CV & BIO
Fiona Roberts is an Australian contemporary artist whose immersive installations examine themes of psychological and physical safety. Born in Darwin and based in Adelaide, Roberts’ work explores the interplay of symbolism, superstitions, rituals, and belief systems. Her practice frequently addresses dualities such as fear and safety, attraction and discomfort, and the broader complexities of the human experience.
Roberts holds a Bachelor of Visual Art (Honours) from Adelaide Central School of Art and a Master of Teaching from the University of South Australia. Her 2024 solo exhibition, Hereafter, at Hugo Michell Gallery in Adelaide engages deeply with themes of mortality and transformation. This exhibition extends her ongoing inquiry into the fragility and impermanence of the human condition, while exploring how various belief systems provide solace amidst the unsettling concept of impermanence.
Roberts’ work explores the interplay between familiarity and latent complexity, as seen in exhibitions like Façade (2018) at Adelaide Central Gallery and Intimate Vestiges (2015) at KickArts Contemporary Arts in Cairns, which examined domestic spaces by juxtaposing the comforting aspects of home with their concealed dangers and hidden histories. She has exhibited both locally and internationally, most notably in Pure Not Proper (2018), Los Angeles, TAKE!EAT! (2015), London, and A Book Between Two Stools (2014) at the Boghossian Foundation in Brussels.
She has received awards such as the BankSA Best Visual Art and Design Award at the 2018 Adelaide Fringe Festival and has received multiple grants from the Australia Council for the Arts. Her work has been featured in numerous publications including Victionary’s Dark Inspirations (Hong Kong), Dark and Fetish Art (Japan), and more recently her work was featured on the cover of Art Collector magazine.
Her works are held in national and international collections; such as the Art Gallery of Ballarat in regional Victoria, and several pieces on permanent display at Galila's POC in Brussels, Belgium.
EDUCATION
Master of Teaching, (Art Education and TESOL) University of South Australia
Bachelor of Visual Art (Honours), Adelaide Central School of Art.
SOLO EXHIBITIONS
2024 Hereafter, Hugo Michell Gallery, Adelaide (May 23 – June 22)
2021 Lucky Dip for a Finger Tip, online event in response to Covid-19
2018 Façade, Adelaide Central Gallery, Adelaide
2015 Intimate Vestiges, Format Collective, Adelaide
2015 Intimate Vestiges, KickArts Contemporary Arts, Cairns
SELECTED GROUP EXHIBITIONS
2024 Loreto Spring Art, Loreto College
2023 Purenkel Galleri, Oslo, Norway
Makers Market, Rollie, Melbourne, Australia
2018 Pure Not Proper, Los Angeles
2017 Morbid Curiosities, Peanut Gallery, Adelaide
2016 Little Boxes, Adelaide Town Hall
2015 TAKE!EAT!, London
Three Views, Framed Gallery, Darwin
2014 Waterhouse Natural Science Art Prize, South Australian Museum
A Book Between Two Stools, Boghossian Foundation, Brussels
2012 The Beginning of The End, Format Gallery, Adelaide
Tough Love, Australian Experimental Art Foundation (AEAF), Adelaide
he Helpmann Academy Graduate Exhibition, Drill Hall, Adelaide
SELECTED AWARDS & GRANTS
2024 Art to Art prize for Falling Veil, Loreto Spring Art
2018 BankSA Best Visual Art and Design Award, The Adelaide Fringe Festival
2017 Arts project for Individuals and Groups grant, Australian Council for the Arts
2013 New Work Early Career Grant, Australian Council for the Arts
2012 People's Choice Award, The Helpmann Academy Graduation Exhibition
The Hill Smith Gallery/Helpmann Academy Friends Travel Award
SELECTED PUBLICATIONS
2025 Smith, B., Art Collector Magazine, Issue 111, Jan–March 2025 (Front Cover, p.170–171)
2022 Dark Inspirations, 20th Anniversary Edition, Victionary, Hong Kong
2020 In Vogue, Vogue Living, Jan/Feb edition
2018 Dark and Fetish Art, PIE International, Japan (p.350–357)
Neylon, J., Curiouser and Curiouser, The Adelaide Review #455
2017 Hey! Modern Art and Pop Culture Magazine, France
2016 We The People, Satellite Journal, New York
Dark Inspirations II, Victionary, Hong Kong (Foreword p.6–7; artwork p.196–201)
Textiel Plus, Netherlands
2015 Waters, S., ‘Fiona Roberts – check out’, BL!SS magazine, California
2013 Lyall, S., The Beginning Of The End, Artlink, Vol.33, No.1 (p.88)
2012 Sex + Design, RED, Volume 2, San Francisco
Panorama Architectural Newspaper, ‘Eyeball Chair’ (p.3)
Scopophilia, The Big Issue Taiwan, October (p.68)
EziBang (Chinese E-journal), September
Sanders, C., The eyes have it, The Adelaide Review #385 (Mar)
Nunn, L., ‘Beauty is in the eyes of the upholsterer’, Adelaide Advertiser (Mar)
COLLECTIONS
Art Gallery of Ballarat, Victoria, Australia
Galila’s P.O.C, Belgium
National and International private collections