Michael Davis’s Street Choir series transforms the familiar into the extraordinary, paying homage to the street trees of Sydney. Rendered in bright, stencil-like forms against shallow, darkened backgrounds, these works elevate everyday urban flora into vibrant characters. Fragments of text—“IN THE PINES,” “BEAUTIFUL VISION”, “BLEEDING HEART”—personify the trees, capturing their quiet resilience and emotional resonance.

Arranged in linear rows and columns reminiscent of botanical reference books, the Street Choir series reflects Davis’s love of taxonomy. Each tree is considered individually, its unique traits celebrated without hierarchy. These works, while playful in tone, also offer a deeper reflection on human emotion and connection, suggesting parallels between the endurance of street trees and the peculiarities of human desire and resilience.

Michael Reid Southern Highlands is thrilled to present Drew Truslove’s debut solo exhibition, ‘Fox Paths – Minnamurra River’, in the Ground Floor Gallery. A rising talent in contemporary Australian art, Drew’s ink drawings capture the layered beauty of the natural world with striking simplicity and emotional resonance. In 2024, Drew was honoured with the Award of Excellence in the Morgans Financial Prize for Emerging Painters for his standout work, Flat Rock, River Crossing, 7th Angle. This recognition, accompanied by a $2000 non-acquisitive cash prize and mentorship opportunities, reflects his growing stature as an artist to watch.

‘Fox Paths – Minnamurra River’ delves into the nuanced beauty of the bushland Drew calls home. “Standing on one rock or patch of grass, I draw the views from different angles around that point, providing a unique view of how truly beautiful and diverse an individual spot can be,” he explains. This immersive approach enables Drew to create intricate, multi-perspective compositions that celebrate both the individuality and interconnectedness of the landscape. Working exclusively with black or blue ink, Drew forgoes traditional hues to evoke the essence of his surroundings. “Rather than trying to match the hues and tones of the bush, the ink provides an impression of the landscape, revealing its beauty with one single colour,” he says. His drawings are rich with texture and density, inviting viewers to see the bush through a fresh, distilled lens.

Michael Reid Southern Highlands is delighted to welcome to our top floor gallery this exhibition from Naarm/Melbourne-based artist Joe Whyte, who was named the Overall Winner of the Morgans Financial Prize for an Emerging Painter of the 2023 National Emerging Art Prize.

Titled Roma, Whyte’s dreamy and evocative new series of intricately detailed oil paintings captures the Italian capital’s emptied streetscapes and jumbled rooftops just as twilight bathes the cityscape in a romantic, golden-amber glow.

Drawing inspiration from his time based in Rome, the exhibition is the culmination of a yearlong mentorship with gallerist Michael Reid OAM, gallery director Toby Meagher and NEAP curator Amber Creswell Bell. Together with an acquisitive $20,000 donated by NEAP’s founding sponsor, Morgans Financial Limited, this professional development formed part of Whyte’s suite of prizes when he received NEAP’s top honour in 2023 for his work Above the Clouds.

Beguilingly devoid of inhabitants, his halcyon scenes meld an enduring affinity for the urban environment with poetic reflections on the sense of alienation these spaces can engender. By delving into the duality of proximity and isolation inherent to the urban experience, Whyte reveals the often-overlooked narratives embedded in our built environment, offering a poignant exploration of belonging and the complexities of life in a bustling metropolis.

“Having grown up in Melbourne’s inner-city, I have long been inspired by its streets and architecture,” says Whyte, whose mastery of classical painting and drawing was honed with training in France after earlier studies at Monash University. “My work looks at the juxtaposition between the close proximity in which we live and the distance and sense of isolation that so often comes with life in cities.”

“The paintings document my search for an understanding of place and belonging while being very far from home,” says Whyte, who imbues each masterful picture from his Roman holiday with emotional warmth, poeticism and a sense of gentle, solitudinous contemplation that sits in quiet equipoise with the city’s grandeur.

For more, please email southernhighlands@michaelreid.com.au

In Im(perfection), Kabriel uses still life as a stage to explore the complexities of human experience, blending the personal and the universal with striking intimacy. The exhibition invites viewers to linger over the interplay of the mundane and the profound—books, flowers, a Diazepam pill box, and tampons, all rendered in expressive oils. By juxtaposing objects with little-to-no tradition of painterly representation alongside floral subjects steeped in centuries of pictorial tradition, Kabriel draws attention to the overlooked and often stigmatised aspects of modern existence.

“These works are my response to how I experience the world and, more specifically, how I experience my inner world. These paintings are an expression of all my parts—my warmth, comforts, and safeties; my failings and vulnerabilities. It is my vitality, this life force, my imperfect humanness that I’m constantly trying to make sense of and accept. My hope is that you may be able to meet and experience this for yourselves,” she says.

Kabriel’s regional roots are a significant influence on her work. Her family home was in Razorback, and she recalls catching the bus to Mittagong’s Gib Gate for primary school before boarding at Frensham for high school. “Having that country upbringing never leaves you,” she reflects. “The sense of community, the connection to nature—it’s very much part of my identity.” She credits her art teacher, Miss Blackborough, with inspiring her interest in the graphic qualities of printmaking, which now influence her use of textiles and fabrics.

Now based in Bangalow on Bundjalung country, Kabriel continues to create work that reflects her deep connection to community and nature. Im(perfection) will be celebrated with an opening reception this Saturday, 30 November, between 2 and 4 pm, and runs until 29 December.

This exhibition marks Kabriel’s debut with Michael Reid Southern Highlands, arriving three years after her celebrated Softening the Eyes at the Tweed Regional Gallery & Margaret Olley Art Centre.

It is a privilege to welcome Michael Reid Northern Beaches represented artist, Ben Waters, to our downstairs gallery in Berrima.

