Archive : 2016

November 30 - December 17, 2016


Rachel Jessie Rae OConnor

Glitter Modern

Glitter Modern is a post-modern punk trope that pokes fun at the patriarchal history of painting by creating work that uses a material usually relegated to the domain of the stage, festival, craft shop or pride parade. Glitter Modern investigates formal qualities of colour, texture, shape and light to playfully disrupt pictorial space.

Victoria Holessis

Body Of Work

My practice-led research investigates how the artificial is capable of possessing organic qualities that seemingly mirror the traits of humans and organic matter. The artificial focuses on the self-referential agency of thermochromatics, darkroom printing and latex. Is the materiality of these artifices and synthetic processes indicative of arttificial 'autonomy' - a component of an exclusive technological DNA (tDNA) unique to the artificial paradigm? 


Tansy McNally

Its a test (designed to provoke an emotional response)

Tansy McNally’s recent paintings are intended to be difficult.These works bear the mark of frustration after the artist returned from a (partially) disappointing adventure spent abroad in London - but an adventure nonetheless. She has no regrets.The paintings may appear over-worked and overwrought but overthinking situations comes naturally to the artist. The artist is currently tired with the tried and tested methods of her practice and as a result has allowed her artistic ennui to dictate her approach (with mixed results.)

The works are intended to be uncompromising, unyielding and frenetic - you’d be forgiven if you think they appear awkward or at least different from the work she has created in the past. As always the imagery in her paintings is derived from low-resolution and static infested footage of rock and punk music videos, which have been salvaged from old VHS recordings and uploaded on YouTube. No longer satisfied with merely translating or faithfully illustrating these images, the artist has allowed herself to explore other modes of representation, often to breaking point where the final paintings themselves look as if they may burst at the seams - indeed, some of them have.

Does the artist feel satisfied with this collection of work? She isn’t sure but she intends to remain uncompromising in her approach to her practice, no matter how difficult…

November 9 - November 26, 2016

Josh Hook

The Perfect Wall : A Performance

Perfectionism, obsessive compulsiveness, engrossment, call it what you will the artistic process can be engulfed by a sense of overwhelming anxiety when it comes to achieving desired outcomes. This process is one which is often unseen, not thought of, a behind the scenes documentary never made and never viewed by anyone. The Perfect Wall; A Performance uses audiovisual, installation and performance to express the compulsion of obsession and perfection which goes hand in hand with many artists practices. The work seeks to perform and loop the creative ritual of setting up an ideal blank canvas from which to work, the destruction and break down that can occur and the eventual rebuilding to begin again. Exposing the dynamics of a creatives relationship to a blank page and the frustration that can come from the wrong environment, the wrong tools and the wrong frame of mind. 

Travis John

Rest In Pasta

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fatcats got friends

Steven Rendall, Vittoria Di Stefano, Sam Martin, James Little (curated by Kent Wilson)

Running Interference

In an exploration of art’s power to transfer information both internally and externally, Running Interference brings together four very different artists working across a variety of media. These artists manipulate multiple channels of information and the artworks they produce weave, loop and integrate flows of data. 

While each artwork and artist works to particular ends with particular means, it is this characteristic of multi-channel information transfer that renders them related. Drawn together for this small moment of time, Running Interference focuses our attention on this specific quality of the artworks’ complex nature.

Whether it is the cycled feedback of images, sound and data running through the filters of technological software and hardware (Rendall); the transitional forces running between and through characteristically disjointed materials (Di Stefano); the decoyed cross-pollination of image delivery systems (Little); or the conflation of image and object (Martin); this exhibition celebrates underlying complexities in construction, ingenuity in assemblage creation and the richness of artistic practice among these artists.

October 19 - November 5, 2016

Natasha Manners

Balancing on Husafel

Carried out on the edge of a busy roundabout at a large boulder across the road from a legendary Icelandic MMA gym, this film contemplates the weight of my body, a crocheted chain made from Lopi (Icelandic wool) and the boulder. Without pitting one material against another it attempts an equilibrium between the wool’s breaking point and the balancing of my body against a heavy weight. This acts as a personal endeavor to forge more primal connections with a specific place. 

Natasha Manners is a Melbourne based artist who graduated with a Bachelor of Fine Arts (Hons) from Monash University in 2015.  

Claire Mooney

Pattern Remains

Pattern Remains is a series of recent artworks by Claire Mooney. The works take inspiration from textiles and quilting, bringing together fragments of colour and pattern to create works that inexorably slide from order to entropy.The works play with an ambiguity of construction and destruction. Like quilts themselves are made up of multiple scraps of fabric from different spaces or places, these works cobble together disparate geometric and organic patterns into new arrangements. Using collage, photography, print transfer and paint, the splintered parts of nature-pattern and ornament are woven, layered and flattened together, aligning with or interrupting the other, seeking a final dissolution. 

