FBi Radio Art Auction 2022

Online

14–22 June 2022

AUCTION CATALOGUE

Acknowledgement of Country FBi Radio acknowledges this fundraiser takes place on the stolen land of the Gadigal People of the Eora Nation. We pay our respect to their elders past and present. Redfern, where the FBi Radio studio is based, is a heartland of Aboriginal resistance and resilience in so-called Australia.

This land has been in the hands of generations of Gadigal custodians for thousands of years before us and will be for thousands of years to come. Always was, always will be Aboriginal land.

About FBi Radio Art Auction 2022 The 2022 FBi Radio Art Auction is an online fundraiser and silent auction raising critical funds for FBi Radio and the artists involved. Place your bids from 10am Tuesday 14 June to 8pm Wednesday 22 June for your chance to nab an artwork from over 70 of Australia’s most exciting established artists and next big things.

How to bid Registration is essential to bid on and purchase work in the FBi Radio Art Auction. To register head to galabid.com/ fbiradio.

How to pay If you have the winning bid at 8pm on 22 June we will notify you to congratulate you on your artwork purchase (!!!) and provide you with information on how to digitally pay for the artwork. If you would prefer to pay via Direct Debit to avoid the payment application fee please get in contact with us via ondine@fbiradio.com.

How to collect your artwork Collection: Artworks will be available for collection from FBi Radio, 44-54 Botany Rd Alexandria, on Saturday 2 July from 10am-5pm.

Post: If you are interstate, overseas or would simply prefer the work to be posted we can arrange this at the buyers expense and will be in touch on Thursday 23 June to organise this with you.

Thank you!

A huge thank you to all the participating artists – we exist to champion your voices. Thank you to NOTWASTED for your support during our campaign. Thank you to Michael Dagostino for your expertise and advice. Thank you to Abstract Thoughts Gallery for hosting our preview. Thank you to Emma Pham for your incredible design, and to all the FBi Radio volunteers who have donated their time to making this auction a reality.

Featuring 70+ artists: Abdullah M. I. Syed, Amani Haydar, Amelia Skelton, Angela Tam, Angus McGrath, Anna Pogossova, Annabel Blackman, Belem Lett, Cassidy Jackson, Cindy YuenZhe Chen, Claire Healy and Sean Cordeiro, Damian Showyin, Danielle Karlikoff, Dennis Golding, Dianna Baker Smith, Eddie Abd, EJ Son, Emily Hunt, Evi O, Garry Trinh, Genevieve Felix Reynolds, Gillian Kayrooz, Harrie McKay, Heath Franco, Henry Curchod, Honey Long and Prue Stent, Huseyin Sami, Hyun Lee, Izabela Pluta, Jack Lanagan Dunbar, Jesse Rye, Joe Wilson and Chanelle Collier, Joseph Christie Evans, Kai Wasikowski, Kapu by Prinita Thevarajah, Ken Done, Kien Situ, Kieran Bryant, Koji Ryui, Leanne Xiu Williams, Lisa Sammut, Lottie Consalvo, Lou Harris, Lynda Draper, Mackenzie Benato, Marikit Santiago, Martyn Hodge, Mason Kimber, Meagan Pelham, Meng-Yu Yan, Mikaela Stafford, Nadia Odlum, Nick Santoro, Nikolaus Dolman, Otis Burian Hodge, Owen Leong, Rainbow Chan, Reg Mombassa, Remy Faint, Riana Head-Toussaint, Roberta Rich, Rosie Deacon, Ross Manning, Sophie Penkethman-Young, Tane Andrews, Tina Havelock Stevens, Tony Albert, wa sei, and Zoe Wong.

AR TW OR K Abdullah M. I. Syed Weaving Myths and Realities: 20 US dollar and 20 Chinese RMB (Structures, Verso)

Hand-cut and woven uncirculated 20 US$ and found 20 Chinese RMB and archival tape 15.5 x 6.6 cm 2020

About Abdullah M. I. Syed: Abdullah M. I. Syed (b. 1974) is a Pakistani-born contemporary artist, designer, scholar and writer living and working between Sydney, Karachi, and New York. Trained in diverse disciplines, Syed identifies his interdisciplinary art practice as an archival form of manzoom muzahamat, or poetic activism based on ideas of shared vulnerability, love, empathy, and memory. Syed utilizes a variety of mediums and techniques, including drawing, sculpture, textile, video installation, text, and body performance, to examine economies, structures, and theatrics of power in their myriad forms. Syed earned a PhD in Art, Media, and Design, 2015, and an MFA, 2009, from University of New South Wales. He also holds a BA in Design, 1999, and a Master of Education, 2001, from University of Central Oklahoma. Syed is a member of eleven, a contemporary collective of Muslim Australian artists, curators, and writers. Syed’s work has been featured in both solo and group exhibitions as well as art fairs and performance events. He is the recipient of the Individual Artists of Oklahoma’s Installation Artist of the Year award, 2003; Blacktown City Art Drawing Prize, 2008; UNSW Postgraduate Research Scholarship, 2009; Tim Olson Drawing runners up cash prize, 2010; the NAVA Carstairs Prize, 2017, 2019 NSW Artists’ Grant and 2020 BarTur Photo Award. He was also a finalist for the Blake Prize, 2013, Moran Photography Prize, 2014, and the 2019 Sovereign Asian Art Prize.

