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!"

Peter Davidson - Footpath Iris 2026

Oil on wooden panel 

18 cm h x 13 cm w

John Cullinane - The trousered ape 2026

Oil on linen

36 cm h x 46 cm w

Sally Douglas - Blue Note Series - Clarity No 4 

 Watercolour & Gouache

26.5 cm h  x  18 cm w

Ross Sanders 

Wheelie Bird 2026 

Found objects

Melissa Nolan McDougall

Spring 2026

Coloured pencil on paper 

Peter Davidson 2026

Japanese woman stretching

Pencil pastel pencil watercolour on F4 Pastel paper

The Architecture of Perception: Apeiron, Delay, Scintillation, Strategic Interruptions, and the Sovereign Space

for further information please click on this link thank you

https://2dogsartspaceakashi.blogspot.com/2026/04/the-architecture-of-perception-apeiron.html

Ross Sanders 

Kneeling Narcissus … in the desert. Work in progress “within the delay”

Professor Diana Davis ANU 

Neckless 

Every neckless is designed differently 

Chelle Bourne 

Crumbling Waves

Digital Image

Diokno Pasilan

Blind page Monotype 21 x 29 cm 2026

The Autumn Spring Exhibition - Wild Swan Art Group from Western Australia

Easter at Nagasaki Citys Catholic Catherderal's 

Ground Zero A Bomb Memorial 

Cherry Blosooms

pastel pencil charcoal on F4 pastel Paper

デイヴィッドソン仮説によれば、芸術家は現実に直接働きかけることができない。これは速度の不足や「遅れ」によるものではなく、構造的な必然である。認識には距離が必要であり、ずれがなければ、何ものも「何か」として現れることはない。

この必然的な間隔こそが、アペイロン（D）である。

The Davidson Hypothesis states that artists cannot act on reality directly. This is not due to a lack of speed or a "lag"—it is a structural necessity. Recognition requires distance. Without displacement, nothing can appear as "something."

This necessary space is the Aperion (D).

The Davidson Hypothesis states that artists cannot act on reality directly. This is not due to a lack of speed or a "lag"—it is a structural necessity. Recognition requires distance. Without displacement, nothing can appear as "something."

Chelle Bourne 

After the Rain - Star Swamp

Digital Image 

Diokno Pasilin

Port Barton

Oil on canvas

240 cm x 180 cm 

2025 

Micheal Doherty  - Northwest 

Oil on canvas 

50 cm x 50 cm 

 Sally Douglas 

Spring, Devon, UK

38cm h x 28cm w

  Watercolour on paper

John Cullinane 

Time

Oil on canvas

Professor Diana Davis

Australian National University

Necklace

Melissa Nolan McDougall 

Untitiled drawing 

A4

Ross Sanders 

Narcissus #1

Found Objects

Spring/ Autumn Exhibition 2026

The Japanese Spring is here and the plum blossoms are nearly in full bloom 

as the sunsets on the cold winter.

Poem

Sugawara no Michizane (845–903) 

東風吹かば
にほひおこせよ
梅の花
主なしとて
春な忘れそ

When the east wind blows

Send me your fragrance,

O plum blossoms!

Although your master is gone,

Do not forget the spring.

Legend states that as Michizane left his home in Kyoto, he addressed this poem to the plum tree in his garden. The poem reflects his grief at leaving his beloved trees and his hope that they would bloom despite his absence.

Source Google AI Overview

Professor Diana Davis - Necklace

Australian National University 

 

Ross Sanders - RMIT Sculpture Major - Pomegranate -

Farm utensils and decaying friuit - 10 cm x 8 cm

Ross Sanders - RMIT Sculpture Major - Roma Gaea Rising

Found Objects 10 cm x 8 cm

lived and worked in the remote mining areas of Western Australia

then retruned to Victoria

Diokno Pasilan - Suitcase Islands 

The Drawing Room Contemporary Art 

Manila

link https://drawingroomgallery.com/exhibitions/make-up/ 

Chelle Bourne Star Swamp 

Digital Image

Sally Douglas -  Magnolias, Dartington Hall, UK

Medium:  Watercolour on paper

Size:  26cm w x 36cm h

John Cullinane - The Calling 2012

Oil on linen, 38 cm x 51 cm

Peter Davidson

The Japanese spring flowers by the side of the road

Oil wax acrylic on wooden panel

21cm h x 18 cm w

This painting quietly resists instant recognition, asking the viewer to slow down and move through its surface rather than take it in at a glance. The thick, clustered marks of red, white, and violet feel less like clear descriptions of flowers and more like the trace of having looked at them over time. Set against the steady horizontal bands, the vertical forms carry a restrained, rhythmic energy, as if perception has been filtered and condensed into paint. The result is not just a fleeting roadside scene, but a small, self-contained object that holds the viewer in the time it took the artist to arrive at the image.

 

End of summer and winter exhibition 2026

 

Winter Snow over Awaji Island

Please enjoy this show on what has been a very cold winter in japan and a reasonable summer in Australia 

Peter Davidson - Akashi Municipal Planetarium

Pencil, pastel on coloured pastel paper

Sally Douglas - Scarlet Flower

  Watercolour & Ink

  36 cm h x 54 cm w

Melissa Nolan McDougall 

Doves

A4. Graphite on paper

Diokno Pasilan is currently in Manila doing wonderful things there in art, listen to the sbs Interview here https://www.sbs.com.au/.../suitcase-islands.../gph10nb12

John Cullinane

Panthestic Landscape 

Oil on Linen

Professor Diana Davis 

ANU

 

Necklace

Every necklace is made differently from assorted beads

 and semi precious stones 

Chelle Bourne 

Early Morning Shadows at Star Swamp. Mixed media 

400ml across x 26ml .