HomeGround is a program for emerging regional artists. The successful applicants are given a minimum of twelve months to develop new work for an exhibition. The applicants work closely with  curators at the Western Plains Cultural Centre to realise the exhibition. Once the work is complete, the artists are involved in the installation of the exhibition, giving invaluable experience of showing their work in a public gallery.

The HomeGround program replaced the WPCC’s highly successful ‘Regional Art Space’  – making it bigger and better by reaching out to all of regional NSW.

Applications for HomeGround have been extended to 20 October 2017. Information package and application form available via the Western Plains Cultural Centre.

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White Wash is an exhibition that explores concepts surrounding the history of the Stolen Generation and its failed role in the attempt to breed out Indigenous heritage through policy based on skin pigmentation. Paris Norton is a Gamilaroi woman who lives in Dubbo with her young family. She sees her photography her way of passing knowledge and stories to younger generations, getting them to challenge and express what it means to be Aboriginal in modern Australia.



Gregory Carosi’s 365 immerses audiences in the visual and temporal compression of 365 days of seasonal shift. The exhibition explores the subtle, elusive influence of the weather on our lives and, more broadly, the ways in which cycles underpin everything we do. Sweeping gestural marks, set in counterpoint to expansive zones of negative space, establish complex and incongruous rhythms that seek to embody the increasing unpredictability of accelerated climate change. Unable to be taken in from any single vantage point, 365 asks audiences to move through the gallery space in order to grapple with, and reflect upon, the elemental forces that shape our everyday experience.

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lines are drawn

Painting on canvas is an invention of the 15th century and for artist Georgina Pollard it represents a convergence of architecture and textiles. By removing the stretcher bars, and thereby removing the element of architecture, the paintings emphasise textiles and its relationship to the architecture of the space. Pollard creates her paintings by pouring paint in different directions to create a fabric out of the surface of the walls. The works in this exhibition consider the lines drawn between architecture and textiles, permanence and transience, space and surface, male and female.