ORACLE: curation, resource, and planning page
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ORACLE
An exhibition by seven artists living and working on Dja Dja Wurrung and Djab Wurrung country in Central Victoria. Held @ Kank Wolverang Records Ballarat.
March 7 to April 4, 2026, 30 Main Road, Bakery Hill, Ballarat.
OPENING EVENT
2pm Saturday March 7 and runs until closing time Saturday April 4
HOURS OPEN
Thusday 10:30am-5pm
Friday 10:30am-5pm
Saturday 10:30am-5pm
Sunday 10:30am-5pm
ARTISTS
Seven Artists: Steven Bonney, Julia Christensen, Tenar Dwyer, Zahrn Heath, Jason Luca, Belinda Michael, Tiffany Titshall
ORACLE
Oracle is an exhibition of seven Central Victorian artists responding to mystery and transformation.
Positioned at the threshold between worlds, the oracle is a place where questions rise and answers return in unexpected patterns and forms. Here, human and heavenly forces meet, transforming into sacred objects through a celebration of the unknown. Through the oracle, both vessel and voice are carried toward the divine.
In this exhibition, each artist’s work evokes a metaphor or allegory and acts as a channel for meaning. Together, the artists invite viewers to read, interpret, and search between the material and the metaphysical—seeking the point of connection between human life and the realm of the deities.
Press/print PDF A4 ratio and social media square as jpeg below (just ask if you require other files or ratios):
An exhibition by seven artists living and working on Dja Dja Wurrung and Djab Wurrung country in Central Victoria. Held @ Kank Wolverang Records Ballarat.
March 7 to April 4, 2026, 30 Main Road, Bakery Hill, Ballarat.
OPENING EVENT
2pm Saturday March 7 and runs until closing time Saturday April 4
HOURS OPEN
Thusday 10:30am-5pm
Friday 10:30am-5pm
Saturday 10:30am-5pm
Sunday 10:30am-5pm
ARTISTS
Seven Artists: Steven Bonney, Julia Christensen, Tenar Dwyer, Zahrn Heath, Jason Luca, Belinda Michael, Tiffany Titshall
ORACLE
Oracle is an exhibition of seven Central Victorian artists responding to mystery and transformation.
Positioned at the threshold between worlds, the oracle is a place where questions rise and answers return in unexpected patterns and forms. Here, human and heavenly forces meet, transforming into sacred objects through a celebration of the unknown. Through the oracle, both vessel and voice are carried toward the divine.
In this exhibition, each artist’s work evokes a metaphor or allegory and acts as a channel for meaning. Together, the artists invite viewers to read, interpret, and search between the material and the metaphysical—seeking the point of connection between human life and the realm of the deities.
Press/print PDF A4 ratio and social media square as jpeg below (just ask if you require other files or ratios):
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Potential artworks
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Planning
JOBS/TO DO/INSTALL INFO
[Here's a link to the advertising rates for Art Almanac art_almanac_media_kit_2025_1125.pdf for anyone who is interested in the full suite of options, but for quick reference a full colour page is $570 (approx $82 each) but that is probably overkill. 1/2 page is $370 (approx $52 each). This would be my suggestion as things can get lost in the noise if they are smaller than 1/2 page but I'm happy to go with the consensus and what others can afford.
Once Belinda has done the exhibition copy I will hit up the editors at Art Guide to see if I can get some traction and / or find out their advertising rates.]
Timeline
Planned works by each artist
- Publicity - print (prob not), social media, websites, local radio, networks, listings, in person
- Graphic - Tiff - social media square jpegs and A4 PDFs - done
- Bel written statement - done
- Z radio - has emailed to confirm soon
- Rat Run on BBB Voice FM hosted by Dan from Kank - Jules and Z? Dan contacted Tiff who messaged info and link to pics. Z to follow up.
- Merle Hathaway arts show ?
- Best of Ballarat Scott and Libby - Bops sorted, Tiff will send them image in case.
