Magic Compass

The works in Magical Compass are not only songs of my dreaming and ways of expressing myself, but parts of who I am and what I have experienced on my journey so far. The magic compass of what art leads us to is a mystery which I find fascinating.

The works come in waves of time and spirit , which are conjured into these paintings.

The ‘Emotion paintings’ are heavily influenced by my love of graffiti, and are made using natural pigments to create the mediums, as well as Posca pen to ‘bomb’ my emotions onto the canvas.

The ‘Emotion paintings’ have been a fun experiment for me, because of the amount of energy and feeling I put into these works, the element of water, and how it’s healed me greatly. The works simultaneously reflect my own self-destruction, pain, growth as well healing from trauma. Scars that become permanent, but make us stronger.

I have created ‘Marriage paintings” before, they represent husband and wife. A classical love story. The two lovers are similar but have their own personal differences. They are represented as musicals scores. I am inspired by the sound of classical music and its ability to lead me to wonder. The vibrations I pick up and let go within that time of creation. Vibrations, sounds, alchemy, experience, dreaming and imagination.

‘Vision’ is a misplaced example of the musical scores. The way I have created this work is more natural and less mathematical. This painting reflects a peace of mind that is very much still in the present, how we get there is the journey. All for the sake of balance. How are we to accept and receive the good without the bad?

‘City lights’ was made in response to the many nights I walk the streets, seeing the bold colours that stand out, eyes weary from travel and seeking home. The city lights come from within us, we just need the patience to be mindful of that moment.

Alexander Baird Murphy, 2024.

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For thy sake I in love am grown

For the past two and a half years, Mossman-based artist Anastasia Klose has assisted Rainforest Reserves Australia’s conservation campaign to protect Queensland’s highly biodiverse coastal ranges from poorly sited industrial wind developments, focusing in particular on the proposed Chalumbin wind development near Ravenshoe.

This exhibition of new drawings, video and performance is a response to the Klose’s “random, exhausting and depressing adventures in conservation” and the artist’s growing awareness of diminishing biodiversity in Queensland and imminent threats to its unique landscapes.

The artist has read many wind farm Public Environment Reports, considered State and Federal legislation, listened to Jirrbal Traditional Custodians speak about the significance of their connection to Country, and community members talk of their love for the land and biodiversity around them; and had the privilege of getting to know inspiring conservationists as well as meet scientists and politicians. But the energy that truly drives her is a love for the beautiful landscapes in Far North Queensland and the creatures that live there.

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The exhibition and publication Anastasia Klose: For thy sake I in love am grown are presented in partnership with the University of Sunshine Coast Art Gallery, where it will be shown 17 August to 26 October.


About the Artist

Anastasia Klose lives in Mossman, Far North Queensland. She has a Bachelor of Arts from Melbourne University and a Bachelor of Fine Arts (Honours) in Drawing from the Victorian College of the Arts. An exhibiting artist since 2004, she has presented works at the Australian Centre for Contemporary Art (ACCA), Museum of Contemporary Art, GOMA, Muma, National Gallery of Victoria, University of Queensland, Artspace and Art Basel Hong Kong. She has held solo exhibitions at Spacement, Tolarno Galleries, Gertrude Contemporary and Lilac City Studio. Her work is held in public institutions and private collections. Most recently her work was included in the exhibition “Know my name” at the National Gallery of Australia. She is a conceptual artist known for her videos, drawings and performance-based works.


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‘I Am’ comprises five, hand sewn textiles, made of at least 80% up-cycled materials, forming a powerful meditation on individual agency in rewriting our narrative.

It’s easy to forget the power words can have, and harnessing the personal mantra of ‘I Am’ may seem like a simple thing to do, yet it can be used as a potent tool to manifest real change in our lives, shaping how we see ourselves, effecting how we behave and be present in the world.

Our minds are not set in stone, they are adaptable and can be rewired, and our subconscious mind can’t discern between what’s real and what’s not, so by using the phrase ‘I Am’ you give your brain the opportunity to reorganise itself by building new neural pathways, which after repetition will strengthen and transform thought patterns, release feel good chemicals, rewrite your narrative, and in turn, reshape your reality.

‘I Am’ mantras blend aspects of neurology, psychology, and resilience with a sprinkle of self belief. I would encourage everyone to deploy their own mantras in daily lives to create their own magic and make their heart happy.


