Sunshine Coast University Hospital art collection

SUNSHINE COAST
UNIVERSITY HOSPITAL
ART COLLECTION

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CONTENTS
THE ART PROGRAM 4
INDIGENOUS WELCOME 6
THE OUTDOOR ROOM 8
ALEXANDER KNOX
CENTRAL COURTYARD 12
DAVIS THOMAS
ADEM CROSBY CENTRE COURTYARD 16
DAVIS THOMAS
LIFT LOBBIES 20
ALY DE GROOT
SUNSHINE COAST HEALTH INSTITUTE (SCHI) 24
BIANCA BEETSON
INPATIENT ROOM ART COLLECTION 26
GREG ADAMS 28
JUDITH AHERN 36
MARITA ALBERS 38
LEAH BARTHOLOMEW 42
BIANCA BEETSON 50
ELISA JANE CARMICHAEL 52
AMY CLARKE 58
MEGAN COPE 62
LYNDON DAVIS 72
ALY DE GROOT 74
SIMON DEGROOT 76
SHANNON GARSON 80
HELGA GROVES 84
RAELEAN HALL 88
PAUL HARBOUR 98
BONNIE JENKINS 104
IMAGING WAITING ROOM (KABI KABI) 108
COLLEEN WALL, MAURICE
MICKELOW, HOPE O’CHIN, DHANA
BOKELUND & LYNDON DAVIS
MICHELE KNIGHTLEY 114
DALE LEACH 120
RACHAEL LEE 124
BLAIR MCNAMARA
(ICU WAITING ROOM) 130
BILLY MISSI 134
CARL P MOGGS 138
CATHY MONEY 144
IDA MONTAGUE 150
ROLAND NANCARROW 156
KERRY NEILL 162
LAURIE NONA 166
NICK OLSEN 170
SANDRA PEARCE 176
BEATRICE PROST 180
BRIAN ROBINSON 184
JOEL SAM 188
SUSAN SCHMIDT 192
MELINDA SERICO 198
MEAGHAN SHELTON 204
TIFFANY SINGH 210
WAYNE SINGLETON 216
PIP SPIRO 222
DEBBIE TAYLOR 226
IAN TREMEWAN 232
COLLEEN WALL 238
PAM WALPOLE 240
JUDY WATSON 248
Cover Image: Elisa Jane Carmichael, The Bungwall Fern
Left: Raelean Hall, On the Rise
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THE ART PROGRAM
In 2013, Independent Arts Management (iAM) was commissioned by Lendlease
on behalf of Exemplar Health and the Queensland Government to curate and
manage the Sunshine Coast University Hospital’s (SCUH) Art and Health
Program. This included a number of public art commissions and over 450 in-room
wall based artworks, making it a significant collection of local and Indigenous
artwork on the Sunshine Coast. The program acknowledges the proven benefits
of art as a medium for health promotion and therapeutic intervention. By taking
a holistic approach to integrating public art throughout the campus, the SCUH
has embedded art into the design, landscape and ongoing operation of the
hospital. The Art and Health program supports, enhances and develops the
existing cultural and creative ecology of the region.
The public art commissions included the Main Entrance Indigenous Welcome
Wall, the Outdoor Room entry sculpture, Central Courtyard and Adem Crosby
Centre Courtyard sculptural elements, the Sunshine Coast Health Institute (SCHI)
integrated artworks and Lift Lobbies. In addition, an extensive collection of wallbased
artworks was curated and commissioned for a selection of the internal rooms,
corridors and waiting areas. The art collection features over 90% local or locallyconnected
artists and over 30% Indigenous and Torres Strait Islander artists.
iAM’s curatorial theme for the SCUH Art and Health Program is Belonging.
Belonging
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This vision recognises the importance of the
hospital as a facility serving the region, and the
unique opportunity it provides to use art to gain
recognition, establish a sense of place and
assist with integrating the facility into the fabric
of the region. The public art complements,
contrasts and enhances the architectural
structures and landscaping elements of
the facility, to create an integrated healing
environment to support patient wellbeing.
Images From Top Left:
Bianca Beetson, Guana | Davis Thomas, Kin
Davis Thomas, Kindred | Alexander Knox, Nudibranch

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INDIGENOUS WELCOME
Wunya
Colleen Wall, Maurice Mickelow, Hope O’Chin,
Dhana Bokelund & Lyndon Davis
WUNYA means ‘welcome’ in the Kabi Kabi (Gubbi Gubbi) language, the
traditional owners and custodians of this area. This unique collaborative artwork
symbolises a call to country, where the artists represent meaningful elements of
their native flora and fauna.
Kabai Bee, the endangered Bulimbirjari Butterfly and Mibir Mary River turtle are
all very important spirit people of our land law. Colleen Wall
The Dolphin, Yuloo, and the Goanna, Waruee, in their environment, both embody
our values of ‘Place’, ‘Belonging’, ‘Respect’ and ‘Lore’. Hope O’Chin
We look after our ancestral country, Djaagan – from the ocean and rivers, to the
rainforest and mountains - and the land looks after us. Maurice Mickelo
The Bauple, Macadamia nut signifies the uniqueness of our flora and fauna as it
grew only in the Kabi Kabi catchment originally. Dhana Bokelund
The Black Swan, Goolooin, represents Maroochy, an ancestral being searching
for the spirit of lost love Guloom, Mt Coolum. Lyndon Davis
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THE OUTDOOR ROOM
Nudibranch
Alexander Knox
The Outdoor Room is the key public art site for the Sunshine Coast University
Hospital. As the main entrance and large-scale public plaza, the Outdoor Room
offers a significant opportunity for public art. It is framed by an architectural
structure that defines the main entrance to the hospital and the Sunshine Coast
Health Institute (SCHI). Encapsulating the central theme of belonging, the public
art work extends a welcome to visitors, patients, students and staff to hospital.
The artist Alexander Knox, has drawn on ideas and forms from nature’s exuberant
theatre of life for the work Nudibranch (shell-less sea snail). The drama of display
and attraction, of mimicry and subterfuge involving the intricate and sometimes
elaborate strategies nature employs to interact, survive and thrive. In particular
the diverse flora and fauna from the bush and coastal wetlands and the rich
marine environment surrounding the Sunshine Coast University Hospital has
inspired the forms and colours of the work. Within the works form and palette are
influenced by several riotously coloured Nudibranch - soft corals, the spectacular
little bee-eater bird and several local flowering plants.
A child does not need to be told that a coral reef or an iridescent butterfly is
beautiful, the attraction is natural and instinctive. We are drawn to the colour and
form of a flower or the brilliant plumage on a bird. These spectacular adaptations
are not for us, we are not their target, and yet still they fascinate and please us.
We can sometimes forget that we too are part of nature and our connections to
the natural world are deep and complex. Alexander Knox
Images Right and Overleaf: Alexander Knox, Nudibranch
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CENTRAL COURTYARD
Kindred
davisthomas
The centrepiece of the hospital is an enclosed central courtyard, forming the
green heart of the main hospital building. The courtyard has been designed to
accommodate leisure activities for both children and adults as well as spaces
that allow for quiet, contemplative reflection.
The Kindred artwork has emerged from the history of the previous landscapes
of the hospital site: the grasslands, fields and flora of the Kawana area. This
artwork relates the visual language of grasslands and seed pods weaving an
elegant and gentle visual narrative throughout the courtyard. Made up of two
inter-related key elements – the wall structure and vertical sculptural elements,
Kindred uses a simple system of repeating motif, form and materials by which to
resonate with the grassland ecology of the site.
The sculptural elements sitting on the peak of each curving pole also feature a
light source embedded into the sculptural pod. The reflective surface of these
elements will allow for a responsive daytime quantity attuned to the sunlight and
weather, whilst at night the work will come to life in a unique and tranquil way.
The elements will glow, reflect and shadow a warm white light. Kindred will cycle
through a program of fluctuating light commands that will activate each lantern
within a cluster to emit a warm undulating white light. The effect will be that in the
night the landmark parabolic wall work will be transform into an oscillating cloud
of light, woven together by the individual clusters located through out the space.
Images Left and Overleaf: Davis Thomas, Kindred.
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ADEM CROSBY CENTRE
COURTYARD
Kin
davisthomas
The Adem Crosby Centre Courtyard offers secluded views for reflection and
observation of the artwork to gather their thoughts or simply be for a moment.
Kin is a subtle yet dynamic artwork that reflects upon the ancient local landscape
and flora, cycles of time, rituals of community, gathering and belonging. The
artwork functions as both a visually engaging vista from within the waiting room,
as well as a porous screen giving privacy between the waiting room and the
activities within the courtyard.
Each sculptural element is handmade and unique, offering a diffused vibrant light
source (viewable day and night) that transitions, at a barely perceptible pace,
across a colour sweep of healing colours. The pace of light change is such that
the viewer might not recognise the change until it is complete – creating a subtle
dynamism in the work. Equally though, one can sit with the work for a period,
and experience as the artwork cycles through a full colour cycle.
The native flora of the area inspires the concept; the richness of texture, structure,
colour and form of this ancient native habitat. In particular the Banksia and it’s
cycle from seed pod to flower to pod has underpinned the visual language of
the sculptural elements. They transition from one form to the other in a cycle that
echoes in time immemorial; connecting to both the annual cycle of seasons and
the geographic timescale of the Sunshine Coast’s landscape.
The materials and building techniques absorb these ideas of time cycles, rituals
(of making), ancient and contemporary techniques, tools and products. Kin
will infuse the audience with a sense of cyclic timelessness, transition and
contemplation.
Images Left and Overleaf: Davis Thomas, Kin.
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LIFT LOBBIES
Interweave
Aly de Groot
The two lift lobbies are central elements of the Hospital Street and provide the lift
transport for the public and visitors from the ground level to the upper floors of
the Facility. The ability of visitors to find the A and B lift lobbies and access the
correct lift is an important wayfinding aspect for the hospital.
Interweave is a collaborative project between artist and weaver Aly de Groot
and a group of Indigenous weavers from the Kabi Kabi traditional land: Beverly
Hand, Cecelia Combo, Brianna Asher and Helena Gulash. Interweave features
two clusters of handwoven sculptural forms lit with subtle fibre optic lighting. Lift
Lobby A features The Jellyfish installation, and Lift Lobby B features The Great
Cormorant Bird installation.
Lift Lobby A: The Jellyfish, features five jellyfish hand-woven from sustainably
sourced, neutral fishing line and fibre optic cable. There are many different
species of jellyfish found in the ocean near the hospital and the artwork is an
evocative and calming signature artwork for the lobby A area.
Lift Lobby B: The Great Cormorant Bird, features a series of five birds inspired
by one of Australia’s most elegant birds, the Great Cormorant, also hand-woven
from sustainably sourced fishing line and fibre optic cable. These birds are
found commonly in the Sunshine Coast region and are known internationally as
the ‘fishing bird’; is an apt title for birds woven out of fishing line.
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Images Right and Overleaf: Aly de Groot with Kabi Kabi weavers Beverly Hand, Cecelia
Combo, Brianna Asher and Helena Gulash, Interweave. Special Thanks to Helena Gulash,
Kabi Kabi consultant.