- Edwinna Williams Ballarat Times - free article and press release - Jason
- Ballarat in the Know? - Jules to look up, Tiff looking into this now.
- Art Almanac - Tenar - we agreed to a price for half page and agreed to omit Art Guide.
[Here's a link to the advertising rates for Art Almanac art_almanac_media_kit_2025_1125.pdf for anyone who is interested in the full suite of options, but for quick reference a full colour page is $570 (approx $82 each) but that is probably overkill. 1/2 page is $370 (approx $52 each). This would be my suggestion as things can get lost in the noise if they are smaller than 1/2 page but I'm happy to go with the consensus and what others can afford.
Once Belinda has done the exhibition copy I will hit up the editors at Art Guide to see if I can get some traction and / or find out their advertising rates.]
- Socials - Tiff (maybe some animation and images added as second slide to the graphic
- TACA? Jason to send image to advertise
Timeline
- Publicity listings asap
- Social media, radio, newspapers
- Curate best selection of works
- Document works if you wish to have a record, by phone or professional shots
- Prep works for display framing etc (if having anything professionally framed the turn arounds are up to two months in some places.
- Confirm what equipment Kank has for install
- Plinths - Julia has some options for 4 and we could ask CGAG in Maryborough or Radius
- Could do practice run at Majorca Town Hall?
- Deliver works and install - install dates Thurs March 5th 10am and Friday 6th
Planned works by each artist
- Julia, manequins, 24 tiles and chess piece set plus some wall paintings
- Belinda, 5 ceramic busts plus 12 watercolours
- Jason, 2-5 pieces
- Bops, 3 totems plus sticks, bones, found objects
- Tenar, wall sculpture plus painting
- Tiff, several works on paper
ARTIST STATEMENTS / BIOS / CONTACT INSTA /WEBSITES / QR CODES
Steven Bonney
My practice is rooted in transformation. I work with recycled and found objects, creating sculptural items that explore the tension between what is valued and what is discarded. Each work begins as something overlooked or unwanted, yet through the creative process these fragments are reshaped into objects of spiritual presence.
By reimagining what others have thrown away, I invite viewers to question systems of worth, memory, and belief. The act of reclaiming and reshaping these materials becomes both a meditation and a statement—an exploration of how the sacred can emerge from the everyday, and how beauty and meaning persist in unexpected forms.
My practice is rooted in transformation. I work with recycled and found objects, creating sculptural items that explore the tension between what is valued and what is discarded. Each work begins as something overlooked or unwanted, yet through the creative process these fragments are reshaped into objects of spiritual presence.
By reimagining what others have thrown away, I invite viewers to question systems of worth, memory, and belief. The act of reclaiming and reshaping these materials becomes both a meditation and a statement—an exploration of how the sacred can emerge from the everyday, and how beauty and meaning persist in unexpected forms.
Example.
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Example.
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Julia Christensen
Within my mannequin works I am exploring the idea of glamour being a disintegrating concept or form. No matter how attractive or seductive a garment or piece of lingerie can be, inevitably atrophy takes hold and fabrics fade or are destroyed by secretions of the body, leaving behind rags or simply waste for landfill. The superficial face of glamour is a farce that doesn't have its roots in the reality of what it is to exist within the human body.
“The God Game” sculptures and tiles reflect, classically, the battle between good and evil within ourselves as also in the outer world. Everyday one makes moral choices in what we do and say and our values are constantly being reflected back to us through our behaviours. Technology itself brings about more complex boundaries around privacy and our behaviour. I have chosen the medium of clay to counterbalance the metal and plastic of the tech of this age. I have found solace in working in a medium that only requires water and a few basic tools to create something original. At this point in time their is a lot of fear of AI taking over and what we currently create with our hands. I am exploring the idea of human beings maintaining the heritage of traditional mediums and skills through this work.
