blurs the line between the internal and external worlds of Dameboy. Hot pink wine bladder (aka goon bag), painted milk crates and bags of rubbish are part of this physical reflection of brain clutter and borders on overwhelming. But Brain Field offers a respite from this brain clutter by creating opportunities to interact with the work and each other through games which have no winner...

Lowe’s intention through her artwork is to show the challenges and dark side behind the stereotypical picture of a 1950’s housewife. Life looked picture perfect on the surface but underneath women were struggling with expectation, isolation and the burden of domesticity. These challenges and 1950s coping mechanisms are familiar to today’s women. “The exhibition starts with examples of the different faces of 1950s women,” says Lowe, “and then the domestic images, [and] how they felt [tells] the story, so by the time you get to the end of the exhibition you are looking for a drink and the Bex”...

Sonia and Jonathan in an online meeting, courtesy of Jonathan McBurnie. 

Sonia presenting during the first Group Critique session. Photograph: Sonia Warrell. 

Sonia sharing her writing progress in the second Group Critique session. Photograph: Sonia Warrell.

Sonia presenting in the second Group Critique session. Photograph: Sonia Warrell.