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THE SUNSHINE COAST
HEALTH INSTITUTE (SCHI)
GUANA
Bianca Beetson
The inspiration for this artwork is from the guana, which was a native wildflower
found in the Kawana, Warana and Caloundra area.
The Kabi Kabi (Gubbi Gubbi) are the traditional people and custodians of
the area. The name ‘guana’ means wildflower in the Kabi Kabi language and
wildflower blooms are a metaphor for new life and seasonal change, while also
representing ideas, history and time related to the Kabi Kabi culture.
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Artists
in alphabetical order
GREG ADAMS
JUDITH AHERN
MARITA ALBERS
LEAH BARTHOLOMEW
BIANCA BEETSON
PIP BOYDELL
ELISA JANE CARMICHAEL
AMY CLARKE
MEGAN COPE
LYNDON DAVIS
ALY DE GROOT
SIMON DEGROOT
SHANNON GARSON
HELGA GROVES
RAELEAN HALL
PAUL HARBOUR
BONNIE JENKINS
KABI KABI COLLABORATION
MICHELE KNIGHTLEY
DALE LEACH
RACHAEL LEE
BLAIR MCNAMARA
BILLY MISSI
CARL P MOGGS
CATHY MONEY
IDA MONTAGUE
ROLAND NANCARROW
KERRY NEILL
LAURIE NONA
NICK OLSEN
SANDRA PEARCE
BEATRICE PROST
BRIAN ROBINSON
JOEL SAM
SUSAN SCHMIDT
MELINDA SERICO
MEAGHAN SHELTON
TIFFANY SINGH
WAYNE SINGLETON
DEBBIE TAYLOR
IAN TREMEWAN
COLLEEN WALL
PAM WALPOLE
JUDY WATSON
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INPATIENT ROOM
ARTWORK COLLECTION
Art in hospitals can provide therapeutic activity for patients and carers. It offers
a welcome distraction for those who are ill, or who are visiting loved ones that
are unwell. It provides a more pleasant working environment for staff and can
be used by them to communicate information through using distinct landmarks
and assist with wayfinding.
In patient rooms, IPU’s, waiting areas and patient lounges, feature a collection of
commissioned or directly purchased artworks. Locations have been determined
by the Joint Arts Committee to welcome and support both patient and carer
activity in a wide range of spaces. The art in the Sunshine Coast University
Hospital (SCUH) reinforces the links with the local community, by commissioning
and using the works of locally connected artists, who understand the landscape
and culture and history of our local area.
Today’s health service is fortunate enough to have many examples of how the arts
can be successfully implemented within SCUH and there are many examples of
the creative application of visual arts in healthcare environments and examples
of the benefits to patients and staff alike.
Therapeutic
Environments
Left Top: Pip Boydell,
Banksia Integriflora, detail.
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GREG ADAMS
GREG ADAMS, local artist, first visited Queensland at thirteen. It had such an
impact on him that he still draws on these early memories when creating his
paintings. The timber houses on stilts were exotic and fascinating to him. The
warmth of the seas, the blue of the sky and the sweet smell of ripe pineapples
are vivid memories.Greg has lived on the Sunshine Cost since the 1970s. The
element of naivety in Greg’s work is deliberate. His paintings are included in
collections throughout Australia, the United Kingdom and Europe.
Left | Jacaranda, Greg Adams, acrylic on mountboard, 600mm x 800mm, 2016.
Above | Dusk, Greg Adams, acrylic on mountboard, 800mm x 600mm, 2016.
Overleaf Left | Houses, The Palms, Qld Tropical Garden, Greg Adams, acrylic on
mountboard, 600mm x 800mm, 2016.
Overleaf Right | Coastal Garden, Greg Adams, acrylic on mountboard, 600mm
x 800mm, 2016.
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Left | Headland, Greg Adams, acrylic on mountboard, 600mm x 800mm, 2016.
Above | Houses and Jacaranda, Greg Adams, acrylic on mountboard, 600mm
x 800mm, 2016.
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Above | Night Garden, Greg Adams, acrylic on mountboard, 600mm x 800mm,
2016.
Right | Mountain Evening, Greg Adams, acrylic on mountboard, 600mm x
800mm, 2016.
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Noosa Skyscapes Series, Judith Ahearn, limited editioned giclee print on archival
cartridge, 2016.

