Numinous-i by David Howard and Darryl Rogers

Featuring paintings by David Howard and Video/Holographic Installation by Darryl Rogers

*Opening night – Friday 9th October 6pm-9pm *

*Exhibition Runs – 9th Oct to 21st Oct, 2015. *

David Howard and Darryl Rodgers are two artists originally from Brisbane, who studied together at the Queensland College of Art. Their most recent exhibition will be shown at Juggler’s Art Space opening Friday 9th October and running until Wednesday 21st October.

Both artists have been exploring the concept of Numinous for a number of years, which questions the spiritual worlds and the metaphysical; specifically it is the impact they have on material reality that interests the artists most.

This exhibit combines two distinctly different but complimentary explorations of spiritual and material dualities.

Around the outside of the space, echoing the form of a sacred temple, sit Howard’s paintings. This series called Apostasy seeks to question the flailing loss and disconnection of spirit, body and soul in todays digitally ‘connected’ world.

At the centre of the space, with a nod to an inner sanctuary of contemplation, stands Roger’s four channel work entitled Sehnsucht. Sehnsucht is a German word that speaks to the sense that somewhere in an alternate reality there is something deeply longed for; a sense of home beyond the here and now. The experience is one of such significance that ordinary reality pales in comparison. The video based holographic/peppers ghost installation challenges perception, educes longing and evokes the mystery.

The opening night event for Numinous-i will occur from 6-9pm at Jugglers Art Space Inc – 103 Brunswick Street, Fortitude Valley. Exhibition continues till 21st October. Please visit for more information.

Jugglers 07/10/15

'Where The Wild Things Are' at Jugglers Art Space Inc

“Where the Wild Things Are” is a commissioned public art installation painted on the Tarragindi Guide Hut complex by well known Brisbane artist Johnny Beer [Gimiks Born] with concept, curating and project management by Peter Breen [Director – Jugglers Art Space Inc]. The launch of the installation on September 12 included Afrobeat, Lismore Lantern monsters and lantern making workshops by Tarragindi Memorial Kindergarten and Tarragindi Scouts. The project was a joint funded venture by Arts Queensland, Brisbane City Council [Moorooka Ward] and Jugglers Art Space Inc

Jugglers 29/09/15

Filmic Interiors - a QUT 1st year Interior Design exhibition of models inspired by cult films.

Film provides the student of interior design with a rich archive of historical and contemporary visual experimentation, and a vehicle to research spatial strategies and design principles. A key factor in the visceral affect of film is the layering of cinematic techniques to imbue atmospheric or immaterial conditions, so often desired in the experience of interior space.

Join us …
-Friday October 2nd 6pm Opening Night at Jugglers Art Space.
-Exhibition 10-4pm 2-7 October, 2015.

Jugglers 28/09/15

Crush City Fame - Annual Exhibition

September 2015 sees the return of Crush City’s Annual combined exhibition at Jugglers Art Space.

This year we are boasting a roster of 11 artists, including some of Brisbane’s most well respected Fine artists, Graffiti artists and Tattooers, all under the Crush City Fame banner.

Please come and enjoy a drink and meet the artists at the launch party on Saturday the 26th of September 6-9pm.

The gallery will be open from Thursday the 25th of September until Monday the 28th of September for public viewing during the Jugglers opening hours: 10am – 4pm.

For further info stay tuned on their Facebook Pages & Website –

For enquiries please contact Jugglers at or call 3252 2552

Jugglers 21/09/15

Where the Wild Things Are - Mural Launch at Jugglers' Art Studios at Tarragindi with free community event

A new mural inspired by the friendly monsters of the children’s classic “Where The Wild Things Are” is covering the former Guide Hall and Hut at Tarragindi Reserve at 31 Newington Street, Tarragindi – currently being used as artist studios by Jugglers Art Space Inc.

The mural will be launched as part of a free family-friendly community event, involving arts & crafts, a lantern walk, food and entertainment on Saturday 12th September from 3pm.

