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Bett Gallery Hobart, Hobart (2026)

29/05/2026

Bett Gallery is delighted to introduce the work of Ash Keating in After the Earth.

In late 2025, Keating spent five days in the Mt Field National Park in Tasmania’s south, photographing the environment with a long lens. Allowing the user to photograph small details from afar, the long lens focuses on bringing minutiae into close observation. In his Russell Falls Response, 2026 series, Keating has done exactly this. He brings the eye right up to the frothy spray of water cascading down slick, undulating rock. Surrounded by moss covered forest on both sides, Russell Falls (depending on the levels of rain or snowfall in the highlands) can either politely trickle or thunder down the cliffs, fanning out to create a rainbow of light filled water droplets at its base. By adding perlite and mica flakes to his painted surfaces, Keating injects an iridescent sheen that recalls this rainbow mist swirling into the surrounding atmosphere. Excerpt from Briony Downes essay

Keating has undertaken numerous large-scale painting commissions in public spaces for institutions such as the National Gallery of Victoria (2013), RMIT University (2014), the Adelaide Festival Centre (2015), TarraWarra Museum of Art (2019) and Museum Langmatt, Switzerland (2023). His practice has attracted significant attention in Australia, winning the Incinerator Art Prize (2015), Guirguis New Art Prize (2013), Substation Contemporary Art Prize (2012) and his works are held in many public and private collections including the NGV, NGA, MCA, AGNSW, MUMA and Artbank.

After the Earth
Naoise Halloran-Mackay
Pete Maarsaveen
Jake Walker
Eloise Kirk
Ash Keating
Georgie Vozar

📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm, To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

Images:

29/05/2026

Bett Gallery is delighted to introduce the work of Ash Keating in After the Earth.

In late 2025, Keating spent five days in the Mt Field National Park in Tasmania’s south, photographing the environment with a long lens. Allowing the user to photograph small details from afar, the long lens focuses on bringing minutiae into close observation. In his Russell Falls Response, 2026 series, Keating has done exactly this. He brings the eye right up to the frothy spray of water cascading down slick, undulating rock. Surrounded by moss covered forest on both sides, Russell Falls (depending on the levels of rain or snowfall in the highlands) can either politely trickle or thunder down the cliffs, fanning out to create a rainbow of light filled water droplets at its base. By adding perlite and mica flakes to his painted surfaces, Keating injects an iridescent sheen that recalls this rainbow mist swirling into the surrounding atmosphere. Excerpt from Briony Downes essay

Keating has undertaken numerous large-scale painting commissions in public spaces for institutions such as the National Gallery of Victoria (2013), RMIT University (2014), the Adelaide Festival Centre (2015), TarraWarra Museum of Art (2019) and Museum Langmatt, Switzerland (2023). His practice has attracted significant attention in Australia, winning the Incinerator Art Prize (2015), Guirguis New Art Prize (2013), Substation Contemporary Art Prize (2012) and his works are held in many public and private collections including the NGV, NGA, MCA, AGNSW, MUMA and Artbank.

After the Earth
Naoise Halloran-Mackay
Pete Maarsaveen
Jake Walker
Eloise Kirk
Ash Keating
Georgie Vozar

📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm, To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

Image:

28/05/2026

Bett Gallery is thrilled to introduce the work of Georgie Vozar in After the Earth.

Maintaining a ceramic practice deeply rooted in human connection, family and community play an integral role in Vozar’s work. While growing up, she lived above her father’s ceramic studio in Queensland’s Blackall Range, surrounded by creative materials and objects in varied stages of completion. Further afield in outback Queensland, her grandparents managed cattle stations she would often visit. After moving to Tasmania in 2012, Vozar began learning ceramics from her father and together they have built their own earthenware practice.

In her solo practice, Vozar remains inspired by her surrounding environment. Her time in Queensland is still a guiding force, and its influence can be seen in the carefully chosen glazes and hand-applied textures of her amphora-like vessels. Mesa, 2026 is inspired by Mt Slowcombe in Yaraka and the nearby Yang Yang Range, a landscape Vozar says reveals itself slowly and quietly. Other vessels connect to places in Tasmania – Fen, 2026 recalls the Great Lake region of the Central Plateau – while others reflect personal challenges, water meeting the earth and places where physical terrain has been transformed by light. Except from Briony Downes essay

After the Earth
Naoise Halloran-Mackay
Pete Maarsaveen
Jake Walker
Eloise Kirk
Ash Keating
Georgie Vozar

📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm
To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

27/05/2026

Bett Gallery is delighted to present the work of Pete Maarseveen within After the Earth.

Starting at a grassroots level, and inspired by a global community of photographers, Maarseveen is developing an off-grid, eco-friendly practice in Tasmania’s Derwent Valley. In the hopes of treading more lightly upon the earth, he experiments with solar power, tank water, and low-toxic processes, creating a cyclical system where wastewater from the printing process nourishes the same plants used to produce his image-making chemistry.

Working with paper negatives sourced from tip shops and op shops, his practice reflects a careful, thoughtful engagement with material and place. During his time in Takayna/Tarkine, he photographed the forest using a large format camera, developing negatives with chemistry made from myrtle leaves found on the forest floor. The resulting images carry a distinctive quality: an inkiness… the depth of shadows and economical intake of light is almost tactile, shaped by the very plants that determine how each image emerges. Except from Briony Downes essay

After the Earth
Naoise Halloran-Mackay
Pete Maarsaveen
Jake Walker
Eloise Kirk
Ash Keating
Georgie Vozar

📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm
To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

26/05/2026

Naoise Halloran-Mackay
After the Earth

Tracing back to ancient Egypt, marquetry is a meticulous technique of assembling timber veneers into intricate, puzzle-like compositions. Traditionally a symbol of wealth and refinement, Halloran-Mackay reclaims this labour-intensive craft as a contemporary gesture, resisting the ease of digital and AI-generated imagery through a deeply hands-on process.