JUDITH AHERN
JUDITH AHERN, local artist, has been making photographs for over thirty years.
Her practice includes work in the mediums of black and white photography, color
photography, alternative processes and video art. Judith Ahern investigates and
photographs the coastal environs and skyscapes of the Noosa area. Her work
addresses the landscape as a theme and also encompasses an exploration of
the digital processes. Ahern has exhibited her work at galleries and museums in
Australia and internationally in France, US and Spain.
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MARITA ALBERS
MARITA ALBERS, local Eumundi artist, has been exhibiting and teaching, in a
variety of mediums, for over ten years. Her work is in the public collections of the
Museum and Art Gallery of the Northern Territory and Charles Darwin University,
as well as private collections worldwide. Her triangle motifs can be seen in the
the natural landscape - spiky pandanus leaves, termite mounds, jagged rock
pinnacles inspired by her travels in Arnhem Land.
Left | Prismatic I, Marita Albers, acrylic on board, 600mm x 800mm, 2016.
Above |Prismatic III, Marita Albers, acrylic on board, 800mm x 600mm, 2016.
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Above from Left | Prismatic X, IV, V & IV, Marita Albers, acrylic on board, 800mm
x 600mm, 2016.
Below from Left | Prismatic VI, II, VIII & VII, Marita Albers, acrylic on board,
800mm x 600mm, 2016.
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MARITA ALBERS
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Blueberry Ash, Leah Bartholomew, Fine Art giclee print of acrylic on canvas,
editioned on cotton rag paper, 650 x 900mm, 2016.

LEAH BARTHOLOMEW
LEAH BARTHOLOMEW has a background in Fine Arts, textile design and graphic
design and is a multi-disciplined artist and designer. Based on the flora of the
Sunshine Coast, Leah has created a series of works using vivid colour, pure
abstract forms and harmonic compositions. After a successful collaboration with
Australian label, Gorman in 2013, Leah’s signature style was recognised by a
large audience and she is held in collections nationally.
Sea Daisies, Leah Bartholomew, Fine Art giclee print of acrylic on canvas,
editioned on cotton rag paper, 900 x 900mm, 2016
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LEAH BARTHOLOMEW
Above | Cunjevoi Plants, Leah Bartholomew, Fine Art giclee print of acrylic on
canvas, editioned on cotton rag paper, 900 x 900mm, 2016.
Right | Pandanus at Dusk, Leah Bartholomew, Fine Art giclee print of acrylic on
canvas, editioned on cotton rag paper, 650 x 900mm, 2016.
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LEAH BARTHOLOMEW
Above | Grey Carroll Myrtle, Leah Bartholomew, Fine Art giclee print of acrylic on
canvas, editioned on cotton rag paper, 900 x 900mm, 2016.
Left Top | Banksia, Through the paperbark trees at Tea Tree, Leah Bartholomew,
Fine Art giclee print of acrylic on canvas, editioned on cotton rag paper, 650 x
900mm, 2016.
Left Below | Spring Carroll Myrtle, Leah Bartholomew, Fine Art giclee print of
acrylic on canvas, editioned on cotton rag paper, 900 x 900mm, 2016.
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LEAH BARTHOLOMEW
Above | Summer Proteas, Leah Bartholomew, Fine Art giclee print of acrylic on
canvas, editioned on cotton rag paper, 900 x 900mm, 2016.
Right | Bootlace Bush, Leah Bartholomew, Fine Art giclee print of acrylic on
canvas, editioned on cotton rag paper, 650 x 900mm, 2016.
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Above | Heron Island Suite #8, Digital Photographic print on lustre paper, 2009.

BIANCA BEETSON
BIANCA BEETSON, is a Kabi Kabi (Sunshine Coast) Indigenous Australian
woman with a Bachelor of Arts Visual Arts (Honours). Bianca’s work is concerned
with her individual identity as well as Australia as a nation of history. Bianca’s
work is loaded with layers of meaning; the references to the desert dot paintings
of the central Australian desert artists, the stenciling technique of the Arnhem
Land cave painters, blended with references to the work of twentieth century
artists. Bianca has work in public and Private collections around Australian and
internationally including Art Bank, QPAT and Queensland Art Gallery.
Above | Bonyi Songlines, Digital Photographic print on lustre paper, 2012.
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ELISA JANE CARMICHAEL
ELISA JANE CARMICHAEL belongs to the Quandamooka people of Minjerribah,
North Stradbroke Island and is passionate about nurturing and preserving her
strong connection to the sand and sea, Yoolooburrabee. Her current practice
visually explores the beauty of nature and surrounding environment, drawing
inspiration from her cultural identity and heritage.
Above | The Bungwall Fern, Elisa Jane Carmichael, acrylic on board, 600mm x
9000mm, 2016.
Left | The tide coming in, Crab holes & fishing nets,, Elisa Jane Carmichael,
acrylic on board, 9000mm x 600mm, 2016.
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Above | Tide Lines, Summer pigface flower, Elisa Jane Carmichael, acrylic on
board, 600mm x 9000mm, 2016.,
Right | Night fire, Elisa Jane Carmichael, acrylic on board, 600mm x 9000mm,
2016.
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Above | Sand tracks, Elisa Jane Carmichael, acrylic on board, 600mm x 9000mm,
2016.
Sunset at Deadman’s Beach, Elisa Jane Carmichael, acrylic on board, 600mm
x 9000mm, 2016.
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Above | Crab tracks, Elisa Jane Carmichael, acrylic on board, 600mm x 9000mm,
2016.
Looking into the bush, Elisa Jane Carmichael, acrylic on board, 600mm x
9000mm, 2016.
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Above from top left | Glasshouses, My favourite place, Where I live, River camp 2,
Amy Clarke, all acrylic on board, 620mm x 620mm, 2016.

AMY CLARKE
AMY CLARKE is a local painter based in the Sunshine Coast hinterland. Her
work draws from nature creating a rich abstraction from direct experiences from
the Sunshine Coast environment. Amy has been exhibited around the country
in solo and group shows, most recently at Noosa Regional Gallery, Toowoomba
Regional Art Gallery, The Norvill Prize, Lethbridge 10 000 Art Prize and the
Redland Art Prize.
Above | Feels like home, Amy Clarke, acrylic on board, 620mm x 620mm, 2016.
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AMY CLARKE
Above | North shore camp site, Amy Clarke, acrylic on board, 620mm x 620mm,
2016.
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Above from top left | A moment of joy, It might rain soon, Sometimes there’s no
rain, Naturous Paris, Amy Clarke, all acrylic on board, 620mm x 620mm, 2016.
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Above | Meanjin, limited editioned giclee print on archival cartridge, 2016.
Right | Quandamooka, limited editioned giclee print on archival cartridge, 2016.
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MEGAN COPE
MEGAN COPE, Megan Cope has a diverse practice that investigates issues
relating to identity, the environment, and mapping practices. She is a
descendant from the Quandamooka region (North Stradbroke Island) in South
East Queensland and hasexhibited in Australia and abroad, including in the
ARC Biennial in Brisbane, PARAsite Gallery in Hong Kong, and City Gallery,
Wellington in New Zealand. Her work was exhibited in ‘Lie of the Land: New
Australian Landscapes’ (2012) at the Embassy of Australia, Washington DC,
USA, curated by Alex Taylor.v
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Above | Winnum, limited editioned giclee print on archival cartridge, 2016.

MEGAN COPE
Above | Murukutchi-dha, limited editioned giclee print on archival cartridge, 2016.
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Above | Winnum, limited editioned giclee print on archival cartridge, 2016.
Right | Yugambeh, limited editioned giclee print on archival cartridge, 2016.
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MEGAN COPE
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Above | Kal’owen-dha, limited editioned giclee print on archival cartridge, 2016.

MEGAN COPE
Above | Kulum, limited editioned giclee print on archival cartridge, 2016.
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Above | Yaron, limited editioned giclee print on archival cartridge, 2016.