With the support of Arts Queensland, Jugglers Art Space Inc have commissioned Artist Gimiks Born [ International freelance muralist, street artist, illustrator and graphic artist] To cover the walls with Friendly Monsters that will inhabit, enliven and inspire Tarragindi Reserve.

Councillor Steve Griffiths has further supported the Launch through the Lord Mayor’s Suburban Initiative Fund,
For an event open to all local families to take part in workshops, lantern and mask making and a Twilight Procession:

- Tarragindi Scout Den will run a Lantern Making Workshop for families as well as a Sausage Sizzle.
- Tarragindi Kindy will run a Mask Making Workshop as well as a Tea and Coffee Stall
- Jugglers Artists-in-residence at the Guide Buildings will open their studios to the public.
- Lismore Lanterns will supply three giant friendly Monsters to lead the procession at Twilight.
- The whole procession of Monsters Lanterns and Masks will move to the drumming of AFROBEATS from approximately 5pm.

For more Information please contact Jugglers Art Space Inc on, or 07 3252 2552

This project is supported by the Queensland Government through Arts Queensland.

We hope you can join us for this fun event!

Jugglers 28/08/15


Stairwell Project – Live Video

Hey, check out this track on SoundCloud: Lachlan Hawkins Music “Let’s Escape” – Handpan live in the Stairwell!

Live music in the stairwell, foyer, admissions area and café at the Royal Brisbane and Women’s Hospital has been lifting spirits since it kicked off as an experiment in June 2015.

Behind this objective is a passion informed by experience and the well researched positive impact and elevation of well-being that music brings to people in these facilities including patients, staff and visiting friends and families.

From June 15 – August 8, 2015 a small group of professionally trained musicians associated with Paint it Red at Jugglers Art Space Inc and curated by Peter Breen performed live music in the public spaces on the Hospital campus each Monday morning from 8.30am – 11.00am.

The response has been overwhelmingly positive. The hospital executive has now invited Jugglers to prepare a long term proposal and schedule with a view to the expansion of the program and potential funding. Jugglers is very keen for potential partners to work with us in sponsoring this exciting project.

Please contact Peter Breen at for further information or make a tax deductible donation via Paypal or our Public Fund Account [BSB 484 799 Account Number 201184687]

Jugglers 24/08/15

Marie Ellis OAM Prize for Drawing People's Choice Award Winner

Congratulations to the 2015 Marie Ellis OAM Prize for Drawing People’s Choice Award winner Robert Vagg, with artwork Only Shadows.

Thank you to all those who took part in voting, William Platz for speaking on the opening night and Carolyn McKenzie Craig for announcing the People’s Choice award.

We are already looking forward to next year’s competition!

Marie Ellis Creative Director Holly Riding
Juggler Art Space Director Peter Breen

Jugglers 24/08/15

The Importance of Drawing and the Marie Ellis Prize

The Marie Ellis Prize is one of the few awards given to professional artists for their works in drawing. It is indeed a rarity in the today’s scene and yet one of the most important initiatives in Australian art.

Why do we need drawing? The immediate answer is that it is fast becoming a lost craft and that it cannot be expunged from society’s skillset, as it were. Yet many skills have been wiped out of practice, with no hint of mourning for the lost arts of butter churning, telegram composing or riverside clothes washing. There is a more profound reason, beyond simple traditionalism, that drawing must be kept alive.

During the late twentieth century there was a radical shift away from representation. Art, seemingly paradoxically, became anti-aesthetic. The painting on the wall became an emblem of an unnecessary critical distance: it could never invade the physical space of the viewer the way an object could. Not only drawing, but the ideology associated with the practice, fell out of fashion.

From the 1970s onwards, art’s new purpose was to perform upon its spectator. It was not enough to represent the surrounding world, as it must now find a place in that tangible and temporal reality. No longer a painting of cubes as in Picasso’s Ma Jolie but a physical cube in the gallery is in Tony Smith’s Die. No longer a painting of a chair, as by Van Gogh, but a chair to sit on, as by Joseph Beuys.

However, it is too easy to associate the non-representational with the direct. Would we see a pond the same way without Monet? Would we see the movement in a ballerina’s tutu without the flickering brushwork of Degas? Would we admire the beautiful woman across the street without the countless muses that fill galleries?

