Peta Minnici (b. 1990, Sydney) is an Australian artist whose paintings examine the construction of perception through interior space. Working in oil, she builds architectural environments in which light, reflection, and surface structure the image, subtly destabilizing a single, fixed viewpoint.

Her compositions are organised around thresholds—doorways, corridors, and windows—that direct and interrupt spatial continuity. Within these spaces, polished floors, mirrors, and glass surfaces reflect and reframe the scene, producing shifts between interior and exterior, presence and absence. These elements do not simply describe space but actively reshape it, creating moments where the image appears to hesitate or realign. Figures appear intermittently within these environments, often partially obscured or absorbed into surrounding light and reflection. Rather than acting as narrative subjects, they function as contingent presences, emerging only under specific spatial and visual conditions.

Alongside these interiors, Minnici’s still life paintings extend this investigation through arrangements of glass and reflective objects. Here, form is defined through tonal relationships and surface interaction, where reflection and shadow alter the stability of the objects themselves. Through a restrained palette and controlled handling of light, Minnici constructs images that unfold gradually, inviting sustained looking while quietly disrupting the coherence of the depicted space.

Minnici has exhibited widely across Australia in both solo and group exhibitions, including at Manly Art Gallery & Museum, Brett Whiteley Studio, the National Art School, Kedumba Gallery, and Clayton Utz. Her work has been recognised with major awards and accolades, including the John Olsen Prize for Drawing, the Parkers Fine Art Award for Painting, and the Kedumba Drawing Award. She has been a finalist in the Dobell Drawing Prize (2019, 2021), the Brett Whiteley Travelling Art Scholarship (2017), the Calleen Art Award, and the Fisher’s Ghost Art Award, among others. Residencies include the Bundanon Trust and Presbyterian Ladies’ College.

Her work is represented in both private and public collections across Australia and has been profiled in Art Collector magazine, as well as in critical writing by Amber Creswell Bell (Still Life) and Max Germanos & Judith Pugh (Clayton Utz: The First Five Years).

Minnici holds a Bachelor and Master of Fine Art in Painting and Drawing from the National Art School, Sydney.