A leading voice within the dynamic school of contemporary painters at Iwantja Arts – co-founded in the 1980s by her late mother, revered artist and advocate Kunmanara (Sadie) Singer – Trisha Singer’s solo show commences while her joint exhibition with PRISCILLA SINGER – her sister and fellow luminary of Iwantja Arts – continues its run at Michael Reid Sydney.

Our Berrima and Eora/Sydney galleries’ concurrent presentations of the Singer Sisters’ new suite of paintings – titled ‘Tali Ngura Wiru – Beautiful Sandhill Country’ as a tribute to the rocky desert country of Indulkana, where Iwantja is sited – celebrate the cross-generational sharing of cultural knowledge, stories and practices grounded in Country and kinship that is the animating force in their art-making.

“I’ve been making art since I was a young girl,” says Singer, whose work channels the vivid desert reds and earth tones of Yankunytjatjara Country through sweeping gestures crested by meandering, sand-coloured striations. “You can see sandhills in the colours I use… desert colours, with dusty reds and oranges.”

Singer’s practice honours personal and cultural connections to place, carrying forward stories and lessons passed down through family and community. “There’s a lot of my mum in my work – what she liked and what she taught me,” says the artist. “I like looking at different flowers and going on Country, getting the knowledge of the land and the story passed on from grandparents … When you travel, you see the changes in the land. It comes alive.”

Singer previously presented her work at Michael Reid Southern Highlands alongside her sister and other Iwantja peers in the group exhibition ‘Ngura Pilunpa – Peaceful Country’. With her practice now being celebrated in Sydney, we are thrilled to welcome her back to Berrima for the Southern Highlands contingent of ‘Tali Ngura Wiru’.

Lilli Strömland’s paintings linger over the theatre of domestic preparation, where kitchen and studio collapse into a shared site of cultivation. Fruits and vegetables are scattered across tables, their forms tilting upward across spatially ambiguous planes. Corn husks flare open, apples gather around tangled cords, while vessels and striped kitchen towels frame these organic protagonists.

Her subjects sit on the verge of transformation — ingredients poised between raw state and recipe. Here, the construction of a recipe becomes inseparable from the construction of an image: gestures of slicing, measuring and assembling echo in the layering of pigment and mark.

Recalling Janet Dawson’s later work following her move to ‘Scribble Rock’ in Binalong — where daily engagement with organic farming drew her from abstraction toward an intimate realism of onions, cabbages and cauliflowers — Strömland hones her observation of the world into a deeply attentive encounter with material existence.

Where traditional vanitas paintings meditate on abundance as a symbol of decay and the passing of time, Strömland quietly inverts the form. Her profusions of fruit, vegetables and domestic objects signal not decline but imminent transformation — items destined to be chopped, sautéed, baked and shared.

The enduring muse of Cameilia Grace Edwards is the Australian landscape at dusk—caught in that fleeting interval of golden hour. The resulting effects are distinctly cinematic: resplendent beams of light wash across the surface; wild tangles of roadside vegetation are sometimes obscured by painted ‘lens flares’; and backgrounds are positioned out of focus, resembling bokeh.

Often encountered on journeys home, these landscapes prompt Edwards to pause and record the moment before faithfully locating it on the canvas. What begins as a fast, impromptu act of looking becomes a sustained meditation. Soul-piercing in their beauty, the scenes offer the artist endless potential as a subject.

Elegance and harmony emerge through her attention to changing light and atmospheric conditions, and through an indefatigable interest in the chromatic range produced by weather, time, and the angle of the sun.

Edwards paints from a shared studio in her hometown of Inverell, NSW, where her easel sits beside the front window. Locals often pause to wave, watch, or step inside for a conversation—moments of connection that have become a treasured part of her practice. “This visibility has transformed what can be a solitary process into something communal.” At the heart of her work is a wish to hold space for calm: “a pause, a breath, and a sense of still wonder.”