This exhibition showcases a series of prints created through the NorthSite Print Program, ‘SpotFire’. Facilitated by master printmaker Theo Tremblay, ‘SpotFire’ enabled eight emerging and established First Nations Artists to plan, develop and produce fine art prints on paper and fabric throughout 2023.

‘SpotFire’ has received funding through Regional Arts Development Fund, a partnership between the Queensland Government and Cairns Regional Council to support local arts and culture in regional Queensland.

Facing Time: 50 Years

This exhibition features works by artists and long-term friends, Euan Macleod and Cairns-based artist Geoff Dixon.

The exhibition will be anchored by an iteration of, ‘Facing Time: Portraits of Geoff’ by Euan Macleod an allegory on isolation, loss, technology and most importantly friendship created during the Covid-19 lockdown.
Taken from an ongoing series of portraits (currently 320 and counting) which depict artists and friends Euan Macleod and Geoff Dixon’s daily communication on FaceTime, a godsend for so many isolated by the onset of the pandemic. The conversations started randomly, but were always photographed by Euan. In time the photos became paintings, a big portrait of Geoff, and a small one of the artist in the corner. Euan made a pledge with himself to paint one each day, as random snaps became planned seated poses while they discussed everything, including the death of Geoff’s partner. It became a distraction from a difficult world. Their connections and disconnections, are now archived under a marriage of the historic ethic of painting and cell phone technology. The new way we talk.

Facing Time: 50 Years will be complemented by other portraits by Macleod, as well as recent works by Dixon, representing their connection and friendship, transcending time and place.

Conversations with My Barista (Real or Imagined)

In Conversations with My Barista (Real or Imagined), Cairns-based artist Selina Kudo delves deep into the intricate landscape of the human psyche — a realm teeming with ceaseless thoughts, ever-evolving emotions, and a cascade of never-ending images. This exploration becomes an attempt to quiet the turbulent seas of the mind, to find an oasis of stillness amidst the perpetual mental chatter.

The video installation and polaroids that comprise the exhibition serve as visual echoes of these inner conversations—some clear and distinct, others mere whispers that dissolve upon closer inspection.

Through the juxtaposition of stark monochrome and the occasional interjection of subtle tonalities, Kudo aspires to emulate the contrasting nature of our thoughts—sometimes stark and defined, at other times a blend of shadows and highlights that elude clear definition. As viewers engage with ‘Conversations with My Barista (Real or Imagined),’ they are invited to witness the meeting of reality and imagination but to also to reflect on their own attempts to navigate the labyrinth of their minds.

Guided by the work of Japanese photographers like Masahisa Fukase, Miyako Ishiuchi and Daido Moriyama, Kudo embraces the Japanese aesthetic of are, bure and boke (meaning grainy, blurry and out of focus) to capture anything and everything, that is, the essence of life.

NGURRUWARRA/ DERNDERNYIN: Stone Fish Traps Of The Wellesley Islands

This exhibition is the inaugural presentation of a new, 20-metre-long canvas celebrating fish traps, which are central to culture and identity of First Nations communities across the southern Gulf of Carpentaria. The artwork is a collaboration by established and emerging artists from Mirndiyan Gununa Aboriginal Corporation, Mornington Island Art, with researchers from the ARC Centre of Excellence for Australian Biodiversity and Heritage (CABAH).

This panoramic Artwork references key landmarks, and cultural and story places across Bentinck Island and Mornington Island, including intersections with CABAH’s partnership research with Traditional Owners.

The Artwork is accompanied by contextual material explaining the connection between aspects of the Artwork, the community, and CABAH’s research collaborations on Bentinck Island and Mornington Island.

Logos: Mirndiyan Gununa, NorthSite Contemporary Arts, James Cook University Australia, ARC Centre of Excellence for Australian Biodiversity and Heritage, Queensland Museum.
This project was commissioned by the ARC Centre of Excellence for Australian Biodiversity and Heritage and coordinated by James Cook University. The exhibition will also travel to the Queensland Museum, Brisbane, 3 May – 24 November 2024.

The artwork is a collaboration by established and emerging artists from Mirndiyan Gununa Aboriginal Corporation, Mornington Island Art.



other showcases a variety of art forms across film, visual media, sound and text from The 5Five collective: Roderick Newbury, Doula, John DeSatge, Fletcher Glover and Tegan Koster with words by Nalisa Neuendorf.

This exhibition aims to honour and explore the diverse reflections of exhibiting artists responding to their notion of other.

