painting by Imants Tillers</a>. In Cooma, near a garden bed sewn with sunflowers, Tillers' painted The Fleeting Self III (2010), which quotes Egon Schiele's Sonnenblume, from 1909-1910. A fading flower without petals, its heavy head filled with black seeds, Schiele (and subsequently Tillers) paint the sunflower in a moment of reverence prior to its fall. The Fleeting Self III pairs this image with a paraphrase of the 'Diamond Sutra': like a dream/ like a vision/like a bubble/ like a shadow/ like dew/like lightning; these words fall like a feather from side to side. The strength of this work resides in its central stem of bronzed letters, the alphabet firmly holding the composition upright. A classic sentiment from the artist, Tillers has undertaken monumental examinations into the concept of self, and its related questions of impermanence and fragmentation.</p><p><a target="_blank" href=https://www.mutualart.com/Gallery/Arc-One-Gallery/"/Artist/Janet-Laurence/CB9485FBAD28CAE0">Janet Laurence</a> has spent a career setting the grace of ephemeral impressions against the endurance of the universal condition of nature. Veils of light, glass, mist and oil layer over each piece, but at the heart of her works is a contrast between the wilds of nature and the human desire to understand, study, even embrace it. Laurence's artwork Glacial Glasshouse twins two atmospheres that bare upon each other: the light of day after a destructive hailstorm at the vital CSIRO Glasshouses, and the bright blue of Antarctic ice observed when Laurence was the artistic envoy on a scientific mission to the great glacial continent.</p><p>Jarrad <a target="_blank" href=https://www.mutualart.com/Gallery/Arc-One-Gallery/"/Artist/Jarrad-Martyn/128D1098413FE7A9">Martyn's paintings also reference Antarctica and the katabatic phenomenon that "winds from the centre of the continent and leads to potential 'white out'; where there are no shadows, no horizon, no clouds, and no depth of field". Drawing on photographs that his father, a helicopter pilot, took in the mid-1980s, nostalgic visions of adventure are mediated by colours that jive and shift, and close-up portraits of seabirds who usually live in total isolation from humanity. Turning to abstraction to increase the role of chance and intuition in each painting, Martyn invites the viewer to experience the fugitive qualities of wind, flapping wing and ice.</p><p><br></p>" itemprop="description" />