rhonda Shircore (Work under maiden name)
Truth Covers & Reveals
Truth Reveals through Holy SPIRIT to humanity. I have illustrated this Truth, by fire, wax & pigment fused layers scraping to reveal the image beneath as a visual timeline of the Scarlet thread. Truth Covered & Revealed from the fall naked & ashamed made fig leaves a covering. GOD Covers by an animal skin for Need. The Abrahamic Covenant, GOD Reveals a Ram being caught in thickets held the horns, in exchange for Sacrifice of Isaac. Revealing the Ultimate Sacrifice & Truth Covering that GOD has revealed. I have illustrated the Veil being removed Revealing Jesus looking into the New Creation represented as a babe. The Grape vine takes over the thickets & fig leaves with a hearing heart of Truth symbolised with a dove bringing Peace & Freedom
Truth Covered & Revealed
Hot Encaustic Medium
Dimensions: 1115 mm x 505 mm x
Michele Ulrich
An implement for they who live in a Litany—a repetitive script of conditioned responses and ancient laws:
I want to draw a story where to become human (to become 'I'), is a reality offered through agency in Revision. I wish to set a stage wherein each Actor has the ability to step out of the reverie of the Garden, face the anxiety of the Mirror, and rewrite the definitions of our own existence. My truth is a freedom where we are not just reciting the prayer but one where we are all and always engaged in amending the text. My truth invites all questions for this purpose.
Life unveils her holy face (Attribute)
Photography
Dimensions: 35.5 x 25.9 x
Aaron Moore
The title, ‘The truth is lacking’, suggests that truth is difficult to see—obscured by competing systems or our own acts of hiding. But this work proposes something more: that truth may be located precisely in that lack, in the failure of our structures to deliver the certainty they promise. The sacred structures in decay offer no salvation, and yet, in their very failure, point toward something irreducible that functioning systems cannot. This work does not deliver truth as a product; it offers truth as an experience of dislocation. And in that dislocation—in that space where certainty fails and we are left with nothing but the question—something like faith becomes possible again. Not faith as belief in propositions, but faith as the courage to remain present in the absence of answers.
The truth is lacking
Oil on canvas
Dimensions: 94 x 124 x
Karla Reyes Zelaya
When Flame Becomes Witness explores spiritual insight and personal revelation through the symbolic language of the candle. Drawing upon Latin American devotional traditions, the work engages with candle divination, where the burning flame and melting wax signify guidance, transformation, and the unveiling of hidden truths.
Echoing the human vulnerability captured in Genesis—”I was afraid, because I was naked: and I hid myself”—the painting contemplates fear, exposure, and the search for understanding. Informed by devotion to Our Lady and faith in divine Archangels, it offers a contemporary interpretation of sacred motifs. Its composition emphasizes layering, texture, and rhythmic structure, creating a contemplative space that invites reflection and introspection. Tonal modulation, naive b
When Flame Becomes Witness
Oil on Canvas
Dimensions: 750 x 290.5 x
Jill Smith
Inspired by the theme, "What is Truth", I have taken a simple image of an eye, The eye being our way of viewing the. world and what we see informs our thinking and actions. The acrylic painting is a grey scale tonal image. The lack of colour and focus on the dark imagery, both in the 2D and 3d tries to convey the complexity of finding truth in the modern world. Void of all the distractions and turmoil of what we see, there is an inner truth and peaceful sanctuary.
Light
acrylic paint, 3D print, gold
Dimensions: 35 x 55 x
Gera Woltjer
This work reflects on the uneasy space between exposure and concealment embedded in the question What is Truth?, and in the fear felt by both Adam and Eve in Genesis 3:10. The long, raw hair—printed beyond human scale and formed into a blanket—draws on the Hairy Mary Magdalene and the tradition of the silicium or hair shirt as symbols of guilt, penitence and the desire to hide.
Using hair as both covering and burden, the work considers how truth is shaped by internalised ideas of good and evil—echoes of a Christian upbringing that still surface as quiet, persistent self‑judgement. The blanket suggests a robe removed, a shedding of what once concealed, and an opening toward a clearer, more compassionate understanding of truth.
Between States
Pigment inkjet print on cotton drill, heat‑set, polar fleece, thread
Dimensions: 120 x 16 x 120
LUCiA MiG
Nakedness is not only physical, it is the exposure of the heart, the sudden knowledge of being seen. The instinct is to conceal.
In Cuore di Punchbowl, I revisit that moment from the perspective of lived experience rather than innocence lost. The tomato, held over my heart, replaces the traditional fruit of Eden. Its skin is delicate, its flesh easily bruised, yet it carries seeds which mean continuity, inheritance, cultivation. It is not plucked in transgression but grown through labour.
The suburban garden becomes a contemporary Eden, not a site of exile but of tending. Truth here is not found in hiding, nor in shame, but in the acceptance of heritage, of womanhood and of the responsibilities and gifts we carry.
To be seen without retreat, is its on act of truth.
Cuore Di Punchbowl
Oil
Dimensions: 33 x 43 x
Hiroshi Kobayashi
The forbidden fruit is incorporated into our body as the ability of language. It externalises our imagination to modify the world, generates our endless desire for both creation and destruction, and rationalises both justice and discrimination. To limit the excess of imagination, language also built shame—our internal harness shaped by the gaze of others. The Expulsion from the Garden of Eden by Masaccio, quoted visually in the work, perfectly represents my interpretation of the theme. The picnic blanket with a grid pattern, referring to a cross structure, interweaves the apparition of the naked couple in primary colours, hiding the image of Scarborough Beach. Beneath the overlapping images, I embed a reminder of original shame within the constructed truths of contemporary society.
The shame
Acrylic on PVC sheet
Dimensions: 91.5 x 91.5 x
Robyn Ripley
In Job chapter 12 it says "What is truth? But ask the heavens and they will teach you....or the bushes of the earth and they will teach you....who among all these does not know the hand of the Lord has done this? In his Hand is the life of every living thing and the breath of all mankind."
In Nature, I feel small. The weight of the current is powerful urging me to confront my transience. Yet more powerful is the one who made it. In the beauty and intricate biodiversity of the forest I see God, a Loving creator who made everything in perfect balance. God saw us in our nakedness and clothed us, drawing us out of the dark depths and into new life.
in the depths
Oil paint on Canvas framed in recycled Jarrah timber.
Dimensions: 53 x 113 x
Rebecca Ryan
This Victorian‑era wedding dress is constructed from translucent Tengu paper, with details drawn from sewing pattern paper. Inside the form, book pages, cardboard, and pattern instructions create the hidden structure — the lessons, rules, and expectations we use to navigate life. Though veiled, the inner framework remains visible, reminding us that nothing we build can fully conceal who we are. In the end, despite every covering we construct, we remain alone and exposed beneath it all — still searching for truth, still standing in the moment of “I was afraid, because I was naked; and I hid myself.”
Instructions for Hiding
Tengu paper, sewing pattern paper, book pages and cardboard
Dimensions: 90 x 120 x 80
Shirley Birrmarriya Purdie
Ngapuny (God) and Gilbany Country tells of faith carried from childhood into understanding. I grew up hearing my elders say there is one good man up above who wakes us each day. Born on Gilbany (Mabel Downs) Country, I paint its hills, creeks and spirit with natural ochre. In this work, Jesus stands on the hilltops with arms open, and the white dove, gooloodoodoogjil, rests at the centre. Trees connect earth and sky, Country and Spirit. “Ngapuny provides for us when we go out bush, out on country. He watches over us. I believe Ngapuny don’t pick and choose who He loves. He loves everybody.” Through this painting, I share my faith and my Country as one truth.
Ngapuny (God) and Gilbany country(Mabel Downs) by Shirley Purdie
Ochre on Canvas
Dimensions: 90 x 90 x
Ebony Reed
I entered the world vulnerable, carried by a woman already wounded. I was conceived through violence, yet I live — not as a symbol of harm, but as a loved person. Beneath this painting are the words “I Knit you together in your mothers womb” a reminder that dignity is not erased by circumstance. My mother bore deep suffering and was never protected as she should have been. I often wonder if accountability might have saved her. This work confronts what we hide — shame, abuse, silence — and asks where responsibility truly belongs. The water suggests both fragility and cleansing. The flowers, the ones that finally laid her body to rest, soften what was once harsh. Nothing is disguised. The truth: I am fearfully and wonderfully made.
You're just like your Mother
Oil on canvas
Dimensions: 76.2 x 50.8 x
Sue Leeming
Internalised Realities engages landscape and its abstraction as both physical terrain and interior metaphor, exploring painting’s cathartic potential as process and prayerful reflection. A persistent tension exists between the stories we tell ourselves and those we present to others. Within this gap lies a question: does it signal a quiet dishonesty, or does it mark the threshold where deeper inner truths await recognition? Leeming embraces the physicality of paint, allowing imagery to arise organically through process. Her intuitive, meditative practice weaves memory and sensation, expressing a deep connection to land while unveiling subtle, unseen aspects of her inner world.
Internalised Realities
Oil and ink on linen
Dimensions: 152.5 x 112 x
Elizabeth Kougianos
This painting represents the spiritual clarity I received when helping to take care of my father as he suffered with progressive dementia.
It is often in our deepest struggles that our illusions are stripped away, revealing who we truly are and how far we have drifted from God.
Wandering in the unfamiliar wilderness, we can easily fall back on anger, resentment, judgement of others, and frustration.
This composition captures the moment when anguish transforms into self-reflection. It is here where we understand that our trials are not merely obstacles, but divine invitations to be humble, repent and align our souls with God.
God Asks A Favour
Oil paint on wood panel
Dimensions: 90 x 60 x
Ellen Morrow
“I believe you”
Wool, cotton bandage, cotton and polyester thread
He said, she said; the truth lies somewhere in between. She is most often (although not always) the victim. Traditionally, she resorted to handicrafts as safe way to express her experiences.
This deeply personal work explores the issue of emotional abuse, where words are distorted to create false narratives intended to strip away the value and voice of another. The injury is real, if not visible. And the truth is not always black and white.
I found her, huddled in a dark corner, beyond tears, broken. I can’t fix this. All I can do is to wrap my arms around her, cover her with love and say, “I believe you.”
I Believe you
Wool, cotton bandages, cotton and polyester threas
Dimensions: 85 x 90 x 60
Cecil Mosquito
The beauty of connection is truth. Everything links to one story- that is where connection is found. This is my story. My beginning. My life. It is my mother, my grandmother and my Country. It is who I am and where I belong.
Connection by Jaangari, Cecil Mosquito
Ochre on Canvas
Dimensions: 60 x 80 x
RHODA KIRK
This work proposes the most profound truth is the one we hide from ourselves. The couple performs a composed reality, while the crouching, serpent like figure is the internal shame they refuse to face.
The painting’s process is its meaning. Built from a dark ground representing the subconscious, layers of glaze and thick brushwork bring the figures to light. Their flesh, stained with red shadows, speaks to an unconcealable life force. The title refers to both the buried psychological self and the painting’s own accumulated layers, the history of it’s making mirroring how we bury our truths.
Beneath the Surface
Oil on Canvas
Dimensions: 890 x 1370 x
Adam Ismail
The hand pictured is a mould of my own. As I had been pondering the situation in Iran concerning corporal punishment for unsubstantiated crimes, and feeling confounded and dismayed. I couldn’t get the image out of my mind, the visceral and irreversible nature of the action seemed so arcane. So I inserted the artists hand; rendered paint stricken and disconnected .
In this configuration, the work situates itself at the intersection of juridical authority and embodied vulnerability, extending the implications of Pilate’s inquiry—“What is truth?”—into the contemporary terrain of corporeal sanction. If truth is indeed a moving target, we must take careful aim.
It starts with a lump in the throat
Mixed
Dimensions: 13 x 30 x 13
Mark Nodea
Truth is not fixed. It lives in connection to culture, to Country, to each other, and to God. It flows like river water through the land, carrying memory, restoring balance and bringing life. This work holds the rhythms of life, Dreaming & faith, where ancestral time breathes through the present and the spiritual and earthly are inseparable. The cycles of bush, Country, Gija Law and life speak of change without erasure. Awakening comes through listening, remembering and trusting what was set in motion from the beginning of time. I am that child. I am the seed of life, the beginning of the start. This is truth.
Truth by Mark Nodea
Ochre on Canvas
Dimensions: 60 x 90 x
Ashley Bowley
In a moment of spiritual desolation - buried in darkness, exposed in fear - with my hands in the earth, I encountered Presence. Truth revealed itself not as shame, but as Love. God is. I am held. I am not alone.
Responding to Genesis 3:10, hands formed from the earth emerge from a fractured surface veined with red. They are not separate from the ground but born of it - grounded rather than reaching away, held within the very soil that once felt like death.
My Hands are in the Earth
Mixed Media
Dimensions: 41.5cm x 122cm x
Lawrence Vincent
I used a popular AI meme image as reference for this work, as I feel it exemplifies a contemporary version of the temptation and fall. Eating the forbidden fruit was a shortcut to wisdom, yet cast Adam and Eve into a darkness they had never before known. So-called Artificial Intelligence is being touted universally, promising employers the ability to slash the workforce, and democratising every human activity from art and writing to maths and sciences. Research indicates that far from enriching users' intelligence, it actually compromises their creativity and cognitive ability. Furthermore, generative AI has made determining the truth value of an image almost impossible. Viewers are either easily deceived or permanently distrustful, enabling crafty snakes to exploit them.
How Wonderful It Would Be To Become Wise
Oil on Board
Dimensions: 60 x 42 x
David Young
I personally could identify with Adam hiding from Jesus. Hiding from being caught lying, truanting, stealing at eight years of age and threatened with Juvenile detention and a broken life.
But through someone’s testimony I became a Christian and was freed from my past with Faith in Jesus and forgiveness of all my sins.
Images depicted on stained glass Church windows tell many stories so I used this concept to tell mine as I was inspired by the theme, some of which I have illustrated.
Pivotal to God’s Divine Truth, is our human Faith to receive it – just like the Samaritan woman and the Roman Centurian, unlike Pontius Pilot who questioned Truth.
Presenting it as two works of art and combined as one via Lenticular print.
Let Me Tell You!
Lenticular print
Dimensions: 44 x 63 x
Rochelle Hajjar
In recognising my own nakedness before God, His garment becomes the redeeming truth I am clothed in. Plaster is my material theology, sculpting solidity into a flowing white garment reveals truth as soft, pure and gentle yet firm and concrete in identity. My hand is sculpted in an emotional grip, positioned 860mm from the sculpted hand of my spiritual father, symbolising the 860km distance between us as he has been entrusted to clothe a new land and people of Australia in the garment of truth. Though Adam's sin brought separation, and truth lays us bare, fear stirs as Adam points blame to Eve when the sculpted fig leaf points down in shame. Yet God’s hand invites us to be clothed in His garment, wrapped in a truth stronger than our brokenness, held tenderly until we meet again.
Clothed in His Garment, until we meet again
Plaster
Dimensions: 120 x 110 x 24
Rina Franz
In our present moment, shaped by war, media saturation, and ideological division, an ancient dynamic repeats itself. We live in a time of extreme visibility and deep uncertainty about truth. Images circulate instantly; narratives compete; suffering is both exposed and obscured. Truth enters the world before we know how to bear it. The Broken Vigil is an installation dedicated to children lost in Ukraine’s war. The work consists of backpacks representing children of different ages, often the only object they carry when fleeing to shelters. Each backpack bears an embroidered fragment of a traditional Ukrainian lullaby, a song ordinarily sung to comfort children at night and, in times of conflict, to keep fear away. The lullaby unfolds across the objects as a broken vigil: a watch that cannot
The Broken Vigil
Mixed-media
Dimensions: 150 x 70 x 30
Michael van Blerk
Peter’s Denial reflects the moment after Peter’s betrayal, when Christ’s gaze exposes him. In Luke’s account, “the Lord turned and looked at Peter.” That look becomes revelation. Like Adam who hid in shame—“I was afraid, because I was naked”—Peter is spiritually laid bare. Truth here is not argument but encounter: the truth of one’s weakness unveiled before divine mercy. Emerging from darkness, Peter clutches the keys he feels unworthy to bear. The painting explores how truth wounds pride yet opens the path to repentance and restoration. It captures the moment Peter realises he is not who he thought he was, when the weight of his denial comes down on him before he 'Went out and wept bitterly'. Like Adam, Peter finds himself exposed to God as we all are.
Peter's Denial
Oil on Canvas
Dimensions: 90 x 120 x
Suzanne .k. Franklin
Dear Diary… In my skin this is me and it is only I with whom the truth does sit. It is not your truth, it is not their truth, it’s a truth that belongs to no one else just as that truth that belongs not to me is not my truth. Along the lines of what Seth says, all straight or crooked as they are, truth is constructed by an individual’s experience of what occurs and/or exists within their surrounds. As it is in a constant state of flux, truth is not fact, for fact remains exactly as it began and does not change, though in this day and time, fact itself is becoming harder and harder to determine as so. All sense has been discarded, sane and realistic attitudes to situations and problems have been deleted in a ‘cancel’ culture as we now navigate a world where intelligence is looked down upon.
Dear Diary... In My Skin This Is Me
Inktense Pencil on Fabriano Artistico 300gsm paper (100% cotton)
Dimensions: 133 x 43 x
Jeana Castelli
My painting is the essence of my own journey in search of truth in the symbols, the figures, the places, familiar and mythical images religious, connection to my Italian culture. Along my path to self discovery there has been personal hardship, facing weakness of oneself, loss, divesting and renewal of long held beliefs. We begin our lives in innocence and purity and as we grow and mature we experience life with all it’s pitfalls, joy, influenced by ideologies and those around us, inundated with valid and false narratives resulting in disconnection and confusion of our own identity. Is it in the end the realisation that all goodness is God, that we ourselves are created in His image and this revelation brings us to the truth of what we are constantly seeking is love, belonging.and identity
Awakening
Acrylic, mediums on canvas
Dimensions: 150 x 90 x
Cappy Hardaker
This is a self portrait of my wife and I, in what appears a polarised and brutally deconstructed shared realm. We are almost touching. It’s a place where truely synergistic relationships are systemically framed as antagonistic and where the power of truth is subjugated before revolutionary demands for power. Then there is the other side to it – the future.
This painting is from a period and body of work (see DUB-NEG section of my website) where I have been exploring doing Critical Theory on Critical Theory – some fun yes, but ultimately a double negative activity and perpetuation of Critical negativity. The true negation (I propose) of this Neo-Marxist Postmodern Criticality, being positive visions of our cultural self.
Duality Deconstructed
Oil on Board
Dimensions: 51 x 30 x
Maria Delfina Colombres
This artwork represents a path towards the Truth. God is The Truth and is represented in porcelain. Human beings, created in His image and likeness, are seeds made of stoneware. Living in Truth is not linear and requires perseverance. We are all naked before God; we cannot hide, and He knows us fully. Distance from Truth emerges from believing a lie about God’s love, when in fact God is love and continually calls us toward Him. Those closest to Truth understand that revealing vulnerability and asking forgiveness means becoming small. This path defies human logic: the pieces are not mathematically ordered, allowing each being to approach or withdraw from Truth in freedom. The yeast technique reflects the call to be leaven, fermenting the mass and becoming smaller before God.
Leaven The Truth
Handwoven textile with stoneware and porcelain ceramic pieces
Dimensions: 85 x 90 x 15
Rebecca James
In this contemporary nativity Mary holds the infant, Jesus, and Joseph lies on the sofa. It's a quiet Friday night at home with a new baby. This ordinary, suburban scene grounds this timeless story firmly in the present, in the lives of everyday people.
The singular most important truth is Jesus. His birth, life, death. The fact that God was born as a vulnerable baby and died to save us is the most profound and wonderful truth of all.
We hide our nakedness from God and from one another because we are ashamed. We are ashamed because we willingly separate ourselves from God. The birth, life and death of Jesus is the event that fixes everything. This painting, with its contemporary setting of the nativity scene, reflects the eternal nature of this story, the relevance of it now and forever.
Nativity in The Suburbs (Friday Night In)
Acrylic on Canvas
Dimensions: 123 x 103 x
brett nannup
Nyitting (Dreaming)
As the son of a Stolen Generations survivor, fear, shame, and broken connections to culture were imposed upon my mother and family. We were expected to forget who we were and adopt another worldview.
Nyitting (Dreaming) offers another beginning — not one of erasure, but of continuity. It is a living ancestral presence shaping identity, responsibility, and belonging. The ascending neon forms evoke emergence, when the sky burst and life began, bridging earth and sky. Here, truth is grounded in enduring connection to old people, Country, and community — a presence that cannot be silenced or forgotten.
Nyitting
Neon glass on etched mild steel plate
Dimensions: 81 x 46 x 12.5
Lulu Clifton-Evans
Truth revealed – life model Pixie tells her story with tattooes and scarification on her body..
The original anatomical essence of this life model is hidden or partially covered by tattoos over her arms and legs with scarification over her ribs. A large black ring adorns her nose with another in her ear.
Painted from life, this portrait represents external nakedness - decorated and hidden in part with tattoos and scarification of the world around her.
Pixie’s tattoos reflect features of her life and past including deep trauma. Pixie’s nakedness is covered by gauze and she is pictured sitting on an Edwardian chair — a period renown for its obsession with strict etiquette and sensibility.
Pixie is a professional model for life drawing groups including the group I helped save and now run.
Truth revealed - life model Pixie tells her story with tattoos and scarification
Oil on Belgian linen on board
Dimensions: 60 x 90 x
Kirsten Hocking
Partially exposed, the gooseberry seed risks being crushed. It symbolises the paradox of nakedness. Both fragile and immensely strong, it holds the essence of life. To live truthfully with God, the source of life, requires love and vulnerability. When we feel unsafe, we hide. The suspended seed alludes to fear of being crushed by social judgements. The weights evoke humanity’s urge to measure and control. The seed represents God’s creation. Its light, lattice-like shell evokes the delicate web of relationships that sustain all life.