Working with timber for its inherent history and organic texture, Halloran-Mackay draws on early experience in carpentry, sourcing discarded veneers from building sites. These materials, shaped by both environment and industry, carry traces of time, echoing the passage of birds themselves as winged observers moving between reality and imagination.

After the Earth
📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm
To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

26/05/2026

Naoise Halloran-Mackay
After the Earth

Tracing back to ancient Egypt, marquetry is a meticulous technique of assembling timber veneers into intricate, puzzle-like compositions. Traditionally a symbol of wealth and refinement, Halloran-Mackay reclaims this labour-intensive craft as a contemporary gesture, resisting the ease of digital and AI-generated imagery through a deeply hands-on process.

Working with timber for its inherent history and organic texture, Halloran-Mackay draws on early experience in carpentry, sourcing discarded veneers from building sites. These materials, shaped by both environment and industry, carry traces of time, echoing the passage of birds themselves as winged observers moving between reality and imagination.

After the Earth
📍 Bett Gallery
📅 On view from 29 May – 20 June 2026
🥂 Exhibition celebration: 12 June, 5:30pm
To be opened by Dr David Ashley Kerr, Head of Art, Tasmania Museum & Art Gallery

Image: Starlings 2026 (detail)
oil and timber marquetry on panel, framed
34 x 57 cm (frame size)
Photo: Grace Harre

20/05/2026

After the Earth
29 May - 20 June 2026
Exhibition Celebration - Friday 12th June, 5:30 - 7pm

Naoise Halloran-Mackay
Peter Maarseveen
Jake Walker
Eloise Kirk
Ash Keating
Georgie Vozar

After the Earth brings together six Australian artists whose practices engage the land as something shaped, mediated, and transformed. Across painting, ceramics, collage and photography, these works move between material and image, tracing how the earth can be constructed, suspended, eroded, and reimagined.

Through processes of layering, firing, pressure, and extraction, the exhibition considers the ground not as a fixed subject, but as something continually handled and reworked. Shifting between direct material engagement and constructed image, the works invite a deeper awareness of the earth as both our material ground and the origin of creative thought.

Image: Ash Keating, Russell Falls Response #3 (detail) 2026 mixed media on linen, framed 188 x 125 cm, Photo:

07/05/2026

Kate McKenzie Lewis
Ember continues until 23 May 2026

Artwork 1-3: Dreaming together 2026, Serendipity tonight 2026 & Sky over 2026. All oil on linen, 18 x 24 cm

05/05/2026

Closing soon: Julie Gough
Force Field

Contemporary Art Tasmania

Curated by Tash Bradley-Cross
Force Field continues until 16 May.

“An invitation to respond to Hobart the city is a daunting prospect. Although I have lived here for more than 30 years, I inhabit this place through an 1800s lens. Those People, relationships, landmarks and stories swirl around me, they overwhelm my present. Today’s citizens are the spectres.” Julie Gough, ‘Scrying the Pool’, Force Field exhibition catalogue

“In Force Field, Julie Gough shows us Hobart as a precarious city, perched awkwardly on the precipice between past and future. Three sites are weighed down equally by history and potential. Two of these are places few Tasmanians would be unaware of, places that have—for some reason or another—regularly made national and even international headlines. The grey, industrial expanse of Macquarie Point. The tense, empty plinth in Franklin Square. The third is perhaps more obscure, inaccessible and unrecognisable but to the historically-minded: a grate, covering the spring that once drew forth behind George Augustus Robinson’s house. Once known as ‘the Pool of Aborigines’, it became an object of nostalgic, folkloric fascination for late-Victorian society, the place “in which the blackfellows took their daily wash” and the tense conflict of the city’s early years—at that time increasingly retold in grand, heroic terms—found its culmination in Robinson’s great act of betrayal.”
Hugh Magnus, a writer based between Naarm and Nipaluna, writes for the Force Field exhibition catalogue. He is interested in desire, repair, and the difficulties of history. .Im

The catalogue available in hardcopy at CAT or online.
Images:

01/05/2026

Opening tonight: Kate McKenzie Lewis
Ember

Friday 1 May, 5:30 - 7pm
Exhibition continues to 23 May 2026

The works draw on a combination of lived memory, observation, and research. I reference personal experiences of smoke-filled skies, road closures, foggy horizons and the warm, foreboding glow of sun and moon during firey summers, alongside draw
ings made from bushfire-affected landscapes. These are interwoven with found imagery and material gathered from media coverage, environmental reports, and ongoing research, bringing together intimate and collective experiences of fire.

Artwork 1-4: As above 2026, Smoke beckoning 2026, Night calls 2026 & Hugging me 2026. All oil on aluminium, framed, 24 x 34 cm

Bett Gallery Hobart

29/05/2026

29/05/2026

28/05/2026

27/05/2026

26/05/2026

26/05/2026

20/05/2026

07/05/2026

05/05/2026

01/05/2026

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Monday	10am - 5:30pm
Tuesday	10am - 5:30pm
Wednesday	10am - 5:30pm
Thursday	10am - 5:30pm
Friday	10am - 5:30pm
Saturday	10am - 4pm