Claire Mooney completed a Bachelor of Fine Arts (Honours) at RMIT in 1999, a Master of Visual Art at the Victorian College of the Arts in 2004, and a Postgraduate Diploma in Education at The University of Melbourne in 2010. She has been a practising artist for the past 15 years, and has exhibited her work regularly in solo and curated shows. Since 2006, Claire has been actively involved in the Melbourne ARI sector, at various stages acting as an administrator, gallery director, researcher, board and committee member, advisor and, most recently, Education Program Coordinator at BLINDSIDE. In addition to her ongoing arts practice, Claire currently teaches Art at Montmorency Secondary College. 


Cosima Scales & Caitlin Casey

Interrupted Horizons

Interrupted Horizons is a show about representing the landscape. For the past couple of years, both of our practices have orbited around this subject using two different mediums, photography and painting.

The works in this exhibition were made in response to the ideal landscapes of the European tradition, which are typically arranged around a vanishing point and offer a single view into a space, while also suggesting an unbounded environment beyond the picture’s edges. This is the frame that is often still used through which to view and understand the landscape.

Caitlin Casey hopes to draw attention to this predetermined understanding of the landscape in her work. The series of works in this exhibition, taken at the Royal National Park near Sydney, include subtly altered photographs in order to disrupt a typical, idealized reading of the landscape. Caitlin is a practicing artist and gallery manager based in Sydney, working in photography and video. 

Cosima Scales’ paintings are an attempt to present non-panoramic representations of natural subject matter, avoiding the traditional compositional structure of landscape. She lives and works in Brisbane, working in painting and drawing, and is currently completing a Master of Visual Arts by research at the Queensland College of Art.


September 28 - October 15, 2016

Kaitlyn Hickey

I Would Like To Go But I Worry About My Things

Exploring the ongoing need to be both surrounded with a personal archive of objects and create new objects by hand, ‘I Would Like To Go But I Worry About My Things’ investigates how these outputs are two manifestations of the same compulsion. The exhibition is part of an ongoing study into the power of textile matter to document memory and trace, and sewing as a process driven by projected nostalgia. Through recreating a selection of personal, decorative objects, a blurring of both public and private, collection and curation is presented.  

Kaitlyn Hickey is currently undertaking an Honours year at the Victoria College of the Arts. Her mother taught her how to sew.

Darren Munce

Romance Bloody Romance

Following an exhibition of new paintings presented at Kings Artist Run in August, Darren Munce’s examination into the cognitive functions of habituation and apperception continues in Romance Bloody Romance. After over 10 years of living in the same house, a move to an unfamiliar northern Melbourne suburb creates a heightened sense of awareness. These works on paper investigate responses to the aesthetics of unknown surroundings; in seeing things for the first time, in the psychology of a new moment. Detached from the world of objects and filled with analogies, rhythms and metaphors, this autobiography of abstract drawings is driven by discoveries made over the passage of time.

Regularly exhibiting at some of Australia’s top ARI’s, including most recently at Sydney’s MOP Projects and Kings ARI in Melbourne, Munce’s work has featured in solo and group shows at home and abroad. He has been recognised through a series of important scholarships, grants and awards and in 2014 was selected to undertake an international residency at the Leipzig International Artist Program in Germany. His work is held in private collections both in Australia and overseas. Munce is the Technical Coordinator, Painting Technologies at Victorian College of the Arts (VCA).



Emma Collard, Tegan Iversen, Rebecca Jane Marshall, Preyada Apiwattanatam

Window Shopping

Window Shopping should offer relief from the overarching value systems and expectations of the arts and cultural sector. The curatorial premise for this group-show will hold an air of fun and intrigue - easing the pressures often attributed to artists and their output.

Window Shopping draws from and subverts various visual merchandising methods and display tactics. This concept is drawn out by each of the artworks included, which are either made from or depict materials often found in shops and other commercial settings. These works include draped material, mirrors, drawings of food – all of which have been taken out of their original context, and re-rendered as colourful or intriguing art-works. This installation heavy method should reflect the relaxed and engaging nature of window-shopping.

September 7 - September 24, 2016

Katie Paine

Future Devonian Archive

Dreams where fine silvery grains of sand coat my eyes, sucking away any moisture. Vision flickers. A ruined tower in the distance, an Encyclopaedia Brittanica on your table. 

Doubtful sound. Bitter coffee that leaves an oily coating on the back of my throat. Lush misty forests in which no birds had ever lived. The water is so still, a polished mirror to the sky above. Heath Ledger's Joker leers over stodgy tourists wearing caps and Birkenstocks, licking salt off their purple fingertips. 

He opened his mouth and she saw that the whole universe sat in buried in his chest. Lightning ravaged the west coast and the next morning branches littered the ground like bodies on a battlefield. The computer whirred and then emitted series of bleeps: A temporal fault had been detected. 

Set in an alternate reality of indeterminate time-era, this exhibition presents the debris left from the offices of an enigmatic political consultancy firm. After a schism in temporal policy, software has malfunctioned: memories leak, time collapses in on itself. 