Iron and wood support new life. The heavy metal contrasts the seed, suggesting two kinds of power: one forceful and controlling, the other generative and sustaining. In this suspended moment, truth emerges not as dominance, but in the courage to be revealed.
Naked Truth
Oil on canvas
Dimensions: 140 x 60 x
Rose Karydis
While creating this piece, I’ve come to view the truth of being known as something frightening, harsh and sacred. The suppression of my truth and who I really am led me to clothing myself in darkness (Genesis 3:10). I saw the truth sharper than any sword, only capable of condemning me and filling me with shame. That’s until I experienced love. The light of the truth no longer blinds because the gentle robe of love covers me, allowing me to step into this light with confidence. The light now no longer burns, but provides warmth.
The carved wooden figure reflects our imperfect human nature, shaped and refined over time, pointing to the wooden cross where love and truth meet. The mirrors gently confront the viewer, reflecting light endlessly and reminding us that truth is available to all.
Warmth of Light
Wood, mdf board, mirrors, light
Dimensions: 52 x 42 x 47
Amanda Brown
‘Desperation’ is a window into the invisible moments of despair that touch every life. This reflects the ‘truth’ triggered by the fall, that we are broken creatures in a broken world. Our nakedness is revealed not only through our shame but through the moments in life we realise we are utterly dependent and out of control, our moments of desperation; the critical illness of a child, a broken relationship, subjection to injustice or the shocking news of a death.
In the futility of our weakness we have no other recourse but to cry out to God, pleading for change or comfort. A further question now appears: is the relief we feel through these desperate prayers divinely bestowed or is it garnered from a sense of no longer being alone? Does it even matter which is true?
Desperation
Watercolour on paper
Dimensions: 24 x 37 x
Susie Dureau
First Born draws its central orb from a sound recording of children playing on the beach. Their voices, fractured by wind, appeared on a spectrograph as scattered points at the frequencies where speech surfaced before dissolving again. What may read as sun or moon is in fact the visible trace of a child’s voice carried through air.
Responding to the question What is Truth?, the painting addresses a moment prior to concealment, considering truth as vulnerability. In Genesis 3:10, Nakedness is not only bodily but existential: the self without defence. Just like a child, the first voice is unguarded, truth sounded before fear teaches it to hide.
Made with earth pigments, the materiality of the artwork speaks to Genesis, the origin of the earth, the dust.
First Born
oil and earth pigments on linen
Dimensions: 142 x 102 x
Catherine Kennedy
Writ large is a kind of Surrealist collage where El Greco, David Lynch and James Lovelock somehow intersect.
The Surrealist collage brings together apparently unrelated images where, as in a dream, the trace of a narrative may be visible in the connections between things.
This work explores righteous anger.
Anger is a personal truth. Not a universal truth but a barometer of true feelings before other things intervene. Socially however we learn to quash our feelings and cultivate an agreeable passivity.
We seem to have lapsed into a kind of endless relativism. We are ignoring clear and obvious realities and even the sense we have of sharing in the same reality, is fracturing.
What if the very society in which we live is the purveyor of untruth? Indeed can we author our own truth?
Writ large
Acrylic and mixed media on linen
Dimensions: 100 cm x 150 cm x
Ruth Ju-shih Li
Autobiographical, White Fruit XIX proposes truth not as possession, but as encounter. The theme of “Truth”, and the Genesis myth resonate with my contemplation of vulnerability before the Divine.
Formed through meticulous, repeated gestures, petal-like forms unfurl in suspended becoming, poised between emergence and withdrawal. Fine ridges record a durational process, craftsmanship becomes an act of devotion, each mark a quiet meditation.
In the kiln, porcelain softens and blooms through surrender. Precision meets collapse, intention yields to vulnerability. Truth here is not static or purely intellectual; but embodied and relational - a meditation on spiritual nakedness; not as shame, but as the possibility of restoration, where fragility is not weakness, but where transformation begins.
White Fruit XIX
Jingdezhen porcelain
Dimensions: 20 x 16 x 19
Sorell Diddams
This work challenges the ontological status of truth itself. If reality is mediated through perception, then it cannot exist as a stable or universal condition; it fragments into countless subjective realities. Truth ceases to function as an absolute and instead becomes an illusion constructed to impose coherence on existence. Truth appears as illumination yet remains perpetually beyond reach. What is encountered instead are the systems, beliefs, and authorities that claim to hold it, and thereby structure how existence is understood. Rather than presenting answers, this piece invites viewers to reflect on their own relationship with certainty, and to consider whether truth is something to be discovered — or something we create.
Reflected Illusion
Oil paint on canvas
Dimensions: 76cm x 76cm x
Grant Hill
These two birds are having a disagreement. They disagree on what is true. But they will reconcile their viewpoints because soon they will begin their yearly migration, it's a long journey and they will need each other. These little birds are Swift Parrots. Half the year they live in Tasmania where they raise their chicks, then they fly across the stormy seas of Bass Strait to Victoria, where they live for the remainder of the year. They are brave birds.
The Disagreement
oil on timber panel
Dimensions: 40 x 20 x
Natasha France
What is Truth? In this work, layers of concealment and erasure reflect the instability of our times and ever shifting notions of what is real, what is not. Truth appears to change shape, day to day.
By drawing on Genesis 3:10, “I was afraid, because I was naked; and I hid myself,” my work suggests a cultural fear of exposure, and true vulnerability. In spite of this, or perhaps because of, we also share a longing for the transcendent. We yearn, and long to break free. There is a tension between these two regions of the human experience that I hope to hold space for, and make sense of in my artwork.
I hope to also suggest that truth is ultimately grasped through courageous transparency. In a struggle with honesty and discomfort, it is beauty who emerges and allows each to coexist.
I Yearn
Acrylic, plant dye, organic matter, oil
Dimensions: 122 x 153 x
April Nulgit
For me, truth is this: through everything; no matter what I experience or endure — hope remains. Hope that things will get better. Hope that change is possible. Hope for a future yet to unfold, even in the darkest places. This is why I titled my artwork HOPE. It depicts a single candle standing in deep darkness, its flame both sustaining and consuming. Painted with natural ochres in rich earthy tones, the work is grounded in culture and my identity as a Gija woman, symbolising courage, belief, and an unbreakable spirit.
HOPE by April Nulgit
Ochre on Canvas
Dimensions: 80 x 100 x
Mike Collins
The inspiration for this interpretation was Diego Velázquez's ‘Cristo Crucificado’. I hoped to create a different, more abstract look, even further away from Valezquez unique perspective than more “baroque” (idealized, almost photo-realistic) portrayals.
I tried to achieve this by using an abstract, papier mache effect, under acrylic paint & washes, overlaid with timber veneer. By using reflective multimedia material as background, I am hoping to make it seem that the work is “looking back” at viewers, evoking contemplation and for viewers to ponder their humanity and spirituality,
So, what does it mean? Does my “interpretation” of a Velázquez's work truly display spiritual depth and connection?
I hope it makes you stop & think & perhaps contemplate the event’s significance?
Interpretation of Valezquez "Cristo Crucificado" - a zoom of the head of Christ
Multimedia, acrylic paint &veneer timber on papier mache all over mdf board
Dimensions: 43 x 65 x
Melissa Clements
This tiny self-portrait uses scale to intensify the feeling of overwhelm following consumption of news and relentless media that works to divide more than inform - the frown, scale and human hand with which it was painted all evoke a desperate search for (and defence of) truth.
The title, drawn from a line of poetry by T.S. Eliot, evokes the sensation of being both specimen and consumer - pinned, observed, and targeted - like an insect fixed to the wall of media hypnosis. Painting this work became an act of severance from short-form media engagement through the prolonged discipline of making. It is an invitation for the viewer to come close, to observe the detail, spend time with an image and draw their own conclusions, rather than being pulled into the endless drone of doom-scroll.
Sprawling on a pin
Oil on paper
Dimensions: 5.2 x 7.4 x
Terrence East
This icon depicts St Francis of Assisi preaching to the parrots and cockatoos of the South West, surrounded by native flowers.
Contextualising the scene in a WA landscape follows the western tradition of situating religious images in the artist’s own environment. It also adds a level of playfulness to the charming scene -can you hear the Cockatoos heckling him as he speaks?
The scene also has many resonances with the Edenic paradise.
Prior to commencing his ministry, St Francis himself stripped naked to declare his commitment to a life of simplicity and self-denial. His connection with nature - as shown in this icon - is the fruit of these ascetic virtues.
And don't forget St Francis' exhortation to the birds (recorded in his sermon) to thank God for their beautiful feathers - Amen!
St Francis in the South West
Pencil and Watercolour on Plywood
Dimensions: 890 x 120 x
Anna-Carien Goosen
Lies and distortions muddy our world.
I thirst for clarity, yet wrestle the urge to conceal and smudge, two impulses tied in tension. Scratching at my vulnerable reflection, I recoil.
Truth stares back patiently, indifferent to my desire to reshape it. As ego loosens its grip, perspective shifts through grounded relationships and adversity.
I face Truth full on. Aligned, no longer naked, but real and loved.
This work combines vulnerability with aesthetic traditions, drawing on Frances Borzello’s notion of ‘naked nude’ in contemporary female self-portraiture, along with the Medieval use of ‘The Fall of Man’ as a justification for portraying the nude to explore psychology and theology. Like truth, this work is complex, difficult to see clearly, and though honest, is subtly altered by context
Can this Earthen Vessel Hold Truth? (A Grubby Self-Portrait)
Mirror, Perspex, acrylic gouache, gold leaf and charcoal dust mixed with glue.
Dimensions: 72 x 102 x 7
Gemelle Madigan
Khalil Gibran said that "out of suffering have emerged the strongest souls; the most massive characters are seared with scars".
This piece recalls the making of a kintsugi vase, highlighting the cuts, the scars in gold. It's a quiet process, built up slowly to create a silent space full of peace & harmony. Instead of hiding in other peoples' clothes I show my vulnerabilities and imperfections and highlight them in goldleaf. After all, there is Beauty in the Mend. Our scars are honest & beautiful, sacred, like this precious life we've been given.
The gold shows a deep reverence to leading a truthful Life.
My passion for painting has led me to these observations. A minimalistic aesthetic has evolved as my search for truth & meaning has deepened.
Beauty in the Mend
Acrylic, lacquer, varnish, goldleaf on canvas
Dimensions: 40 x 40 x
Sophia Lee Georgas
As a visual artist, I am creating a new way of seeing and understanding architectural imagery with sacred connotations. I am fascinated with the material representations of a paradise on earth. It has led my investigation into how contemporary art, with colour, collage, fragmentation, and geometry in spiritual and transcendent forms, can imply a sacred realm. During my transpersonal experiences from childhood, I felt an awareness of an otherworldly dimension through the sensation of a spiritual aesthetic in Greek Orthodox churches. The fragments within the interior facade resemble unspoken yearnings and spatial order of awe-inspiring power. In each space, I became aware of an aura of a higher being, finding myself absorbed in the search for a mystical realm of my own understanding.
Zeal
Acrylic on Canvas
Dimensions: 61 x 91 x
Joanne Telfer
Grieving the loss of both my parents, has led me down the path of doubting my beliefs and whether I could trust in God. I was ashamed of even hearing the name of God or Jesus. I couldn’t read the Bible. My close friend kept encouraging me. we sat in the car and we prayed together.
This was no ordinary day. I began to shake, convulse and heave. I remember being afraid, but I remember hearing my friend’s voice grow louder with conviction. She spoke ‘by the blood of Jesus Christ shed on the cross, I command you to leave her’. It left. I knew I was not alone anymore and I wasn’t afraid.
The painting shows the Word of God being held out, alive and active, over all my enemies. The dark cliffs depict fear, darkness and oppression. I am clothed in His love. He has led me back to THE TRUTH.
Pilgrim's Purpose
Oil on Linen
Dimensions: 50 x 70 x
Thomas Higgs
When truth is received the light of regeneration takes place, an escape is made. The self-centred life is put off like an old garment and a new and living way enacted. Naked and unashamed, I emerge anew from this defining moment, this encounter with truth. Yet it is with trepidation, in fear and trembling that this emergence takes place. Now an expression of truth must be put into practice. Progressive transformation is only possible because the rebirth has come with a new implanted potential to participate with truth in the midst of the rough and tumble reality and practicality of our workaday world.
Born Again to a Living Hope
Oil on salvaged wooden board
Dimensions: 46cm x 61cm x
Britt Mikkelsen
In the aftermath of recent grief I feel alone, unable to share my anguish, emptiness and exhaustion. Grief is a burden that cannot be truly shared and one that we are told to keep private.
‘Airing My Dirty Laundry’ is inspired by a photo I took of myself soon after my sister’s passing last year. Just as Adam in Genesis 3:10 was ‘…afraid because I[sic] was naked’; I too looked into the mirror and saw the grief and truth of my life laid bare.
The recent death of my mother further compelled me to complete this self portrait. Dirty ink washes on a crumpled bed sheet are a metaphor for the dirty laundry we a told to proverbially keep hidden. This portrait examines the inner truths that we are afraid to show lest we are judged, or worse, dismissed.
Airing My Dirty Laundry
Ink, bed sheet and glue on board
Dimensions: 90 x 90 x
Melisa Rostirolla
I became accustomed to feeling the smooth and silky lining within the medication boxes as I became a full carer of my spouse. I cut open these boxes to discover their interesting shape and the possibility that they provide me with a new type of ‘canvas’ a change to the large scale of which I am accustomed.
Medication is private like the typical solitary art practice. These surfaces repurposed for painting studies reveal the possibilities within our unique hidden experiences. Biblical Exegesis is the critical interpretation of biblical text to discover its intended meaning. I in turn try to reconcile my life with biblical truths and as an artist I endeavour to do the same, to achieve harmony.
Harmony
gouache
Dimensions: 60cm x 50cm x
Suzanne Lawson
This work began with the idea of truth as a moment of realisation rather than something fixed or moral. In the biblical story, nakedness only becomes frightening once it is noticed. Nothing has changed, except awareness.
The figure turns away, caught between being seen and wanting to hide. The body is painted simply, without idealising it. I wanted it to feel ordinary and human, not symbolic or dramatic.
The fabric suggests an attempt to cover oneself, but it doesn’t quite succeed. It sits somewhere between exposure and protection.
For me in particular, truth here is about the discomfort of self awareness. The moment of recognising oneself and responding instinctively by hiding. It’s a response that still feels very familiar and one I wrestle with every day.
Yielding
Oil on Canvas
Dimensions: 47 x 62 x
Beric Henderson
The question “What is Truth?” is integral to faith, philosophy, self-identity, social behavior, relationships and moral values. Truth itself can be an esoteric concept challenging to visualize. My painting, “The Nature of Truth”, poetically portrays Truth as the language of God, the creation of Eden, as an unfolding of the Universe. As something fundamental to our existence but beyond the veil of comprehension. Indeed, if our visible universe contorts and folds, then perhaps so does our perception and concept of truth. Perhaps truth is not always a universal constant but evolves as a harbinger of hope and faith. Either way, I believe the pursuit of truth and optimism is now more important than ever now.
The Nature of Truth
Acrylic on canvas
Dimensions: 120 x 72 x
Pauline White
The pursuit of truth can be dangerous, confronting and alienating yet it is a necessary part of the process of becoming an artist.
"Giving Birth to Truth" is revisiting this struggle.
Piercing the skin
Tattoo like
Probing the cellular dictionary
Are the answers in the surface
Or below
Embracing discourses of the past
Which organs hold the key
Do memories disappear
With layers of skin
Layers of meaning
To penetrate to the feelings
Festering below
Almost writing
These marks speak the unspeakable
The original body of work was a series of diaries made over 6 years to dig deep into my psyche looking for the true person inside the shell I had decided was an imposter. Giving Birth to Truth is a story of Life, Death and Renewal using the red earth from the Pilbara that gave life to me.
Giving birth to Truth
Clay, red earth from Pilbara mine
Dimensions: 43 x 10 x 43
Eva Fernandez
In Genesis 3:10, shame enters the body as fear and exposure. This work reanimates a drawing my father made after Michelangelo’s The Temptation and Expulsion, which hung in our home. The embroidered phrase translates as “You have lost your shame.” Drawn from my grandparents’ letters to my mother after she chose to live independently, it was intended as reprimand, implying that autonomy rejected modesty, familial duty, and Catholic virtue. Beading marks and partially conceals the exposed forms, confronting inherited religious shame and questioning how Christian morality disciplines desire and equates nakedness with guilt. Here, the body confronts the theology of shame, asking what truth is preserved and what is concealed by fear.
Has perdido la vergüenza (After the Fall)
Hahnemühle FineArt digital print, silk thread and glass beads
Dimensions: 40 x 48 x
yvette tziallas
This piece notions to the moment the body first knew itself, when awareness entered flesh and innocence could not be recovered. Human anatomy, reproductive forms, flora and a serpent-like presence intertwine as one continuous system in a state of flux. The forms are deliberately ambiguous, organs become seeds, eyes appear unexpectedly, growth feels both internal and external. The serpent moves through the work as a quiet instigator, not a threat but a force of curiosity, awakening, a conduit for connection. There is an interplay in how memory lives in the body, how truth is carried somatically. The work is not about sin or punishment, but emergence, the uneasy shift into self-awareness. Nakedness becomes vulnerability, and vulnerability becomes the ground from which truth grows.
Flesh Remembered The Garden, And From It, Truth Grew Like A Serpent
Pen, Ink and Liquid Acrylic on Birch Plywood
Dimensions: 60cm x 80cm x
Linzi Carter
In a world restless for answers, people quietly search — through relationships, success, identity, and experience — hoping to discover something solid enough to stand on. We long for truth: something unchanging, something that sees us fully and yet does not turn away.
This work suggests that the truth we are searching for is not merely a concept, but a person. In Jesus, Truth takes on flesh. When He is encountered, the striving softens. The masks fall. Every shame, every hidden longing, every ache of the heart begins to melt in His presence. What we feared would expose us instead restores us.
In meeting Him, we do not simply learn truth — we arrive at Truth itself. And in that revelation, we find we were being sought all along.
Jesus the Beautiful One
Acrylic on canvas
Dimensions: 91 x 122 x
Walala Tjapaltjarri Michael Eather
As visual artists, in any quest for Truth, we often use our daily language (symbolic vernacular) to describe our world views and life’s greater purpose. Perpetually mapping cognitive landscapes that are as much about imagination, as they might be about creation, pro-creation and the experience of living. We repeat divine patterns and arrange our destinations in a repetitious cycle.
The two hemispheres, the world (and its opposite)… all these important contradictions are balanced within reason, imagination, intuition and poetic wonder. An open, collaborative spirit generously allows for this to unfold.
We are still creating ourselves
archival inks, shellac & acrylic on canvas
Dimensions: 150 x 107 x
Melinda Hunt
I’m a walking artist. I walk and draw to explore forms of thinking, feeling and knowing. Every week I visit Royal Prince Alfred Hospital in inner city Sydney as a voluntary Pastoral Care worker. These drawings are maps of my encounters, while taking the crowded lifts to different floors and walking through the wards. I listen to people who are confronting truths, often unforeseen and unwelcome; I am changed by these exchanges. I made these drawings to honour the mixture of honesty, courage and acceptance needed to face life’s unexpected turns.
RPA Level 10, RPA Level 7, RPH Level 5
Graphite, carbon, pencil, pastel and blackboard paint on drafting film
Dimensions: 50 x 153 x
Margy Timmermans
What is Truth?
Artists often navigate ‘by eye and gut feeling’ and with my spiritual compass of ‘having one’s eyes of the heart being enlightened (Ephesians 1:18) has led to my title and to a drawing I made in 2013.
Waking from a dream, I recorded the lines and shapes of places recognised from memories of my time in Yirrkala and Bawaka, Northeast Arnhem Land.
This drawing is an imprint that had remained dormant until now.
It is of the granite boulders, the headland, the beach. But there is one shape, a jewel beyond the water and crosses, I had not seen before.
In charting my true course of crossing horizons towards this vision, unveiling a great wondrous mystery.
Heart to Heart, Spirit to Spirit
Acrylic, Printing Ink, Masking Fluid
Dimensions: 157cm x 78.5cm x
Stuart Earnshaw
This Wandoo is magnificent, its age, complexity, simultaneously living and dying. Its presence in the landscape commands loyalty to its mysteries. Like Masaccio’s Adam and Eve, I feel shame in choosing not to humble myself to its wisdom through prolonged direct observation: instead, I choose to view it through my digital camera, or via convenient, mediated simulacrum – I am blinded to the truth.
In the studio, referencing the reproductions, collage elements are built from layered experiments using acrylic and oil, subjected to stress techniques such as monoprinting and chemical alteration. Textured surfaces emerge through scored layers to evoke a landscape. On reflection, Ancient of Days calls to me in the words of the Apostle Paul, “then I shall know just as I am known”.
Ancient of Days
Acrylic, Oil, Paper Collage on Board
Dimensions: 59 x 90 x
Scott Breton
The landscape here is from the southern end of the Bay of Fires, Tasmania, based on a study that I sketched one dawn. I found the windswept, fine foliage and the monumental rocks, bathed in that pristinely clear air, utterly compelling but also somehow mysterious. I often find that landscapes suggest figures to me, who seem to absorb and express the feeling of the place, a kind of physical chorus. In this painting, I allowed these imagined figures to emerge from the rhythms of the landscape, to become what they seemed to want to become.
St Francis is often seen as the quintessential "nature mystic" in the Christian tradition, and for me nature is perhaps the most tangible way of touching the divine spirit. I hope some of that sense is present here.