MEGAN COPE
Above | Yung Kabi, limited editioned giclee print on archival cartridge, 2016.
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LYNDON DAVIS
LYNDON DAVIS, Kabi-Kabi artist, was taught the stories of the South-East
Queensland region by his grandmother. His acrylic on canvas paintings depict
images of traditional shields of the area. He received from the Sunshine Coast
University, the Senior Fellowship Award to honour his services over the last
fifteen years to the region. He is held in collections nationally and internationally
including in Queensland Gallery of Art.
Above | Humpback, Lyndon Davis, archival pigment print on German Etching
paper, 1120mm x 620mm.
Left | Sea Eagle Season, Lyndon Davis, archival pigment print on German
Etching paper, 914mm x 930mm.
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Jellyfish Series #1 - #10, Aly de Groot, cyanotype print on archival handmade
Indian cotton paper, blue cotton, green cotton, 5600mm x 7600mm, 2016.

ALY DE GROOT
ALY DE GROOT, is an interdisciplinary artist whose practice involves the
creation of woven sculpture, objects and installations. A thorough investigation
and experimentation with a diversity of contemporary basketry processes
has resulted in several bodies of artwork which are continuously evolving and
developing. Aly relocated to the Sunshine Coast to collaborate with a group of
Kabi Kabi Indigenous weavers on a large scale jellyfish installation for the SCUH.
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SIMON DEGROOT
SIMON DEGROOT is an Australian artist who graduated
a Bachelor of Fine Art (visual art) with Honours from the
Queensland College of Art and is known for his various largescale
abstract murals spotted throughout Queensland’s urban
landscape. His cloud series is based on the landscape of the
Sunshine Coast and was developed specifically for the healing
environment of the Sunshine Coast Public University Hospital.
Above and Left | Flowers Collection Series, Simon Degroot, oil
on canvas, 5900mm x 730mm, 2016.
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SIMON DEGROOT
Above and Right | Flowers Collection Series, Simon Degroot, oil on canvas,
5900mm x 730mm, 2016.
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SHANNON GARSON
SHANNON GARSON is an Australian ceramic artist specialising in handmade,
decorated porcelain vessels. She is a local Sunshine Coast artist and create
bespoke handmade ceramics. Shannon’s pottery studio is based in the small
rural town of Maleny in the hinterland of the Sunshine Coast. Each piece of
porcelain is unique, the result of many hours work.
Wallum Plate Series 1-10, handpainted ceramic porcelain, 300mm x 300mm,
2016.
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SHANNON GARSON
Wallum Plate Series 1-10, handpainted ceramic porcelain, 300mm x 300mm,
2016.
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HELGA GROVES
HELGA GROVES is an Australian artist who is connected by her family to the
Sunshine Coast history and environment. Helga Groves’ sensitive and meticulous
practice encompasses painting, drawing and three dimensional forms. Her works
embody a personal investigation of geological sites and natural phenomena.
Groves has exhibited extensively internationally and nationally and her work has
been acquired by major state institutions, including Art Gallery of New South
Wales, Sydney; National Gallery of Australia, Canberra; National Gallery of
Victoria, Melbourne; Queensland Art Gallery / Gallery of Modern Art, Brisbane
and UQ Art Museum, Brisbane.
Left | Optical Terrane #1, #2, #3, Helga Groves, Archival pigment prints from
the Optical Terrane (triptych series), 550mm x 1500mm, 2015.
Above | Optical Terrane #3, Detail.
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HELGA GROVES
Right | Optical Terrane #5, #8, #9, Helga Groves, Archival pigment prints from
the Optical Terrane (triptych series), 550mm x 1500mm, 2015.
Above | Optical Terrane #8, Detail.
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RAELEAN HALL
RAELEAN HALL was born in Victoria and has resided on the Sunshine Coast
since 1976. Raelean is self-taught watercolourist and has become known
predominantly for her watercolour paintings of local Sunshine Coast beaches and
the beautiful Hinterland region. She has been invited to many group exhibitions
and has had work acquired by private collections across Australia, the U.K. and
the U.S.A.
Above | The Path Home, Raelean Hall, watercolour on archival paper, 9000mm
x 500mm, 2016.
Left | Nature’s Path, Raelean Hall, watercolour on archival paper, 500mm x
9000mm, 2016.
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RAELEAN HALL
Above | On Track, Raelean Hall, watercolour on archival paper, 9000mm x
500mm, 2016.
Right | By The Ocean, Raelean Hall, watercolour on archival paper, 500mm x
9000mm, 2016.
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RAELEAN HALL
Above | Sand and Sea, Raelean Hall, giclee print on archival paper, 9000mm x
500mm.
Left | Up and Over, Raelean Hall, giclee print on archival paper, 500mm x
9000mm.
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RAELEAN HALL
Above | Light and Shadow, Raelean Hall, giclee print on archival paper, 9000mm
x 500mm, 2016.
Right | Sea, Raelean Hall, giclee print on archival paper, 500mm x 9000mm,
2016.

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RAELEAN HALL
Above | Moving Through, Raelean Hall, giclee print on archival paper, 9000mm
x 500mm, 2016.
Left | On the Rise, Raelean Hall, giclee print on archival paper, 500mm x 9000mm,
2016.
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PAUL HARBOUR
PAUL HARBOUR is a local artist who was born in Victoria and is a long time
resident of the Sunshine Coast. He is known for his light and pastel landscapes
of coastal heritage beach houses, local cafes, beaches, and retro surf culture.
Paul has exhibited extensively and is held in collections throughout Australia.
His series of Beach Shacks is based on the local architecture of the Sunshine
Coast region.
Above | Second Avenue, Mellow Yellow, Paul Harbour, acrylic on cotton canvas
and board, 750mm x 1000mm, 2016.
Left | Coolum Blues, Paul Harbour, acrylic on cotton canvas and board, 750mm
x 1000mm, 2016.
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Above | Ochre View, Azure Shack, Blue Views, Time Out, Paul Harbour, acrylic on
cotton canvas and board, 750mm x 1000mm, 2016. | Left | Lime Shack, Paul Harbour,
acrylic on cotton canvas and board, 750mm x 1000mm, 2016.

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Left | Salmon Shack, Paul Harbour, acrylic on cotton canvas and board, 750mm
x 1000mm, 2016. | Above | Gum Trees, Paul Harbour, acrylic on cotton canvas
and board, 750mm x 1000mm, 2016.
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Above from Top Left | Palm, Pine, Daisy, Zebrina, Bonnie Jenkins, Kodak
ENDURA Premier Photographic Print, 800mm x 800mm, 2016.

BONNIE JENKINS
BONNIE JENKINS is a Sunshine Coast based photographer and visual artist.
Born and raised on the Sunshine Coast’s Hinterland, Bonnie has a Bachelor in
Photography at Queensland College of Art, as well as a Masters in Visual Arts
from Falmouth University College, UK. Bonnie maintains a visual art practice
with regular exhibitions showcasing her abstract photography and video work.
Her series for the Sunshine Coast are all created in camera, forming patterns
made from natural and found objects.
Above | Ocean, Bonnie Jenkins, Kodak ENDURA Premier Photographic Print,
800mm x 800mm, 2016.
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BONNIE JENKINS
Above | Orchid, Bonnie Jenkins, Kodak ENDURA Premier Photographic Print,
800mm x 800mm, 2016.
Right from Top Left | Mushroom, Seeds, Gum, Maple, Bonnie Jenkins, Kodak
ENDURA Premier Photographic Print, 800mm x 800mm, 2016.
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Above and Right | Wunya - Series, Featuring a collaboration between Colleen
Wall, Maurice Mickelow, Hope O’Chin, Dhana Bokelund & Lyndon Davis, limited
edition print on archival Hahnemuhle paper, 900mm x 900mm, 2016

