Sunday, 23 August 2026

Late Japanese summer winter show

Late summer rice Nishi Ku

The Wild Swan Arts Group – Towards Uncharted Aesthetic Horizons

As Wild Swan celebrates ten years of almost monthly exhibitions since 2016, I want to thank all the artists who have contributed to this journey. From Perth, Singapore, Sarawak, Okinawa, Kobe, Akashi, Osaka, and Kyoto, and now into our online chapter, each exhibition has expanded the group’s reach and deepened its aesthetic ambition. I also wish to honour, with respect, those artists who are no longer with us; their work remains an enduring part of Wild Swan’s history and imagination.

Here’s to the next horizon and to continuing our exploration of uncharted aesthetic terrain.

Peter Davidson

Lynne Norton (1950 – 2020)

Artist Proof - Fluctuating Focus 1990

Screen print on paper

Peter Davidson - Domestic View Nishi Ku

oil wax acrylic on wooden panel

18 cm x 18 cm

Peter Davidson - Soon the harvest 2026

Oil wax acrylic on wooden panel

18 cm x 18 cm

Necklace

Prof. Diana Davis ANU

Micheal Doherty

“The Cell of Caiaphas” (Caravaggio influence) 2026

oil on wood panel.

40 x 50 cm

Melissia Nolan McDougall

Arcadia oil on canvas

8 x 8 inches

John Cullinane - Another brick in the wall 1995

Oil on Linen - 50 cm h x 40 cm w

Diokno Pasilan

Lane way 2026 Woodblock Print 20 x 20 cm

Ross Sanders

Faded Icon Found object (Ag Elias, Lemnos Greece) Watercolour on Gilt.

Sally Douglas

Blue Note Division No 5

Watercolour and Gouache

18 cm w x 26.5cm h

Chelle Bourne

A walk along the beach

30 cm x 30 cm

2026

Friday, 24 July 2026

The mid winter summer show

Please enjoy this latest exhibition its the rice growing season in Japan but its very hot

thank you.

Professor Diana Davis

Necklace 2026

Melissa Nolan McDougall

Cimmarron

Oil on wood panel - 20 x20 cm.

Peter Davidson - Plastic flower 2026

pastel on black pastel paper

24 cm h x 15 cm w

In the studio, drawing never unfolds as a simple transfer from sight to hand. Even the most ordinary motif—a plastic flower, a ceramic dish, a sheet of coloured paper—becomes the site of a far more intricate process. Outwardly, it appears as a quiet act of looking and marking. Inwardly, it is a dynamic flow within the nervous system: a continual reorientation of perception that resembles walking or talking, a structured rhythm that never repeats itself, always adjusting, always improvising, always seeking uncharted horizons within aesthetic sensibility.

Please click on the link if you wish to read more

https://2dogsartspaceakashi.blogspot.com/2026/07/delay-as-living-flow-how-perception.html

Diokno Pasilan

Monotype 30 x 42 cm 2026

Micheal Doherty

Lunch with the Caravaggio’s.

oil on wood panel,

40 x 40 cm

Sally Douglas

Blue Note Division No 5

Water colour and Gouache

S 18 cm w x 26.5 cm h

Ross Sanders

Currently researching Lemnos Greece

Chelle Bourne - Surf under a big blue sky

Grannies Pool

Digital Image 2026

Sunday, 21 June 2026

Beginning of winter and summer

June in the Japanese Summer is the rainy season and the rice planting time

Peter Davidson - Rainy season Nishi-ku Kobe
Pastel and carbon pencil on paper
20 cm x 20 cm

The image above emerges through the interaction of duration and delay, though the two are distinct. Duration is the physical act of drawing: the sustained labour of looking, adjusting, and marking the surface. Delay is the spatial interval that precedes every mark—the displacement between optical encounter and inscription. According to the Davidson Hypothesis (t₀ → t₀ + D), the artist never acts upon the world directly, but upon a perceptual construction already displaced by delay. The luminous rice paddy, dark tree line, and shifting atmosphere are therefore not representations of a landscape, but traces of perception negotiating its own formation.

Each mark registers this passage from sight to action. The image is not the depiction of a static moment, but the residue of delay made physical through duration. The pastel surface accumulates successive perceptual adjustments, sustaining an encounter that can never fully coincide with its source. Suspended between recognition and dissolution, the work keeps perception active rather than allowing it to settle into certainty.

In this sense, the work approaches apeiron—not as an abstract concept, but as the indeterminate field from which visual experience emerges before recognition stabilises it. Apeiron is not represented; it is evidenced through shifting relations of colour, atmosphere, and form.

The heavy gold frame extends this structure. Just as delay forms a threshold between seeing and marking, the frame establishes a boundary between image and surroundings. Against the neutrality of the white cube, it concentrates attention and contains the work’s unstable equilibrium. Its reflective surface intensifies internal chromatic relations, creating a compressed field in which perception remains active. The frame is not ornament but a condition of the image’s emergence. Within this bounded field, apeiron is momentarily registered.

Peter Davidson

Untitled (plastic still life)

Pencil Pastel Charcoal on pastel paper

2026

Melissa Nolan McDougall

Birds of Paradise.

oil on canvas

380 x 770 mm

Chelle Bourne

North Beach Jetty I

Digital Image

Chelle Bourne

North Beach Jetty II

Digital Image

Sally Douglas

Blue Note - Suspension Number 3

Watercolour on paper

18 cm w x 26 cm h

John Cullinane

Looking West 2026

Oil on Linen

45 cm h x 61 cm w

Diokno Pasilan

Seniors ID Monotype on archival paper 21 x 29 cm

2026

Ross Sanders 2026

Totem

Found Objects

Necklace - 2026

Professor Diana Davis ANU

Tuesday, 19 May 2026

The end of spring and autumn exhibition

Kyoto in Spring

"For me, this is the most beautiful time of the year. In Japan, it’s a window where the plum and cherry blossoms bloom together, turning the landscape into something truly surreal and stunning. Meanwhile, in Australia, the intense summer heat finally recedes, making way for incredibly pleasant days and nights. Please enjoy this exhibition, and thank you!"