The Weight of Light
Oil on ACM
Dimensions: 42 x 60 x
Annette Peterson
Higher Love is an introspective piece using the metaphor of layering to explore themes of truth, self-acceptance, and divine love. Laid-out garments representing the physical body capture memories, identity, and vulnerability; layers that conceal our sense of inadequacy and protect us from exposure. However, truth goes beyond mere revelation; it is about discovery. Displayed at a height, the installation encourages viewers to shift their perspective, inviting them to perceive coherence from fragmentation. From a higher vantage point, what once seemed broken transforms into meaningful patterns. The mandorla shape frames this experience, suggesting that truth and love come together through acceptance, a meeting point where truth cannot be separated from grace.
Higher Love
Drone Photography
Dimensions: 153 x 93 x
Kirsten Hudson
When innocence is no longer possible, what remains? Aftermath is made from expired Fuji Crystal Archive chromogenic paper, masking tape, light, developer & fixer. In this paper, what appears white is not empty or neutral, but a condition in which colourless dye molecules remain in suspension until activated by light, chemistry & temperature. A single continuous 5m length of paper, previously wrapped around the artist’s body as covering, accumulates the consequences of repeated cycles of masking, exposure & processing. Earlier states persist beneath later ones. Some boundaries hold. Others bleed or fail. What remains is not an image, but a living surface shaped by exposure & restraint, concealment & revision, & the ongoing labour of moving through the world in a changed state.
Aftermath (A Self Portrait)
Chemigram: (Fujicolor Crystal Archive Chromogenic paper; masking tape, sunlight, developer, fixer); 40cm Butcher’s Stainless Steel Meat Gambrel Hook
Dimensions: 50cm x 120cm x 20cm
Sunjoo Heo
It has been a lifelong question for me to find a purpose of my life. In our human history, we have been tested for our humanity. Some decide to avoid or look away from truth, and others determine to face and fight for it. In this very moment, children and babies, the most innocent creatures and the most God-like, are being suffered and killed in Palestine. As a child of God myself, I do not look away from what God has been telling us what we truly need to do and will not stop talking about it until genocide ends.
Who killed God?
Oil
Dimensions: 48 x 64 x
Andrew Nicholls
This work is a self-portrait as Adam hiding from God after consuming the fruit of the tree of the knowledge of good and evil. It is a meditation on flawed human nature and regret.
The ‘garden’ comprises various plants associated with Eden in Abrahamic religions and folk traditions: the ubiquitous apple and fig trees; pomegranates, which some Biblical scholars have argued are a more likely candidate for the forbidden fruit; Lily of the Valley, believed to have sprung from Eve’s tears of regret; and Forget Me Nots, which were said to beg Adam and Eve to remember them during their expulsion. The Fly Ageric mushroom is another candidate for the forbidden fruit, based on an infamous 13th-century French fresco seemingly portraying Adam and Eve alongside a multi-tiered Amanita muscaria mushroom.
Self-portrait as Adam after the Fall
Decal transfer and lustre PVD on glazed Jingdezhen porcelain
Dimensions: 23 cm x 21 cm x 23 cm
rachel peters
I have to look.
The truth is, I have to look. My work responds to overwhelming processes and events happening in the world and more personally. The destruction of bushfire; precious life being taken by cancer cells; violence inspiring violence.
I look and I am overcome. How is this allowed to be? I have the urge to turn away, or to hide. It is hard to imagine what will be left or how recovery could take place.
I explore the form, colour and nature of these forces. Thwarting attempts to stop or slow them, they go on.
As I work, my reflection takes on a flow of its own, bringing new questions. Will time bring healing? Can a cosmic entity bigger than us make sense of this? I look and I find beauty - perhaps even exquisite design. Life persists, and meaning is found in mystery.
The truth is I have to look
Acrylic
Dimensions: 61 x 70 x
Suzana Bozanic
‘The Hedge’ depicts a familiar family scene, layered with quiet symbolism and references to the seven deadly sins. The hedge becomes both a physical boundary and a psychological one – separating what is revealed and what is concealed. Though the table is abundant, attention is fragmented and presence diluted within constructed realities, quietly modelling behaviour for the next generation.
The work asks: does truth reside in shared physical experience, or in the constructed realities within media platforms that shape individual perception and, in doing so, quietly alter the dynamics of the family unit?
The Hedge
Oil on Aluminum Composite Panel
Dimensions: 50cm x 50cm x
EMILIO CRESCIANI
Truth unfolds throughout the bible from Genesis to Jesus.
The Bible text is explored through a meditation on our environment. An unfolding, multi panel work of the once toxic Cooks River contrasts Eden’s life-giving stream.
Adam hid, we bend the truth by mis\disinformation and, like Pilot, question if truth exists.
But the river bends don't lie, they reveal our secrets. Remnants of our exploitation of God’s creation are in plain sight if we look carefully.
Concertinaed transparent images show flows of beauty, ponds of pollution, our fractured world. Like our hearts, tainted by sin, blessed by goodness.
Are we like Adam, afraid of the truth? Or do we face up to the consequences of our actions or inaction?
Art exposes truth about our wasteful disrespect for the land entrusted to us.
River bends
face mount acrylic panels
Dimensions: 120 x 30 x 27
Ross Potter
This paper sculpture resembling a shed snakeskin, has survived an enduring process; soaked, stamped with rock and hammer, distressed, drawn on, shaped over a branch, moulded around a wire core and then stitched back together with coarse grey yarn.
This process, combining destruction and repair, symbolises the scarring that comes with surgery, anxiety of hospital visits and the wear and tear of declining health. It represents a time of metamorphosis in the face of looming health decline, which left me disheartened and vulnerable. I found myself hiding in a snow-covered town in far northern Iceland. While the isolation was overwhelming, my priorities became clearer. I needed to squeeze more time out of this vessel, my life needed to change. I fight for every precious moment with my family.
Shedding Skin
Mixed media - Graphite on Paper, Wire and Yarn
Dimensions: 60cm x 20cm x 40cm
Sophie Zelder
If truth is revealing reality, hiding may be the belief that death is best coped with by ignoring it. Acknowledging that we may one day walk alone isn’t morbid; this “unmasking” transforms a relationship from a certainty into a precious, finite gift. Equally, a relationship end may leave us vulnerable as our status and identity shift. If grief is viewed as a “malfunction” to be fixed rather than a sacred space to be inhabited, it may force us to “get on with things,” pushing death back under the covers. If life is seen as a linear progression of growth, sudden loss may feel like betrayal rather than transition. Acceptance that no one is entitled to a long life may strengthen our cultural framework to cope with the truth: that death is an inextricable part of life. Ultimately we walk alone.
Solitary Shoreline
Mokulito print on paper
Dimensions: 88cm (unframed) x 66cm (unframed) x
Amy Dynan
This painting reflects on the sacred exchange between seeing and being seen. The landscape holds tension between clarity and obscurity, echoing our instinct to conceal what feels vulnerable. The escarpment is partly exposed beneath an open sky, while the foreground fractures into shifting planes of colour. To look is to risk being seen. In that exchange, vulnerability becomes a pathway to deeper knowing.
Sedona
oil on canvas, framed
Dimensions: 30 x 40 x
Grace Bailey
“What is truth?”
I believe truth is God’s love made visible — not as a concept, but as a life lived.
This painting portrays an elderly European woman whose face is etched with years of compassion, loss, and faith. Though she resembles Mother Teresa, she is not meant to be anyone specific; she represents all those who have quietly lived truth through love.
Her eyes don’t quite align — one meets ours directly while the other drifts, as if seeing beyond. That gentle divergence speaks of the dichotomy of the seen and unseen — the tension between the world we inhabit and the eternity we long for.
We don’t always understand the reason we suffer, but I believe God holds the bigger picture. Truth is not declared but lived — it is the love that endures through pain, hardships and sufferings.
"The Seen and the Unseen"
Acrylic on Canvas
Dimensions: 60 x 30 x
Dominique Turner
Our society prizes strength and independence so it has been disquieting to find myself thrown into a state of vulnerability and dependence by a diagnosis of breast cancer. Cancer did not make me vulnerable but rather reminded me of my true state.
It can be so tempting to present ourselves as composed, self-assured and independent, attempting to hide our nakedness, all the while fearing that our true self will be exposed. This can leave our longing to be deeply known and accepted for who we are unmet.
Taking off the wig we can see ourselves more clearly and come before God as we really are. I often find myself ambivalent about being uncovered but he sees what we are underneath all our posturing. Through Jesus, he invites us to draw near, holy in his sight–to be who he made us to be.
Uncovered
Oil on canvas
Dimensions: 43.5 x 43.5 (including frame) x
Joshua Butler
Moments with and from Mum personified in extinct flora and fauna from country. Each past plant and animal shares a time of nourishment, protection, boldness, childlikeness, and others — all in her unique way. I am the small fury echidna near the bottom. Immersed in this twilight world, I see all these different moments play out at the same time. The pen on wood shows their fleetingness and rawness, just out of reach to fully colour them. As these scenes play out less, the lines blur, which ones will I cling closest to. Some days feel more raw and your emotions lay you naked, vulnerable, and I run for a space away from others. But I can’t always. So more and more I lean into the moment. Knowing I’m not the only one who feels this nakedness of losing a loved one, laid out bare for all.
memories
black ink and coloured pencil on board
Dimensions: 60 x 60 x
Meredith (Artist Alias "Joelle Joy") CORAM
“I was afraid, because I was naked; and I hid myself.” This painting explores the intersection of shame, fear, and divine presence. A child sits alone in darkness, symbolising vulnerability and concealment. Yet beneath ultraviolet light, a hidden truth is revealed: an angel, vast and protective, kneels beside her, his wings wrapped around her small body. The angel’s grief mirrors God’s own sorrow over harm done to the innocent. This work speaks to a faith that holds suffering honestly while affirming that God’s protection and compassion endure, even when they are unseen.
This work is offered to the hearts of those who carry wounds from childhood. To anyone who hid in order to survive: you were seen then, you are seen now, and you are never beyond God’s reach.
The Little One
Mixed Media and UV reactive inks
Dimensions: 120 x 90 x
Josephine Wesley
Truth is universal; yesterday, today and tomorrow. It is outside of ourselves. God’s word is truth. It is unchanging, it directs, convicts and it restores. Like Adam and Eve, the underlying layers of paint were left to take their own path, affected by life’s experiences and circumstances which can be unpredictable and difficult. The figure is partially enveloped by the world around her, simultaneously retreating and seeking to break free. Gold leaf words of scripture are revealed in the darkness, pure, holy and bringing light. God is found in these words and in all creation. In the heavens, in the valleys, in our despair and our nakedness. It is right there if we stop looking inwards, look out, look up and seek God, find restoration by being clothed in His word.
To know God is to know truth
Oil, gold & silver leaf and wax
Dimensions: 41.5cm x 31.5cm x
Eveline Ruijs
Truth is something of a Holy Grail in our time. It cannot be grasped; only received with spiritual sight; only revealed with the renunciation of personal opinion, to the self made empty, like a grail.
Beeswax is humble, unadorned and elemental. It is a sealer of truth, a carrier of illumination and a holder of warmth. Never set in stone; it opposes hardened thinking. Warmth is an expression of Christ consciousness, living thinking and heart-centred awareness. We are called on to actively cultivate these lost things and re-participate in the divine world. Therein lies redemption and truth.
Using only the warmth of the Sun and of my own hands, I formed this grail in reverence, pledging my love for creation and my will to human spiritual salvation.
Grail
Beeswax
Dimensions: 8.5 x 16 x 8.5
Ellen Norrish
'Safekeeping' is a drawing installation composed of archival objects connected to the founding Sisters and evolving community life of Santa Maria College in Perth, WA. Presented as a grid of intimate graphite studies, the work references photographs, relics and traces of devotional and creative life shaped by generations of women. Through research, reverence and careful reproduction, the drawings approach truth as something held in memory, revealed and concealed in fragments of archival ephemera, quietly conserved across time. Echoing Genesis 3:10, the work reflects on vulnerability, inheritance and the human need to preserve the generational knowledge and stories that would otherwise fade, inviting contemplation of what endures within faith, place and women’s lived experience.
Safekeeping
Graphite on chalk-primed wood panel
Dimensions: 150cm x 150cm x
Cat Slack
The subject, my niece and goddaughter, is depicted in a moment of uncertainty and hesitation. Her expression marks the emotional fragility of being seen, the space where innocence begins to give way to self-awareness. The work considers truth not as a confession, or as shame, but as an interior recognition: the first understanding of self in relation to others, and the subtle emotional shift that follows.
Portrait of Sadhbh at 7 Months
Oil paint
Dimensions: 20 x 30 x
Gabriella Sassine
This Icon was written on a traditional icon board made from rabbit skin glue (gesso) and written with acrylic paints. I wrote this icon to attribute eastern and western Christian traditional iconography. The icon both looking Byzantine and classical Latin. I am applying to the Mandorla Art Awards because I feel this would be a God given opportunity to meet other artists of the same faith and praise the Lord with our talents. She looks down to her right compassionately with her hands across her heart, representing both her sorrows and constant prayer and love for us her children. Her veil is white to represent her perpetual purity, her blue cloak represents her being cloaked by grace, with the stars also depicting these truths as well
Our Lady of Compassion
Acrylic and gold leaf
Dimensions: 20cm x 30cm x
Ruth Halbert
Noticing the accreted layers of culture and rules which hide what is true in me, I study my heritage’s history of beliefs, from the regenerative, Earth-based goddess to the hierarchical text-based, god. The Fall frames Eve’s taking of the forbidden fruit of Knowledge as a sin rather than a gift of consciousness. I want to cut through the claim of female sin to reach for seeds of deep truth.
Using personal materials I wrapped yarn and a gold kernel into a female form then sewed on pomegranate-seed-like beads. Like my carapace, the layers of fabric I stitched became neat, solid, mute. The moment of truth was the deep cut, through the form’s heart to the hidden seeds. This work embodies the process and the challenge of risking destruction while attempting to connect inner and outer truth.
She looks back at me, agape
Textile: wrapped and stitched gold, garnets, thread, yarns, fabrics
Dimensions: 19 x 35 x 17
Lee Harrop
Truth to Power is a visual riddle evoking the rise of counter-truth ideologies. We know that our eyes can deceive us and now even more so in the age of AI manipulated imagery. The hijacking of all, including seemingly sacrosanct symbolism, in service of capitalisms insatiable appetite has replaced truth’s once defining features, with fabricated illusionary tenets. This image of a geological core yard in a Western Australia mine site is intended to, at first glance, resemble a cityscape under a large foreboding sky in the style of old masters’ religious paintings. Then, the recognisable power pole collapses the illusion revealing the remains of the exploited copper ore body that powered the state’s economy, as now plastic enshrined geological bones in this restricted access graveyard.
Truth to Power
Digital photograph
Dimensions: 115 x 84 x
Melissa De Winter
A translucent body reveals a curved spine, a quiet confession of truths carried within and rarely shown. While the face rests in calm acceptance, the hands hold tension, echoing humanity’s instinct to conceal vulnerability after the fall. What appears whole may hide pain unseen. Suspended between concealment and grace, the figure stands in the threshold where divine presence meets human fragility. Rigid forms emerge as structures of mercy, holding rather than repairing. Here, truth is not the absence of brokenness, but the grace of being fully known and still held.
Beneath Composure
Encaustic wax and ink on recycled board
Dimensions: 50 x 90 x
Gabrielle Brinsmead
This abstract oil painting, measuring 1.75 by 3 meters, is my visual response to the theme for this year’s Mandorla Art Award. What is Truth?
“I was afraid, because I was naked: and I hid myself” – Genesis 3:10
Using rhythm and ritual, dark and light, order and chaos, the best paints I can afford and all the skills in my toolbox, I have created my answer: a painting that connects human frailty, our constant tendency to fail God, ourselves and each other, with resurrection and redemption.
What is Truth?
oil paint
Dimensions: 300 x 175 x
Athena Harris Ingall
I made this small memory scape quilt for Reverend Emily Bowser (22 May 1979 to 22 July 2025), an Anglian priest, wife, mother, artist and more. She was a generous, authentic person and an accepting presence. Her truth was God sees our imperfections and still loves us. At her funeral it was said Emily saw and was seen by God.
Emily was “lit”, so the flame represents her and her belief that God’s love Illuminated everything and everyone. The cross and a patchwork candle base with the ichthus fish sign is for her faith and the navy-blue background is for the heavenly truth she quietly shared through the way she lived her life. The work, although unsophisticated, references The Reverend Bowser's deep interest in iconography. It features mud dyed and eco-printed silk and slow stitching.
Lit
Textile art work. Mud dyed and eco-printed silks. Patchwork. Tangled and partially tethered threads. Slow stitching including “gold work” embroidery.
Dimensions: 25cm x 55cm x
Kylie Jurgensen
What remains when a church is shuttered? I met a woman who stepped in after the last person left. She described lifetimes worth of paper, sifting and deciding what to keep, or not. Births, deaths, marriages, and building plans were preserved. The rest discarded: receipt books stored for generations; minutes and letters invested with years of care, conflict, loyalty, and fracture.
That moment sits behind this work.
The chalices are formed from paper-infused clay, pinched and grown by hand. In the kiln the paper burns away leaving brittle, bone-like forms marked by fingerprints, growth rings, distortion, and breakage. In a wire shopping basket, a receipt lists churches closed and sold, printed on paper already destined to fade.
What can be held, kept, or concealed is no longer certain.
Broken and Purchased
Paperclay (earthenware), wire basket (steel, polymer), thermal paper
Dimensions: 40 x 30 x 30
Bronwen Hunt
Incarnate
A profound yet often unnoticed moment unfolds: gritty, raw, hidden and glorious, the Christ child enters the world wet and bloody. In contrast to sentimental, sanitized images of the nativity, this work recalls a saviour who does not descend on a cloud, but is born of a woman, sharing our nakedness and shame. Joanna Macy’s writes, “Piously we produce images of you, till they stand around you like a thousand walls. And when our hearts would simply open, our fervent hands hide you.” This sculpture in paper clay and found objects presents the naked Christ as the frame of our truth and the bearer of our vulnerability. Here, shame is confronted and transformed, finding its answer in unutterable humility.
Incarnate
Mixed Media Sculpture
Dimensions: 71 x 37 x 45
Sheila Whittam
The ship, the whale, the searchlight, and the turbulent sea appeared unexpectedly as I 'played' with abstraction. Their emergence carried me into further exploration of the theme "What is truth? I was naked and I fled”. The existential story of Jonah describes this well: that when God directs a person who won’t obey, they would rather go in the other direction. Refusing to heed God, they try to hide from Him. But there is another truth here: God sees us when we hide. In the sky area is a huge red hot searchlight pursuing Jonah and overwhelming him. In my wider practice I am led by formalist concerns for the structural elements and by the wide variety of materials I use. This approach allows me to cultivate a possible narrative, I weave into the layers of abstract complexities.
Jonah’s Dilemma
Oils mixed media
Dimensions: 48cm x 48cm x
Alla Salem
The work approaches truth as something encountered through conscience rather than fixed rules. In felted wool and layered fibres, material becomes argument: compressed, difficult to separate; the fibres that conceal also construct the form, suggesting truth is inseparable from what hides it. Organic contours evade definition, shaped by slow force, echoing a labour of arriving at truth. Light sections imply fragile clarity, while dark areas remain dense, hinting at a continuous search for enlightenment. A golden thread signals the divine light, partly visible within the dark fibrous labyrinth, flickering where discomfort of revelation begins. Work suggests that, like felt formed through friction and compression, truth emerges through obscurity, resistance, and doubt, shaped by experience.
What Could Not Remain Hidden
Wool, Silk fibres and fabric, golden and raw silk yarn, linnen fibres
Dimensions: 122 x 128 x
Dale Michael Pattenden
This work engages the theme What is Truth? through Genesis 3:10, where awareness leads to shame and concealment. Truth is approached not as certainty, but as something negotiated between exposure and hiding.
The portrait of Christ is shaped through gestural abstraction and marks that evoke mechanical and technological systems, reflecting how contemporary identity and belief are mediated through surfaces and representations. Rather than offering a stable likeness, the image remains fragmented and unresolved, with surface functioning as both revelation and camouflage.
The painting resists devotional certainty, proposing that truth emerges in vulnerability—not in perfected appearances, but in the willingness to be seen unfinished and unguarded.
People, Insects and French Locomotives
Graphite Drawing, Painting and Digital on wooden board
Dimensions: 61 x 84 x
Julie CUBBAGE
This painting holds an intimate moment between my son and his first born child.
My representation of the father/son relationship in this image reflects the healed relationship we can have with God, brought about through the sacrifice of Jesus and our subsequent trust in the truth of his unconditional and unmerited love. The Father's guidance and corrections are gentle and restorative. When we are transformed by the revelation of this truth, we are then clothed and covered in robes of righteousness.
The nakedness of the child in my painting is a representation of the innocence and purity of infancy before we choose our robes, before we learn to hide, and before love persuades us we are safe to be seen.
Father's love
Oil on Linen
Dimensions: 610cms x 910cms x
Jacob Mangan
The way lyre birds regurgitate sounds they’ve heard, the AI generative model is much the same producing exact or near copies rather than creating new content. This “AI slop” has significantly altered the online information landscape. Navigating truth through social media misinformation, echoes our desire for spiritual truth. With our judgment being constantly clouded, what can you trust online nowadays? Using AI, social media and my own photos as reference images I have simulated a deceptive composition. Capturing the lush rainforest paradise of far North Queensland placing a lyre bird, which is not found in FNQ with digital media and time stamps mimicking a camera trap. With increasing economic, social and environmental ethical concerns around AI what is morally right?
Liar Bird
oil on board
Dimensions: 24.5 x 27.5 x
Deborah Worthy-Collins
Softened and frayed from the friction of the early years of marriage and parenthood I carried
this t-towel for over a year as I worked on it's repair. It became a comforter, a holder of stories.