IMAGING WAITING ROOM -
KABI KABI COLLECTION
WUNYA means ‘welcome’ from the Kabi Kabi (Gubbi Gubbi) First Nation people,
the traditional owners and custodians of this area. This collaborative selection of
prints features Kabai Bee, the endangered Bulimbirjari Butterfly and Mibir Mary
River turtle, The Dolphin, Yuloo, and the Goanna, Waruee, ancestral country,
Djaagan – from the ocean and rivers, to the rainforest and mountains The Bauple,
Macadamia nut and The Black Swan, Goolooin, representing Maroochy.
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Above and Right | Wunya - Series, Featuring a collaboration between Colleen
Wall, Maurice Mickelow, Hope O’Chin, Dhana Bokelund & Lyndon Davis, limited
edition print on archival Hahnemuhle paper, 900mm x 900mm, 2016

IMAGING WAITING ROOM -
KABI KABI COLLECTION
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Above and Right | Wunya - Series, Featuring a collaboration between Colleen
Wall, Maurice Mickelow, Hope O’Chin, Dhana Bokelund & Lyndon Davis, limited
edition print on archival Hahnemuhle paper, 900mm x 900mm, 2016

IMAGING WAITING ROOM -
KABI KABI COLLECTION
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MICHELE KNIGHTLEY
MICHELE KNIGHTLEY is a Sunshine Coast based photographer and digital
artist. Michele’s experience of the Noosa environment inspires the layered
organic aprroach of her digital works. A fascination with the coastal vegetation
known as wallum, and a keen interest in botany inspire artworks Michele likes to
call ‘bush portraits.’
Left | Cootharaba Egret, Michelle Knightley, Pure Kodak Photographic Metallic
paper, 700mm x 900mm, 2016.
Above | Beach Life, Michelle Knightley, Pure Kodak Photographic Metallic
paper, 700mm x 900mm, 2016.
Overleaf Left | River Reflections, Pandanus with Shells, Michelle Knightley, Pure
Kodak Photographic Metallic paper, 700mm x 900mm, 2016.
Overleaf Right | Beach Lffe, Cottonwood Flowers, Michelle Knightley, Pure Kodak
Photographic Metallic paper, 700mm x 900mm, 2016.
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MICHELE KNIGHTLEY
Left | Dragonfly Wings, Michelle Knightley, Pure Kodak Photographic Metallic
paper, 700mm x 900mm, 2016.
Above | Blue Banksia with Shells, Michelle Knightley, Pure Kodak Photographic
Metallic paper, 700mm x 900mm, 2016.
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Above | Bunya Tree Corner, Possum Mountain, Monomeet Tree, Eumundi Range
Road, Dale Leach, Acrylic on board, 700m x 700mm, 2016.

DALE LEACH
DALE LEACH is a Sunshine Coast artist, illustrator and painter. Dale’s works are
inspired by the vibrant Sunshine Coast environment, in particular the saturated
subtropical colour and curves of the local landscape. Dale has exhibited
throughout Queensland and developed a series of works for the hospital with an
emphasis on colour and energy.
Above | Spring, Lake McDonald, Dale Leach, Acrylic on board, 700m x 700mm,
2016.
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DALE LEACH
Above | Sunrise Road, Dale Leach, Acrylic on board, 700m x 700mm, 2016.
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Above | Nandroya Essess, Heading Home, Mitchell Hill, Cooroy Mountain Road,
Dale Leach, Acrylic on board, 700m x 700mm, 2016.
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Above | Blue Bells, Honeyeater’s Delight, Summer Fruit Tingles, Songs of the
Sheoak Rachael Lee, collage, shaped linocut prints & handcut paper, 670m x
670mm, 2016.

RACHAEL LEE
RACHAEL LEE is a contemporary Australian mixed media artist, currently living
and working in South East Queensland. Using various printmaking techniques
she creates layered images investigating visual perception and the underlying
patterns, rhythms and codes found in nature. Rachael developed a series of
works based on the flora of the Sunshine Coast creating a stylised and colourful
abstract geometry with her work.
Above | Circle Dance, Rachael Lee, collage, shaped linocut prints & handcut
paper, 670m x 670mm, 2012. Billy Missi came from Maluilgal country in Zenadh
Kes (Western Torres Strait).
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RACHAEL LEE
Above | Proteagon 6, Rachael Lee, collage, shaped linocut prints & handcut
paper, 670m x 670mm, 2012.
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Above | Proteagon 5, Rhythms of Spring, Shoreline, Celebrations, Rachael Lee,
collage, shaped linocut prints & handcut paper, 670m x 670mm, 2016.
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BLAIR MCNAMARA
BLAIR MCNAMARA is a local painter and photographer. Concepts of shoreline,
play of light, fascination with the grid, layering of surfaces, inherent histories
and cultural diversity all inform his body of work. His work has been represented
by local and international galleries for many years and reflects a unique,
contemporary translation of Australian beach culture.
Coolum Photographic Series #1 - #12, Blair McNamara, photographic print on
archival paper, 900mm x 700mm.
Blair was also commissioned to adatp his work for the Intensive Care Unit (ICU)
Waiting Room. This was a separate ocmmission and resulted in a 6m adaptation
of his work ‘Aqualinea #1’ (page 132 Left Top).
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BILLY MISSI
BILLY MISSI came from Maluilgal country in Zenadh Kes (Western Torres Strait).
An award winning artist, Billy grew up in the traditional ways and practices of the
Torres Strait. He became interested in drawing and painting at an early age and
he developed these skills to produce linocuts which are now held in prestigious
international collections including the Victoria and Albert Museum (U.K). His
artworks reflect the environment and traditional practices which take place on
and around the beautiful reefs and islands of the Torres Strait.
Left | Mudhaw warul (sheltered turtles behind the reef), Billy Missi, linocut printed
in black ink on Arches BFK 300 GSM handcoloured, 1210mm x 810mm
Above | Warup (drum), Billy Missi, Linocut printed in black ink from one block on
Arches BFK 300 GSM handcoloured, 510mm x 650mm.
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BILLY MISSI
Above Left | \Kulba yadail (old lyrics), Billy Missi, Linocut printed in black ink
from one block on Arches BFK 300 GSM handcoloured, 1090mm x 700mm.
Above Right | Karkuran purika (laying eggs), Billy Missi, Linocut printed in black
ink from one block on Arches BFK 290 GSM cotton paper, 530 x 380 mm.
Right | Aubau, Billy Missi, Linocut printed in black ink from one block on Arches
BFK 300 GSM handcoloured, 1210mm x 905mm.
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CARL P MOGGS
CARL P MOGGS is self taught Indigenous artist and hunter from the Bigambul
group. Carl uses a combination of inks, acrylics and oils to interpret stories from
the Dreamtime that he heard from indigenous elders and his grandmother Ivy
during his childhood. He combines his traditional methods of painting with a
Norwegian-Western (his father’s heritage) kind of psychedelic influence to
produce a unique body of work that also reveals his own strong spiritual link to the
land. Carl has lived and worked in the Sunshine Coast region and collaborated
with the traditional Kabi Kabi owners in creative work.
Left | Redtail Cockatoo, Carl P Moggs, acrylic on raw canvas, dimensions
variable.
Above | Kingfisher Dreaming, Carl P Moggs, acrylic on raw canvas, dimensions
variable.
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CARL P MOGGS
Above | Sunshine Coastal Rangaes, Kingfisher Coast, Carl P Moggs, acrylic on
raw canvas, dimensions variable.
Right | Community, Coastal Life, Carl P Moggs, acrylic on raw canvas, dimensions
variable.
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Right | Dreaming, Dawn of Dreaming, Kingfisher Coast, Carl P Moggs, acrylic on
raw canvas, dimensions variable.
Above | Paradise Coast, Rainforest Commnunity, Carl P Moggs, acrylic on raw
canvas, dimensions variable.
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CATHERINE MONEY
CATHERINE MONEY is a visual artist living on the Sunshine Coast in Queensland,
Australia. Her interests in printmaking emerged in her college years when she
majored in Textiles (fabric printing) and minored in Printmaking. Lino has always
been a medium running through Catherine’s work – the simple act of carving
the surface, the simplicity of the printing process and the minimal equipment
required. Catherine has participated in numerous group shows both locally,
interstate and overseas. Her work is held in several collections, notably the
James Hardie Library of Australian Fine Art, State Library of Queensland.
Coastal Quilt Series - Wallum I - X, Catherine Money, Linocut and mixed media
printed in ink, 2016.
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Coastal Quilt Series - Wallum I - X, Catherine Money, Linocut and mixed media
printed in ink, 2016.
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IDA MONTAGUE
IDA MONTAGUE is a visual artist living on the Sunshine Coast in Queensland,
Australia. Ida Montague’s life first in Denmark, then as an opal and gem merchant
in Sydney, and later a cattle grazier’s wife and business partner in Far North
Queensland - enables her to draw on a number of cultural perspectives and
brings a Scandinavian perspective to her paintings. Montague reflects local life
through familiar subjects – the human face, a game of polo or the cattlemen of
the north.
Left | Follow the Lead, Ida Montague, graphite on paper, 2016.
Above | Rise and Shine, Ida Montague, graphite on paper, 2016.
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Above | See Ya Later, Ida Montague, graphite on paper, 2016.
As Time Goes By, Ida Montague, graphite on paper, 2016.
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Above | At Little Lunch, Ida Montague, graphite on paper, 2016.
Ready and Waiting, Ida Montague, graphite on paper, 2016.
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Above | Whoa!, Ida Montague, graphite on paper, 2016.
Right | Symbiosis, You Me Us, Feeding Frenzy, Ida Montague, graphite on paper,
2016.
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ROLAND NANCARROW
ROLAND NANCARROW is an Australian artist practicing in the areas of painting,
sculpture and public art. Roland grew up on the Sunshine Coast in Queensland,
Australia. Since graduating from art college, Roland has drawn from his tropical
gardening practice to develop a visual language of colour, fluid yet graphic
shape and organic yet abstract form. He has exhibited over 30 solo shows of
his artworks. His curated survey exhibition of sculptural works, ‘From a Garden
Somewhere’ toured regional galleries across Queensland 2003-2006. He has
completed over 20 public art projects across Queensland since 1996.
Left | The Shape of Light 9, The Shape of Light 5, Roland Nancarrow, watercolour
and gouache on paper, 700mm x 900mm, 2016.
Above | The Shape of Light 2, The Shape of Light 5, Roland Nancarrow,
watercolour and gouache on paper, 700mm x 900mm, 2016.
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ROLAND NANCARROW
Above | The Shape of Light 10, Roland Nancarrow, watercolour and gouache on
paper, 700mm x 900mm, 2016.
Right | The Shape of Light 4, The Shape of Light 3, Roland Nancarrow, watercolour
and gouache on paper, 700mm x 900mm, 2016.
Overleaf Left | The Shape of Light 6, The Shape of Light 8, Roland Nancarrow,
watercolour and gouache on paper, 700mm x 900mm, 2016.
Overleaf Right | The Shape of Light 1, The Shape of Light 7, Roland Nancarrow,
watercolour and gouache on paper, 700mm x 900mm, 2016.
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Above | The Hope Collection 1, Kerry Neil, archival pigment print on paper.

