The monumental icon of the Last Judgement, written by Michael Galovic, is a visually commanding work containing multiple iconographic references and subsidiary scenes. It can be approached in manifold ways. I suggest that the most fruitful approach is to interpret it within its religious, scriptural, and liturgical context. In Australia and New Zealand, we have little experience of Last Judgement scenes.

For Heraclitus I. Everything FlowsYou step into the shallow river,your feet enjoying the cool water.You feel the sun-warmed wind,your body drenched with delight.You walk forward and back,your mind developing memories. You return here another time,your favorite spot washed away.You sense changes in your body,your brain telling you otherwise.You try to remember the past feeling,

As a young person,I read a short storyAbout a detectiveWho solved a crime,Discovering it was he,The detective himself,Sleepwalking at night –Committing transgressions;I wonder if God sleepwalks When crime is glorified,And criminals rule,Books are banned,And religion –A hate propagating tool,When the poor are preyed uponAnd the disabled mocked;

Olga Bakhtina, Mysterious Fishing, 2025. Oil on canvas, 90 x 90 cm. Olga Bakhtina returns in 2026 with Mercy, a luminous new exhibition hosted at St John’s Anglican Cathedral, Brisbane, running from 1 July to 19 August. One of the most significant elements of the exhibition is Bakhtina’s new series on St Francis of Assisi, created to mark the 800th anniversary of his death.

Photo by Timothée Duran on Unsplash. ‘We hope that the people of Australia will wait. Not so much waiting for us – but waiting with us as we find our way in the world. My people are used to the struggle and the long waiting. We still wait for the white people to understand us better. We ourselves had to spend many years hearing about the white man’s ways.

From the fourth-century councils to Australia’s White Australia policy, the Christian tradition has supplied theological warrant for cultural exclusion — but the same tradition has also, at specific m...

From the fourth-century councils to Australia’s White Australia policy, the Christian tradition has supplied theological warrant for cultural exclusion — but the same tradition has also, at specific m...

Photo by Francesco Labita via Unsplash. Candles yearn and flutterin the sacred gloomstained glass glowslike coals and cobaltyesterday’s incenseghosts into your nostrils.Two pews down an elegant womanis summoned by the phonebelow her steepled fingersits pale oblong awakesto interrupt her prayersor answer them.The dead the lostand those close by are calling…

The Prime Minister has made it clear. The future of AI development in Australia must respect creator rights.

Robert Rauschenberg, White Painting, 1951. House paint on canvas, 182.9 x 274.3 cm. San Francisco Museum of Modern Art, USA. I. Pauline Hanson’s One Nation has, for the third time in three decades, made monoculturalism speakable again in Australian public life – not simply as nostalgia for a vanished homogeneity, but as policy: a demand that immigration, citizenship, and public culture be organised around the protection of a single inherited ‘

An inquiry into staying human in the age of AI — by the American Enterprise Institute’s Council on AI Ethics

Join Kendall Bryant for The Winter Gathering, a Melbourne community arts event featuring stories, music, creativity, conversation and performances inspired by hidden growth.

Photo by Josh Withers on Unsplash. standingin Divine assemblyeachtree with its own connectionsitsown messageitsown roleitsown journeythroughlife sotoo, we humansstandin Divine assemblyeachof us with our own connectionsourown storyourown journeythroughlife nomatter where we standgriefwill find us…

The generational collapse in literacy is measurable, persistent, and likely to get worse.

Nakba survivor in Gaza recounts displacement after 1948 and 2023 and his unwavering attachment to his homeland.

Vincent van Gogh, A Wheatfield with Cypresses, 1889. Oil on canvas, 73 x 93.4 cm. Metropolitan Museum of Art, New York, USA. Across the swaying yellow fields,Vincent is startled by the stunted olive treesThat stretch outwards, upwardsBuffeted by the West wind,Yearning to seize The scudding restless clouds. How they envy their lone companion:A cypress standing apart, alert, …

David Naseby, Les Murray, 1995. Oil on canvas, 179.5 x 184.5 cm. National Portrait Gallery, Canberra. The recent death of David Malouf, aged 92, has left many readers grieving the loss of a writer whose prose was marked by unostentatious care, quiet precision, and a deep humaneness. Malouf had a rare gift for tracing the places where the material meets the immaterial, where the ordinary world thins and something luminous shows through.

Studio is a book-length journal publishing poetry and short fiction of literary merit, offering a venue for established, new, and aspiring writers. Studio also publishes literary articles, essays, news, and reviews of writing, writers, and events of interest to members. Studio was first published in 1980, and is published three times each year. Membership of Studio puts you in touch with:

Pro Hart, The Good Samaritan, c. 1980. Oil on board, 30 x 44 cm. Private collection. II was escaping a traumatic dayon the road with my dearest friendswhen he fell in step beside us on the wayand the world began to glow again III was a bastard, a tool of the Stateuntil face down in the dirt…

Ernie Dosio, a 75-year-old vineyard owner, was hunting an antelope species in Africa when the incident occured

The survey exhibition of the work of painter Leonard Brown is currently on exhibition at the Ipswich Art Gallery in Queensland until 14 June 2026. Curated by the distinguished art historian Sasha Grishin, this survey explores his distinctive abstract works that exemplify his interest in formal geometry and handmade mark-making. Alongside this body of work are his religious icons drawn from the Orthodox tradition.

Photo by P. M. Flynn. Here I sit in nothingness, asleepwhile I close my eyes to darknessas it falls around me. There is a line darkness does not cross.And still there are shadows: flesh doesn’t wander over spirit or death.(The flesh is quickest to disagree with eternity;the bones are slowest to turn over in graves…

I actually don’t want to make my work easier. We should demand authenticity if we care about the sort of society that comes out the other end of this so-called revolution

Tickets available here.