My process is simple, I stitch consecutive rows until I get to the end, I
rotate the cloth and do it again. I stitch each line until I get to the end of the row or the end of
my capacity to sit. Each stitch is mediated by the present moment and what went before.
This is also a practice at sitting with the soften and frayed edges I find within myself, in those
around me and in the world. This is a practice of stillness, accepting, listening, thinking and
being, the place from which I attempt the process of repair.
The space in which I end, and you begin is where we are. What might we become?
Rupture, Repair, Rebirth
Used t-towel, cotton thread and muslin
Dimensions: 50.5 x 70.25 x
Melissa Boughey
My truth is the embodiment of being present: a pure honest feeling, an alchemy of place, emotion and connection. All the anxiety drops away and I am truly in the moment. With true friends this feels safe: I’m accepted as I am.
I have a garden: vegetables, natives and frivolous flowers. Hydrangeas though, feel like they are part of my lineage. My Nana’s flowers. I feel so lucky (privileged) that my Scottish grandparents emigrated to Australia. My papa grew tomatoes in his backyard, but in retrospect he had PTSD from being in the liberation mission after WWII ended. My nana had hydrangeas. She was a gentle soul. I would ride my bike to visit them in the suburbs.
My truth is painting from the heart. My heart is split open that children still suffer in wars. Let people grow gardens.
Ode to Hydrangea's and Bec's beach morning
oil on canvas
Dimensions: 110 x 135 x
Monia Allegre
This work is rooted in the French saying “L’habit ne fait pas le moine”, literally “The robe does not make the monk”. In medieval Europe, monks were easily recognizable by their distinctive robes, which symbolized their religious devotion and humility and were a powerful visual marker of identity and virtue. Unlike the English proverb “Don’t judge a book by its cover,” the French quote speaks to authenticity of being human, with faith, flaws, and the raw truth. Every garment carries stereotypes, expectations, shelter and masks. Nudity, in contrast, is the ultimate truth. I cast a men’s business shirt, symbol of modern man and masculinity, into clay, a material both eternal and fragile. They are not garments, but traces, imprints of human presence, questioning what we hide and we reveal.
L habit ne fait pas le moine
porcelain, glazed clay, black clay
Dimensions: 74 x 34 x 3.5
Gabrielle O'Brien
The Hebrew word ‘afraid’ in Genesis 3:10 refers to dread. An intense reluctance to face a person or situation. It is a human response driving us away from God. Truly opposite of God’s desire for us. He wants us close to Him, comforted by His Word and His presence when afraid, with the opportunity to learn a new aspect of His character. This work features scriptures from the books of John and Galatians, handwritten on tissue paper, telling us that truth came through Jesus Christ. The Trinity is represented by three strands, knitted together. The figures sculpted with sewing pins, signify the pain resulting from the lie believed by Adam and Eve. The unfinished knitting displays God’s ongoing work in our lives. The artwork is freestanding, representing the authority and finality of scripture.
" I Heard Your Voice."
Tissue paper, pen ink, gold metallic thread, glue, gold plastic coated metal thread, wooden knitting needles, bamboo knitting needle, cardboard.
Dimensions: 48 cm x 29 cm x 42 cm
Tatiana Amaral
This work emerged as a therapeutic act, born from the need to let emotion surface and to face myself without protection. I saw it, I felt it, and the truth revealed itself harshly. Around me, appearances remained intact. What was lived did not align with what was believed to be real. Speaking became painful. Recognition felt impossible.
Acrylic paint flows over raw, unprimed canvas, leaving the cotton weave visible, carrying a sense of innocence before being marked. The petals come afterward, one by one. Routine. Repetition. An effort to cover. They do not erase. Pain and vulnerability remain beneath the surface, quietly insisting on being seen.
The truth lives within me.
That is enough.
Enough
Acrylic, rice paper and encaustic on raw canvas
Dimensions: 91.5 x 107 x
Russell Brown
Inspired by the Genesis story, I chose to depict Adam at the moment Eve offers him the fruit from the tree of the knowledge of good and evil. As he wrestles with conflicting advice from God and Eve regarding eating the fruit, Adam is forced to consider “What is truth?” A closeup of his confused face, divided by light and shade, echoes the struggle we all feel when disseminating information from different sources – an issue exacerbated by the influence of partisan news, social media and AI. Depending on their proximity to the work, viewers will see different images; a portrait of a simple man deliberating the authority of God, or coloured squares infused with the shape of a serpent. To further compound the sense of distrust, the image that inspired the painting was generated with AI.
Adam is Offered the Fruit
Acrylic paint on stretched canvas
Dimensions: 60 x 30 x
Philip James Mylecharane
In this self portrait, I am pursuing a contingent vision of the human form that resists cliché and facsimile. As in Adam's admission of nakedness—an awareness both physical and existential—the figure here hovers between revelation and concealment. As a self portrait and confession, the image holds an awareness of being seen; an oscillation between vulnerability and retreat. The painting neither settles into representation nor dissolves into pure abstraction; instead, it lingers in a state of becoming. This suspension can produce tension and ambiguity, yet it also carries a quiet poignancy; akin to the vulnerability implicit in Genesis 3:10 where awareness inaugurates both fear and identity.
Self portrait in a style of apprehension
Oil on linen
Dimensions: 20 x 25 x
Claire Beausein
For twenty years, Darwin sought to reconcile his faith with science before publishing "On the Origin of Species". He wrote “I think” on his Tree of Life sketch, echoing the vulnerability of Genesis “I was afraid, because I was naked; and I hid myself”. Crosses cut from Darwin’s book form a veil, perceived simultaneously as lattice, portals, and crosses. Shifting shadows trace how perception shapes understanding, carrying the tension between conviction and evidence into the present. Landacre’s engravings spiral across layers, evoking endless emergence. Beneath the shadows, threads shimmer like waves, suggesting an eternal field from which the temporal arises. The work reflects on unveiling, concealment, multiplicity, and the subtle patterns through which the experience of truth is revealed.
'Threads of truth'
Cut crosses and sections of the book "On the origin of the species" thread and bronze rod
Dimensions: 113 x 144cm x
Jennifer D’Arcy
In Genesis 3:10 Adam confesses, “I was afraid, because I was naked; and I hid myself.”
Nakedness becomes awareness, and awareness becomes vulnerability.
In this work, a solitary pink horse stands exposed before a monumental landscape that dwarfs it. Its colour denies camouflage; it cannot disappear into its surroundings. The painting emerged from a time of emotional exile, when I felt displaced and unanchored. Here, truth is not certainty but vulnerability - the courage to remain visible and the refusal to hide.
Genesis tells us that God seeks the one who hides.
Truth, then, is relational.
It is found not in disguise but in standing, unguarded, often before what is vast and unknown.
Displacement becomes the site of resilience - not because fear disappears but because hiding ceases.
The Displacement
Oil on Belgian Linen
Dimensions: 62 x 114 x
Michael (Eureka ) O'Hanlon
The Consolation of Adam series re-presents Adam’s origin story from a queer perspective.
In my Catholic childhood I was taught the body was the site of sin, to be hidden and denied
As a teenager, The Expulsion from the Garden of Eden by Renaissance painter Masaccio, symbolized my struggle to reconcile desire with Catholic beliefs
I asked life models to respond to Masaccio’s image, then combined poses with backgrounds evoking the feelings encountered at each stage.
The first image represents the discovery of true knowledge, the second image rejection and the fall from grace, the third new connection and pride.
This series celebrates the queer community finding our truth as we learn things are not what we thought, we adapt, we seek company we support each other and we celebrate
The Consolation of Adam series 1 The Discovery of Truth 2 Rejection and Fall from Grace 3 New Connection and Pride
Photography Photomontage
Dimensions: 60cm x 60cm x
Damien Baumgartner
In contemplating the theme ‘What is truth?’ I think about the fragility I feel when I honestly reflect on my flawed human nature. The vulnerability felt in such a self-assessment would previously have led to withdrawal and pathos.
As I have found myself returning to my Christian faith, such honest self-examinations now offer an opportunity for growth, drawing me closer to Jesus, in belief and a newfound hope in him as a guiding and redemptive figure.
My artwork seeks to show how the person of Jesus draws us in towards truth and hope through his words as testified in the Gospel of John 14:6. The painting’s inspiration is from the superb 17th century engraving ‘Sudarium’ by Claude Mellan and uses John’s quoting of Christ’s words repeated in a spiral formation to draw the viewer in.
Logos
Oil on canvas
Dimensions: 101cm x 152.5 cm x
Sherree Halliwell
In a lonely liturgy of grief and devotion, Sherree’s work is a sanctuary for maternal vigil, asking why the LORD’s gift was taken, why His reward withheld (Psalm 127:3) and whether her voice will be heard as she begs Him to keep her baby safe. A mother’s love forms an unbroken line of prayer over unseen birthdays and unspoken rites, hope persisting where understanding fails. Sherree casts a newborn and a 1‑year‑old, swaddled in knitted garments sealed in crushed glass and resin, reliquaries where fragility resists erasure. Crystalised slippers are votive offerings beside a lullaby for the child who never woke. These hollow forms suspend grief and sustain love, consecrating absence and inviting the viewer to sit with the ache not silence it. Still Remembered. Still Loved. Still Born.
Still.Born.
Resin-cast pâte de verre sculpture using hand-knitted baby garments, mounted on velvet-gloved timber hands. Accompanying handmade timber/velvet music box with resin-cast pâte de verre hand-knitted newborn booties. Music composed, recorded and produced by the artist.
Dimensions: 105 x 60 x 16
Paul Drok
The pensive form of Adam, sitting on bare earth with head bowed, and with his arms cradling his head, is not only shown naked, but also mentally stripped bare.
Looking at Adam’s face - a complex portrait of humiliation, sorrow and despair, one sees in Adam’s eyes, (mere holes in clay), both hope and the acknowledgment of having erred, i.e. repentance.
The challenge for this artwork, is that we are not just spectators, but responders to this confronting story. How are we to reconcile the unprecedented freedoms we now have — while we systematically ignore ethical and divine boundaries?
Possibly, by giving more than taking, increasing love more than depleting love, is the way for us all to return home to paradise... where we belong.
You are the Potter I am the Clay
Stoneware-paper clay — Bisc
Dimensions: 17 x 13 x 10
Anne McCaughey
Truth is love.
The everlasting love
I remember the joy of someone to cuddle my young bath body, defenceless and vulnerable, but also shielded from all harm
I was naked but I am protected by love.
And Love Is The Greatest Truth ( You Shield Me)
Oil on Canvas
Dimensions: 100 x 150 x
Emily Lewer
This artwork describes the beauty of nature. The work primarily uses yellow and a rich purple and blue showing how nature naturally contradicts itself with complementary colours that many artists aim to describe in the work yet fail, whilst nature does it effortlessly.
Heron
Canvas, Acrylic paint
Dimensions: 60 x 60 x
Nikki Green
May the One who makes peace in the universe, bring peace upon the world. And let us say: Amen
I am Jewish. I am afraid. I am not hiding.
Exposed in the Australian desert, I am veiled by leaden ornamentation - a deconstructed mandala framed by the words of an ancient Hebrew prayer – a prayer used in Jewish liturgy dating back to the times of the Old Temple and chanted throughout my life as a plea for peace on Earth. This is my truth. A truth steeped in deep pride for my ancestral lineage that today is overshadowed by polarising political complexities - referenced through the interplay of darkness and light. Whilst this sadness weighs heavily upon my heart, I hold within me the beauty and hope of this universal prayer for humanity. May the light transcend division. And let us say. Amen
Illuminating the Shadow, 2026
36 linoblock tiles hand printed over giclee digital print on 300gsm Ilford smooth paper
Dimensions: 123 x 123 x
Kathleen Moore
This triptych was painted in my mind when I read the commentaries on the theme:
What is Truth?
Genesis 3:10 ‘I was afraid, because I was naked and I hid myself’.
‘It is love that can lead us to the truth’ (Dr Angela McCarthy)
‘Adam’s truth:” I am not who I was. I am not who I was created to be” ‘. Jesus names Himself. He is the Truth. Truth is a person. (John 14:6). ( Dr Tania Watson).
‘ ...of a God shaped love born naked at Christmas, dying naked on the cross of Calvary. They speak of resurrection and hope. They remind us of the original truth:
“You are naked, and beautiful, and God’s.’
(Dr Brian Harris).
My triptych is about the vulnerability and humility of Jesus, who is the Truth, coming to earth from glory as a naked baby, crucified naked, leaving grave clothes in the tomb.
Naked Truth
Hessian - durble, breathable, eco-friendly fabric, painted with fabric paint
Dimensions: 1. 41cm; 2.67cm; 3. 41cm. Total: width of triptych (unframed) - 149cm x 1. 101cm; 2.101cm; 3. 101cm x
Baden Johnson
We Are 1, relates to the theme of What is Truth. The painting was created after painting a spontaneous street art mural in Melbourne's Hosier Lane, of the same title.
Street art is part of my art practice.
On this particular occasion I went to do some other artworks. But I created this particular mural as a reaction to other artists street art. Which was reflecting and expressing the division, hatred, racism wars that are occurring around the world at our present time in history.
The theme What is Truth, relates to this painting, in that we are all one in Gods Universal creation on planet Earth. The heart symbolizes unconditional love beating in the universe and the text sprayed onto the surface is thought of how we need to unify without fear and to stop running from this truth
We Are 1
Aerosol, Acrylic, Collage and Ink on Wood Panel
Dimensions: 80 cms x 80 cms x
Antony Muia
Ultimately, this work is not about nudity as form, but nakedness as condition. It invites viewers to consider the universality of Adam’s confession and the human instinct to hide when confronted with truth. The garden becomes a mirror, asking us whether we stand within the light, within the shadows, or somewhere trembling in between.
Yield
Oil Watercolour and Collage on Canvas
Dimensions: 152 x 122 x
John Derrick
My work is an intuitive exploration of the “Imago Dei”—the belief that we are created to live in the fullness of our unique truth. This piece uses the metaphor of the chrysalis to examine the arduous, often messy transition from a life shaped by external expectations to one defined by internal honesty. I utilize a surrealist and abstract visual language to move beyond literal representation. By applying oil paint with gestural urgency, I allow the form of the naked figure to “find itself” on the canvas, mirroring the way an individual must navigate the complexities of life to find their own essence. The use of a high-keyed color palette is intentional; it represents the light of truth and the vibrational energy of a soul becoming “fully alive.”
Winged Figure Emerging From Its Chrysalis Takes Flight
Oil on canvas mounted on wood
Dimensions: 91 x 121 x
Andrew K
The truth is manipulated it is twisted and it is then lost. Too many women in Australia face coercive control and violence from their partners, those people who profess to love them the most. The red tape in my paintings represents this abuse and manipulation. This red tape can feel like the truth for those surrounded by the lies, they can feel only shame and blame. Through a series inspired by plaster religious friezes and iconography I explore the progress from fear to victory. The Victor: Head on depicts a scene where the truth is seen. The sexism and abuse is obvious, the red tape is under attack, it is vulnerable and will be beaten. Painted in oil with marble dust to hold the texture and charcoal for definition this work has a low sheen finish, reminiscent of a plaster wall.
The Victor: Head on
Oil and charcoal on canvas
Dimensions: 107 x 76 x
Olivia Ellen Devlin
Genesis 3 describes the Lord walking in the cool of the day, and as Adam and Eve heard the sound of Him they hide. They chose disconnection and hiding , above connection and closeness to God. Adam was afraid; he had realised he was naked , revealed and vulnerable. His fear could have caused him to run towards God, to approach the Lord for help. Instead, Adam chose distance.
In every moment of every day we have a choice. We can choose to be curious , to connect, to engage with God, to come to Him like a child, to run, to jump, to explore ,and to be caught by Him when we fall. Or we can choose to hide, to disconnect, to make our home in fear, to hide in our nakedness, grow in our shame, and live in self preservation and isolation.
My curated piece ‘Choices’ explores these possibilities.
Choices
Australian Clay, Under-glaze and Mid-fire Glaze
Dimensions: 32cm x 4.5cm x 32cm
Koula Pratsis
Between Light and Shadow lingers in the human impulse to hide and the quiet mercy that follows. Genesis 3:10 names our fear, yet the radiance of John 14:6 enters the darkness as the Truth made flesh, reaching toward the concealed heart. The mandorla becomes a living passage of the Incarnation, a narrow opening where presence becomes path. In the shadowed field, John 8:32 waits to be received — for freedom begins in knowing Him. The work rests in this invitation to step from hiding and answer the call into His light.
Between Light and Shadow
Medium: Acrylic on custom-made, museum-prepared board (1 × 1 m), sealed and varnished with archival materials. Frame: Handcrafted jarrah shadow frame constructed by the artist using fine-furniture joinery (jarrah splines) oil/wax finish. Designed to complement the gold tones and contemplative atmosphere of the work.
Dimensions: 105 cm x 105 cm x
Suesanne Sawyer
Brick dust marks their bodies - the residue of a promised dwelling. Fragmented and without legs, the figures cannot stand; they remain suspended above the ground that should hold them. Beneath them, a single brick bears the weight of a dream diminished, tightly bound as though stability itself were restrained. The brick becomes both refuge and refusal. Walls hold warmth and memory of who was kept outside.
In Genesis 3:10, Adam speaks from the first exile: "I was afraid because I was naked: so I hid." After Eden, nakedness becomes social exposure. Fear becomes economic precarity. Hiding becomes quiet displacement. Bound to brick, these forms reflect a land built on homes yet marked by exclusion - where shelter is promised, but belonging is withheld.
After Eden: Bound to Brick
Clay, brick, brick dust, string
Dimensions: 23cm x 17cm x 7cm
Abbey Douce
This painting is symbolic of vulnerability, self-awareness, and the sudden knowledge of separation from God. The girl sitting alone, turned toward the vastness of the water, embodies that inner turning point. She is not hiding behind clothing. Instead, her posture, arms wrapped around herself, suggests both protection and self-consciousness. The water represents truth in its immensity and clarity. She cannot escape the reality of being seen by God, by creation, and by herself. The bathers hanging on the tree echo the fig leaves of Genesis: an attempt to cover, to manage exposure, to regain control. Yet she has set them aside. The artwork captures the tension between fear and honesty, shame and self-awareness, hiding and the courage to remain still in one’s vulnerability before God.
Facing the Water, Facing Myself
Acryic on Canvas
Dimensions: 41 x 51 x
Matthew Hurdle
Handmade from pulped hessian and ash, the work explores through material transformation the evidence rupture and reformation within its fibres. Genesis 3:10 marks the introduction of guilt, fear and brokenness into human experience. In response, the work treats making as inquiry. Repeated acts of soaking, pulping, forming and pressing become a disciplined search for presence. The surface holds its scars in quiet visibility. Truth is approached not as certainty, but as an embodied movement from concealment toward exposure, attentiveness and the possibility of restoration.
Sackcloth and Ashes #15
Handmade paper made from hessian and ash mounted on board by the artist
Dimensions: 20.5 x 25.5 x
Imants Tillers
This painting is a homage to the great New Zealand artist, Colin McCahon (1919-1987). McCahon once declared: “I WILL NEED WORDS.” Many of the words, phrases and texts that he painted came from the bible. In my painting, I have quoted a small fragment from McCahon, as well as words from Stephane Mallarmé, Djon Mundine, and myself. As a young artist I lived in Sirius Cove, Sydney, near Curlew Camp where Australian Impressionists such as Tom Roberts and Arthur Streeton worked in the 1890s. One day while walking there, I stumbled upon a mysterious century-old inscription in the sandstone rock: TO THEE INVISIBLE GOD. I have used this profound statement in many of my artworks since its discovery, and it is an ongoing thread in my never-ending, canvas board system – ‘The Book of Power’.
In Truth
acrylic, gouache, oilstick on 16 canvasboards, nos. 117 107 - 117 122
Dimensions: 142.2 x 101.6 x
Miriam Innes
“I was afraid, because I was naked: and I hid myself” feels like my father now. Dementia has stripped him back, leaving him exposed in ways he can’t name. Sitting alone, he is present but unreachable, vulnerable, elderly and quietly disappearing. His nakedness is not physical, but the loss of dignity, memory and control. The empty chair holds my absence. I live far away with my own family and I carry guilt for not being there to care for him. I hide too, behind distance, routine and excuses, afraid of what I cannot fix and of the loneliness waiting in that room. I created this work after my recent return to visit my father. Having never worked on glass or made a portrait before, I had no clear reason for choosing either, except that it felt necessary and right.
Sundown
Glass etching (Framed)
Dimensions: 22 x 25 x
Mary Prema
This painting is inspired by the eucalyptus I encounter on my bush walks. It stirs me profoundly as I watch the bark slip away, leaving the tree momentarily naked, exposed and unprotected, yet entirely true to its inner surface. What once protected falls away, revealing what quietly remains beneath. In this gentle shedding there is fragility but also clarity. In this natural unveiling, I see ourselves reflected. We craft coverings for safety, but when they drop, the essence of ourselves quietly appears.
The tree stands as a witness to truth, echoing the awakening of human self-awareness in the Book of Genesis, showing that truth is not created, only uncovered when nothing remains to hide.
Revealed Beneath the Bark
Acrylic and modelling paste
Dimensions: 101.7cm x 101.7cm x
Mary Larnach Jones
This work is different from the work I was planning. I intended to do something clever which posed the question Is AI the new truth?? However the lure of working true to the biblical text was too great, and I thoroughly enjoyed the process of assembling the ideas on the panel as they came to me, wanting them to be pleasing to the eye. Not my usual practice which would have been to set up the motif and to depict what was before me…
I hope my work suggests that alongside Adam and Eve we pilgrims strive towards the light of Truth.
Towards the Light of Truth.
Metal leaf and oil paint
Dimensions: 60 x 60 x
Tom De Munk-Kerkmeer
Inspired by the biblical text, but without a preconceived idea, the artist let his intuition guide him during the creation of this work.