KERRY NEILL
KERRY NEILL is a Kabi Kabi man from the Sunshine Coast region in South East
Queensland. Kerry has been working with Aboriginal and Torres Strait Islander
peoples in community services and education for the past 11 years. Kerry has
been an Aboriginal dancer and didgeridoo player touring all over Australia and
the USA. Kerry creates paintings alongside his range of artefacts, didgeridoos,
Aboriginal stories, Indigenous learning tools and other creations.
Kerry has also been involved in the writing and delivery of cross cultural
communication, dance, and behaviour management programs across NSW
and Queensland. He has had a strong upbringing in his Aboriginal culture and
brings a wealth of knowledge and experience to his work.
Above | The Hope Collection 2, Kerry Neil, archival pigment print on paper.
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KERRY NEILL
Left | The Hope Collection 3, Kerry Neil, archival pigment print on paper.
Above | The Hope Collection 4, Kerry Neil, archival pigment print on paper.
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LAURIE NONA
LAURIE NONA is a Torres Strait artist who works across lino relief, copper
plate etching and carving. Laurie’s work shows his deep connection to, and
recognition of the importance of Island culture. His work recognises his place in
the greater world establishing the relationships with the fish and other creatures
from the ocean, the skies and winds, the storms and currents and the Islands
of the Torres Strait.The Turtle and the Dugong are frequent reference points, as
are some of his unique symbology. He is held in major institution collections both
nataionally and internationally.
Left | Karrbai Thabu Adhy – Kissai (Snake/white stork bird totem – moon phases),
Laurie Nona, linoprint on paper, 780mm x 535mm, 2015.
Above | Warru Kakurr Adhy – Kissai (Turtle egg totem – moon phases), Laurie
Nona, linoprint on paper, 780mm x 535mm, 2015.
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LAURIE NONA
Above | Warru Kaz – Kissai (Juvenile turtle totem – moon phases), Laurie Nona,
linoprint on paper, 780mm x 535mm, 2015.
Right | Kissai (Dugong totem – moon phases), Laurie Nona, linoprint on paper,
780mm x 535mm, 2015.
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NICK OLSEN
NICK OLSEN is an Australian painter whose art practice is related to an expression
of a sense of place. Using the recollections of Sunshine Coast holdiay memories,
Nick paints and draws to create a form of visual diary. As he filters through the
various images that he recalls from past experiences, he forms a map of his life.
As a body of work, his painting reflects the places and moments which have
significance, such as childhood holiday houses or moments of clarity. Nick has
exhibited extensively and is held in both public and private collections.
Left | Noosa River Holiday House, Noosa River Fish and Chips, Nick Olsen, oil
on canvas, 1020mm x 815mm, 2016.
Above | Cotton Tree Caravan Park, Nick Olsen, oil on canvas, 1020mm x
815mm, 2016.
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Above | Holiday Units, Caloundra, Nick Olsen, oil on canvas, 815mm x 1020mm.
Left | Pumicestone Passage Boats, Looking towards Pt Cartwright, Fishing Huts,
Maroochy River, Nick Olsen, oil on canvas, 1020mm x 815mm, 2016.
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Above | Queenslanders with Still Life, Caloundra, Nick Olsen, oil on canvas,
815mm x 1020mm, 2016.

Above | Holiday Houses, Sunshine Coast, Caloundra Holiday House, Nick Olsen,
oil on canvas, 815mm x 1020mm, 2016
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SANDRA PEARCE
SANDRA PEARCE is an Australian printmaker and artist living on the Sunshine
Coast. Her works include artist books, printed images and paper installations
incorporating distinctive textural and colourful monoprinting techniques.
Sandra’s work responds to the relationship between nature and human impact,
investigating ideas of boundaries, domestication, and the manipulation of
landscape. Over the past ten years, Sandra has exhibited widely in both regional
and private art galleries, with several solo exhibitions.
Beach Camping under the Cotton Trees - #1 - #10, Sandra Pearce, Monotype
print and multi-media collage on Fabriano Rosaspina 285gsm, 420mm x
585mm 2016.
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SANDRA PEARCE
Beach Camping under the Cotton Trees - #1 - #10, Sandra Pearce, Monotype
print and multi-media collage on Fabriano Rosaspina 285gsm, 420mm x 585mm
2016.
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BEATRICE PROST
BEATRICE PROST is a local mixed media artist and photographer working with
the natural landscape of the Sunshine Coast. She references geological mapping
over her photographic works, layering personal experiences with nature. Her
works reference landforms, topographies and abstraction, using a diversity of
mixed media including inks, acrylics combined with natural powder oxides on
large canvas.
Left | Strength 1, Sandra Pearce, hand carved digital print on deckle edge Arches
640gsm rag paper, 750mm x 550mm 2016.
Above | Golden Hearts, 750mm x 550mm, Calm, Light and Reflection 2, 1050mm
x 750mm, hand carved digital print on deckle edge Arches 640gsm rag paper,
2016.
Overleaf Left | Lotus Nelumbo nucifera, Strength 3, Strength 2, Calm, Light and
Reflection 1, Heart of Gold, hand carved digital print on deckle edge Arches
640gsm rag paper, 1050mm x 750mm, 2016.
Overleaf Right | Calm, Light and Reflection 3, Inflorescence, Sandra Pearce,
hand carved digital print on deckle edge Arches 640gsm rag paper, 1050mm
x 750mm, 2016.
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Above | Waru Kazi I, Brian Robinson, linoprint on paper, 770mm x 770mm,
2015.