Within my mannequin works I am exploring the idea of glamour being a disintegrating concept or form. No matter how attractive or seductive a garment or piece of lingerie can be, inevitably atrophy takes hold and fabrics fade or are destroyed by secretions of the body, leaving behind rags or simply waste for landfill. The superficial face of glamour is a farce that doesn't have its roots in the reality of what it is to exist within the human body.
“The God Game” sculptures and tiles reflect, classically, the battle between good and evil within ourselves as also in the outer world. Everyday one makes moral choices in what we do and say and our values are constantly being reflected back to us through our behaviours. Technology itself brings about more complex boundaries around privacy and our behaviour. I have chosen the medium of clay to counterbalance the metal and plastic of the tech of this age. I have found solace in working in a medium that only requires water and a few basic tools to create something original. At this point in time their is a lot of fear of AI taking over and what we currently create with our hands. I am exploring the idea of human beings maintaining the heritage of traditional mediums and skills through this work.
Assorted figures, Julia Christensen.
Sentinel, Julia Christensen.
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Contemplation, Julia Christensen.
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Mixed Messages, Julia Christensen.
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Zahrn Heath
My work for this exhibition focuses on the emergence of Artificial Intelligence and how it has been viewed in a cult like or even religious way by many people.
There is an extensional angst in society around the emergence of AI and what it will mean for each of us as individuals.
While many people are hopeful of an improvement in living standards others fear a dystopian future with AI or AI controlled by social elites ruling over the people of the world. Some people look to AI as an emerging super intelligence that approaches a godlike status.
I’m exploring and playing around with these ideas. I have used strong religious iconography to help illustrate these themes in my drawings such as the apple and the snake representing the snake from the garden of eden and AI being the forbidden fruit that we have taken a bite from.
My work for this exhibition focuses on the emergence of Artificial Intelligence and how it has been viewed in a cult like or even religious way by many people.
There is an extensional angst in society around the emergence of AI and what it will mean for each of us as individuals.
While many people are hopeful of an improvement in living standards others fear a dystopian future with AI or AI controlled by social elites ruling over the people of the world. Some people look to AI as an emerging super intelligence that approaches a godlike status.
I’m exploring and playing around with these ideas. I have used strong religious iconography to help illustrate these themes in my drawings such as the apple and the snake representing the snake from the garden of eden and AI being the forbidden fruit that we have taken a bite from.
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King Brown, Zahrn Heath.
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Our Deer, Spirit of the Woods, Zahrn Heath.
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Jason Luca
An optical illusion can be perceived as the echo of an Otherworld coming through a two dimensional plane and appearing as something other than what it truly is.
My work involves colouring porcelain and arranging cut shapes to create a pattern, once fired it becomes fused into one cohesive form.
An optical illusion can be perceived as the echo of an Otherworld coming through a two dimensional plane and appearing as something other than what it truly is.
My work involves colouring porcelain and arranging cut shapes to create a pattern, once fired it becomes fused into one cohesive form.
Detail, Joy in Repetition, Jason Luca.
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Joy in Repetition, Jason Luca.
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Compartmentalised Perception, Jason Luca.
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Belinda Michael
I am interested in human thought and how shared energy, intentions and beliefs create culture. Once an idea becomes strong, it can take on a life of its own to influence others.
My soothsayers are messengers and their messages are carried in their presence and companionship.
In addition to working with clay, I have recently started painting with watercolours. This select group of paintings were all made while I was living on the NSW/Qld border in 2025.
Soothsayers 1 - 5 and currently I have about 8 paintings chosen but I don't have to exhibit all of them if there's not enough room or they dont fit.
I am interested in human thought and how shared energy, intentions and beliefs create culture. Once an idea becomes strong, it can take on a life of its own to influence others.
My soothsayers are messengers and their messages are carried in their presence and companionship.
In addition to working with clay, I have recently started painting with watercolours. This select group of paintings were all made while I was living on the NSW/Qld border in 2025.