The wood for this work comes from one of the trees in the artists garden.
Creating his garden he tries to contribute to the restoration of our earthly paradise, this is probably his most ambitious and urgent art-work….
Whilst carving Tom was confronted with severe splitting of the wood and several cathartic rituals were performed separating various parts from this final piece.
Due to complicated tragic circumstances,Tom himself was separated from paradise at a very early age.
The artist attempted to create a fully abstract work, but, with some imagination, male, female and snake-ish elements can be discovered in this sculpture.
Existential angst
Wood
Dimensions: 34 x 85 x 20
Margaret Jolly
The models for this painting are drawn from figures in the sea near where I live.
I try to capture the light reflecting from the sun and the water on the human form.
In this painting, the Australian Bush is the Garden of Eden.
Adam and Eve have their eyes opened.
They are ashamed and frightened when they realise they are naked, and are thrown out of paradise.
The white gum tree marks the boundary of the garden.
I was influenced by Masaccio’s fresco (1425) ‘Expulsion from Eden’. The power and truth of this work resonates today.
Masaccio was not a bystander, only painting what he saw: he was a violent man, an alleged murderer, on the run from the authorities, and yet, he painted works straight out of heaven that speak truth to us today, 500 years on.
Expulsion from Eden
linen, gesso, acrylic
Dimensions: 52 cm x 61 cm x
Vania Lawson
Once alive and abundant, the landscape is stripped back into monochrome, exposing a harsher reality.
The fade is a warning, climate change does not arrive dramatically it unfolds gradually, as the land loses colour are we edging closer to an environmental blackout?
My training is in theatre as a scenic artist, this contrast is like a theatrical fade to black, a moment where the lights dim, and the audience is invited to reflect on what has just occurred.
A parallel between humanity’s first act of hiding and our response to our ecological responsibility.
Are we just like Adam, we avert our gaze concealing ourselves from the consequences of our actions?
This is both a mirror and a warning, the land remembers what we attempt to forget, and the truth though muted & hidden remains present.
Fade to Black
Oil on Canvas
Dimensions: 145 cm x 95cm x
Elif Sezen
Elif Sezen’s work from her series, Presence, combining painting, photography and digital media, explore the interplay of space, colour and light in experimental landscapes that reflect on perception, memory and place. In these light portals / mystical gateways, colour becomes a subtle energetic force, guiding viewers through states of awareness, contemplation and healing. These works draw on various sources of inspiration including ‘quantum entanglement’ and Michel Foucault’s notion of ‘heterotopias’—worlds within worlds— to evoke ethereal, alternate realities that are at once cosmic and deeply introspective. Sezen’s work conjures dreamlike atmospheres, inviting audiences into immersive, otherworldly environments that encourages searching of possible truths in one's path to enlightenment.
Presence #11
Archival print on Hahnemühle photo rag metallic, Edition 1 of 5
Dimensions: 71 x 71 x
Penny Burnett
A simple palette of three Yellows and Burnt Umber is used to explore the concept of Truth as expressed in Masaccio’s Adam and Eve’s Expulsion. The meditative act of creating a colour chart through multiple transparent films of pigment, creates a tactile Visio-Divina, referencing the consequences of pursuing knowledge for power rather than trusting in the Truth of God’s words.
Colour works well as an analogy for truth, it defies definition. We all experience truth and colour subjectively and relationally.
So, what is Truth/Colour?
Searching,
Curiosity,
Iteration,
Acknowledging bias, past mistakes, fears,
Individuality,
Concealed beyond the focal plane of the canvas,
The combined effect is that each colour functions as a lens, yet the image (truth) remains obscured.
30 Layers of Truth
oil on masonite and canvas
Dimensions: 78 x 56 x
Wendy Alderman
This work is created from recycled materials. The canvas is an old bible cover representing me at age seven, finding my heavenly father while walking along a dirt road. The backing paper is the bible page exposing part of Genesis 3:10. The child’s prayer a gift to a shy seven-year-old is handwritten just as it was for me then. The vintage doily created by my grandmother to protect surfaces from damage as I was protected, covered by faith. It has existed as long as my relationship with my heavenly father. The crotched bookmark from my 89-year-old mother. The frame is an old gilded recycled one. The seashells, feather and gemstone, I selected from the dish beside my bed containing mementos gathered from travels in Australia. It sits next to my battered old solid metal cross.
A Child's prayer
Recycled materials. Lace and crochet works. Sea shells, feathers, gemstone. Recycled bible cover and paper. Recycled frame. Watercolor wash applied. Ink pen.
Dimensions: 25cm x 30cm x 3.5cm
Nicole Steenhof
The indexical effect of the hand in painting, seen in its gestural marks, reveals how in one sense, I am a body of salt liquid painting other salt water bodies. It nods to the experience of belonging, and being separate, from the salt water. Through the lens of hydrocommons, the ocean can be recognised as a container for meaning.
For me, the ocean continues to stretch my imagination of God, as it holds an immaterial radiance, full of paradox - its depth and accessible shallows, its resistance and its ability to give way, the complex blue machine that breathes a simple rhythm of waves. Truth is hiding in the sea with me, and it becomes my freedom; even my shadows, subconscious and substantial, can be part of its beauty.
I hide in the sea and am held, with all of my questions
Oils on canvas, framed
Dimensions: 103 x 123 x
Kasia Fabijańska
This work, its various versions rejected by the art world, transformed into an inward soul search about the gift and burden of talent, when the strains of being an artist question priorities. The theme resonates with another verse from Mt 25:25 “so I was afraid, and I went and hid your talent in the ground. Here you have what is yours.” I can only speak to a truth that is closest and most real in my sphere of experience. In response, the prayer beads became a documentation of events, experiences, and wisdom, always related to my spiritual maturation, that had enduring impact. Angels guard the truth at each end, a memento mori sits in the centre, and every fire smoked bead is unique, marked with a date, a bible verse, a personal epiphany, silence, reminding me of the truths that sustain me.
Memento Veritatis
ceramic, linen rope, synthetic dye
Dimensions: 95 x 20 x 80
Valerie Schönjahn
The work consists of clay figures, which, having been submerged in salt water over a period of time, have grown a myriad of crystals on their surface.
A process and meditation on how exposure to an element over time causes physical change. Visibly similar, and decidedly unique are the various crystalline growth. The result of the salt water and clay coming together in each individual vessel.
To talk about truth; the same truth, absorbed by all, will express itself different in individuals. And like the work, once removed from its environment, will disintegrate again, returning to its original state.
This work is a continuation of the artists interest in how things respond to their environment, and how different elements respond and interact with each other.
our porous skin
clay, salt
Dimensions: 90 x 17 x 70
Elisa Markes-Young
This work revives a lost Polish craft to ask how truth is constructed, and who decides when the fragments form a true picture. From one sanctioned viewpoint, a coherent whole emerges. Move, and it dissolves – suggesting the competing truths that exist outside dominant stories.
The work posits that truth is not a fixed image, but a fragile pattern we piece together from loss, longing, and the stories we choose to privilege. It is a constant negotiation between what is tangible, its shifting projection, and our own moving perspective. A meditation on the fragile architecture of history itself.
What we perceive is always a partial glimpse. A mediated reality we assemble and believe, for a moment, to be whole.
...and they looked at it and thought they had the truth (after Rumi): on perspective and partition
mixed media
Dimensions: approx. 120cm x approx. 120cm x approx. 120cm
Michael Vincent Murphy
God is the ultimate truth. Jesus called the Holy Spirit “the Spirit of truth” (John 14:17, 15:26, and 16:13). When faced with the ultimate truth there is no place to hide because God is all seeing.
The work depicts a figure facing “the Spirit of Truth” in a barren landscape with no place to hide.
Truth Leaves Nowhere to Hide
Acrylic on canvas
Dimensions: 101 x 76 x
Ella Allen
Adam’s choice to disobey and hide stripped his old identity and cut a hitherto unbroken intimacy with God. Conversely on Patmos John chooses not to hide but face up to self truth. My work, a visual text working in the psychological/spiritual landscape, is the intersection of these two characters and their choices for mankind to open or close doors with God and truth. The portal becomes highly symbolic, demanding of each of us- “Am I going to close or open that door? What is my relationship to truth?”
I used the local coastline off City Beach, slightly altered to become a coastline for anybody or everybody. A dramatic sunset highlights the drama of supernatural revelation, echoing the drama of deep self-revelation. This artwork might be a metaphor, or it might depict actual truth.
Do You/Don't You See It
oil paint on board
Dimensions: 50.9 x 40.5 x
Sue Rigg
Inspired by this year's theme, I've indulged my love of experimentation, design, attention to detail & a keenness to learn new techniques with a passion for colour, texture & form. The result is a biblical story combining treated sand, impasto, acrylics, fabric, wax, stitching, wire, paper mache & construction techniques. The snake weaving in & out of the board represents how evil forces are always with us, albeit sometimes hidden from sight. By partially obscuring example sins under the constructed fig leaves it is evident how things can both be beautiful & deceptive at the same time. Yet nothing is truly hidden from God to whom we must give an account. Undertaking this work challenged, & indeed stretched me creatively; particularly how to mount individual pieces to create a 3D persona.
"In God's mercy, fallen man is granted grace"
Mixed media
Dimensions: 60cm diameter; display plinth approx. 29cm diameter x Including display plinth of 70cm a total of 82cm x Actual artwork 12cm above the board
Louis Pratt
An Unresolved Truth
“What is Truth? I was afraid, because I was naked; and I hid myself.” (Genesis 3:10)
The figure stands exposed, aged and unidealised. His arms are drawn back in vulnerability, his gaze lifted, strained and searching. He is naked, yet he does not hide. The sculpture is anamorphic: from most angles the body appears distorted; only from one position does it resolve. Truth here requires movement and encounter. The distortion may not belong to the body but to the gaze. In a culture of curated images and concealment, this work resists hiding. It proposes that truth lies in remaining visible, imperfect, fearful, and present.
An Unresolved Truth
Resin, PLA, Steel, uranthane, paint
Dimensions: 52 x 80 x 45
Dane Beesley
In a world obsessed with curated perfection, I find myself asking: Is a well-lit life the same thing as a true one?
My work explores the precarious intersection of material reality and internal narrative. The scene is surgically precise—a pristine tennis court, the architectural triumph of a luxury estate, and the mechanical glow of a car left running. It is an image of "The Dream" yet it feels fundamentally haunted.
Ultimately, my photograph posits that truth is not a static set of facts or a collection of possessions. Instead, it is a subjective frequency. By capturing a moment that feels both hyper-real and deeply hallucinatory, I am inviting the viewer to consider if the woman is escaping a lie or if her subconscious state is, in fact, the only honest thing in the frame.
Glimmer of an Unrealised Dream
Archival pigment print on cotton rag (photograph)
Dimensions: 90 x 60 x
Shirley Pinchen
The project started by examining the colours and shapes found in peeling bark—a process known as decortification.By exposing the truth of our own ugly dark sins and confessing them to God we can begin our own decortification. After Adam and Eve hid from God due to their sin, He justly disciplined them before providing them with clothing.I layered tissue and crepe paper to replicate this natural phenomenon. The black side represents the underlying truths of our sin which at times we try to coat with shiny good deeds represented by the foil. While assembling the piece, I chose to display it hanging like a unique couture dress on a hanger, with the thread holding it together symbolising the drops of Christ's red blood shed for us to cleanse our sins.
Dress Decorte
Hannemuhle drawing paper,Tissue paper, crepe paper, glue, foil, embroidery thread, wooden coat hanger
Dimensions: 42 x 165 x 0.5
Jenny Stevens
Biblical truth is a strong focus of Jenny’s art which is conceptually driven, using materials and technique as metaphor. The mirrored glass reflects light and image; the viewer. Is asked, ‘who am I’? The metallic woven mesh and thread depicts Adam’s ineffective attempt to hide in shame (appliquéd fig leaves) and fear from the God who sees beyond appearance to his heart and actions. We too, can be more concerned with appearances and what we do, than seeking and pleasing a holy God. Glass and metal are made using fire, our conscience can become seared without the love for truth. Adam did not repent of his disobedience and his relationships with God changed.
I am
Mirror glass, metallic woven copper mesh, metallic silver thread/cord
Dimensions: 30 cm x 45 cm x 1-12 cms
Chelinay Gates
For those who know the truth … Terra Nullis is the Enchanted Garden … a nobody’s land, where winged creatures and luminous orbs flash suspended in halos above gorges otherworldly. There irises unfurl softly and speak of innocence, divine wisdom and hope, restored. It is the place of our beginning and to where the Djidi-Djidi calls us to return, announcing that the Serpent of Knowledge has reconciled with the Spirit of Truth. Now creatures of every kind can dwell in this divine right order for ever and ever … Amen.
Reconciliation with the Truth
Oil on canvas
Dimensions: 122 x 152 x
Fiona Evans
Adam’s defiance of God condemned him to death. But out of his vast love and mercy, God made a way for man to be brought back to life. Jesus said in John 5:24 ‘Whoever hears my word and believes him who sent me has eternal life. He does not come into judgement but has passed from death to life.’ Man’s sin caused the whole of creation to be cursed, but as God granted new life to man who was cursed, He also grants beauty and life to the rest of his creation. Banksia seeds that hold potential for new life are safely guarded within tightly sealed ‘lips’ on the pods. And it is only the heat of flames that scorch and destroy the pod, that force the mouths to open and release the life giving seed. The banksia beautifully portrays creation as it too passes from death to life.
Death to Life
Colour pencil on paper
Dimensions: 65 x 80 x
Philip Cooper
There is something in feeling the weight of the other that grounds us in the moment, especially when that other belongs to our inner struggle to understand who we truly are. Connection and loss; the great intimacy felt and fleeting. Bearing the weight of the other grounds life as tangible. Imaging Jacob wrestling with himself (the angel) grasps at what is perhaps not so tangible, completely other and yet completely present; somewhere between “the sacred and the bleeding ordinary”. A moment’s reflection to simply stay in this space, to feel the moment and honour the gravity of those whom we carry and who carry us. We each are part of this embrace, this dance with vulnerability to face who/what is our ground, the place of our burning bush. Maybe Truth is like this.
Jacob wrestling with the Angel
Charcoal, chalk, ink, gouache on Canson
Dimensions: 59 cm x 75 cm x
Natasha Woronzow
I wrote a short story about it available through this link https://howwesee.com/page-20. But this piece is about realising one part of my life has ended and I don’t need to hide in it constantly re-living it anymore. It was painted when I was breaking a pattern of overthinking in my head an loosing the touch to my heart. Finishing the painting I felt like something new was born, like I had a new sense of freedom ready to explore! After many years of hiding my creative side, I finally felt brave enough to use it and pursue my dream of giving people a piece of everything they need to believe. That even though you don’t feel complete, it is ok to show people what you have made already for the whole world to see.
Exiting From Many
Acrylic on canvas
Dimensions: 100 x 80 x
Graham Longhurst
I experienced a visual migraine as I started to sketch, I included the aura (the circular light) around the reclining couple. The location is an imaginary Garden of Eden with ominous undertones, entries to the underworld. A gravestone indicates our brief existence in this earthly paradise, (the truth!). Adam and Eve (who appears pregnant) are played by Jack and Bec from a life session at Atwell gallery, Alfred Cove. In the background, is Lilith, Adam's first wife, who was banished from the garden.
Symbols develop the story, a snake for temptation, a horizontally cut apple reveals a pentagram representing female sexuality, sin, love, desire, seduction, new beginnings, Aphrodite, Venus and marriage. Cherries equate to love, desire and mortality. Fig leaves from my garden to hide behind.
In the Garden
oil on canvas
Dimensions: 80 x 121 x
Katerina Apale
Built from discarded textiles, threads and found fragments, this work forms a dense, radiant field of layered matter. At its centre stands an unstable figure — totem, idol, shield or witness — something imagined to stand between the self and fear. Knitted chains, braids, embroidery and gold cords bind and conceal, while faint burnt silhouettes rise through a blinding gold ground. Excess seduces and overwhelms, knots tighten, meaning slips further away. The surface pulls the eye deeper, layer after layer, until beauty becomes weight. Formed slowly, braid by braid, this shimmering structure embraces overload and persistence, circling questions of belief, fear and the hidden core we search for but cannot fully face.
Totem
Textile, mixed media, hand stitching, embroidery, knitted and braided elements, found materials, gold cord and thread
Dimensions: 100 x 153 x
Rodney Edelsten
This painting explores the role of "luck" in my life and, becoming aware that always lurking in the background the ever present ending to life.
LUCKY STORM
OIL on CANVAS
Dimensions: 76 x 101 x
Di Deppeler
This work is intended to define what I consider to be some of the attributes of truth. On reading the theme, I thought a lot about truth, I read what others had to say and what has been written over time and by those far more knowledgeable than me. My own understanding is compromised, uncertain and not adhered too. My truth is often contaminated by fear, desire, and other people’s opinions. Truth requires clarity and courage, in order to surface.
I believe that truth is infinite, and often seen in part only. This work is a plain and simple attempt to portray it. I believe the Bible says it all, not always in plain text, but its there. Likewise in other religious and spiritual texts. There is my truth and your truth, but above and beyond that is Gods Truth always and eternal
"I wish I knew you better Truth"
Recycled Wood, Acrylic paint, pen, pencil, ribbon, and a piece of broken jewellery.
Dimensions: 43CM x 44CM x
Jodi Stewart
This sculpture represents the moment self-consciousness enters human experience: “I was afraid, because I was naked: and I hid myself.” Fluid porcelain drapery against rigid stoneware bone suggests dualities of spirit and flesh, vulnerability and protection. The bone speaks of the irreducible truth of the body, of mortality. Drapery, uniquely human, signifies our impulse to cover, construct identity, moderate exposure, present a curated self. Nakedness is the raw truth of knowing and being known; instead we choose fabrications and veils.
Fragile
Porcelain and stoneware, paint, wax finish.
Dimensions: 35 x 30 x 25
Patricia Wilson-Adams
The unaltered stone – Argoi lithoi – has been venerated for millennia as markers of sanctity and significance in foundation cultures from the Cycladic, Greek and Hindu to the Inuit and the Japanese. Archeologic evidence shows that larger unworked stones were used as altars which often became sites for libation.
Here I imbue very ordinary stones with a presence that belies their scale. By adhering to the honesty of the stone I ask the viewer to think about the origins of stone and hence the origins of life, our universe and the unfathomable.
The un-crafted stone avoids the representational while evoking memory, meaning and thought. For me stones are the palpable and spiritual markers of place, my connection to land and nature, while acting as touchstones in an ever changing world.
Argoi lithoi: the truth of stones
stones, reclaimed marble, timber and limestone
Dimensions: PPROX 120 x approx 30 x 30
Victoria Soar
This self-portrait explores both Adam and my own experiences of witnessing God’s truth. Plaster references our origins from clay, wonderfully created yet fragile. While pastel dust reflects both where we come from and where we return. I drew on Adam’s story alongside my own experiences of shame, separation and the instinct to hide. The closed eyes represent blind faith, searching for guidance, and at times a blind eye to my own actions. Even when we hide, God meets us with love. In perceived darkness I have desperately asked, “Where are you?”; echoing Genesis, but God asked this in loving pursuit. Gold flowers symbolise his grace and mercy within our naked vulnerability. The is a dialogue between hiding, seeking, distance and return, ultimately revealing the truth of enduring divine love.
Truth
Plaster, Pastel, Acrylic and Gold Leaf
Dimensions: 76 x 102 x
Helen Forbes
Truth for me is Light. The Light that binds us, that brings love into the world, the Light that chases away darkness and the Light that Jesus brought into the world.
I’ve used the Moth & the Moon to symbolise the search for Truth, because a moth is attracted to light and uses the moon for navigation. The circle appears in much of my work and is often referenced as a moon image.
For the wings of the Moth, I have used prismatic shapes with redacted light to consider how light might interact with the surface of the wings. I love to put geometry in my work to give the work a feeling of being built.
The Blood Moon represents the Blood of Christ spilt bringing the Light of Love into the world which clothes our nakedness and cleanses us of shame and fear.
'Moth Seeking the Truth in the Light of the Moon'
Synthetic Polymer, kaolin clay, feta cheese tins (beaten & glazed), acrylic paint on canvas
Dimensions: 95 x 122 x
Joan McMahon
My work reflects on the establishment of New Norcia and the approximately 170 years of commitment required to create the monastic town in Western Australia. My work draws on the anthropological legacy of monks such as the founder, Bishop Salvado, whose recording of language, culture, and customs gives an insight into the lives of the mission and the indigenous people.
The source photograph for my work depicts Brother Pablos Clos tenderly holding a small child named Pat, he is flanked by two Yued/Noongar warriors dressed in materials drawn from their local environment. In Western art, images of men holding children are rare, lending this moment a particular intimacy and emotional weight. Although the men come from vastly different cultures, they are presented as equals, connected by a share
' Brave New World'
Acrylic Paint
Dimensions: 60cm x 60cm x
Anthony Xerri
Just as the original Romulus and Remus sculpture aims to give substance to the myth of the birth of the Roman Empire, Romulus and Remus Reprised aims to give substance to the birth of the screen which has awoken our collective unconscious stare into the glow of ancestral fires. The screen and its hypnotising glow are yielding new frontiers, new strategies of people control and people management through numbing addictions, all of which help steer a select few into unforeseen wealth and new global Empires. Those at the helm twist truth and reimagine reality to compel us to click, view, like and subscribe to a higher form of truth whose basis is to build wealth upon wealth. Romulus and Remus Reprised aims to start conversations of the relevance and impact of the screen in modern existence.