Future Devonian Archive* uses fictional and found material to highlight the slippery relationship between memory and reality by presenting both real and fictitious documents as equally capable of constructing an acceptable narrative . Another version of events is offered, introducing a myriad of possible futures for each document, providing the chance for each event to live on in a fictional narrative.

*Devonian is the name given to the time period in which fish began to walk upon land.

Janice Gobey


“When the power of love overcomes the love of power, the world will know peace.” 
― Jimi Hendrix

We live in a very interesting time, the world appears to have gone crazy, 65 million refugees on the move, Donald Trump for President, Brexit –all characterised by fear and the rise of the far right – a level of suspicion of the other. This seems to be mirrored in all aspects of life from the big political moves, to everyday attitudes in blog posts or the comments section of The Age.
A time where you want to assume the foetal position and return to the womb, why is the world so complicated and why has this shift taken place? Have we learnt nothing from history? It is a time to pick love over fear, a time to collectively seek peace over war. 
Panacea explores a world where there is no racism, sexism, hatred, but replaced by love. Janice Gobey has continued her love affair with fur, her paintings speak of picking light over dark, exploring the dualities of fur, attraction and repulsion, mirrored by what is happening in the world. You are also invited to enter The Peace Room – a place for contemplation where there is no language, no politics, no racism, sexism, homophobia, just a place to be, to think about peace and how the world could be a better place.
Janice Gobey is a Melbourne based artist, working in painting and installation. Her work researches the human condition, she is particularly interested in Trauma and Healing.

Hayley Lander

Defying Containment

Defying Containment displays a recent series by Canberra based artist Hayley Lander that span the genres of painting, installation and sculpture. Each artwork displays a delicate balance between an intricate organic disposition and geometrical structure. Defying Containment uses this compositional balance to reflect on nature and humanity’s refusal to stay contained inside opposing boxes of thought and experience.

Hayley Lander works predominantly within the field of painting and installation. She completed a BFA (First class Hons) at the ANU School of Art (2014). Recent exhibitions include ‘BLAZE 10’ (2016) and ‘The Foundations of Place’ (2016) at Canberra Contemporary Art Space (CCAS). Within the year after graduating Hayley was a selected finalist for both the ‘Hatched: National Graduate Exhibition’ (2015) in Perth and the ‘Macquarie Group Emerging Artist Prize’ (2015) in Sydney.

August 17 - September 3, 2016

Daniel Gawronski

The Walls Can Sing

The Walls Can Sing sound installation is composed by Daniel Gawronski featuring vocals by the artists Ellie Thurlwell (UK), Annabelle Ng (Malaysia) and Sacha Ratcliffe (Canada). This project was completed at De Licieras 18, Artist Residence in Porto, Portugal, Jan 2016.

The composition is crafted by translating the naturally occurring patterns and imperfections on walls inside the gallery into musical notes. These patterns are highlighted by the position of motion sensor lights and the resulting notes sound the pitch and tone of the vocals.

The words in the composition are from a verse in the poem titled "To Love!" by the Portuguese poet Florbela Espanca (1894 - 1930).

'And if one day I am dust, ash and nothing,

Let my night be a dawn,

So I can lose myself...and find myself...'

Daniel Gawronski is an artist based in Melbourne. The focus of his work is about nature, time, technology and our connection to it. It seeks to identify and reveal a connection between the apparent and the subliminal impulses that shape this world. His exhibitions include ‘Dust Plate’, Seventh Gallery, Melbourne 2015, ‘Hidden Symphony’, L’Estruch, Sabadell 2015 and ‘Reminisce’, El Spacio Practico, Barcelona 2014. He has completed artist residencies at De Licieras 18, Portugal in 2016, L’Estruch and Metafora, Spain 2015.

Elizabeth Bodey

Fields and Sites

My paintings reflect on place as an experience of the senses. So in the space of a painting I am interested in the merging of aspects of place to create forms of cultural abstraction through the language of line, colour, space and texture, all with their origins in the haptic.

Topography and cultural forms such as music and performance have informed my painting practice particularly though the sensations of sight, sound and touch. This has resulted in the putting and placing of colour within a variegated gridded structure suggesting both rhythmic and arrhythmic patterns of chance, vigour and calm.

Elisabeth Bodey 2016

Stefanie Robinson


This work is Stefanie’s response to her experiences as a community artist, bearing witness to stories of trauma that flow from or lead to the loss of a home, a safe space, a community.

“If only rebuilding a home, a community, a future was as simple as twisting some found rope and reclaimed copper…”

Hope is a fragile thing, so easily lost sight of in the barrage of media and world events. But it is “the thing with feathers that perches in the soul – and sings the tunes without the words – and never stops at all.” (Emily Dickinson)

Stefanie Robinson is a multimodal artist practising in installation, theatre-making, puppetry, visua arts and community arts. She completed the John Bolton Theatre School (1996), the Postgraduate Diploma  Animaturing/Dance at the Victorian College of the Arts (2004) and has presented work nationally and internationally.

