Yet the true richness of a stay here isn’t always in what’s obvious. It’s in the details that reveal themselves slowly — the kind you don’t expect, but remember long after checkout.

Wander the hotel’s corridors and lounges, and you’ll notice them: moments of colour, texture, and story on the walls. The art here is not filler. It’s a curated collection that speaks of individuality, creative boldness, and the quiet satisfaction of discovering something you didn’t know you were looking for.

These works invite you to pause, lean in, and wonder. They remind you that a great hotel stay isn’t only about service, comfort, and location — it’s also about the unexpected touches that spark conversation and connect you to something larger.

A Gallery in Motion

Christian Thompson AO — King Billy #1 and King Billy #3, 2011 Staged self‑portraits rich with symbolism and saturated colour. Thompson, a Bidjara artist, uses adornment, gesture and gaze to braid identity, memory and history — reclaiming narratives with quiet power. The result is contemplative and commanding; portraits that feel ceremonial yet intimate.

Emma Summerton — Elle Fanning, 2020 (Vanity Fair) A luminous study in poise and imagination. Summerton’s fashion lens favours dreamlike worlds; here, Fanning’s presence is cinematic rather than simply star‑driven — a portrait that invites you to linger on light, texture and the suggestion of a story just beyond the frame.

Darren Sylvester — Anytime But Now, 2014 Crisp, hyper‑composed and quietly surreal. Sylvester distils pop culture feelings into a single still moment — familiar yet unplaceable, like a memory caught under studio lights. It asks nothing loudly, but it stays with you.

Fergus Greer — Leigh Bowery, Session VII, 1991 An arresting encounter with the late Australian performance artist at his most theatrical. Greer’s collaboration with Bowery produced portraits that are part costume, part confrontation — a fearless assertion of self that turns the corridor into a stage.

When we take a short break here, we’re reminded of one thing: you don’t just stay at the InterContinental Sorrento. You explore. And sometimes, the most memorable journey is the one you take between the lobby, the restaurants, the bathhouse, and your room.

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Feature exhibition of drawings, small sculptures + limited edition prints by Charles Blackman from the Blackman Family Collections.

Included are some of Blackman’s iconic images such as the striking, coloured lithographs “Alice’s Shoe” and “The Presentation”; delightful original line and ink drawings on themes such as Country Breakfast, Le Jardin des Plantes, Schoolgirl and Cat, Angel with Flowers and TS Eliot’s Cats. Plus, rare, limited edition, bronze, powder coloured, small sculptural maquettes, featuring cats, figures at windows, and dancing couples adapted by Blackman from his 1969 3D cardboard cut outs now in the collection of Heide Museum of Modern Art. Curated by Christabel Blackman and Susan McCulloch (Free event)

OPENING MORNING SUNDAY DECEMBER 8 | 11am – noon

Christabel Blackman and Tracee Hutchison: In Conversation

In conversation, book signing and exhibition opening with artist, fine art conservator and author Christabel Blackman and award-winning journalist Tracee Hutchison. Christabel and Tracee will be discussing Christabel’s new book Charles & Barbara Blackman: a decade of art and love.

Highly acclaimed, Blackman’s book is not only a moving exploration of the deep love her parents shared – as evidenced by their letters – but an eloquent, perceptive and empathetic insight into the Melbourne art scene from the 1950s. Written from an insiders perspective, the book details the lives, interrelationships and extended circles of those who were to become some of Australia’s most revered artists, as they were just embarking on their careers.

Whistlewood (home of Everywhen Art) and its owners, art critic and author Alan McCulloch and actress and writer Ellen McCulloch, were part of this world – their work, lives and shared interests intertwining with those of the Blackmans and scores of other artists, writers and other creatives over many decades. Many of these artists, including the Blackmans, visited Whistlewood during these years. Such visits are now recorded in both Christabel’s book and Rodney James’ book on Alan McCulloch, Letters to a Critic.

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