Romulus And Remus Reprised
Steel, two vintage TVs, TV antenna, two dolls, fibreglass, clear resin
Dimensions: 116 x 120 x 70
Neda Bahremand
In this assemblage, I explore truth as the courage to remain uncovered. Drawing on Genesis 3:10, where Adam hides his nakedness in fear, the work utilises the transparency of reclaimed domestic materials, with all their imperfections, to challenge a contemporary impulse to conceal vulnerability. Where the biblical figure retreats into shadow, this sculpture allows exposure to remain visible rather than hidden. A reflective silver apple rests atop the glass structure, returning the viewer’s gaze and drawing attention to the act of seeing and being seen. Through transparency and reflection, the work invites consideration of how exposure, fragility, and self-awareness shape the human experience. Nakedness is refigured not as shame, but as a space of encounter and truth.
As It Is
Reclaimed domestic materials
Dimensions: 26 x 53 x 26
Guundie Kuchling
How can we make the world see truth? Motivated by Gandhi’s mandate to ‘be the change you want to see’, I turned the question inward: ‘How can I see my own Truth, my authentic self hidden behind a social mask, my persona?’
This inquiry guided me to an artistic assignment: I made a series of paper fig leaves, the biblical symbol of hiding vulnerability. In cursive, I inscribed each leaf with synonyms for surrender, reveal, offer etc. Once I had thirty leaves, I placed them on a green-painted, inscribed canvas.
Making this artwork became a process of unmasking. Each stage was a symbolic move towards surrendering my persona and uncovering my own Truth. It inspires a spiritual commitment: to stand before myself and my Creator, unafraid and authentic, with nothing left to hide.
Beyond the Fig Leaf
mixed media (oil painting, stencilling, collage, handwriting)
Dimensions: 102 x 102 x
Thierry Ruault
Thierry Ruault
San Francisco 1983.
No money. No return ticket. No green card.
Sleeping in a shared hotel room in Chinatown for two dollars a night.
Not knowing anyone.
One morning I woke before the others. I stepped carefully around a dozen bodies scattered across the floor, sleeping wherever they could.
I went to the sink and looked into the old, pitted mirror.
I splashed water on my face and thought:
‘ what is happening to me’
That was the moment I realised I had become invisible.
Invisible
Oil, collage on wood panel
Dimensions: 122cm x 81cm x
Julia Francese
The decisions I make, make me who I am, it concerns personal responsibility.
The painting is using both abstraction and recognisable subjects to create an inner and outer world. The inner being the abstract landscape where conflict is occurring.
The blue orbit sits on an edge and is being surrounded by external forces, it represents the vulnerability of goodness we all carry.
The red and black heavy line and shapes contend with the soft blue from an orbit, symbolising Christianity. The figure is in deep thought about his life and the rural landscape gives the painting an Australian identity.
This is a contemporary painting about the plight of rural Australia and the high rates of suicide with males.
Decisions I make, make me who I am
Oil on canvas
Dimensions: 111 x 153 x
Selwyn Hoffmann
I believe that listening eyes are more truthful than listening ears. What we see in silence often carries greater honesty than what is spoken. A solitary light remains present even when it goes unnoticed, holding its truth quietly in the darkness.
Listening Eyes
bitumen/oils
Dimensions: 19cm x 30cm x
Philippa Lightfoot
I first noticed it walking by the river late one evening, as the heat of the day began to fade. The moon was rising, pale and incomplete, softening the edges of everything it touched. Luminous, intense and intangible.
A small moth kept circling the light, moving in slow imperfect arcs learning the shape of the night - a spiritual journey.
I was thinking of time as a river made up of drops, each drop a moment holding memories and possibilities, moments that swirl together flowing around a still point in the chaotic uncertainty of the moving world.
In that moment I recognised that these have long been recurrent concerns in my practice. Observation, process and quiet persistence as colours drain and return. Night follows day and truth follows light.
Luminous Shadows
Oil on Canvas
Dimensions: 91 x 46 x
Marie Haass
A cast iron piano frame lies broken in the bush, stripped of its function and integrity. These discarded fragments mirror my own journey through the loss of identity during grief. At the center, a crumbling chopping block sits upon a circle of dark earth, symbolizing the need for grounding and boundaries.
Vividly colored letter-like shapes, fragments lean against this block—a reminder of support and togetherness—while strings evoke memories that leave lasting traces. This work is a layering of realities: the cohesion is intentionally disrupted as a larger piece extends beyond the wood block, curling onto the floor. Ultimately, the work documents the deconstructive and reconstructive search for a new identity—the difficult and unwelcome truth of navigating life after loss.
Broken Piano Frame
industrial parts in cast iron, wood, strings, earth on canvas
Dimensions: 110 x 77 x 90
Katie Glaskin
The Citadel and the Old City Walls
This painting is informed by the six months I spent living in Jerusalem decades ago and the old city there, and Haruki Murakami’s image of the walled city in his novel 'Hard Boiled Wonderland and the End of the World'. Like Murakami, I am interested in how an old city can be drawn upon to reflect on consciousness, the nature of reality, and truth. What truths and what illusions create reality in the old city? How does the old city reflect the self? The citadel above the old city and its layers of civilisations occupies a defensive, watchful position. This work is both ‘about’ the current state of the world, and a metaphor for the subconscious self, navigating the uncertainties proliferating in a post-truth world.
The Citadel and the Old City Walls
Acrylic and gesso on canvas
Dimensions: 84 x 84 x
Jane Woodruff
'Michaelmas-The Secret Script of Michael’ is a contemplation on the silent presence of the Archangel Michael. Working through the will of the world, his task is to connect each one of us to the Christ and enable us to listen to our heart’s truth. Michael silently demands of me to be truthful in all my deeds.
In the creation of this art work - intended as an altar cloth - I was all the time, microscopically but precisely, imprinting into myself what I felt to be the tiniest gestures that Michael might make if I could hear him speak to me.
This sensing-conducting, listening-singing into the spiritual world has scripted itself into the forms, shapes and symbols of the work. The symbols for the crosses of St George, St Andrew and the Christ emerged and the hidden form of the Sign of Michael.
Michaelmas-The Secret Script of Michael
Cotton thread on linen
Dimensions: 135 x 100 x
Alex Jobbagy
‘Between Fall and Rebirth’ explores the ancient confession of Genesis 3:10 within today’s crisis of trust. Deep reds and blacks evoke concealment and moral unrest. A faint Fibonacci structure references divine order beneath the chaos, while a cross-shaped opening reveals a luminous landscape with a barren tree and a bitten apple — symbols of the Fall and the possibility of redemption. A DNA helix threads through the darkness, linking creation to our present condition. In the foreground, a suited man curls upside down in a foetal posture within a pelvic bone, praying. He represents modern leadership — exposed, destabilized, yet longing for rebirth rather than hiding. The painting asks whether truth can be rediscovered through humility and transformation in a world saturated with distortion.
Between Fall and Rebirth
Acrylic on canvas
Dimensions: 50 x 60 x
Kelsey Ashe
‘Mother of All that Lives’ depicts a moment of spiritual exposure. An anthropomorphic female presence shelters, half-hidden within soft transparency, in an Antipodean night garden inspired by Point Walter, Dyoondalup. Printed with Indigofera tinctoria, the work evokes depth, mystery, and a multiplicity of ‘truths’ through indigo’s possession of a thousand shades. Elemental and shifting, the figure moves between birthing, dancing, and ignition — a body in formation and transformation, unfolding differently in each viewer’s act of seeing, as if zoomorphic and chimeric. She embodies the moment humanity first sensed separation from the divine, inflamed by that knowing. By night, photoluminescent pigments cause her to glow, her changing hues suggesting truth as living, variable, and luminous.
Mother of All that Lives
Hand Drawn Wax Reduction Screen Print, Decalcomania (chance transfers) Indigo Tintoria botancal ink, photoluminescent pigments (glow in the dark) on canvas.
Dimensions: 92cm x 153cm x
Cindy MacDonald
"In The Light Of Truth" reflects on Genesis 3;10 when Adam says, "I was afraid because I was naked; and hid myself". Nakedness was not new - shame was. The painting explores the first awareness of separation, as innocence gives way to self-consciousness. the fragile fig leaves suggest humanity's instinct to conceal ourselves. The descending light represents truth, not as accusation but as presence - revelation that exposes yet does not destroy. A faint cross in the background alludes to Christ, at the second Adam, hinting redemption within the human story. The painting invites reflection on the nature of truth- not merely as factual clarity, but as relational encounter. I used AI as a conceptual tool during planning; all artistic decisions and the final painting are entirely my own
In The Light Of truth
Oil on canvas
Dimensions: 40cm x 60cm x
Grace Lustri
This painting responds to Genesis 3:10, exploring ‘Truth’ as the moment of receiving the breath of consciousness – the Ruach of God, depicted as a butterfly supernova in space, that mirrors the delicate symmetry and anatomy of human lungs. The figure is both born and dying within the same frame, taking his first and last breath. It is the summation of a lifetime held within a single, finite moment. A mysterious cosmic energy seems to power even the life cycle of stars, yet no other creature possesses this same aliveness found in man, both divine and self-aware. Nakedness here is existential rather than just physical; an initial agonising exposure out of the universal womb becomes acceptance and peace by life’s end. There is no hiding from the Force who animates us. This is the Truth.
First Breath, Last Breath
Oil on Canvas
Dimensions: 104 cm FRAMED x 141 cm FRAMED x
Michael Henderson
"What is Truth?" For me, this question connects to being seen. What would I do if I knew I had let Jesus down? Hide? Fear God's response? Trust? These feelings led me to draw Peter, in charcoal and watercolour, using John 21 as the foundation. Peter mends a net. Jesus has died but not yet risen. Peter's failures are raw—as friend and disciple. With truth so exposed, he asks, "If you saw me now, would he call me again or pass me by?"
The answer reveals what truth is: not my distorted perception where I see only failures, but what God sees. God sees all of me, you, and Peter—and declares, "My heart is always for you." This truth is humbling and, as Ephesians 3 says, beyond experience, knowledge, and imagination.
If you saw me now, would he call me again or pass me by?
Charcoal and watercolour on paper
Dimensions: 100 x 100 x
Denise Bond
'Under the Canopy' contemplates Genesis 3:10 'What is Truth?' from a perspective of the emergence of humanity's relationship with God - particularly from Adam and Eve's recognition of sin and its ability to distance us from God.
Despite the existence of sin, God's loving invitation to be in relationship flows through the world. Indeed, while Jesus has been in the world from the beginning he will always continue to be in the world. Civilisations arise and disappear but Under the Canopy of God life continues. Movement across the foreground relates to God's Holy Spirit embracing humanity, the earth, the air, and the waters to continue to bring new life.
Under the Canopy
Oil on linen
Dimensions: 91 x 61 x
Joan Johnson
Currently, there are so many wars going on, with each side having their own truths and beliefs. Truth is such a subjective and abstract concept. It is therefore impossible to define it.
I have attempted to address the idea of everyone being different and having different theories on its meaning.
I started with the poems and then considered elements of it in my sculpture. Using mostly recycled materials, I wanted to also show that something beautiful can be made from discards, as well as being able to tell a story without preaching.
Hopefully, the viewer may understand that instead of being 'hooked' on their own truth, they may look at things from a different perspective and try to give a bit of credibility to those with different views.
Seeking Truth
Recycled Aluminium, Perspex, Glass, Wood, Clock movement
Dimensions: 420 x 1435 x 420
Matteo Bernasconi
In this modern age, we have perfected the art of disappearing while standing in plain sight. We exist in a state of comfortable numbness, draped in digital veils and filters, to hide the nakedness of our real, disconnected daily lives.
This withdrawal mirrors an ancient instinct. In Genesis 3:10, the shift from transparency to hiding marks the birth of the human psychological condition. Today, we don’t hide behind trees; we hide behind detachment and apathy. These are our modern shields against the sting of rejection and the weight of uncertainty.
With the painting I aim to evoke a feeling rather than a fixed narrative, an ephemeral presence. The image, almost blurred, aims to be a sensation; the soft washes of flesh are set against hard old marks, reminding us of the sense of being.
Comfortably Numb
mixed media on board
Dimensions: 55 x 60 x
Rachel Lucas
‘I Am Mortal’ speaks to the simple truth that we are seen no matter how we seek to hide. On those days I catch a glimpse in the mirror and wonder where that girl went? And who is this woman? It’s good to remember that to live long enough to grow old is a privilege. This work is a reminder the while youth, with its perfection of form, is quite simply beautiful; age has a more complex and profound beauty- the beauty of experience, of grace in the face of adversity. Expressing faith in endurance despite the ravages of time, it balances mass against negative space, that which survives against that which has been lost, to evoke perfection of form that is still fully realised, seen clearly in the mind’s eye. Time breaks yet our lives may retain grace. The body breaks, the spirit remains intact.
I Am Mortal
Stoneware ceramic
Dimensions: 23 x 64 x 23
Eleanor Davies
The process of creating a monoprint is central to my practice. Each work begins with sustained physical and emotional engagement, carried across the days I construct the image and pass it through the press. This deliberate rhythm becomes an inquiry into the intent behind my internal states, with the press acting as witness, capturing the residue of that dialogue under intense pressure. Descension is inspired by George Pitt Morrison’s Foundation Day 1929, a painting ever present in my early school years that shaped my sense of history and its omissions. In responding to the theme What is Truth?, this work reflects on how truth shifts when we turn away from awareness. The final print becomes both an imprint of process and a meditation on the impact of what we fail to see.
Descension
Print. Archival Japanese paper, ink and paperbark.
Dimensions: 60cm x 90cm x
Maksim Kuznetcov
This work reflects on the human impulse to reach toward something greater and the frequent failure of that gesture. It presents a sincere offering that remains unanswered, framing truth as an attempted connection with the divine.
The sculpture draws on Maksim’s observation of professional and corporate environments, where expressions of spiritual experience or longing are considered unfashionable or taboo. Yet when they surface, conversation halts. The silence that follows is not indifference, but shared attention.
Set within a broader cultural condition of constant stimulation, the work reflects a loss of grounding and meaning. The search for truth becomes a reaching without a clear address.
Disconnection (A Prayer Without Address)
Epoxy resin, Acrylic pigments, Wax
Dimensions: 76 x 67 x 35
Nathalie Gautier-Hartog
My work explores the memory of my birthplace in France and questions how truth resides within materials and memory. The buildings there are made from a local stone called Roussard, its deep rust colour shaped by iron. When heated, this stone creates a pigment known as Smalte, often used in the rendering of the walls of old houses.
At my family home, a white cross was painted above the door, a rural tradition believed to protect the house and those who entered. The marks in my work, both symbolic and sacred, reflects on belief, protection, and the persistence of cultural memory.
Blessing
Relief print with natural pigments (Smalte and rust) and acrylic paint
Dimensions: 100 x 100 x
Eve Arnold
Truth is a concept; its perspectives and theories have been deliberated for centuries.
Some believe truth is an unachievable ideal, others believe it an undisputable fact or reality.
Christian interpretation sees truth as the Divine Source: God – the absolute embodiment of all that is true.
Truth can be hidden or obscure, but if overcoming ambiguity, truth can illuminate what was concealed before.
This artwork aims to interpret the concept, using goldleaf and brushed aluminium to highlight truth’s ability to shine, to defeat darkness, to bring clarity and hope beyond perspective or theory. The colour turquoise of the central motif emphasises the connection between the earthly and the divine.
The motif in this work is inspired by a wall decoration in St Gertrude’s College NN
Truth Illuminates
24 ct gold leaf and oil paint on etched and distressed aluminium
Dimensions: 100 x 100 x
Glenn Loughrey
This is a response to the text given from an Australian Aboriginal perspective. It registers the fall in this country as occurring with the arrival of the First Fleet. It depicts the impact of the arrival through a grid in colours of country containing over 600 figures (632 in the grid and and 6 below) representing the deaths in custody since the Royal Commission. The lower portion reflects the prison scenario with victims depicted around an Aboriginal person in a cell reaching outfor country. Across the bottom is the title of the painting as maybe found on a cell block wall.
"I Was Naked, You Was Afraid; So You Hid Me." Genocide 17:88
Acrylic and pen
Dimensions: 102 x 76 x
Andrei Smolik
Genesis 3:10 marks the first rupture between humanity and God—an immediate spiritual and emotional fallout resulting in fear and shame. This artwork searches for truth in that space between revelation and concealment, reassembling a landscape of creation from fragments. It draws on processes observed in nature and translated into rule-based abstractions—flocking, cellular growth, attractor fields. The resulting form is both creation and cover: a terrain where beauty and rupture coexist. In its reshaped world, reflection becomes a compass—fragments pointing back toward wholeness, and toward unity with God.
Eden In Fragments
Painted PLA plastic on wood veneer
Dimensions: 36 x 54 x 0.3
Eileen Cunningham
Hi Mum – It’s Me is a five-metre length of partially unrolled paper towel, machine-stitched with a transcript of voice messages left on my elderly mother’s landline answering machine. A 90-second MEG-4 audio recording of the messages plays through a wall-mounted mobile phone and headphones. The work documents a daily ritual of care enacted through repeated, often unremarkable communications that monitor another’s wellbeing. These messages function not just as records, but as expressions of love that create their own form of truth. Rather than certainty, truth emerges through caring itself — in checking in, listening, and staying connected within a context of vulnerability. The work suggests that love is the way we know and affirm reality, through small, ongoing gestures of attention.
Hi Mum Its Me
Paper, polyester thread
Dimensions: 30 x 120 x 0.03
Sioux Tempestt
This work considers truth as something that emerges quietly and gradually. The Genesis account locates fear in the moment of awareness, when being seen becomes unavoidable. I am interested in what follows that recognition: the instinct to withdraw, to seek cover, to find a place where honesty can exist with care and permission. The photograph locates this moment within a dune hollow, a natural recess shaped by wind and time, offering shelter and intimacy. The sculptural form, smooth and boulder-like, carries a sense of weight and containment, reflecting how truth often settles and takes shape. Shown together, the image and object explore the tension between inner magnitude and outward modesty, inviting viewers to recognise truth as a soft place.
Soft Place
Mixed media installation: archival pigment print, unique print (1 of 1), with sculptural object
Dimensions: 126 x 96 x 60
Helen Bachmann
What is Truth? invites us to face the deeper realities shaping our relationships with God, others, and ourselves. Adam’s confession reveals humanity’s first truth: vulnerability, fractured identity, and the urge to hide. This artwork steps into that space.
Born from the theme of reconciliation, it shows that healing begins when we stop hiding—from history, each other, and God. The black and white figures, joined in peaceful dialogue, show unity in diversity.
Revisiting the piece, a personal truth surfaced: my own ancestry and ongoing search for identity. Yet when Trinity is central, there is peace. This work proclaims that truth is found not in hiding, but in relationship—with God, self, and community.
Reconciliation and Relationality
Acrylic on Board
Dimensions: 60cm x 90cm x
Alice Planting
Shame is physical; it crawls across skin and settles in shoulders, stomach, and gaze. Negative self-talk echoes in the mind like static. The toad, an unwanted invader of our country, becomes a shameful imposter, a sinner without fault. Epigenetics can alter gene expression, allowing the body to carry shame and past trauma without knowing their source. This work reflects my own personal experience with shame and that of the young people I live and work with who fear judgment and exposure, their freedom and flight like the bird, have been stolen by screens. Genesis 3:19 reminds us of our fragility and our shared origin in carbon and dust. Is this fleeting nature of the human experience one of the truths that will set us free and give us permission to accept our shame? We have so little time.
Dust
Oil paint and white charcoal on Arches Oil Paper
Dimensions: 99cm x 91cm x
Rebecca Bresnahan
Full Bloom marks a pivotal moment in my practice and is the first of a new series. The work emerged from a season of transformation. Near the end of 2024 God gave me a dream regarding my debut solo exhibition, when the opportunity later arose I stepped forward in faith. Full Bloom represents that arrival into maturity, visually exploring light and the human form. This body of work draws inspiration from Genesis reflecting on humanity’s creation in God’s image and the responsibility of dominion. Through these portraits my aim is to explore themes of harmony and peace. Evoking a vision of creation before it was marked by sin and nakedness, when the fullness of life being clothed in God's glory and creation was the norm and how we have Jesus to thank for the reconciliation gifted to us.
Full Bloom
Oil on Wooden Board
Dimensions: 50cm x 37.5cm x
Katherine Boland
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Fragile Flora I reimagines photographs of my Fire Flower paintings, created with fire itself, as trembling, translucent blooms rising from charred bushland. The work weaves together the real—the burnt landscape—and the artificial—AI generated forms—to explore truth as both present and constructed. Accompanied by a haunting and discordant soundtrack, the quivering flowers seem alive with a subtle, sacred energy, suggesting that insight and revelation emerge in the space between reality and imagination. Amid devastation, they embody resilience, fragility, and the luminous persistence of truth waiting to be perceived.
Sound: https://freesound.org/people/Cat-Fox_Alex/sounds/840502/
Fragile Flora I
Video
Dimensions: x x
Rachel Falls Williams
In this deeply personal work, I explore the experience of witnessing the breakdown of a relationship between two people close to me.
These vessels, and the way they relate to each other, reference how truth can be twisted and bent to suit the individual narrative. Is the truth black and white or does it reside somewhere in the middle? Can one person hold opposing truths or perspectives? Who is willing to lean in and face their true self and who will turn and hide?
This trio of vessels also speaks to the effects of triangulation. Feeling stuck in the middle and resisting being pushed to choose a side, then ultimately cracking under the strain.
My practice has traditionally focused on exploring the natural environment. In this work I turn inward to explore the emotional landscape.
Fault Lines
Ceramic
Dimensions: 10cm each x 33cm x 10cm each
Hannah Layson
This vessel repurposes architectural elements from within churches to as a reflection upon the search for truth and unity within the church.
I find myself fascinated by the many schisms and distinctions between the churches. I notice many adornments upon our churches share a common ancestry. Those based upon our universal and Nicene truths.