Waters’ Two Days captures the essence of the Pittwater bush with remarkable precision and restraint. His distinct combination of graphic lines and soft washes of colour brings these landscapes to life–not simply as scenes, but as emotional spaces imbued with quiet magic and subtle power.

“I don’t want to paint actual views of this area,” Ben shared with Michael Sharp in a recent Scrutineer profile. “I want to paint the way it makes me feel. These feelings can be numerous. It might be awe, but it could just as easily be a sense of healing. It might evoke wonder, or draw me back into the present moment.”

This latest exhibition chronicles a journey from Careel Bay to the mouth of the Hawkesbury River and up into Smiths Creek–undertaken on a friend’s sailboat. Over two days, Ben was captivated by the slowly shifting landscape he observed while drifting down the river, recording his initial impressions in a sketchbook. “It was only two days,” he writes, “but it was enough time for this wondrous, sublime landscape to ignite my heart.”

Brimming with inspiration, Ben returned to his recently expanded studio, determined to create some of his most ambitious works to date.

Although many of the pieces in this collection depict the river from water level, Ben’s signature elevated perspective is still evident. His striking visual forms–like a distant row of trees–are distinctly mid-century in feel, emerging from sharp, geometric hills and headlands. An evocative palette of ochres, reds, yellows, blacks, and whites remains one of the artist’s most recognisable signatures.

Two Days marks Waters’ first solo show at Michael Reid Southern Highlands, following a series of successful exhibitions at our Northern Beaches and Sydney galleries.

Sydney/Eora based painter Louise Frith makes her Southern Highlands solo exhibition debut in October, news that follows recent sell out shows at Michael Reid Murrurundi, Michael Reid Sydney, and at Sydney Contemporary 2022. Now in her fifth year showing with Michael Reid, our up-coming show is a milestone exhibition which sees the artist break new creative ground.

A Closer Look will see Louise Frith present new paintings that blur the delineations between still life, landscape and abstract painting, delving deeper into the thickets of Australian native bush flowers. In each painting, tangles of wildflowers extend to the edges of the artist’s canvas.

Elizabeth is an Australian emerging artist. Her debut solo show was at Michael Reid Southern Highlands (2022), and since then she has exhibited several times with the Michael Reid group, including a further solo show with Michael Reid Southern Highlands (2023), and in the Summer Salon (2022, 2023). In 2024, Elizabeth was one of six artists to present a body of work for the  Michael Reid and Country Style Magazine annual exhibition. She has been a finalist and highly commended in the Glover Prize (2018), a prestigious Australian landscape art prize. She has also been a finalist in the Royal Queensland Art Society Young Artist Awards (2018), Kangaroo Valley Art Prize (2020). In 2022, she was part of a group exhibition of works selected by Amber Creswell Bell as part of the National Emerging Artist Prize.

Elizabeth’s practice predominately focuses on exploring landscapes and expressions of the bush through abstraction. She is particularly interested in investigating emotional responses to place in her work. She lives on a bush property in the Southern Tablelands of NSW, and her work often references the stories and histories of her immediate environment, the country of the Ngambri/Ngunnawal people, as well as the regions she’s spent time in such as the Central desert and southwest Tasmania. A process-driven painter, Elizabeth develops her work through drawing, experimentation and layering of oil paint until a finished painting reveals itself. 

The works in ‘Last Light’ were formed following constant observations of the spectacle of a winter setting sun as it briefly coats the landscape with golden light, before a quick descent into a cool twilight.  

“Collecting art is an art in itself, focused on telling a story and tapping into the world we live in … “, starts Michael Reid in the Autumn/Winter 2011 issue of Vogue Living. For this inaugural From the Archives edition, we revisit Michael’s piece—published nearly 15 years ago—and discover that his insights resonate just as profoundly with today’s collecting rationales.

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WHAT I WANT to look at here is not why people collect, but what constitutes an art collection. The short answer to the riddle of what differentiates a gathering of artworks from an art collection is the curatorial thread of narrative. An art collection tells a story; it is formed when there exists an inherent dialogue between the artworks in the group, and when this overall narrative is larger than any single constituent. When the body speaks, then you can say you have an art collection.

On the top floor of our gallery, we proudly present Upstream, the debut solo exhibition of Baden Croft with Michael Reid Southern Highlands. This collection of sun-parched landscapes—and a single floral study—reveals the artist’s joyful communion with the Australian bush. With thickly loaded brushstrokes, one can imagine Croft stretching across his large canvases, tracing the meandering river bends and the gnarled trunks that border its banks.

If Upstream is rooted in a deep attachment to Australia’s landscapes, it also bears the imprint of Brett Whiteley, one of its most evocative interpreters. Whiteley’s pliable forms and dedication to aesthetics over topographical fidelity clearly resonate with Croft. His canvases embody a similar spontaneity and fluidity, layering bold graphic elements over neutral grounds, reminiscent of Whiteley’s brush-and-ink calligraphy period.

Beyond these references, Croft’s true preoccupation is the pursuit of capturing nature’s abundant beauty and the sensory immersion of being in the wild. Through dynamic forms, movement, and rapid brushwork, he pushes his subjects to the edges of the canvas, distorting them with stretched lines and tilted perspectives.

Situated on the Mornington Peninsula, Croft’s daily routine is dictated by the ebb and flow of the ocean and his studio practice. Mornings spent surfing yield inspiration from the sea’s vastness—a space where ideas gather like waves. Afternoons are devoted to Onshore Studios, a creative enclave where the rhythm of fellow artists mirrors the landscapes Croft captures. Within this community, Croft translates the ever-changing Australian bush and coastline into thick, tactile gestures.