South Australian contemporary painter Brenton Drechsler joins Painting Now 2025 with his most ambitious body of work to date. A two-time National Emerging Art Prize finalist who recently joined the stable of artists represented by Michael Reid Northern Beaches and Southern Highlands after a succession of sold-out solo shows at both spaces, Drechsler has taken Painting Now as an opportunity to significantly dial up his work’s scale and scope while honing the distinctive visual language for which he is already widely celebrated. On his largest canvases yet, Drechsler’s work attains a newly cinematic heft, deepening the ongoing dialogue between visibility and concealment – belonging and displacement – that emerges from his queer subjectivity and animates his visually dazzling, conceptually rich practice.

Within these expansive and arresting compositions, recurring motifs appear in deliberately “foreign” spaces: vintage cars, building facades and flashes of the artist’s trademark green-and-white stripe. “The stripes stand in for my physical self,” he says. “They take up space and attract attention – things that don’t come naturally to me.” That double movement – to stand out and blend in at once – threads through the series with quiet persistence.

A curatorial prompt to consider the visual language of auteurs such as Wes Anderson became a springboard for a bolder palette and dramatic sensibilities befitting the work’s broader scale. Here, punchy pinks and cardamom reds meet tender tonal harmonies, while precise drawing loosens into gestural passages; “mistakes” remain visible as signs of the artist’s hand. “Dean encouraged me to look at cinematic devices and framing,” says Drechsler. “It opened me up to composition in new ways – to big reds, saturated pinks and how colour can create mood.”

Drechsler describes these adventures in colour as both exciting and somewhat nerve-racking. “Are they too much?” he wonders. “Maybe. But that tension is part of what it means to make art as an emerging queer artist. The overarching message is that we all fit, wherever we are, and that we are valued and belong in any room we occupy. Painting taught me that.”

For enquiries, please email dean@michaelreid.com.au

Explore more from Painting Now HERE.

Spanning the late 19th to mid 20th centuries, this private art collection from Perth, Western Australia, has been steadily assembled over the past twenty years.

The purpose of this collection has been to delight and intrigue its owner. How each artist delved into their subject has been of central importance to their acquisition. The use of the entire surface, the subject, the play of negative space, and the artist’s unique technique were all carefully considered and contrasted prior to acquisition. Chosen for their strength as art museum–quality examples, the works were selected for their artistic merit rather than the prominence of their makers’ signatures. Each artwork has been appraised as a fine example of its period. Every piece has been collected with an eye for the object itself—not, as can often be the case, in the spirit of the trophy collector who pursues a signature above all else.

After decades of collecting with vigour and curiosity, the collector–now in a downsizing phase–has decided to release a portion of the collection to the market. This presents a rare opportunity to acquire fresh and compelling artworks that would sit comfortably within any art museum or private collection.

Please consider.

– Michael Reid OAM

For enquiries, please email hughholm@michaelreid.com.au

Michael Reid Sydney is delighted to present a specially curated companion exhibition to The Stars Before Us All – our upcoming exhibition of contemporary First Nations art in Washington, D.C. Ahead of our show’s opening in the US capital on Wednesday, 15 October, Michael Reid Sydney’s expansive presentation of The Stars Before Us All is now unfolding across the entire exhibition space at our flagship gallery in Chippendale and will continue concurrently with our stateside survey throughout October.

This significant group exhibition offers local collectors and gallery visitors the opportunity to experience and acquire extraordinary new and historical work by more than 15 luminaries of contemporary First Nations art at a watershed moment during which their practice is being celebrated on the international stage.

Reflecting the project’s international scope, the Eora/Sydney edition of The Stars Before Us All supports the gallery’s ambition to embed First Nations art within a globe-spanning network of collectors, curators and institutions, joining the cross-cultural dialogue forged by the National Gallery of Victoria’s landmark touring exhibition The Stars We Do Not See, which will travel across North America over the next two years following its debut at The National Gallery of Art in Washington, D.C.

Echoing the work of the NGV and the National Gallery of Art, The Stars Before Us All highlights practising First Nations artists and key historical works, offering a contemporary complement to the NGV’s sweeping institutional survey. The Eora/Sydney edition of The Stars Before Us All is anchored by a significant suite of historical works by Regina Pilawuk Wilson, who will travel to Washington, D.C. this month as the guest of honour at our opening celebration for The Stars Before Us All – the first occasion for her to visit the room named in her honour at the Australian Embassy to the United States.