What was overlooked by the post-modernists’ assertion of the “real” is that art has a role in framing that reality from the outset. Put more simply, we cannot read the world around us without the prior knowledge of its representation. Drawing is then not simply a refined skill but a way of mediating, of framing, the world. Representation is not merely imitative of reality but makes up what is real around us.

Many artists in the show claim that, for them, drawing exudes a sense of authenticity. While this is a term held in a web of various meanings, I think drawing captures a particular type of artistic truth. Drawing not only celebrates line but the hand that drew it. The pleasure in the works is ultimately tracing the memory of the pencil, pen or now, computer mouse. In this way, the image cannot be separated from its creator. Drawing is then authentic in the way that installation cannot be. While a physical object may be more spatially and tangibly direct, it is un-composed, it holds little association with the artist. In a drawing, we see not only the object of the work but also the idiosyncrasy of its maker. We see the object processed by the artist: chewed up in the mind and spat out by the pen.

The winner, Jeremy Eden and runner up, William Platz, of the Marie Ellis prize are emblematic of the two prominent means by which this authenticity is realised. Platz’s work consists of two panels of life drawing: the first a triptych of a man and the second a triptych of a woman. The nudes themselves are rather ordinary yet his innovation lies in the beautiful line with which he has moulded them. Shapes of the body twirl and coil. Gestural lines ooze from the figures such that the space they occupy becomes part of the flesh. Platz leaves his fingerprints on the canvas, allowing them to build up into an intrusive haze over the figures. The fingerprints act as residues of the artist himself. They remind the viewer of the hands, the fingers, the skin from which the artwork emerged. Platz’s work is raw, personal and leaves us to dwell not so much on the image but the chaos of ink that undoes it.

Eden’s work can be thought of as the inverse to Platz’s. His technique leaves no evidence of the hand. The work is extremely crisp and appears with the reality of a photograph. However, this is not to say that his work can be understood on first sight; in fact, it is the opposite. Interest lies in Eden’s highly ambiguous and uncanny image. The drawing shows Eden with a plastic-wrap around his head, an X of duct tape holding it in place. Unlike Platz’s spacious composition, Eden fills the entirety of the page with this figure. Suffocation then is not only depicted but generated in the image: the figure is trapped both in the plastic and in the paper frame. It is not an image to glance over. The strangeness of Eden’s subject matter dislocates our prior processes of seeing. It takes a few moments to realise the work is in fact a portrait. Slowly and carefully the horror of the image takes its form.

The works in the show vary so much in technique, scale and genre that it is hard to find a constant thread between them. Minimal ink sketches, softly shaded landscapes and even collage feature in the finalists’ exhibition. I believe what connects all these works lies in the nature of drawing itself. Each artist has re-expressed the objective to create something intriguingly subjective. In each drawing exists some fragment of the artist.

- Article & Review by Jugglers Art Space Intern: Sophie Rose

Jugglers 17/08/15

Marie Ellis OAM Prize for Drawing Finalists' Exhibition Closing Party

If you were unable to make it to the opening night of the Marie Ellis OAM Prize for Drawing, don’t miss the closing party this Friday night!

Opening at 6pm our closing party guest speaker William Platz (2015 Honourable Mention prize winner) will be speaking at 6:45pm, shortly followed by the announcement of the 2015 People’s Choice award winner at 7pm by Carolyn McKenzie-Craig (2015 judge).

Go to our Facebook page to join the event.

Jugglers 17/08/15

2015 Marie Ellis OAM Prize for Drawing Prize Winners Announced

The 2015 Marie Ellis OAM Prize for Drawing Award Winners:
Major Prize Winner awarded to Jeremy Eden with Self-Portrait in Plastic.
Honourable Mention awarded to William Platz with Young Woman Yawning No. 1.

Thank you to all of this year’s finalists’ and entrants, our sponsors and judges for another terrific year.

Marie Ellis Creative Director Holly Riding
Juggler Art Space Director Peter Breen

Jugglers 10/08/15