July 27 - August 13, 2016

Sarah Gosling


Fervid is a collection of small paintings inspired by themes of law enforcement and social justice. The paintings carry an emotional weight as I attempt to inject my own personal perspective into the work. Using an extensive image collection of references, my ideas are developed through collaging or editing the image to create new compositions. I'm consciously avoiding being tied down to the initial reference, instead letting the painting evolve instinctively.

Sarah Gosling completed a BFA from Monash University in 2010. She has since had numerous exhibitions in Melbourne and rural Victoria. Sarah lives and works in Castlemaine, Victoria.




Kaya Barry

Emergency Diagrams

Emergency Diagrams plays with movements and experiences of spaces encountered during air travel. It explores the aesthetic design of aircraft safety cards – the laminated cards in planes that direct passengers what actions to undertake in emergencies. Each work extracts a micro-movement or process from the abstracted and stylised diagrams. The viewer is invited to contemplate the depiction of complex emergency situations where movements are represented merely by pictographic elements such as arrows, lines, and abstracted spatial relationships. A conflict emerges when attempting to imagine the positioning of one’s body in order to enact the instructions. The intention is to amplify the ambiguity of how we represent and perceive relationships between bodies, spaces and movements. 

Kaya Barry is currently based in Brisbane. Her practice involves producing interactive installations that utilise site-specific engagements with spatial perception, mobility and embodiment. Working across the areas of mobilities, creative arts, and geography, she has recently completed a practice-led PhD at Deakin University. She has exhibited in Australia, internationally, and online. Kaya teaches new media theory and practice at Griffith University and is an Adjunct Research Fellow with the Griffith Centre for Social and Cultural Research. 

Nick Hertzog

Out There

Out There explores a psychic tension between the urban landscape and the digital image. The urban landscape is haunted by the troubled ghosts of abandoned buildings and hidden passages of drains and waterways. These haunted landscapes find themselves inhabited once more, possessed by choking weeds and the occult magic of endless tagging. They are home to strays both animal and human who live wild within their fragile boundaries. Through multiple videos, the installation summons the ghosts out there to possess the image. Captured and distorted, the delicate ruins are preserved beyond their physical sites and infect the digital image with a continued spiral of ruin and renewal.

Nickk Hertzog is a multi-disciplinary artist from Melbourne. He has a BFA (Hons) and MFA from Monash University and is currently undertaking his PhD at VCA, University of Melbourne. He has collaborated on several exhibitions in various Melbourne ARI's including Blindside, Seventh and Kings. This exhibition will feature works he has been developing throughout his PhD.


July 6 - July 23, 2016

Leanne Waterhouse

Urban Shock

Leanne Waterhouse uses digital collage to recontextualise and reimagine new experimental work that attempts to make sense of the confusion, doubt and anxiety caused by relocating to a new place and discovering that the location left behind was just as foreign. Urban Shock explores the use of digital media to capture the direct environment and manipulate those images to evoke an emotional response. Our perception of time is often altered, our oversaturation of imagery becomes blurred and we can lose touch with the known.

Leanne Waterhouse finished her Bachelor in Visual Arts in 1998, completed a graduate certificate at VCA in 2014 and is currently completing a Masters of Fine Art at RMIT. She has exhibited extensively around the country in both solo and group exhibitions. Her work is multidisciplinary and includes digital media, sculpture and performance.

Brett Ferry


Ecotone is a transitional area between two ecosystems. It is where two communities meet and integrate. An ecotone may appear on the ground as a gradual blending of two communities across a broad area, or it may manifest itself as a sharp boundary line. It is this notion that has been used as the basis for the subject matter for this series of paintings and prints. This idea has also manifested itself as an analogy for Ferry’s working practices, as he explores the middle ground where technology and tradition meet.

Brett Ferry has completed a BFA-Printmaking at Victorian College of the Arts, and a Graduate Diploma of Education at The University of Melbourne. He is currently working within education, living and exhibiting in the Melbourne area.

Jordan McKinnon, Cameron McDonald, Thomas Kuiper

Fantasy: Ambitions Towards The Epic

Working collaboratively through the medium of hand drawn animation, the artists will be exhibiting as central focal juncture a sculptural prismatic hologram. Obelisque in stature and ethereal in presence, the tidal, spectral image, manifested through digital video, negotiates the holistically desirous fantasy compulsion. Addressing the speculatory nature of fantasy and its associated vaulting ambition the exhibition speaks towards the ubiquity of the aspirational agenda in the context of the epic. Accompanying the hologram prism will be an image series, which addresses the primordial creative stimulant of the star; its celestial luminance reiterating the gesture of the intangible holographic light.