Soothsayers 1 - 5 and currently I have about 8 paintings chosen but I don't have to exhibit all of them if there's not enough room or they dont fit.
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Tenar Dwyer
My practice often explores the intertwined cycles of death and rebirth, finding beauty in places overlooked or considered uncomfortable.
I am drawn to materials and moments that speak of impermanence and aim to capture the poetry of change through the way light, corrosion, and organic processes can transmute the ordinary into something transcendent. The patina of old paint and rust, the softened edges of time, the sacredness that lingers in what has been transformed become allegory revealing the quiet grace existing within our own ephemeral nature.
Underlying my work is a reverence for the natural order of transformation. I view beauty not as perfection or preservation, but as a living conversation between creation and dissolution. In this way, my practice becomes a meditation on what endures, what falls away, and the quiet truths that emerge in the spaces between.
My practice often explores the intertwined cycles of death and rebirth, finding beauty in places overlooked or considered uncomfortable.
I am drawn to materials and moments that speak of impermanence and aim to capture the poetry of change through the way light, corrosion, and organic processes can transmute the ordinary into something transcendent. The patina of old paint and rust, the softened edges of time, the sacredness that lingers in what has been transformed become allegory revealing the quiet grace existing within our own ephemeral nature.
Underlying my work is a reverence for the natural order of transformation. I view beauty not as perfection or preservation, but as a living conversation between creation and dissolution. In this way, my practice becomes a meditation on what endures, what falls away, and the quiet truths that emerge in the spaces between.
Artworks
What Remains
Wood, rusting paint, sheep skulls, 2025
What Remains draws together materials shaped by exposure, erosion, and use, inviting a slow reading of surfaces and forms marked by time. Wood, rusting paint, and bone are held in quiet tension, each bearing evidence of natural cycles and elemental forces that carry traces of earthly cycles and forces beyond human control.
These materials function as silent intermediaries, holding memory, absence, and endurance in balance. The work does not frame decay as an ending, but as a process of transmutation through which meaning accumulates.
Augury
Acrylic polymer paint on reclaimed canvas panel, 2026
Standing against a field of yellow and gold, layered like the memory of old paint, a rooster cries out, his voice piercing the silence.
Drawing on the ancient symbolism of birds as bearers of omen, the rooster functions as both sentinel and signal. He appears as a figure of protection, vitality, and confidence. His call summons us into wakefulness and resolve. In Augury, revelation is not wrested from darkness.
What Remains
Wood, rusting paint, sheep skulls, 2025
What Remains draws together materials shaped by exposure, erosion, and use, inviting a slow reading of surfaces and forms marked by time. Wood, rusting paint, and bone are held in quiet tension, each bearing evidence of natural cycles and elemental forces that carry traces of earthly cycles and forces beyond human control.
These materials function as silent intermediaries, holding memory, absence, and endurance in balance. The work does not frame decay as an ending, but as a process of transmutation through which meaning accumulates.
Augury
Acrylic polymer paint on reclaimed canvas panel, 2026
Standing against a field of yellow and gold, layered like the memory of old paint, a rooster cries out, his voice piercing the silence.
Drawing on the ancient symbolism of birds as bearers of omen, the rooster functions as both sentinel and signal. He appears as a figure of protection, vitality, and confidence. His call summons us into wakefulness and resolve. In Augury, revelation is not wrested from darkness.
What Remains, Tenar Dwyer.
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Augury, Tenar Dwyer.
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Tiffany Titshall
BIO to do.
BIO to do.
These are all framed or mounted for wall. First two are 56cm square drawings, rest are smaller, some tiny.
The mirrors would do well to reflect more, Tiffany Titshall.
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The Foretelling, Tiffany Titshall.
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The Haunted, (after Odilon Redon), Tiffany Titshall.
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These unframed works hang on mobile props in the middle. A triangle mirror and mirrored tree, a triangle using tree deity, driftwood hand and another, and a diamond using the two mirrored landscapes.
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