In Between

We exist between natural and man-made environments, interconnected within social, digital and ecological networks. The way each of us weave together our experiences, memories and perspectives form a sense of how we belong.

In In Between, artists Rachel Honnery, Josephine Morrow, Alison Peters and Mollie Rice reflect on the ways we exist within those networks. They are informed by memory and the experience of place: responding to landscape, urbanism and interior spaces. It provides a dialogue between inner and outer worlds and echoes what we feel, hear, smell rather than just what we see.

Spending time in the cold climate rainforests of lutruwita (Tasmania), Rachel Honnery wonders why governments selectively preserve one part of nature but then allow the destruction of another? The Eucalyptus regnans is a majestic giant, the world’s tallest flowering plant and yet it is still being logged in Tasmania. Occasionally forestry preserves a specimen tree or a remnant of forest. Why not preserve it all? Why log old growth forests that are full of ancient wonder? Honnery’s work “Gilded Cage”, endeavours to grapple with this rabid destruction.

Josephine Morrow draws inspiration from art historical notions of ‘intimisme’, symbolism and decoration. She is particularly interested in the exploration of the thresholds of interior and exterior spaces and the notion of embodied looking. For Josephine, painting is an unfolding process of observation and composition, perception and invention. Through this choreographic venture, she interrogates space and form, structures and voids, recognition and defamiliarisation, all within a navigable space that invites a second glance.

Alison Peters’ work conjures the energy of places real, remembered and imagined. She is particularly drawn to the natural environment near her home on Darramuragal land near Garigal National Park where the sights and sounds of suburbia meet ancient rockscapes, indigenous middens and artworks dating back thousands of years. Her abstract paintings of interwoven gestural forms explore materiality, texture, and depth, and echo the liminal spaces between our man-made and natural environments.

Mollie Rice’s drawing practice responds to place and experience. It is informed by the visual language of landscape and mapping. Sound is significant to the artist. Drawings will routinely start with a visual recording of the sound she hears, a ‘sound score’, made on site. The motifs that emerge from the process of listening are the reference points for the subsequent drawings made more slowly and over an extended period of time in the studio. These drawings, made with pastel pencil and eraser, involve a back and forth movement where processes of addition and subtraction converse.

Image: Mollie Rice, Sound Score, 2025