June 15 - July 2, 2016

Peter Summers

nowhere now here

'Nowhere now here’ is the second installation of small to medium scale paintings produced whilst living in Shanghai and in the most recent months in Melbourne. Peter Summers’s work exhales a full acceptance of the futility of painting in the 21st century. He is responding to the situation not with cries of protest, lament or frustration, but with whispering assertions of the memory and potential instinct in the materials of painting, thanks to its long history. Over the past 20 twenty years Peter Summers has become known for his abstract oil paintings that are at once reductive and expressive. His subtle and arresting works on canvas demonstrate a complex, intriguing expression of Minimalism. The paintings are built up layer by layer with various colours of alternately opaque and translucent oil paint. Summers’s paintings marry a meticulous investigation of the fundamentals of the painterly process and an emphatic insistence on the materiality of both canvas and paint, with deeply resonant explorations of the affective qualities of colour, light and hue.

“What I'm attempting to paint is very much involved with the application of paint and the idea of how to make a painting where the application of paint is actually a structural element. But it's not predetermined, and so each painting is extremely different. They are very pared down, very quiet, and the kind of activity that's happening in the paintings are not always overt.”

Sabrina Baker


Chatter is a solo exhibition by Sabrina Baker, an emerging artist from Canberra. It ponders the artist’s insatiable need to communicate. Baker collected the data of her conversations conducted over the course of six months to varying degrees of accuracy and using coloured wool and rope she creates visual representations of this data. Patterns start to emerge with giving an insight into the artist’s networks. Alongside the ropes, Baker has reconstructed blankets into oversized maritime signal flags that spell the word STAY. Canberra is a transient city where everyone seems to be coming and going often passing like ships in the night, these blankets are the artist’s response to the constantly changing movements of those around her.

Sabrina Baker is an emerging artist from Canberra. After graduating from the ANU School of Art in 2013 she began working at Canberra Contemporary Art Space as Gallery Manager. Recently presenting her first solo exhibition Pack and Unpack at ANCA in Canberra and is shortlisted as a finalist for the 2016 Yen Female Artist Award.

Troy Mendham

The Gucci

If you’re talking to me and I vague out on you it’s probably because I’m thinking about painting. I have about 20 on the go in my mind at any given time, all of which fly in a holding pattern until one pushes forward to the front of the queue and demands to be made. For inspiration & ideas I mine the vast digital landscape, picking up shiny gems in the hidden corners of our shared visual culture and placing them in a dreambox for later reference. Eventually these virtual eureka moments find themselves ITRW transmuted, abstracted and rendered in paint, by hand.

Troy Mendham lives and works in Melbourne Australia. Recent solo presentations include exhibitions at Seventh, Fort Delta and Trocadero Artspace. In addition to conventional gallery exhibitions, Troy leaves works in public places around the world in acts of what he calls ‘ambush exhibiting' #ambushexhibiting.

May 25 - June 11, 2016

Maddison Kitching

Out Of Place Out Of Touch

Out of place, out of touch is a series of paintings which explore the contrast of tourists to the harsh environment of the outback, Northern Territory. Each painting contains a termite mound, a figure and cut outs from Australian tourism magazines. Termite mounds are a significant tourist attraction in the NT and are repeated throughout the landscape. These structures can be seen in the background of tourists photographs where the tourist is often the focal point. Maddison Kitching’s current practice explores the commercialisation of the Australian landscape.

Nicholas McGinnity


A grid depositing form into a structural hierarchy, conveying a fatalism or an impermanence to a fixed state. Relying on self reflexive process the work engages with a certain material trajectory wherein elements from previous investigations are recycled founding new arrangements, existing between this cyclical procedure and each works assertion of this continuum experienced through sighting the installation. Approaching materials with the tactility of painting in mind, the elements that compose much of the work borrow from modernism or rather encompass material aesthetics associated with it, depositing them as props within a 'structural hierarchy' or having their presentation suggest an almost domestic function.

Travis Vella

I Dont Believe In Ghosts - Part 1

These paintings are the exploration of belief. To question painting is to question belief. These works are toying with the boundaries of truth and deception. The paintings straddle the line where an individual thought has a universal connection, where belief and painting gain or lose relevance. There is play in the fluidity to glean an opinion or isolate the unresolved. Directed ambiguity is an intentional construct to allow the viewer to formulate or question. There is a slippery narrative, a Neo – Narrative, for the constructed image as it wants to stimulate self-evaluation. The paintings are also about ghosts and the superstitions, fears and hopes, life and death, trickery, perspective, fire, light and darkness. The materials are the metaphor of its content. The imagery is tethered to the qualities of the paint and painter as the subject is to its viewer. These are paintings to be seen and felt in reality as a unique experience elevated from the screen.

May 4 - May 21, 2016

Cassandra Tytler


Thwack uses video-based performance and persona to explore a character’s endurance after a stressed encounter in a fraught environment. Tytler creates a character in a puzzling situation of post-violence. The recovery from a physical fight is the metaphorical context that is used to highlight the female body as a site for violence both literally and figuratively in our culture and the apathy we have in confronting it.