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Through Lent and Good Friday, the High Altar of St Paul's in Auckland held something rare: an artwork that does not announce itself, but waits. Titled The Opening, conceived and created by Karen Sewell under the auspices of SPAM (St Paul's Arts & Media), is a site-responsive installation that takes as its starting point one of the most arresting images in the Passion narrative: the tearing of the temple veil.

Photo by Savannah B. on Unsplash. I thought I saw you at the marketafter you died, and again roundinga corner on Monte Sano, past Holy Trinity. Convinced, despite your ashesin an alabaster urn, I follow my mother until she turns to look at me with the wrongeyes, wrong smile, three inches too tall –this body was not yours resurrected.

The editors of Sacrum et Decorum, a peer-reviewed international journal dedicated to the history and study of sacred art, invite submissions for a special focus on sacred Christian art in Australia and Aotearoa New Zealand. They welcome contributions that engage with the intersection of Christian (broadly interpreted) visual culture and the distinctive colonial, postcolonial, and multicultural contexts of the region.

Photo by Charles Pickrell on Unsplash. the Lord is my shepherd and I / do not want to / lie down in your pastures / of fake grass and chlorinated pools / where the sun beats down on / our languid bodies and we are told / this is good even / though the heat feels like noise and / our thoughts have slowed / like tar…

Michael Galovic, Fallen, 2024. 80 x 150 cm. No painting can be adjudged, can reveal its true meanings, can expose the deeper insights and sensitivities of the artist, unless one physically confronts and breathes in the paint. The message is in the medium. All that I am able to do is run my eye attentively over computer images of the successive panels of…

Photo by Mitchell Luo on Unsplash. Ihave often asked myselfaseemingly unanswerable question.Overand again, I have wondered,Whatwill happen to G?dinthe not-so-distant futurewhenall of us earthlingswillhave perished,when,as a result of our plunderingofthis precious Earthwewill have gone the way of the dodo bird…

Patricia Piccinini, Doubting Thomas, 2008. Silicone, fibreglass, human hair, clothing, chair, 100 x 53 x 90 cm. McClelland, Langwarrin, Australia. Photo by Mark Ashkanasy. ‘Reach out your handand put it in my side’moved at hearing of Thomas’s act –that extraordinary momentits intimacy, the invitationto trust and touch,imagination travels to the theatrewith gowned and masked figures…

Do you ever gaze upon the oceanand fall quiet,struck by its vastness,by the way it stretches beyond sight,yet answers to a shoreline?A body so immense,it feels eternal,yet born of a Presencethat called it into being.It remembers beginnings.It foreshadows endings.It has claimed shipsand carried them home.It has held both storm…

Protect The Crystals, extend Jawbone Marine Sanctuary

Mary Twomey, Rich Man, Poor Man, Beggar Man. Silk aquatint, monotype, collagraph, drawing, 25.4 x 53.34 cm. Private collection. If you're a poet who has ever found yourself drawn to the figure of Jesus of Nazareth – whether in faith, doubt, curiosity, or outright resistance – Wayfare magazine has a contest with your name on it. The inaugural…

Broke, raving, and living out of his van, for years Jack Kevorkian turned away from his first love — experiments with death — to a side quest: bringing Jesus Christ to the big screen.

Roots coil beneath the soil,veins of the earth pulsing with quiet grace.Rain seeps, soft as mercy,through clay and stone,and the green shoots respondlike hymns that never end.I walk among cedars,hands brushing bark,fingering the faith writtenin rings of patience.God is here, in fibre and leaf,in the slow breathing of the world,

Pablo Picasso, L'amitié, 1908. Oil on canvas, 151.3 x 101.8 cm. Hermitage Museum, Saint Petersburg, Russia. Jesus said to him, 'Friend, do what you are here to do'. (Matthew 26.50) In the darkness of Gethsemane, amid the clash of swords and the flicker of torches, Jesus addresses his betrayer with a word that stops us in our tracks: hetairos…

The work of strengthening social cohesion begins with a commitment to responsible language and civility that goes beyond legislation

In many Christian communities, this time of year is known as Advent (from Latin adventus, ‘arrival’), the pre-Christmas season in which the birth of Jesus in Bethlehem is remembered and his eschatological reappearance, or ‘Second Coming’, is anticipated. A central element of the biblical Advent narratives is the annunciation, in which an angel prophesies to Mary that she will give life to the Son of the Highest.

In my head was an ocean of thoughts,And monologues of indistinct voicesFloating, trying not to drown In my depths of silence.Faceless entities broke through my mouthAnd spoke to the wall with my eyes closed. But no sleep— just teleportationThrough nostalgia’s portal.No amount of noise was enough To pull my eyes back to life.I hoped to doze off and dive…

Gold light shatters themornings of mourning, divineprayer slips from mouth shame skewers pride’s lung.God commands me to talk. Ido not know how long has passed. Words sizzle,cumin seeds in burnished oil.Delayed meal tasting like only joy can.Hearts-to-hearts require responsesays my forlorn heart. Knees dig into earththe metaphor eludes meanswer me, I plead.

Faster faster even faster Fly the wheels of industry – turningturningHurry hurry keep moving never stopping All is synchronization regimentationWe the workers cannot stopThe machines ever smarter ever smarter swallow usFaster faster ever faster humming like insectsThe machines talk to each other, a frenzied tuneWe workers cannot sing sweet songs anymoreOur music is crushed like grapes by the sharp blades…

Cancelling the Australian Palestinian author Randa Abdel-Fattah weakens freedom of speech and is the harbinger of a less free nation