In our search for truth, perhaps at times we are drawn to our differences, and quick to demonstrate each other’s failings, rather than celebrate our diversity, or our commonalities that unite us.
With this vessel I meditate on the question: what is truth? Is the search for some truths worth our division? I’m unsure. The best I can do is learn from my sisters and brothers, for our diversity is our strength
Mouldings of faith
Ceramics
Dimensions: 13 x 32 x 13
Anastasija Komarnyckyj
I have taken many photographs of my shadow whilst walking and have considered them within a creative and philosophical context: momentarily a temporary, weightless presence becomes truth.
My long shadow, cast upon naked bush land ravaged by fire, precipitated recollections of childhood exploration. Bushwalks over similar territory demonstrated loss and vulnerability of cherished places close to home. Recovery came with time via a demonstration of resilience.
Whilst seeking a deeper understanding of the inner shadow an awareness of disowned aspects of self come to light. That which is hidden is examined and welcomed: reintegration begins. Authenticity and presence become pathways to truth. Truth encompasses love for total self, respect for others and those places assigned to my care.
Transient presence
Acrylic paint, coloured pencil,pastel, pastel pigment, graphite on archival paper
Dimensions: 76 x 96 x
Alexandra Spargo
Bitten emerged from my reading of genesis 3:10: “I was afraid because I was naked; and I hid myself.” I found myself lingering on the question of cause – what brought fear into being? Rather than simply illustrating the moment of transgression, the painting delves into its origins. The red apple became central, its colour drawing the eye and holding both beauty and danger, while the bite marks a moment of knowing that cannot be undone. The serpent, dark and coiled, exists as a subtle presence bound to that choice. The green leaves evoke Eden, a symbol of original harmony and abundance. Adam, shown in sepia and partially hidden, embodies humanity’s shift from innocence to self-awareness. His withdrawn posture highlights the moment innocence is lost, and vulnerability is revealed.
BITTEN
Oil on Prepared Plywood
Dimensions: 68 x 79 x
Karen Chappelow
This work reimagines the Garden of Eden not as a distant myth, but a present condition. Adam and Eve stand at the threshold of knowledge, tempted not only by the serpent, but by a tv—an altar of modern truth telling. The screen replaces the forbidden fruit, glowing with authority and promise.
Genesis becomes a lens for contemporary belief. Where divine command once shaped truth, mediated images now instruct and persuade. The tv speaks with many voices yet claims a single reality, blurring the boundary between knowledge and manipulation.
Here, the fall is not born of curiosity, but passive consumption. Truth is no longer lived or questioned; it is broadcast, repeated, and absorbed. Eden collapses not through rebellion, but through surrender, asking whether truth is experienced or watched
Broadcast from the Garden
wool, fabric, wood, metal
Dimensions: 115 x 120 x
Darryl Rogers
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DIS_Location explores the moment humanity first learned to hide—when we fractured and our transcendent vision inverted under fear and disconnection. The loss of grace leaves the soul exposed against a diminished reality. Separating arms become an emblem of rupture—from God, from one another, from wholeness. Figures from history fade as custodians of hollowed meaning, while modern life surges in restless, chaotic motion—crowded yet solitary—dissolving into distraction. In this post-truth reality, humanity crowns itself as ultimate measure, inheriting a stark emptiness: the absence of communion and the ache for a truth no longer located in the divine.
DIS_Location
Video
Dimensions: x x
louise galea
icons - the relationship we have with them.
untitled
photograph
Dimensions: 105 x 100 x
Kate Faulds
A fundamental truth for me is support and care. Care that we both give and receive is indeed precious. Shame and guilt are often part of a caring role.
Beginnings and endings combines objects and materials that represent structural support, adornment and shame, drawing on imagery and symbolism from Genesis. Central to the work are Gold brackets. Silver and Onyx pendants—materials associated in Genesis with purity, value, and the resources of Eden—are connected to and supported by cast silver wall hooks, forming visible systems of reliance. Baby fig leaves are used to emboss precious metals, recalling the first act of covering and the emergence of shame. The fig leaves and brackets are anchored by Bdellium, an ancient resin named in Genesis, extracted through wounds in the bark of a tree.
Beginnings and endings
18ct gold plated silver, sterling silver, copper, onyx, bdellium, velvet
Dimensions: 32 x 45 x 25
Robyn Schoen
"Naked" is about facing our truth. It uses nudity to convey the absence of both the literal and figurative layers behind which we hide for fear of judgement and rejection - our clothing, makeup, assets, curated online identities. The figure sits alone in her nakedness, exposed and vulnerable in her search for truth. She is seated because she has stopped running from herself. She has come out of hiding and awaits her judgement willingly. Dropping all masks, she has removed her head entirely and is now free from the entrapments of the ego. Her scratched, dripping and textured form are indicative of a harrowing journey. Yet the subtle geometric detailing hints at the presence of divinity, a purity existing despite imperfection. It suggests the arrival of peace and a reprieve from suffering.
Naked
Acrylic paint, ink and oil stick on canvas
Dimensions: 108cm x 108cm x
John Eden
This work is inspired by the poem Do Not Go Gentle into That Good Night by Dylan Thomas. More than seventy years on, the warning in that poem feels more real than ever. I see it as a description of how we live now. If we choose not to rage against the dying of the light, the outcome is inevitable. When the light is controlled by a small number of selfish, powerful people, going quiet and compliant means giving it up. Silence becomes a way of turning away. Going gentle is not neutral. It is surrender.
Do Not Go Gentle
Digger's Oxide, salvaged house paint and controlled burn bush charcoal on canvas
Dimensions: 113 x 113 x
ELIZABETH ROWE
Elizabeth’s paternal grandmother Zambetta Papastatis arrived in Perth from the Greek island of Kastellorizo as a young bride in 1918 leaving behind her family, home, community and almost all material possessions. She brought with her a deep belief in the three fundamental tenets of the society she left behind, namely Faith, Hope and Charity. In her work ‘KASTELLORIZO: FAITH, HOPE, CHARITY’ Elizabeth honours her grandmother with a set of three wall plates inspired by the ‘Boukla’, a piece of jewellery that is part of the unique traditional costume worn by the women of Kastellorizo. Attached to the Boukles are small icons - a Cross, an Anchor and a Heart – visual representatives of the Truth that gave her grandmother the inner strength and resilience for her new life in a foreign land.
KASTELLORIZO: FAITH, HOPE, CHARITY
Ceramics
Dimensions: 22cms x 3 x 33cms x 3 x 4cms x 3
MADELEINE CLEAR
“WHAT IS TRUTH?”
PONTIUS PILATE ASKED THIS QUESTION TWO THOUSAND YEARS AGO.
HE COULD NOT RECOGNISE IT EVEN THOUGH IT WAS STANDING RIGHT IN FRONT OF HIM.
JESUS SAID “I AM THE TRUTH”.
IN THIS WORK I HAVE SOUGHT TO FIND AND MAKE VISUAL THE FACE OF THE JESUS CHRIST TO WHOM I PRAY.
IN MAKING THIS WORK I HAVE NOT REFERENCED ANY OTHER IMAGES.
I HAVE USED GRAPHITE ON A WOOD PANEL AS I LIKE THE WARM TEXTURE THAT THIS SURFACE GIVES ME.
DRAWING HAS ALWAYS BEEN THE BACKBONE OF MY PRACTICE.
AS I NOW HAVE A BENIGN ESSENTIAL TREMOR IN BOTH MY HANDS I AM LIMITED IN MY CHOICE OF HOW I CAN WORK, HOWEVER, DETERMINATION CONTINUES TO BE MY STRONGEST ALLY.
I AM THE TRUTH
GRAPHITE/ACRYLIC ON WOOD PANEL
Dimensions: 34cm x 48.5cm x
Lori Pensini
I hid my creative voice in my early years. It was not considered a strength then, not something to be proud of. But in the natural world, the bush I grew up in, I could be my truth without fear and hiding, it was a place of many languages without a single word being spoken, a space of acceptance, of vulnerability and honest presence. Using the leaf base of the xanthorrhoea, I have recreated a flower-like unfurl of my inner self, an unfolding of inner being and belief that embodies my creative identity and wholeness. It whispers quietly of the symbiosis of country healing kind, kind healing country, of a belonging embedded, innate, visceral.
Unfurl
oil on linen, xanthorrhoea leaf base
Dimensions: 30 x 18 x 30
Bernard Appassamy
What is Truth when History is hidden?
In Mauritian Creole, Goni–from Sanskrit–refers to the hessian sack that once carried the island’s most valuable export: sugar. Goni embodies the plight of enslaved and indentured workers trafficked from Madagascar, Africa, and India, forced to toil on plantations. Dockers manually loaded ships with Goni, each weighing up to 80 kilos, until 1980.
Across Mauritius, more voices are uncovering the violence, silences, and shame of the past. In parallel to this reckoning and to sugar cane extraction, these masks are crafted from hessian pulp. As a Mauritian-Australian of mixed lineage, I stand behind these masks, holding Goni as a fragile trinity of truth—nourishing generations of Mauritian families, including my own, yet painful and with potential to heal.
Goni
Photography of hessian pulp masks
Dimensions: 94 cm x 26.4 cm x
Christie McILry
This self-portrait exposes a hidden reality: I am autistic, and although I may appear “together,” that appearance is the result of constant effort. Masking is not occasional; it is continuous. It is the unseen labour required to survive in a world not designed with autistic people in mind. In Genesis 3:10 nakedness signifies vulnerability and the fear of being fully seen. Nakedness itself was not the sin; brokenness introduced shame into exposure. In this work, that idea becomes a metaphor for autism. Being autistic is not a sin, yet living in a fractured world has taught me to experience my autism as a form of nakedness, something that must be managed, covered, or controlled.
The mask represents the socially acceptable self: composed, polite, capable. It is not a lie, but a construction m
After I Learned to Hide
Oil
Dimensions: 60 x 90 x
Hosanna Smith
O Lord, let Your truth pierce through every layer of my heart,
Let me see through Your eyes, O Lord,
And behold the world as You behold it.
How I long for my eternal home with You.
Yet I know I am home even now,
For You are all around me and within me.
Wherever I am, You are there,
And in Your presence, I am home.
Thank You, O Lord,
For taking my trampled heart and making it whole again.
You remind me that I was, and always will be,
Loved by You.
You formed me
And then You saved me
You lifted me from the mud and gave me life anew.
No person on earth could save me, O Lord - Only You.
Through Your Son, Jesus Christ,
By Your blood, You have redeemed me.
Gratitude
Oil
Dimensions: 50.8 x 60.9 x
Pamela Hume
The serpent leads Adam and Eve into temptation to eat the forbidden fruit.Frightened and wide eyed Adam and Eve realize they have sinned seeing themselves for the first time naked after eating the forbidden fruit. In fear and shame they want to hide from God
ADAM and EVE
Acrylic
Dimensions: 61 x 76 x
Jillian Green
The dizzying merry-go-round of information we call the internet is at once fascinating, a challenge to discernment & very addictive. An infinite source of “the knowledge of good & evil” it is appropriate that my devices are branded with an apple minus a bite. They are a blessing and a curse. Personally the best antidote to the negative impact of these seductive devices happens to be my small white donkey, Joseph. He is unspoiled by the knowledge of good & evil, he is ordinary, peaceful & true to himself. He communicates straightforwardly & expects the same from others. My relationship with him is the antithesis of that with the merry-go-round. He is not a conceptual being, he’s all sensory perception, feeling, movement, texture, and instinct and, thanks be to God, he does not speak.
Antidote
video and hand woven saddlebag. of hessian and wool 86cm x 33cm
Dimensions: 33 x 86 x
Kylee Larsen
Upon my journey to motherhood
I came upon a hurdle.
Infertility
Shame, embarrassment, deep sadness, suffering
Barren…..
A path towards transcendence
Revealed an eternal garden of self-love
Acceptance
Peace
My painting is an evocation of the quiet
Power of Feminine desire and creativity.
Beyond the human layer of shame and lack
Is the evolving magnificence of
Self
The Magnificence of Self
Mixed media on wood panel
Dimensions: 90 cm x 121 cm x
Ron Guy
Artwork Name: No one can say we did not know.
Dove of Peace is impaled with the words “No one can say we did not know”.
The background depicts the destruction of Gaza and the third oldest Greek orthodox church in the world. The world media remains silent.
Mosques, schools, hospitals. Like the destruction of Carthage, Nineveh, Persepolis, Warsaw, Dresden, Hiroshima, Nagasaki, Aleppo, the senseless destruction man wages upon mankind never seems to abate.
Pause to remember Rachel Corrie.
Pause to remember Zumi Franklin.
Pause to remember all those being disappeared for some false righteous Truth.
No one can say we did not know
oil paint on linen
Dimensions: 122cm x 137cm x
Leanne Stahl
Reluctantly, like Adam and Eve, I too, have been banished from the Garden.
Afraid, vulnerable, hiding, feeling shame, disgrace.
Yet my heart hears an irresistible Divine invitation, “Return to the Garden.”
What is the Truth that has inspired this painting?
Jesus has restored the relationship. In the cool of each day, I can now walk with Him in the garden of my heart.
I can bask in His love, share my concerns, listen to His wisdom, and experience His life-giving presence.
As I daily walk with the Lord in my “Heart’s Garden,” I experience connection, freedom, vibrancy, and the flow of life and living water.
I am like a sunflower made in the image of God, reflecting, following, and flowing from the Sun/Son’s light.
Divine Invitation: Return to the Garden
Acrylic on canvas
Dimensions: 150cm x 50cm x
Suzanne Foley
I found this topic deeply confronting. To be naked, especially as a woman, makes us vulnerable to being assessed and judged. To be naked before God is terrifying, both as a person with our insecurities and as someone who has rebelled and offended him.
I painted the woman crouching and distressed, contemplating what to do. Jesus is holding out a robe to cover her, but to reach it, she must be exposed before God. Then she realises that God is open and waiting for her in her brokenness and with her failings. He embraces her when she approaches in unfailing love. It is deeply moving to be loved like this. Then Jesus clothes her, and she sees the future stretching towards the Kingdom coming in glorious light. She's unafraid, totally herself, and sees the Aussie homeland made new.
Do I Dare?
Acrylic on Canvas
Dimensions: 150 x 60 x
kimberlie Eadie
Fallen; Naked and ashamed is a living sculpture captured through photography and forms part of the broader Fallen collection, which draws upon Christian truth claims. The Apostle Paul said, “He who began a good work in you will carry it on to completion until the day of Christ Jesus” (Phil 1:6). To this, the figure is suspended between beauty and ruin, clad with fractured clay, weathered and decaying organic matter animating the figurative and metaphorical meaning of human sin, while traces of gold and light suggest hope and redemption. The work is intentionally paradoxical, evoking the emotions from despair to hope. The subject is caught within an inhibited force of defiance and shame, an unsettling awareness of exposure and separation from the divine. The use of light sits juxtaposed to
Fallen; Naked and ashamed
Living sculpture, materials used, organic matter, clay, resin, acrylics, lighting, live model, captured through photography.
Dimensions: 95cm x 145cm x
Max Berry
Loneliness, isolation, stress and anxiety vs beauty mystery wonder and love. A response to and a making sense of the world. A recording of an experience
Light through clouds
oil on canvas
Dimensions: 132cm x 92cm x
Leni Kae
Aware: Know Thyself is an abstract meditation on consciousness, inviting a return to inner knowing, where truth unfolds as presence through inward observation. The work is composed of nine mandala ‘eyes’, each representing a layer of awareness rather than an identity or outward gaze.
The eye appears as an ancient symbol of wisdom and inner truth — a quiet witness of insight and remembrance. Paired with the mandala as a contemplative form, perception becomes an inward journey. Subtle shifts in colour and form guides through 9 layers – sensory, emotional, psychological, relational, intuitive, ethical, archetypal, and soul awareness, and stillness of witnessing oneself.
The viewer is invited into a contemplative space where awareness turns turns inward, and truth is encountered as presence.
Aware: Know Thyself
Watercolour & Ink
Dimensions: 110 x 110 x
Janet Fountain
I have been exploring the parks and gardens of Perth to draw and photograph ducks. These studies have become the basis for paintings. Wild ducks make a great muse for gentle social commentary.
The duck in this piece struck me as representing a crossing angel, such as those who hold out flags to protect kiddies crossing the road to go to school.
I enjoy rainy days. I love the reflections that emerge and even the splashes of falling rain. The subdued colour appeals to my aesthetic. My pedestrian reminded me of a Madonna. With this angel duck, I am reminded of annunciation paintings.
I like Chagall’s work, honouring his village. I also appreciated a comment that Whistler’s work, appeared as if his paint was breathed on to the canvas. (These are my current aims.)
Duck at the crossing (with Mary)
Acrylic on canvas
Dimensions: 46 x 66 x
Joanna Gentilli
This is a symbol depiction of the awakening that occurred in the occurred in the Garden of Eden. It is oil on wood, stained, glazed and varnished.
It is meant to me read as a sacred object; inspired by the bold imagery of Georgia O'Keefe, by the folk tradition of flower painting and by the expression of simple faith found in Russian icons.
The Monstera Deliciosa could have grown in that sacred garden. The flower describes Adam's shame and a new awareness of his maleness. The thrusting primal energy that is the whole basis of creation.
Colour symbolism expresses the contradictions of awakening. White for innocence and naivety. Red for blood and passion, anger and danger. Green is the colour of fecundity but also of jealousy and envy. Gold for importance of the sacred in human life.
In the garden
Oil on wood
Dimensions: 40 cm x 60 cm x
Clyde McGill
Sophistry converses with the idea of the ambiguity of truth, and the apportioning of parts of truth to manipulate truth, the truth sayers (?Soothsayers), perhaps the Jeremiahs and the Pollyannas. Holes in truth contain illusion and deception, yet they continue to exist, as here with the bowls, hard, metal shells, indestructible almost, often in groups, and held together as opinions, preferences, and 'naked lies'.
Sophistry (Small portions)
Lead, copper, aluminium, oil paint
Dimensions: 300 x 40 x 40
Julian Poon
In the Garden of Eden, God had told Adam that he could eat of every tree, including the Tree of Life. But, not of the Tree of the Knowledge of Good and Evil for if he ate of the fruit, he would “surely die”. This death is physical, spiritual and eternal. When Adam and Eve were created, they did not know fear, were not ashamed of their nakedness and did not need to hide from God. But when they disobeyed God and rejected the truth that He told them, they became fearful, were ashamed of their nakedness and hid from God, who is the Truth.
My artwork depicts Adam and Eve in the Garden of Eden after they have disobeyed God. They have been beguiled by the serpent, and eaten the fruit. They are being prevented from re-entering the Garden by Cherubim and a flaming sword which turned every way.
Sin and Separation
Acyrlic paint and marker pen on canvas
Dimensions: 126 cm x 95 cm x 5.5 cm
Aleksandra Kostic D
The painting depicts the ascent of a newly departed soul into a place of freshness and rest, beyond sorrow and fear. Figures emerge as luminous, light-formed presences; nakedness is not physical but spiritual, revealing the soul as it stands before divine light. A central saving presence, surrounded by holy souls—saints, ancestors, and the righteous—offers compassion and intercession rather than judgment. Truth here is not perfection, but the ending of concealment: to be revealed in light and received through grace.
Spiritus White Breathing, Sharing Place
Mixed media on handmade paper: acrylic, gold pigment, soft black charcoal and iridescent medium
Dimensions: 60 x 60 x
Kelly Grant
Sin(tax) Spherical Series #4 is a combination of Bibles, books, religious text and commentaries portraying the theme. The text, language and mix of papers form the palette. The serpent slithers through the spheres of Genesis interweaving the truth, the Fall, the sin and an outcome. The combination of paper and shed skin compel the audience to look closer. As the detail in each of the 144 spheres becomes apparent, the artwork becomes readable and reactive.
The personal act of cutting Bibles and slicing books was challenging. A sinful artful act, accentuating the theme. Baring myself naked for this art piece. The reconstruction of gluing the paper was cathartic.
Sin(tax) shows that in a contained, organised environment, in the background, shame and sin can be in clear view.
Sin(tax) - Spherical Series #4
Mixed Media - Bibles/Biblical Text/Books/Snake Skin
Dimensions: 53 x 53 x
Jeremy Blank
The Days 139_04 is a multiple exposed pinhole photograph; extending beyond a fragmentary moment embracing time biologically. It represents a pivotal moment. Humanity is transformed from a natural state to one of toil, subjection, and materiality. Innocence, in its natural state is lost through predation, craft, or a test of purity or spirit; the consequences of that action and subsequent judgement remain evermore. It is a moment of confrontation, realisation and dread learning, where humankind is defined through an inquisitive breach of divine authority. It is dialogue between the creator and their creation. Players interact contrary to their direction. It is a simple yet profound example of interaction with our awareness, understanding, or human failings, parent culture and environment.
The Days 139_04
Pinhole Photography printed on archival cotton rag
Dimensions: 33 x 41 x
megan evans
The photograph was taken on land once owned by Alfred Deakin, Australia’s second Prime Minister, who helped pass the 1886 Act—legislation that paved the way for policies leading to the Stolen Generations. The impacts of these policies are deeply personal. The artists late husband, a Gunditjmara man, was taken from his family under these laws. Descended from early colonial settlers, she has grappled with shame, responsibility, and the ongoing effects of colonial policies on First Nations people. The image shows a young woman holding a 19th-century cloche like a shield, symbolising protection and vulnerability, presenting a dialogue between histories, cultures, and generations. Facing the truth of the past requires a foundation to build an honourable culture, rich with our shared histories.
Looking Both Ways
Digital Print on rag
Dimensions: 150 x 50 x
peter Barker
Souls returning home alludes to physical death. The material universe has dissipated and the gradual acceptance that our physical body and presence is being erased. The ego is in mourning and the existence of something more starts to enter the consciousness. The soul longs to return from where it came.