Cassandra Tytler is an artist working within single-channel video, performance, and installation. Her work explores contemporary cultural iconography and the idealized signs that exist within it. She is particularly fascinated by the symbolism of popular clichés, and within her work pastiches isolated and fragmented cultural conventions, and shapes them into revealing stories or situations. Tytler's work combines an unsettling, wry humour with a pop sensibility. It is an ongoing examination of the mechanics of performance in the embodiment of persona and its spectatorship. She has received residencies and fellowships from numerous organizations internationally and has exhibited, screened and done live performance work, nationally and internationally. Tytler completed her Masters degree at RMIT University in 2003 and is currently a PhD candidate at Monash University. 



Alex Pittendrigh, Mark Wingrave, David Palliser, Evgenia Rits, Tatiana Bonch-Osmolovskaya, Alex Cigale, Dana Golin, Peter Golub


Translation: taking a text from one language to another has parallels with what artists do. ‘Sublunar’ will foreground these transformative processes by bringing together the work of three Melbourne painters with four Russian translators from Sydney, New York and San Francisco. The writers will translate the same poem (Russian to English) and the artists will then respond to these different translations. This exhibition will highlight that translators and visual artists often work within unbridgeable gaps.

Paul Eves & Madeleine Lacey

Fragments of Time

Sourcing detritus fragments and traces from the ‘everyday’, this collaborative collection of work combines technology with a multi disciplinary approach to print media. The work explores the fragility of temporal images that make a connection through the use of abstractions of motion and time. The three dimensional space of the gallery is used to create an interaction between the works and the viewer. This transient moment of time is composed through distorted shadow images, creating a human presence in time and space.

April 13 - April 30, 2016

Teelah George

Sleazy Vignette

This series of paintings emerge from research and observations taken from the artists current home, Cottesloe WA. The works develop through a process of adding and removing paint, both on site and in the studio, acting as cues for the remembering and forgetting of history. Sleazy Vignette employs paint as a way to laminate local mythologies and histories with present day experience, combining banal every day glimpses with imaginings of the once sacred significance of the coastal area, a history that is largely unknown by present day inhabitants and visitors.

Teelah George (b.1984 Perth) is a visual artist, working primarily in painting, 
drawing, print and installation, employing archives and collections as a point of 
departure and questioning within her practice. Recent exhibitions include: Epic 
Narratives (PICA, Perth), Face Vase and Rag Painting (Bus Projects, Melbourne), 
Getting Things Done (Fontanelle Gallery, Adelaide) all 2015. George was selected 
as the non acquisitive winner of the Fremantle Print Award 2015, overall 
acquisitive winner of the City of Joondalup Community Invitation Art Award 
2014, has been a finalist in the Guirguis New Art Prize 2015, Rick Amor Drawing 
Prize 2014, Fremantle Print Award 2013, and a semi finalist in the Doug Moran 
National Portrait Prize 2013. Her work is held in the Art Gallery of Western Australia, University of Western Australia Collection, Cruthers Collection of Women’s Art and the City of Joondalup Collection

Elyss McCleary


Bedrooms can be perceived as private spaces, repeatedly hosting the dreamer resting for they say up to one third of a lifetime. The presence of their inhabitants, guests, objects and occurrences come about day and night. In this series the approach to this setting is engaged in a process of conversations and visits to friends to paint their room, accompanied by a taped up photocopy still image of a film or tv show that the person holds strong in their memory.
Throughout the discussions about the selected imagery a formation around what is perceived, imagined and recalled in media and film reveal the connection of the subconscious. The actuality of the person’s lodgings they are currently in and the screenshot placed above the bed reference a hovering of stored afterthoughts and existing moments in both real time and sleep time when images are created. The absence of the room dweller/s in the paintings produces an interior of a portrait of thoughts which sit in both past, present and future worlds. This project began in late 2015 and records collaboration between the space in a way being the protagonist for scenes of its own inhabitants over time. 

Tatjana Este

Blooms of Hesperides

Blooms of Hesperides exhibition is part of the ongoing Apple of Discord project, that aims to further investigate Tatjana’s interests in the dichotomy between the beautifully packaged narratives that inform today’s society, and the often unpleasant truth that lies underneath the fabric of our oversaturated, consumerist world. 

