Gallery Alchmey seeks to represent work across painting, drawing, photography,sculpture and mixed media. With a focus on contemporary and emergingartists with the gallery featuring work with a modern, figurative sensibility that is emotionally rich and poignant, and also conveying wit and humour.

Gallery Alchemy represents emerging and established artists that demonstratea sensitivity to the conundrums of modern life. With the galleries owninfluences stretching from Artemisia & Caravaggio to Van Gogh, to YellowHouse to Duchamp, Dada, Brett Whitely and Charlie Sheard.

Featured artists often reflect a sensibility for light, colour, purity of craft and ahint of neuroses and angst of modern life that ultimately gives way to beauty. “Idon’t believe in Art, I believe in the Artist”
– Marcel Duchamp


Joanne Sisson lives in Ballarat, in country Victoria. She studied Fine Art at RMIT, Melbourne and has worked as an art teacher and book illustrator. Her artworks focus on both still life and landscape painting. Both genres are connected in some way to the natural world.

Her current still life paintings, of both indigenous and introduced plants in glassware, depict the refraction of light and the distortion of form as light passes through glass. Jo has accumulated a large collection of crystal and glass vessels, which she assembles in complex arrangements. There is much planning and resetting of these arrangements before she commences an artwork.

Joanne Sisson comments on her work- “When walking through my garden or trekking through deep forest one can feel uplifted by an awareness of growing, breathing ecosystems. I attempt to orchestrate in my still life paintings a sense of growth and movement while at the same time maintain a quiet restrained sense of calm.”


Alison has been a practising artist in the Shoalhaven region for nearly 20 years, with her art practice predominantly focused on the still life genre but also including portraits, interiors and landscape works.
She currently works from my home studio in St Georges Basin, Jervis Bay.

‘I’m mostly a studio-based painter and work in oil paint, but my practice has expanded over the last 5-10 years to include travel and residency opportunities where I tend to focus more on drawing and mixed media works.’

Over this time Alison has been involved in: 12 Solo and 2-person painting exhibitions throughout NSW and the ACT 20+ group exhibitions throughout Australia 50+ finalist places in major art prize exhibitions including the Archibald, NSW Parliament’s Plein Air Painting Prize, Portia Geach Memorial Award, STILL- National Still Life Award. 7 prize awards including the 2020 Gallipoli Art Prize, Waverley Works on Paper Prize and Fishers’ Ghost Traditional Art Prize.


Tasmin Witkamp is an Australian artist on the South Coast of NSW. She completed her Bachelor of Fine Arts at COFA (UNSW Art and Design) in 2015.
Born into a family of oil painters, at the historic family studio “Hy-Brasil” in Avalon on Sydney’s Northern Beaches. Nestled in the bush high above the stunning waterway Pittwater, Taz has observed the three generations of oil painters (Nada Herman, Edward Herman and Sali Herman) and absorbed the knowledge and discipline to create her chapter of the Hy-Brasil story.
Taz travelled to Japan and became fascinated with Japanese culture. She lived there periodically for 3 years, spending thorough time observing the people and landscapes. She indulged in the local culture, working in bars doing live painting shows at night. Her practice evolved to reflect Japanese printmaking and ink drawing, articulating form with simple, gestural strokes. She learnt to work quickly and spontaneously, to create a narrative out of the composition.
Upon returning home to Australia she rekindled her passion for Australian landscape, particularly around her home on the South Coast. Her most recent body of work reflects the pyrophitic nature and resilience of the bushland after a destructive summer of bushfires. She is excited to be evolving as an artist, and is passionately experimental in her studio.
Tasmin collects knowledge with her travels. Her practice is forever changing, growing, evolving, never laying subject to the confines of discipline.

Education and Awards
• 2011, HSC major work under R. Tarrant “Sisters. Same-same, but Different”. This work was
short listed for the NSW Art Gallery Art Express Exhibition, Sydney, NSW
• 2015, Bachelor of Fine Arts, COFA (UNSW Art and Design), Major in Drawing and Painting,
Completed under D. Eastwood, P. Sharp, P. Thomas, K. Banyard and M. Tong, Sydney, NSW
• 2017/18, youth representative for Northern Beaches Art Walk, community project, Northern
Beaches Council, Sydney, NSW
My work is included in public and private collections throughout Australia, Asia and Europe.


Peta West is a practicing contemporary Australian printmaker whose work taps into the sublimity of her surrounding environment on the South Coast of New South Wales.

Working primarily with linoleum, West creates immersive large-scale prints that beguile audiences with their intricate detailing and depth. West’s prints are worlds unto their own, each a self-contained universe, where plants and animals appear in abundance. They are odes to the natural beauty and resilience of the Australian bush.

Prior to printmaking, West was a photographer for over two decades, a medium which allowed her to develop an eye for composition, depth and balance. This initial training in darkrooms forever instilled in her a love for monochrome, as well as the tactile process of working an image out of a medium.

In 2021, West was a finalist in the Burnie Print Prize, Tasmania. In the year prior, she was a finalist in both the Arts in the Valley Art Prize, Kangaroo Valley, NSW and the
Ravenswood Australian Women’s Art Prize, Sydney.


‘I am still, life, even so you are fleeting’
My concern is to convey the fleeting nature of life.
These paintings reflect on the fragility of life and the ephemeral nature of it. The realisation of these paintings are a direct response to the current zeitgeist of political instability, post pandemic mindset and the speed of digital evolution.
The subject of flowers and their aesthetically pleasing forms, vaguely recognisable in its hastened pace, represent humanity in modern times…beautiful yet so incredibly delicate.


Sometimes I ask myself: Is my art coming from an emotional feeling
uncontrolled and free?
or have I absorbed enough inspiration to somehow tap into it randomly but with an
unseen knowledge?

After some thought I have come to the conclusion it is probably both. And the more I practice the more each artwork seems to start from this emotional space.
Allowing the brushstrokes to move without obvious purpose but with an intent of some kind. Reaching for the palette of colours indicative of my emotional mood that day, I start to see a base artwork of uncontrolled drips, bold mark making and interesting textures I would never have achieved if I had an image preprepared in my head or on paper. This process then allows me to determine where I head to next.
Sometimes I use these freeform base layers to continue as a landscape or I move into a figurative piece.
As a figurative artist I spend much of my time watching others or thinking about how I feel and how I am responding to a situation. It could be a small moment in time, a seated figure or even the elements to which I respond.
As with landscapes, I prefer to immerse myself in the landscape to properly absorb the emotion of a place. The practice of plein air, so important to collect the raw feeling of a place and also just to be in the wilderness is enough to transport you back there once in the comfort of the studio.
My landscape work has become an integral part of my figurative work. You can see them melding together as one. But at times, I also choose to work in a simplified form keeping landscape and figurative seperate. The landscape / figurative work can end up being a complex process and the simplification is my other side counterbalancing myself and giving me space to breathe.