Joining Wilson in the exhibition’s local contingent is Kuninjku artist Owen Yalandja, who was awarded the Wandjuk Marika Memorial 3D Award at this year’s Telstra National Aboriginal and Torres Strait Islander Art Awards, as well as Yankunytjatjara artist and three-time Wynne Prize finalist Betty Chimney, Yolŋu artist Djirrirra Wunuŋmurra Yukuwa and many more. The exhibition also features a sublime painting by the late visionary Emily Kam Kngwarray, whose career-spanning retrospective is currently on view at the Tate Modern in London, and a work by the late Mirdidingkingathi Juwarnda Sally Gabori.

To discuss works from The Stars Before Us All, please email hughholm@michaelreid.com.au

From the time of her first exhibition in 1925 Margaret Preston established herself as the most important artist printmaker working in Australia. The exhibition received critical and popular acclaim. It was described in the press as ‘a riot of colour’ and sold exceptionally well. The most desirable works were those dealing with Australian flora; Preston hand-coloured them in gouache which enabled her to exploit the effects of vibrant, saturated colours. Her work quickly became iconic, being illustrated in journals like Art in Australia and The Home and being acquired by public galleries.  The exhibition also marked the beginning of Preston’s commitment to the development of a national Australian art.

This important group of eight prints span the most productive years of Preston’s involvement with woodblock printmaking – ranging from her 1925 exhibition until 1939.

In Native flowers (1925), an arrangement of flannel flowers, Sturt desert peas and Christmas bells in a blue bowl, the flowers have a jewel-like quality, appearing vibrant against the solid black background. This was one of the best-known prints from the 1925 exhibition following its reproduction on the cover of Art in Australia in December of that year.

Throughout the twenties Preston continued to experiment with still lives of native flowers, the compositions becoming bolder and more commanding. She also produced landscapes of the Sydney foreshore. When Preston settled in Sydney in 1920, she lived in the harbourside suburb of Mosman and went on to produce several prints which show her affection for this picturesque location. Mosman Bridge (1927), one such view, was selected by the artist to accompany her monograph Margaret Preston: Recent paintings 1929. All impressions of this print are slightly different. Preston was not interested in printing in colour, but hand coloured each print, the distribution of colour often varying, imparting each with its own vitality.

By the end of the decade Preston’s still life prints had become highly abstracted. Gum blossoms (1928) is one of the outstanding prints of this period, the artist carefully designing a floral arrangement with a pre-determined pictorial composition in mind. The subtly coloured round gum flowers and triangular leaves push out to the edges of the image, constrained by the rigid black lines that define the composition.    

In the early 1930s Preston moved to live in Berowra, a rural area surrounded by dense native bush. She was aged in her early sixties and was recovering from surgery. Prints produced by Preston after this time are all rare. Whereas in the early 1920s her editions usually numbered 50 or 25, later editions are small, numbering only two or three, and in many cases impressions are unique. This is the case with Old Banksia Tree (1939), one of Preston’s most important prints from her Berowra years. The tree was located at the bottom of her property, gnarled by age but still productive; Preston obviously identified with it (there is a photograph of her standing next to it).

In this impression, the woodcut is not hand-coloured, but the artist has introduced background tone that emphasises the isolation and vulnerability of the tree. Produced on the cusp of the Second World War it marked the end to Preston’s Berowra phase of her career.

Roger Butler AM

Emeritus Curator, Australian Prints and Drawings

National Gallery of Australia

Jim Naughten is a British artist whose work explores the complex and fragile relationship between humans and the natural world. Originally trained as a painter, he now works primarily with photography, digital manipulation, and, more recently, Artificial Intelligence.

Drawing from a deeply creative and classically trained foundation, Naughten champions new frontiers in photographic practice—where analogue traditions are extended through digital technologies and AI. His images—featuring surreal subjects such as pink zebras, neon gibbons, crested birds, and roving wolves—are vivid, unsettling, and dreamlike.

They explore the space between memory, imagination, and ecological anxiety. Through this lens, Naughten confronts the environmental crisis with unflinching directness, using the “shock of the new” to highlight the realities of biodiversity loss and climate change. His recent projects, Mesozoic (2023) and Biophilia (2025), reflect a growing urgency in his practice and a call to reconnect with the natural world.

Naughten’s works are meticulously constructed—painterly in their approach, layered and refined through time and digital technique. Influences range from the psychological portraits of Diane Arbus to the lush, documentary-style interventions of Richard Mosse and Patrick Waterhouse. He frequently collaborates with ecologists and conservationists, and has supported environmental initiatives including fundraising for the  Jane Goodall Institute.

His work is held in major public and private collections, including the Wellcome Collection, the Imperial War Museum, the Horniman Museum, the Museum of Fine Arts, Houston, the Honolulu Museum of Art, and the Boca Raton Museum of Art in Florida. Through striking imagery and cutting-edge visual storytelling, Jim Naughten urges us to remember the wonder and fragility of the natural world—and our shared responsibility to protect it.

For enquiries, please email hughholm@michaelreid.com.au