Tatjana Este is a Yugoslavian-born, Melbourne-based, multidisciplinary visual artist. She holds a Masters of Fine Arts with Honours degree from Elam School of Fine Arts - Auckland, New Zealand. The style of her work has been described as eclectic, multifaceted and theatrical. Visually, Tatjana’s practice is predominantly informed by her European heritage. Her art-making techniques are diverse and involve a wide range of traditional and contemporary materials and mediums.
She is interested in the symbolic meaning of a familiar subject matter, and how it emerges when placed in a new context. Mainly inspired by history and folklore, Tatjana explores ideas that examine and comment on current personal and social issues. In essence, her practice is conceptually based and aesthetically driven.  Tatjana has also been involved with design projects, public and private art commissions and theatre productions. Her latest commissions include artworks for the Art Box Art club, Melbourne (2015) and the Dirty Dozen showcase in Degraves underpass, Melbourne (2015). In 2015 she has been selected as a finalist in the M Collection art award. She has been exhibiting in Australia and internationally, and her work is held in private collections in Australia, New Zealand, Serbia and Italy. Tatjana’s practice is based at the award-winning River Studios, a space managed by Melbourne City's Creative Spaces. In addition to participating in various projects and exhibitions, Tatjana also teaches art classes for adults and children.

March 23 - April 9, 2016

Yuria Okamura


IMBUE brings together four emerging artists, across the mediums of Drawing, Gold and Silversmithing and Video installation. The selected works question the ways in which the inner self fragments and dissociates itself from the sacred concept of the ‘individual’. The artworks presented are imbued with a sense of fragmentation relating to our human experience, that of the material, the immaterial and of memory. The purpose of this exhibition is to explore how these works relate to poststructuralist views of the body as ‘subject’ more so than enlightened views of the intact ‘individual’ body. To view one’s body as ‘subject’ is to 

Naoko Inuzuka, Emma Michaelis


believe that the self is a reflection of cultural, discursive and symbolic structures. These structures all interrelate to create an understanding of the body, situated within the texture of time. Influential philosopher, Jacques Derrida, stated that there is no ‘outside of the text’, that all meaning is textual and intertextual. In this sense, all meaning is drawn from systems of symbols, and language governed by grammatical and linguistic elements which create discourse; ways of speaking. It is only through the world of symbols and language that we can understand our being and thus configure the body and one’s sense of ‘self’.

Genevieve Piko


The works on display present complex inter-relations which interact to create sites of meaning. Naoko Inuzuka explores the “process of becoming” in her delicate and elemental piece, Flood; Emma Michaelis questions “individual and shared experiences of being” in her cascading work, Configuration: Ten and Ode to Two; Yuria Okamura constructs a “utopian language of geometry” in her large mural scale work, seeking to adopt an “expansive worldview”, while Genevieve Piko draws a line through the digital glitch in her immersive work, Painting a Waterfall, as a means of exploring our fragmentary existence.

March 2 - March 19, 2016

Mia Kenway

New Works

In a practice that encompasses drawing, painting and sculpture, Mia Kenway reconsiders found imagery to create a softly abstracted version of reality. The work is often subtle, in tone as well as application, and offers a new perspective of our field of vision, one that is ultimately more light and optimistic. Kenway identifies a parallel between her meditative arts practice, and the rising popularity of relaxation and mindfulness colouring books for adults. This recent series of paintings takes elements from these books and combines them with found geometric patterns in highly crafted compositions. Mia Kenway has completed a Bachelor of Fine Arts at the VCA in 2010 and a Diploma of Visual Arts at RMIT 2007. Mia has shown in various exhibitions including her solo show Common Ground at TCB in 2012. Selected group and collaborative exhibitions include Untitled, SNO Contemporary Art Projects, Sydney, Can’t Quite Pin it Down, TCB 2013, Subliminally Yours, Platform Gallery 2013, Looking at the Overlooked at George Paton Gallery in 2011 and Abstract Nature at Seventh Gallery in 2011. She was also a recipient of Maude Glover Fleay Award in 2010.

Cameron Gill, Tobias Koster

New Works

Cameron Gill graduated with a BFA- Painting from the VCA in 2010. He has since regularly exhibited throughout Melbourne and regional Victoria. In 2014 he undertook a three month residency in Leipzig Germany, as part of the LIA program.His practice is currently based out of Daylesford, and his work reflects this new rural environment, with an emphasis on landscapes that are somewhat analogous to the human condition.

Tobias Koster is a Melbourne based artist, who graduated from the Victorian College of the Arts in 2011. He is a multi disciplinary artist, working across the various mediums of painting, drawing, printmaking, photography and sculpture. In this exhibition, the body of work reflects on ideas of permanence and decay within architectural and organic structures.Tobias draws his inspiration partly from his travels throughout Holland and France, as well as his family history. These works particularly investigate abstraction through the painting, photography and drawing process. The pieces explore different realities of generational change, nature’s cycles, decay of historical structures, which reflect time and history.

Ryan McGennisken

New Works

Ryan McGennisken analyses the act and outcome of contemporary abstract painting for his gritty, spontaneous, mostly monochrome works that are created ‘alla prima’ all in one go. Sometimes front and back and all over. In perhaps a nod to Modernist art history, his works are seemingly ‘landscapes’ of material and matter. He paints in the outdoors, integrating non-art materials like dirt and sump oil that are in and of the rural landscape where he lives. He combines found matter with the more usual acrylic paint and canvas and seals the disparate materials in polyurethane for his grainy, horizon-less moonscapes that transcend time and location. -Barbara Dowse, Curator Artereal Gallery.