BRIAN ROBINSON
BRIAN ROBINSON is a multi-skilled contemporary artist, whose practice
includes painting, printmaking, sculpture and design. The graphic style in his
practice combines his Torres Strait Islander heritage with a strong passion for
experimentation, both in theoretical approach and medium, as well as a crossing
of the boundaries between reality and fantasy. Robinson’s art reflects the tropical
marine environment surrounding Waiben (Thursday Island) and the inhabitants
of that environment. It is an essential part of his life and culture, imbued with the
customs, traditions and lifestyles of Torres Strait Island people. The animals from
ancestral stories and their presence today are an integral feature of Robinson’s
work. Brian has exhibited extensively and is held in major institutions and private
collections internationally.
Above | Cowries in a floral landscape, Brian Robinson, etching on paper,
290mm x 490mm, 2015.
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BRIAN ROBINSON
Above | Waru Kazi II, Brian Robinson, linoprint on paper, 770mm x 770mm,
2015.
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Above | Waru Kazi III, Brian Robinson, linoprint on paper, 770mm x 770mm,
2015.
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JOEL SAM
JOEL SAM is a Torres Strait visual artist whose family lives in Bamaga and
originates from Saibai Island. Born on Thursday Island, he has been developing
an art practice and technical skills in the medium of the linocut. Joel’s artworks
are inspired by his culture, and the images are of sea creatures that live in and
around the Torres Strait, such as turtles, squid, the fish of the reef and the shells
and corals of the Coral Sea. Joel exhibits at KickArts in Cairns, and much of his
work is printed at Djumbunji Press.
Left | Dhoeybaw (yam leaves), Joel Sam, Linocut printed in black ink from one
block on BFK Rives white, 600mm x 800mm, 2015.
Above | Bu (trumpet shell), Joel Sam, Etching printed in two colours from one
plate on Hahnemuhle off white 300 GSM using Iwaki Chine Colle, 1200mm x
800mm, 2015.
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JOEL SAM
Above | Gub (four winds of Zenadh-Kes), Joel Sam, Linocut printed in black ink
from one block on BFK Rives white, 600mm x 800mm, 2015.
Right | Marrkai Gub (Cyclone Anthony), Joel Sam, Linocut printed in black ink
from one block on BFK Rives white, 910mm x 800mm, 2015.
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Above | Surfari, Susan Schmidt, giclee print on cotton rag paper, 800mm x
600mm

SUSAN SCHMIDT
SUSAN SCHMIDT is a local fine arts painter and graphic designer. Her works are
vibrant reflections of her concern for the environment, sustainable living and the
value of a simple way of life. Since 1998 Susan has successfully exhibited her
works nationally and internationally in solo and selected exhibitions, including the
‘Chelsea International Fine Art Collective’ 2012 in New York and Contemporary
Istanbul 2014. Susan lives and works in Noosa Heads, Australia. Her works are
represented in public and private collections worldwide.
Above | Pandanus Splash, Susan Schmidt, giclee print on cotton rag paper,
1080mm x 1080mm
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Above | Hibiscus Holiday, Susan Schmidt, giclee print on cotton rag paper,
610mm x 1000mm
Right | Hibiscus tiliaceus, Susan Schmidt, giclee print on cotton rag paper,
810mm x 1000mm
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Left | Summer Scent, Susan Schmidt, giclee print on cotton rag paper, 810mm
x 1000mm
Above | Hibiscus Break, Susan Schmidt, giclee print on cotton rag paper, 810mm
x 1000mm
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MELINDA SERICO
MELINDA SERICO is a descendant of the Gubbi Gubbi/Kabi Kabi people from
the Sunshine Coast region on her grandmother’s side, and the Iman people from
Central Queensland on her grandfather’s side. She is a practising visual artist
inspired by places in the landscape, nature’s beauty and her cultural heritage.
She has created a suite of works for the hospital based on the traditional foods
and flowers of the Sunshine Coast region.
Bush Foods Series, Melinda Serico, watercolour on archival paper, 900mm x
700mm, 2016.
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MEAGHAN SHELTON
MEAGHAN SHELTON, a local Sunshine Coast contemporary artist has
collaborated with the NICA Noosa Integrated Catchment Association and is
knowlegeable in the local flora which is used extensively in her work. Shelton
regularly exhibits nationally, her work is held in private collections throughout
Australia and the U.K.
Left | Rainforest 1, Meaghan Shelton, mixed media and flock on paper, 700mm
x 900mm, 2016
Above | Wallum Heath 2, Meaghan Shelton, mixed media and flock on paper,
800mm x 800mm, 2016.
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MEAGHAN SHELTON
Above | Coastal Dunes 1, Freshwater Wetlands, Wet Eucalypt Forest, Wallum
Heath 2, Meaghan Shelton, mixed media and flock on paper, 700mm x
900mm, 2016
Right | Rainforest 2, Meaghan Shelton, mixed media and flock on paper,
800mm x 800mm, 2016.
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MEAGHAN SHELTON
Left | Tidal Wetlands, Dry Eucalypt Forest, Meaghan Shelton, mixed media and
flock on paper, 700mm x 900mm, 2016
Above | Coastal Dunes 2, Meaghan Shelton, mixed media and flock on paper,
800mm x 800mm, 2016.
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TIFFANY SINGH
TIFFANY SINGH, is a New Zealand installation based artist. Tiffany is trained in the
creation of healing environments and artworks and was commissioned to create
a series of works for the Sunshine Coast University Hospital. Sensual, exuberant
and optimistic, each work uses forms from multiple faiths and mythologies, vivid
colours, simple materials and expansive arrangements, Singh initiates wonder
and an abundance of enjoyment.
A Bloom of Time Series #1 - #10, Tiffany Singh, mixed media on archival paper,
2016.
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A Bloom of Time Series #1 - #10, Tiffany Singh, mixed media on archival paper,
2016.