A Mixed Grill performance and visual media event will close the exhibition in January, and spotlight the unique curatorial lens that is The 5Five.

other is curated by Nicholas Mills.



The 5Five was born out of the ashes of the producer-run artspace, Arthouse, which closed its Bungalow based venue in 2014. Arthouse was led by Creative Producer Nicholas Mills.

The 5Five continued the Arthouse tradition of diverse artform and artist integration, across a range of new music and performance programs, including In/Off Club (new music), Mixed Grill (multi-artform) and Sub-Merge (experimental performance/media).

At its core, The 5Five is a creative producer, physical art-space, cultural programmer and curator. It enables a broad range of artists and groups to elevate their creative practice through hands on support, critical dialogues and physical resourcing.

For the last 3 years, with a dedicated artspace, The 5Five has been nurturing a diversity of arts and performance groups including Djabugay legends The Pad Boys, who just released their debut album after 30years, the Tegan Koster Project, currently developing its ‘Shapes’ project, and First Nation’s comedian/performer Jay Wymarra, who is developing his new one-person show ‘AmaJayus’ for premier in 2024.

The year 2024 will also see The 5Five open its dedicated new gallery/studio ‘By Appointment Artspace’, and the launch of it’s annual performance and visual media program.



Accreditation logos: NorthSite, The 5Five, Creative Australia, Cairns Regional Council, Queensland Government
‘other’ is an initiative of The 5Five collective, curated by Nicholas Mills.

Tegan Koster’s ‘Shapes’ project has been supported by the Regional Arts Development Fund (RADF).

The Regional Arts Development Fund is a partnership between the Queensland Government and Cairns Regional Council to support local arts and culture in regional Queensland.

Welcome to Paradise

Mid-career Australian artist Jamie Cole presents his first solo exhibition in Cairns this October, since moving to the region in early 2022. This collection of 10 large urban pop paintings entitled ‘Welcome to Paradise’ reflects on Cole’s quirky observations, encounters and story-telling of this unique part of far north Queensland.

Cole offers a central narrative that focuses on the precarious and culturally unique elements fundamental to Cairns and the far north region, including local iconography lifted from crazy-ants, stingers and crocodile warning signage; as well as local advertising, popular culture and suburban life.

Cole’s new work reinvents some pop classics, like Andy Warhol’s ‘Campbell’s Soup Cans’ into Cole’s Soup Cairns, a cheeky homophone; and Warhol’s ‘Bananas’ given new energy by the road-side Banana Carts in and around Cairns.

No stranger to the far north, a much-loved holiday destination, it was with fresh eyes that Cole began to interpret his new ‘home’; and with eagerness absorb ‘warnings’, from earnest and well-meaning locals; warnings like “Crocs are Real” and “Stingers can Kill”. It was these phrases and the overuse of terms like “paradise” and “resort lifestyle” by resident realtors that spring-boarded Cole’s new art-making and the ‘Welcome to Paradise’ project.

As the many layers of Cairns social and political landscape revealed itself to Cole, the depth and complexity of the work also changed. Clearly visible in ‘Welcome to Paradise’ and ‘Stinger can Kill’, initially fun, bold expressions of FNQ, the imagery is now ‘hidden’ behind a ‘whitewash’ of Lichtenstein-style portraits.

Staying true to Cole’s background in graphic design and illustration, this new survey incorporates bold typography, animation, spray painted stencils, and layers of exhaustive painting and imagery, some historic, some new, but all uniquely Jamie.

Words by Bruce Ferguson BA (Fine Arts and English Literature) Sydney University

The Ascended

The Ascended exhibition crystallises Fraser’s exploration of power and class through her anti-colonial and anti-capitalist strategies, developing a theory that links ornamentation, personal protective devices and protest aesthetics as means to subvert and liberate identities. Fraser’s multimedia practice has garnered significant acclaim within Australian contemporary art and reflects the complexity of lived experiences for diasporic Sāmoan and Pasifika communities.


Logos for Griffith University Art Museum, Creative Australia, Queensland Government, NorthSite and University Art Museums Australia
Chantal Fraser: The Ascended is a Griffith University Art Museum touring exhibition, curated by Naomi Evans. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by the Queensland Government through Arts Queensland. NorthSite Contemporary Arts is assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. NorthSite Contemporary Arts is supported by the Queensland Government through Arts Queensland.