February 10 - February 27, 2016

Chantal Fraser


A combination of existing and newly made sculptural masks/objects, the exhibition will be a series of 'traditional' hand made headdresses constructed from items found within the artist's local environment.  The objects will question our notion of how art is labelled and read in various contexts such as fashion, popular culture, religion, militia, foreign media.  The headdresses aim to look at the transformative aspect of adornment - adornment as invincibility and adornment as used as contradiction. 

Chantal Fraser is a multimedia artist with a BFA (Honours) from Queensland University of Technology. Fraser’s practice engages in pushing the boundaries of adornment through mediums such as installation, performance and digital media. She has exhibited at various institutions such as QUT Art Museum, UQ Art Museum, Museum of Brisbane, Contemporary Pacific Arts Festival, and at international institutions including La Cité internationale des Arts in France, Les Brassières in Belgium, Tjibaou Cultural Centre in New Caledonia and Harris Gallery, University of La Verne, California USA.  In 2015 Fraser was featured in 'GoMA Q', a survey of Queensland art at the Queensland Art Gallery/Gallery of Modern Art.  Fraser will also be included in two satellite exhibitions as part of Virgin Australia Melbourne Fashion Festival at Blindside and Phillip's Shirts heritage building.

Helen Shelley, Ali Noble, Cybelle Cox

Lady Voodoo

Lady Voodoo is the convergance of a shared belief in the transformative powers of ritual and invocation as experienced through shamanism, witchcraft  and meditation. Artists Cybele Cox, Ali Noble and Helen Shelley consciously employ magic in their art practises; they turn one thing into another. Not simply earth into ceramics, paint into pictures or fabric into wall hangings. But dissonance into resonance, death into immortality, and despair into solace.

Cybele Cox’s ‘magic’ is realised through the metamorphosis of objects dissassembled and recombined with ornamental ceramic configurations. Cybele says ‘I am concerned with the reconstruction of a mythic prehistory. Witchcraft, hallucination and the ornamental substrata of art suggest another reading which may reveal the repressed feminine; the existance of another  symbolic order based in the omnipresence of the mother; both as nuturer and destroyer, creator , dissassember and reassembler of the materials of life’.

Ali Noble’s process offers alchemic possibilities, whereby cutting, gluing, and sewing invoke reinvention, renewal, and re-presentation of her reality. Ritualistic and repetitive actions bring focus to confusion, and comfort to anxiety. ‘My creative process is characterised by a spirit of transformation and reparation. Action and creation. A strong maternal (my mother was a seamstress) influence is revealed through my preoccupation with fabric and its latent sculptural possibilties.  

Helen Shelley’s practise explores the means by which her art-making integrates the departed into the present. Helen coined the phrase ‘Magical Particle Transference’ in reference to a transcendent experience when her father died. She had a vision of ‘tiny colourful specks of light emanating from my father’s body that were then subsumed by my own. The vision was at once transcendent and exceptionally comforting. At that moment, I sensed that my father as I knew him, a living, breathing human, continued to live but in a different form. In my mind, he was deemed omnipresent and thus he had been immortalised‘

Borrowing what they like from existing modes of spiritual inquiry, combined with intuition, and a good dose of ‘making it up as they go’, these artists create idiosyncratic sites of resistance and refuge.  Lady Voodoo optimisitically extols the virtues of DIY for the spiritual seeker.

Nanou Dupuis

Tangential Navigation

This exhibition focuses on spontaneous momentum in contemporary abstract painting. This is explored through the combination of traditional calligraphic mark making and contemporary method referencing graffiti. In both practices, great importance is placed upon the intuition, speed and permanence of the handmade mark: in turn, the artist uses processes and materials that are active and physical, relying upon this ‘one shot’ approach. The resulting artwork defies traditional perspective through an explosion of synthetic colours.

Nanou is a Belgian artist based in Melbourne whose work techniques and subject matter are inspired by international art residencies and her personal experience of migration.

The field of her creative practice is influenced by her artistic studies in Fine Arts and an Interior design degree in Belgium. In addition to Nihonga and Chinese painting tutorials Nanou has completed an MA in Public Art at RMIT University Melbourne.

Her work merges element from the natural environment and the urban landscape using natural mineral pigment and industrial medium to suggest depth and movement in the work. 

January 20 - February 6, 2016

Paul Van Katwijk

Manual v.s Mechanical

Tristan Davies

Ways of Seeing the Multiverse In Everyday and Household Objects

Bill Noonan, Sean Bailey, Jon Butt, Ace Wagstaff, Noriko Nakamura, Julia Theobalt, Melanie Upton, Rachel Ang, Peter Davidson, Catherine Evans, Chee Yong (curated by Ace Wagstaff)

Heavy Forms