Souls Returning Home
oil, marble dust, charcoal, canvas
Dimensions: 130cm x 120cm x
Kirana Haag
My artwork reflects the moment when human beings first became aware of their inner fragility, recognizing not just physical bareness but the deeper truth of being seen without defences.
The painting invites viewers into that shared human experience: the fear of revealing our wounds, desires, and failures, and the instinct to hide what feels too vulnerable.
While painting I have tried to become that innocent childlike being we have all been once. I tried to paint from that place, a space where I can meet God and can be stripped bare and honest, without the need to hide myself.
Through contrasting colour and textures, this artwork portrays the tension between concealment and the longing to be fully known.
Angel
Oil and acrylic polymer on Belgian linen
Dimensions: 95 x 95 x
Kathryn Blumke
The philosopher Deleuze says that art makes “invisible forces visible,” where “all the material becomes expressive.” Consequently, as an artist, I feel a sense of being naked whenever I exhibit my paintings. Veritas Quilt threads together my transformative, embodied experience of my Catholic faith, including my encounters and becomings with Jesus in the Eucharist, and my becomings with the Holy Spirit as I walk in Nature, and the weaving of these entanglements with watercolour and geometry. Consequently, my truth is my lived experience, which is transcoded into nonrepresentational, abstract painting. In painting I also sense the movement of LIGHT within the watercolour as Truth. I explore and write poetry of these experiences of artmaking, truth and the spiritual as healing.
Veritas Quilt
watercolour, graphite pencil
Dimensions: 72 x 90 x
Linda Klarfeld
In the moment when hiding is no longer possible, truth demands we face it. This figure emerges from darkness, burial garments falling away, arms raised in both agony and surrender. Like Lazarus , who required others to unbind his shroud, facing our hidden truths - addiction, trauma, the death of self -requires courage and witness. In that exposure lies both suffering and triumph. Genesis tells us nakedness brought shame and fear. But there is another nakedness: the vulnerability of resurrection, where being truly seen becomes the condition of being truly alive. Working primarily in sacred sculpture, I seek to make visible the soul’s invisible struggles. The blue abyss, the copper flesh made luminous through suffering, white shroud/chrysalis, all hold the threshold between death and rising.
Unbinding
Polychromed Resin
Dimensions: 66 x 93 x 19
Jo Darbyshire
My recent work has explored abstract landscape, especially of the Wheatbelt and this work began with wanting to capture an illuminated, green salt lake. However, when finished the painting was immediately seen as being ‘a watermelon’. It became hard not to see anything else. The symbol of the watermelon has become a world-wide symbol of Palestinian resistance and resilience, so the painting carries the burden and the charge of this meaning. I asked myself which reading of the painting is the truthful one? I realised a symbol allows more than one truth to be present and when one is fearful, it allows the truth to be both hidden and carried forward. The painting reminds us of two truths; our human desire for the sublime, and uncomfortably, our human shame at what we allow to happen to others
Two Truths
oil on canvas
Dimensions: 150 cm x 150 cm x
Andrea Gadd
This painting tells of a moment between hiding and revelation. In the shadows stands a figure who covers herself, representing the instinct to withdraw when confronted with truth—echoing Genesis 3:10: “I was afraid… and I hid myself.” Before her stands another version of the same self, turned toward a stained-glass window, her palm open to the light. Coloured reflections fall across her face and body, suggesting truth not as a single, absolute clarity, but as something filtered, fragmented, and deeply personal. The story is not one of resolution, but of choice. It captures the quiet moment when hiding is still possible, yet the light has already begun to reach us. The work suggests that truth does not demand exposure, but invites it—gently, patiently, and in its own time.
Truth, Softly
Acrylic
Dimensions: 40 x 50 x
Rosemary McAllister
The Architecture of Hiding draws on the Genesis narrative as a point of departure for reflecting on exposure, vulnerability, and the instinct to conceal. The work holds a series of interior thresholds in tension, within this architecture, presence and absence sit side by side. The vacant spaces are not omissions, but pauses, places of restraint, patience, and unknowing that suggest a waiting which resists grasping. Copper, a reactive and time-sensitive material, carries the marks of heat, air, and handling. Its surface shifts and opens through exposure, holding memory and truth in its skin. Beneath the structure, the crushed serpent gestures toward an ancient promise: that deception does not endure, and concealment is undone through surrender and the slow labour of kenosis.
The Architecture of Hiding
Copper, wood, plaster, acrylic paint
Dimensions: 41 x 43 x 17
Will Upchurch
Before buying a house, Sara rented in a volatile market. Constant displacement left her feeling exposed and uncertain of her future. By COVID, she had lived in four homes in three years. Vulnerable and afraid, she isolated herself from her community.
Originally purchased for security, the home became a wonderful exercise in expressing her true self through the way she decorated, the ducks she raised, and the garden she grew. She now has space to host the people she once hid from.
In the quiet act of cuddling her duck, Wolfgang, Sara moves from a state of being exposed to a state of being seen. Within this sanctuary, the fear of the future is finally replaced by the truth of the present.
Coming Home
Chalk pastel on found swag canvas
Dimensions: 68 x 90 x
Hannah Gregory
A quick wee in the Australian bush has never been an act of privacy. And, although some unwelcome guests may be unsettling, an element of magic arises when the veil of our creature comforts is pierced and a trip to the loo becomes an experience in nature. A "Bush Wee" is something divinely, uniquely (frighteningly) Australian.
Largely created using techniques of hand filing, engraving and painting on flashed glass, this stained glass window unites us in this moment of familiar vulnerability in those moments we are unable to hide..under a warm night sky, as the eucalypts rustle in the wind.
Bush wee.
Stained Glass. Sandblasting, hand filing, engraving, kiln fired grisaille painting and silver stain.
Dimensions: 67 x 126 x
Kym Tabulo
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A truth can walk naked, but a lie always needs to be dressed – Kahlil Gibran.
Truth rises from lint fragments of washed-out lies: timeworn deceits used to dismantle honesty. At first the images allure, look closer and the detritus of lies appears, along with the word TRUTH. This series of digital collages combines found objects (clothes-dryer lint discs) with hand-cut stencilled text. Most words are illegible, eroded by lies yet truth persists. United by common subject matter and digital processes, twenty collages coalesce into a video asking whether truth always comes out in the wash. Tabulo offers hope that from the ugly residue of dressed up lies, truth can surface and be valued for what it is. Here truth is fragile yet enduring, revealed through attention and the courage to look closer
Does truth always come out in the wash?
video
Dimensions: x x
Silvana Ferrario
Held in Motion considers truth as a moment when something is revealed rather than hidden. Formed while molten through heat and gravity, the glass holds traces of movement that remain visible after the form has cooled and become solid. The folded edges carry tension between openness and containment, showing the forces that shaped the work instead of concealing them. I am interested in how glass can hold what has happened to it. For me, the work reflects truth as an experience — one that can feel exposing and unresolved, but still able to be held.
Held in Motion
glass
Dimensions: 45 x 30 x 30
Michaela Psaila-Savona
Creating allows me to know and hold what words cannot express. This work titled In Those We Trust is seen through the eyes of my 14-year-old self, trusting, innocent, and silenced. It confronts decades of shame and self-blame following betrayal by a trusted authority figure. Raised within a culture of obedience, guilt, and secrecy, I learned to bury and conceal painful truths. Through rhythmic embroidery, each stitch becomes a release, unthreading fear, grief, and survival, while re-weaving resilience and transforming silence into voice. This work explores vulnerability, duality, and emotional pain, revealing what happens when truth is exposed and speaking becomes an act of healing, self-reclamation, and ultimately, freedom.
In Those We Trust
Hand embroidery, Freehand machine embroidery, Acrylic markers, Embroidery Threads, Linen
Dimensions: 80.5cm x 93cm x
Christophe Canato
As part of the 2026 Mandorla Art Award, whose theme is Genesis 3:10, Christophe Canato presents TRUTH LIES IN HARMONY, a digital collage combining several of his photographs layered with other existing images. Silver leaf are applied to the final print to reveal certain details of the composition.
In his commentary Dr Brian Harris rightly emphasize on the notion of fear and truth as being inherent to human nature and only able to exist in a societal context erected by rules. Conversely Canato’s work focuses on the essential; Spiritual, harmony and beauty including nudity. Inspired by the sacred mythology of Genesis before the sin as well as anthropology, botanical, fauna and mineral, his work reveals human bodies in metamorphosis as if to remind us where we all come from.
TRUTH LIES IN HARMONY
Digital photograph printed on archival Hahnemühle paper 308 gsm + silver leaf applications
Dimensions: 100 x 120 x
Robert Davis
Salvatore Mundi ( Saviour of the world ) by Leonardo da Vinci ( a copy) signed daVis
"It's a fake , it's worthless" I hear you cry. What is Truth? What does it matter if it is fake or real. It is Salvatore Mundi Saviour of the World.
This painting by Leonardo da Vinci Sold to Saudi Arabia for their Louvre for $240million dollars, a disgusting display of conspicuous consumption!
That sort of money could have saved the world of Palestine , Gaza from starvation ! That is the truth!
Leonardo would have turned in his grave and hid himself . That's the Naked Truth!
Salvatore Mundi
oil on canvas
Dimensions: 45 x 55 x
Liliana Stafford
Hireath
A Welsh word meaning: A spiritual longing for a home that maybe never was.
“In my father’s house are many mansions. If it were not so, I would have told you. I go to prepare a place for you" John 14:2 KJV
The concept of home influences all our lives from birth to death.
We all want to feel at home, comfortable in our surroundings and with ourselves.
At the center of every home is love both for ourselves and others.
Love requires us to be honest and truthful. One way to show love is the hug.
The hug figures are cast glass. The houses are fused chrystal glass and the bands in the wooden posts are also chrystal glass.
Glass has the ability to reflect and hold light.
In this time of disconnect and conflict we seek light.
Light is truth.
Hireath
Wood, glass.
Dimensions: 100 x 110 x 50
Godfrey John Blow
The painting was inspired by the story of Adam and Eve. After eating forbidden fruit, Adam and Eve became aware of their nakedness and hid in the garden. They hid in the garden after God walking close.
The painting explores themes of vulnerability and the tie between nature and humanity in the work. My painting references feelings of fear and being found exposed. At some point everybody must have to stand naked.
The image is set in the muted tones of a woodland at the beginning of time which adds to the atmosphere.
Hearing sounds in the garden I hid myself, because I was naked.
Oil on Belgian linen
Dimensions: 46 x 76 x
Riste Andrievski
This photograph speaks softly, yet it carries the weight of revelation. A vast, open plain stretches beneath a dramatic sky. The land appears dry, worn, and exposed—an honest portrait of the “world” spoken of in John 3:16. In biblical truth, “world” does not mean a beautiful, obedient creation, but a rebellious, broken humanity living far from God. Nothing here feels sheltered. There are no walls, no sanctuary—only openness and vulnerability. At the bottom left, almost easy to miss, stands a small sign quoting John 3:16 from the Bible. Its modest size is crucial. God’s greatest truth does not arrive with spectacle or force. Like the incarnation of Jesus Christ, it comes quietly into ordinary space, asking to be noticed rather than demanding attention.
A message planted in open land
Photography
Dimensions: 45 x 38 x
Michelle Currie
"249 Voices" is people sharing their God Truth. Unlike Adam they have Jesus to speak for them. Adam’s truth changed after the fall. After Adam rebelled, lost his innocence and shattered his relationship with God, he recognized the Truth of God’s holiness and hid because he was naked. Adam’s truth made him feel uncomfortable. Truth can make people feel uncomfortable. Yet Adam also understood the Truth of God’s love when God clothed Him after his fall. God made a way for his people to return to him, to cross the chasm created when Adam sinned. These 248 people have experienced God in the shattered state in which we now find ourselves, knowing the Truth of God’s holiness, yet also experiencing the Truth of God’s love. These people have shared their Truths, praising God for who He is.
Two Hundred and Forty Nine Voices
Pen and Ink on Silk and Paper
Dimensions: 135cm x 55cm x
Huiyi Xiao
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This auto-ethnographic video work traces the political manipulation of truth and the relentless human instinct to pursue it. It begins with my education in China, where truth was a controlled artifact, imbued with ideology and concealed by power. This instilled a dissonance: what was authoritative was not truthful. Migration to Australia trades the system of disciplinary nationalism to assimilative pressure. Textual-sculpture props—plastic sheets of fragmented Chinese and English—are the tangible remnants of constructed texts and obscured truths. Ultimately, it maps truth as fraught, visceral process and the struggle to follow an inner truth against layers of ideological imposition—making visible the weight of words we carry and the resilient body that insists on seeking beneath them.
The Unwritten Weight of Words
Video with sound.
Dimensions: x x
Hannah Massey
Genesis 3:10 describes a pivotal moment in human evolution: when Adam becomes aware of his nakedness and hides from God. This moment signifies the birth of “self” awareness and, with it, a disconnection from both the divine and the natural world.
My painting The Garden explores this rupture and how the consequential behaviours lead to catastrophic ramifications in terms of ecological destruction and a growing sense of disconnection and division. I reference historical narrative arts traditions such as murals, reliefs and tapestries to tell this story that is both ancient and urgent.
While it is a tale of a fall, there is hope within it. By revisiting this story, we are reminded of a fundamental truth: that we are nature and that our actions have profound, far-reaching consequences.
The Garden
Acrylic, collage and metal leaf
Dimensions: 140 x 50 x
Sue Jackson
“I was afraid, because I was naked: and I hid myself” – Genesis 3:10
Adam’s first response to truth is concealment. We continue his pattern, weaving protective identities from curated narratives—digital fig leaves against exposure.
Grieving my mother’s death in Kenya, I watched weaver birds obsessively construct intricate nests from scavenged materials, each suspended on impossibly fragile threads. I recognized my own compulsion: building beautiful prisons against vulnerability.
This installation of plant fibres, string, and ceramic embodies that paradox. Each woven element represents truths we construct—protective, cherished, insufficient.
All hang by threads. Through loss, I learned: liberation comes not from better hiding but from emergence. Truth isn’t philosophical—it’s relational
"We Are All Suspended by a Fragile Thread"
dried plant fibres, string, wood, and ceramic adornment
Dimensions: 1200 cm x 600cm x 600cm
Jade Fairbairn
This work explores the moment we step out from fear and into truth. Inspired by Genesis 3:10, the ascending swan becomes a symbol of the soul choosing honesty over hiding. The cloudscape reflects the softness of innocence, while the gold fractures mark the break between concealment and revelation. Rising through light, the figure moves from self-protection toward openness, reminding us that truth is not a destination but a courageous act of emergence.
She Rose Into Truth
Acrylic / mixed media
Dimensions: 60 x 90 x
David Spencer
Veil explores what is truth in the human condition: The curated surface or the experiences beneath? My work treats nakedness as emotional vulnerability. Like skin, pink blankets the canvas, creating intimacy. Under this surface, textures emerge. Buried stories, scars of regret - like tree rings we keep hidden away. Yellow dots drift upward like sparks of innocence, parts that persist despite our instinct to withdraw. A bold line carves through as protective barrier, dividing what we show from what we guard. A red patch pulses with shame and guilt. Echoing Eden, Veil reflects our modern tension: we long to be known yet fear being vulnerable. Where does truth lie - in the boundaries we draw between concealment and exposure, or in the grace of self-acceptance?
Veil
Mixed media on canvas
Dimensions: 120 x 120 x
Matt Benson Parry
Blak Adam engages with "What is truth?" in the context of the Mandorla Art Award. It reflects on colonialism and the complicity of the Catholic Church in the colonising of Australia. The figure depicted is a Noongar man, symbolically placing balga fronds into a waterhole associated with the Waugal. Blue jeans replace the fig leaf, symbolising Westernisation. The use of balga resin, mixed with alcohol and stained red, represents the physical and cultural harm inflicted upon the Noongar people through colonization. The WA Christmas Tree signifies the co-opting of sacred Noongar plants into Christian symbolism, while the unfinished yellow section on the far right embodies the emerging narrative of the Noongar community.
Blak Adam
Acrylic paint, balga resin, and alcohol inks
Dimensions: 210 x 91 x
Joshua Brew
“All My Secrets Are Ghosts Now” reflects Joshua Brew’s exploration of alternative masculinities through narrative, symbolism and experiences of wonder. The artist interjects himself as the nude protagonist, standing amongst the aftermath of self-discovery, stripped bare and unguarded, embodying the moment a man accepts his truth. Surrounding him, symbols of truth, freedom and protection echo his transformation as he embraces both masculine and feminine energies. Through this intimate act of self-representation, Brew challenges ideals of strength and body image, revealing vulnerability as transformative. Rendered in graphite, the work proposes wonder as a catalyst for change and reimagines what it means to be a man today.
All My Secrets Are Ghosts Now
Graphite on paper
Dimensions: 64.8 x 101.6 x
Susanna Strati
Pneuma #6 explores the intersections of the soul–spirit, breath and repetition through material and meditative processes. Anchored by the question “What is truth?” and in dialogue with the passage “I was afraid, because I was naked: and I hid myself” (Genesis 3:10), the work reflects on self-awareness, exposure, and concealment. Composed of hundreds of beads and pins embedded in a gold- and copper-leafed form, each gesture recalls the rhythm of a rosary—beads counted and passed through the fingers in an act of devotion. Through this durational, contemplative process, Pneuma #6 seeks to render visible the imperceptible dynamics of breath as a manifestation of truth, vulnerability, and the space between body and spirit.
Pneuma #6
glass & shell beads, steel pins, gold and copper leaf, paper, foam
Dimensions: 410 x 460 x 430
Geoffrey WAKE
On viewing the work one perceives faces, on dark, one light, and a third on in the background on a cross.
The light and dark faces could be expressing different views and lacking agreement
The face on the cross is the God symbol and is the enabler of a truth that can be reached through agreement and consequently a truth.
This truth is a state of affinity.
REVELING AFFINITY
SYNTHETIC POLYMER ON CANVAS
Dimensions: 1080 x 1230 x
Janna Jones
In Reflection embodies Genesis 3:10b—“I was afraid, because I was naked; and I hid myself.” Its glass-like figure, transparent yet fractured, mirrors Adam’s raw vulnerability and shame after the Fall. My own lung cancer at 16 and COVID isolation stripped back life’s illusions, exposing a form of nakedness. The figure’s reflective brings the context into the present. Without gender or race or anything else that may divide, it’s surface distorts urban and natural backdrops, revealing futile attempts to hide. Yet, light refracts through, inviting viewers to confront their own fragility. This work transforms fear into connection, reflecting the connection of our inner and outer worlds, and echoes humanity’s persistent resilience despite exposure.
In Reflection
Oil on Canvas
Dimensions: 50.5 x 50.5 x
Kiana Thompson
My artwork explores the theme of truth. Truth is not merely a thought or belief; it is a person—Jesus. Truth remains true, regardless of whether one believes it. In "The Unveiling," this is depicted through Jesus wearing a red robe, preparing to remove his hood and reveal himself. The texture and movement throughout the piece symbolize how people often try to reshape truth to fit their own desires. Yet, when Jesus is revealed, he brings calm, clarity, and hope for the future. As stated in John 14:6, "I am the way, the truth, and the life. No one comes to the father except through me."
The Unveiling
Mixed media, acrylic, Oil
Dimensions: 18 x 36 x
mark Rowden
Vail No.1 explores the tension between exposure and concealment, drawing on Genesis 3:10: “I was afraid, because I was naked: and I hid myself.” A kneeling figure appears vulnerable yet is veiled by native plants—symbols of both protection and disguise. Truth becomes layered and unstable: is it the body hidden or revealed, shame or resilience, concealment or self-possession? By masking intimacy with natural forms, the work reflects how truth is never singular but filtered through fear, desire, and perception.
Vail No.1
Lino print hand coloured
Dimensions: 56 x 76 x
Erin Knight
Will truth divide or unite us. The truth and our relationship with it, is critical in determining our actions and outcomes. Getting lost in the truth, versions of truth, twisting of truths, the honest truth… Today we are swamped in information and at this time more than ever before ,I have experienced constant questioning of what is true. We are drawn to ideas that affirm our beliefs and at times reject those that challenge us. In my work the swans are in various states of conflict representing the turmoil of addressing or understanding what the truth is.
You Me and the Truth
Oil, acrylic , screen print, collage on board
Dimensions: 90 x 120 x
Justin Matheson
This piece is my “Road to Damascus” moment when the Holy Spirit brought me back to my Catholic Faith after a 40 year absence. I was a self absorbed, worldly successful, Professional Airline Pilot, when during the COVID 19 pandemic my self made identity came crashing down overnight when travel halted. I was left completely naked & exposed without real purpose, foundation or identity outside of myself. My spiritual emptiness no longer hidden behind temporal achievements. Top left shows the image I’d created and projected. Bottom left exposes the raw self loathing I experienced as I struggled to find peace & joy as my world collapsed. The largest panel bottom right represents my rebirth & resurrection in Christ Jesus. Through the Holy Spirit’s direct intervention I’ve been completely changed.
Self Portrait. Death of Self. Resurrected through Christ.
Digital Print
Dimensions: 60 x 41 x
Todd Fuller
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Commissioned by Gosford Art Gallery, Dear Christians, invited artist Todd Fuller to tell the story of a local Gosford identity. The resulting hand-drawn animation explores the radical power of allyship, language, and public witness. Centred on the experiences of The Venerable Canon Rod Bower of Gosford Anglican Church, the work draws from an oral history interview with Father Bower, whose outspoken advocacy for LGBTIQ rights has reverberated far beyond the church pews of Gosford. Through this work, Fuller examines the enduring potency of words, whether spoken from the pulpit, spelled out in bold plastic letters, or amplified through social media, as catalysts that can spark love, resistance, backlash, or change in equal measure.
Dear Christians
Digital video: chalk, charcoal and acrylic animation on paper
Dimensions: x x