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A Bloom of Time Series #1 - #10, Tiffany Singh, mixed media on archival paper,
2016.
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WAYNE SINGLETON
WAYNE SINGLETON is an Australian relief block printmaker specialising in black
and white, hand coloured linocut prints. Born in Melbourne, Wayne lived on the
Sunshine Coast, before training as a stereo cutter (relief block maker) and went
on to study art and design. He has been an exhibiting printmaking artist since
the 1980’s. Wayne has created an iconic selection of prints of the Sunshine
Coast landscape.
Left | Path to the Cascades, Wayne Singleton, hand coloured relief block (linocut)
print on paper, 600mm x 785mm.
Above | Meditation on Beauty, Wayne Singleton, hand coloured relief block
(linocut) print on paper, 635mm x 815mm.
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WAYNE SINGLETON
Above | Road to Yandina, Qld 1 & 2, Wayne Singleton, hand coloured relief
block (linocut) print on paper, 950mm x 560mm.
Right | The Peachester Road near Peachester, Qld, Wayne Singleton, hand
coloured relief block (linocut) print on paper, 650mm x 830mm.
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WAYNE SINGLETON
Above | Pineapples near Mt Tibrogargan,
Glasshouse Mountains, Wayne Singleton, hand
coloured relief block (linocut) print on paper,
860mm x 855mm.
Left | Interrogating a river, Wayne Singleton, hand
coloured relief block (linocut) print on paper,
475mm x 865mm.
Far aLeft | Crookneck from Judd Rd, Glasshouse
Mountains, Qld, Wayne Singleton, hand coloured
relief block (linocut) print on paper, 630mm x
790mm.
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PIP SPIRO
PIP SPIRO, is an Australian watercolour artist, inspired by the natural world and
her vibrant south-east Queensland surrounds. She works on translating the
natural world to a subject field, spanning from highly detailed botanical work
through to contemporary still life scenes. Her works in the Sunshine Coast
University Hospital are inspired by the botanical flora of the region including a
big and bright pandanus tree, banksia and shell ginger plants. She is held in
collections both nationally and internationally.
Left | Banksia Integriflora, Pip Spiro, print of watercolour on archival Hahnemuhle
paper, 594mm x 851mm, 2016.
Above | Pandanus II, Pip Spiro, print of watercolour on archival Hahnemuhle
paper, 851mm x 594mm, 2016.
Overleaf Left | Banksia Baueri, Pip Spiro, print of watercolour on archival
Hahnemuhle paper, 594mm x 851mm, 2016.
Overleaf Right | Shell Ginger, Pip Spiro, print of watercolour on archival
Hahnemuhle paper, 594mm x 851mm, 2016.
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DEBBIE TAYLOR
DEBBIE TAYLOR, is an Australian Indigenous artist and Gamillaroi, originally
from North West NSW and now residing in Beachmere. Taylor graduated
Griffith University’s College of Art with a Bachelor of Contemporary Australian
Indigenous Art in 2008. Her works in the Sunshine Coast University Hospital are
inspired by the botanical flora of the region including a big and bright pandanus
tree, banksia and shell ginger plants. She is held in collections both nationally
and internationally.
Left | Mooloolaba Yacht Race, Debbie Taylor, acrylic on board, 700mm x 900mm,
2016.
Above | Mt. Timbeerwah, Debbie Taylor, acrylic on board, 700mm x 900mm,
2016.
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Left | Mary Cairn Cross Forest, Debbie Taylor, acrylic on board, 700mm x 900mm.
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Above | Maroochy River, Coast to Cane, Debbie Taylor, acrylic on board, 700mm
x 900mm, 2016.

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Left | Mary Cairn Cross Forest, Debbie Taylor, acrylic on board, 700mm x 900mm.
Above | Noosa Sunrise, Old Woman Island, Debbie Taylor, acrylic on board,
700mm x 900mm, 2016.
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IAN TREMEWAN
IAN TREMEWAN, is a Sunshine Coast artist born in Montreal, now based in
Australia. Working as a contemporary watercolourist, Ian’s work reflects the
interest he feels for light, space and shadow reflecting his time spent in the
Caribbean and Hawaiian tropics. His abstract interpretation of the amorphic
shapes of nature, coupled with his design and composition find diverse
expressions in sculpture, contemporary glass and textiles. Ian is held in private
and public collections both nationally and internationally.
Left | Big Red Gum, Rainforest Sand Dune with Ocean View, Ian Tremewan,
watercolour on archival Hahnemuhle paper, 594mm x 851mm, 2016.
Above | Midnight Moonlit Fields to the Sea, Ian Tremewan, watercolour on
archival Hahnemuhle paper, 594mm x 851mm, 2016.
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IAN TREMEWAN
Above | Rainforest Reflection, Ian Tremewan, watercolour on archival Hahnemuhle
paper, 594mm x 851mm, 2016.
Right | Starry Night on the Beach, Big White Sails Past Rainforest, Ian Tremewan,
watercolour on archival Hahnemuhle paper, 594mm x 851mm, 2016.
Previous Page Left | Starry Night on the Beach, Big White Sails Past Rainforest,
Ian Tremewan, watercolour on archival Hahnemuhle paper, 594mm x 851mm,
2016.
Previous Page Right | Starry Night on the Beach, Big White Sails Past Rainforest,
Ian Tremewan, watercolour on archival Hahnemuhle paper, 594mm x 851mm,
2016.
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Above | Colleen Wall, Kabi Kabi Series, acrylic on board, 700mm x 700mm,
2016.

COLLEEN WALL
COLLEEN WALL, is a Sunshine Coast artist born in Eidsvold and now living in
Brisbane. Colleen paints stories relating to Kabi Country. Her Granny Katherine
Minniecon, through her mother Sarah Lloyd, passed on knowledge of Land Law
with relating stories and language to a very large family. Colleen uses the Kabi
words to name her paintings to keep the Kabi language alive for generations to
come.
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PAM WALPOLE
PAM WALPOLE is a local painter and artist with a strong relationship to the
enviroment. Pam’s contemporary paintings are centred around the landscape
– whether it be the parched inland deserts, salt pans or outback flooded plains
of Australia, Africa or ice fields of Antarctica. Closer to home she is attracted to
the coastal dunes and estuaries on the textures and colours they inspire. Pam
Walpole often engages with the devastation of environment as a catalyst for a
series – bushfires, floods, coastal erosion or man-made destruction – all have
been a subject for her paintings.
Left | Edge of the desert, Pam Walpole, watercolour on paper, 760mm x 560mm,
2016.
Above | Edge of the desert, Pam Walpole, watercolour on paper, 760mm x
560mm, 2016.
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PAM WALPOLE
Above | Lilypad Lagoon, Pam Walpole, watercolour on paper, 760mm x 560mm,
2016.
Right | Lagoon Ripples, Waterlily Lagoon in Bloom, Pam Walpole, watercolour on
paper, 760mm x 560mm, 2016.
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PAM WALPOLE
Left | Waterlily Lagoon in Bloom, Lagoon Blues, Pam Walpole, watercolour on
paper, 760mm x 560mm, 2016.
Above | Moonlit Spinifex, Pam Walpole, watercolour on paper, 760mm x 560mm,
2016.
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PAM WALPOLE
Left | Beyond the Fence, Pam Walpole, watercolour on paper, 760mm x 560mm,
2016.
Above | Tracks in the Sand, Pam Walpole, watercolour on paper, 760mm x
560mm, 2016.
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JUDY WATSON
JUDY WATSON is Australian indigenous artist with an international reputation for
her innovation. While her work takes its inspiration from the land and traditions
of the Waanyi culture, Watson distils her distinctive stained canvases into poetic
abstractions that have the power to speak to all. In February 2009 Judy Watson
was appointed artist-in-residence at The University of Queensland’s Heron
Island Research Station. Watson’s residency coincided with the official launch of
the Research Station, rebuilt after being destroyed by a devastating fire in 2007.
Prints from her residency are included in the Sunshine Coast collection. Judy is
included in major public institutions and private collections internationally.
Left | Big blue world with three stupas, Judy Watson, etchings, 690mm x 540mm,
Above | Heron Island Suite #6, Judy Watson, Etching from two zinc plates – plate
1 green, plate 2 blue, 50mm x 35.5mm, 2009.
Above | Heron Island Suite #14, Judy Watson, Etching from two zinc plates and
screenprint – plate 1 brown, plate 2 black - White screenprint: Top predator
declines - Common noddies and Sooty terns. Graph courtesy Dr Bradley
Congdon. 50mm x 35.5mm, 2009.
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JUDY WATSON
Above | Heron Island Suite #1, Judy Watson, Etching from two zinc plates – –
plate 1 blue, plate 2 black, 50mm x 35.5mm, 2009.
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Above | Heron Island Suite #12, Judy Watson, Etching from two zinc plates –
plate 1 pink, plate 2 black, 50mm x 35.5mm, 2009.
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