In Monica Rohan’s Paintings, tablecloths and chairs now perch unsteadily against mountain vistas and among verdant meadows. Her Brisbane-based work shifts focus from people to domestic details, letting textiles and furniture stand in for human presence.

The artist has stripped away her characters, leaving only the items that once surrounded them—now balancing on trees or resting on hillsides. These objects, like bentwood chairs and plaid tablecloths, act as silent observers of nature’s grandeur, inviting viewers to consider their own relationship with both home and wilderness.

Rohan explains her transition: 'I’ve found this quite freeing, allowing me to explore new ideas about the relationship between people and the landscape.' Her latest exhibition, Invitations, sets this vision against dramatic scenes from Tasmania, where tablecloths appear as if hung on invisible lines and chairs balance precariously.

The ambiguity of her works—whether these items are part of nature or intruding upon it—is key. 'From their precarious vantage points, the bentwood chairs no longer offer safe and restful repose,' she notes. 'They invite the viewer to join their predicament.' This speaks to a broader conversation about what defines home in an ever-changing world.