About Weaving Myths and Realities: 20 US dollar and 20 Chinese RMB (Structures, Verso): Fascinated by the idea of wormholes as articulated by Einstein and Nathan Rosen, In Weaving Myths and Realities (2013-ongoing) series, Syed conceived his new banknotes as speculative portraits and structures linking disparate points in space and time. Woven banknotes bring unlikely and even antagonistic entities into proximity. On either side of a single plain are opposing political figures, structures and scenes from different geographic and time zones.

When two note are masterfully woven together, the two figures are brought together, face to face where they inhabit the same space and time - such as the interlaced note that bring into contact American President Andrew Jackson and the chairman of the Chinese communist party Mao Zedong. By repurposing banknotes Syed transforms the economies of power into what he refers to as an ‘economy of poetic activism’. Through weaving Syed makes visible the spaces in between, the gaps, between the threads and strips that draw out intrinsic vulnerabilities and open a space for cross-cultural dialogue. While brought forth through an attention to materials, such moments of unknowing are openings that invite the wandering of memory and meditation on things beyond the material.

Abdullah M. I. Syed is represented by Gallery Sally Dan- Cuthbert, Sydney Image courtesy of the Artist and Gallery Sally Dan- Cuthbert abdullahmisyed.com

Amani Haydar Solidarity VIII

Signed limited edition print A3 (excluding frame) 2022

About Amani Haydar: Amani Haydar is an award-winning writer, visual artist, lawyer and advocate for women’s health and safety based in Western Sydney.

Amani’s debut memoir The Mother Wound was recently awarded the 2022 Victorian Premier’s Literary Award for Non-fiction. She is also the recipient of the 2021 UTS Faculty of Law Alumni Award, 2021 FBi Radio SMAC of the Year Award and was named Local Woman of the Year for Bankstown at the 2020 NSW Premier’s Woman of the Year Awards in recognition of her advocacy against domestic violence.

Working in mixed media, Amani’s work has been hung in the AGNSW Archibald Prize and in 2020, she received the Cumberland Art Prize.

Amani’s work includes painting, print making, book illustration and textiles and explores themes of identity, trauma and resilience. Her paintings and illustrations have featured in a number of past and upcoming publications and exhibitions.

Image courtesy of the Artist @amanihaydar

Amelia Skelton And More

Found textiles, thread, wadding, steel 28 x 23 x 3cm 2022

About Amelia Skelton: Amelia Skelton graduated from National Art School with a Bachelor of Fine Arts (Sculpture) in 2016, where she is currently undertaking a Master of Fine Arts (Drawing). Selected group exhibitions include Crossroads at Dom Ni Kata, Sofia, Bulgaria, 2019; All that you can all your own, you can say that you are, curated by Lilac City Studios at Passport Store & Gallery, Sydney, 2020; Missing Futures Inbox at Gasamrojieul, Seoul, South Korea, 2020; Firstdraft Auction at Firstdraft Gallery, Sydney, 2021; and Homies at China Heights Gallery, Sydney, 2022. Skelton has presented solo exhibitions including Plastic at Lilac City Studio, Sydney in 2017, and This one goes out to the one(s) I love at Firstdraft Gallery in 2022. Skelton was the recipient of the National Art School’s Bonner and Tonkin Drawing Prize, 2021, has been a finalist in the Stonevilla Wearable Art Prize 2018 and 2019, and participated in the World of Co.’s Residency in Sofia, Bulgaria in 2019. She is also a member of Skelton and Conway, a collaborative duo with Sydney-based artist, Tango Conway. Skelton’s work is held in the National Art School collection as well as in private collections in Sydney and Melbourne.

About And More: Working in the intersection of quiltmaking, sculpture and assemblage, Skelton’s recent body of work is an investigation into the complexity of textiles; their abundance, familiarity, significance and inherent political implications. Using textiles found at second-hand stores, in discount bins, or gifted from friends and family, Skelton’s practice poses alternative ways of engaging with old, thrown-away, unused and unloved objects, emphasising their value beyond use and exchange.

Image courtesy of the Artist ameliaskelton.com @milskelton

Angela Tam Unravelling

Colour pencil drawing on paper 180 x 220mm drawing on 297 x 420mm paper (Framed) 2022

About Angela Tam: Angela Tam is a Sydney-based artist and designer who creates to understand and grasp the intangible. Her practice is of an interdisciplinary nature, where mark-making, colour and forms become portals into the subconscious and transient realms. She often brings together observation, curiosity and intuition as a way to navigate this space, translating it from her perspective into the physical world. Angela’s art practice is a testament to her self-development, often a documentation of her present mind where each stroke is a breath into a new dimension, formed precisely through repetition and the dedicated practice of her innate, instinctual play.

Angela was born in 1994 in Sydney. She has a Bachelor of Visual Communications (University of Technology, Sydney) and is the co-founder and co-director of artist partnership and studio, ar–chive. Her latest solo show was ‘Unidentified Terrain’ (2021) held at Gaffa Gallery.

Image courtesy of the Artist @byangelatam

Angus McGrath Dream The Blue On My Face

Nail polish on glass, goldcoloured frame 4.5 x 5.5 inches 2022

About Angus McGrath: Angus McGrath is an artist based on unceded Gadigal Land, whose practice is fluid, shifting across text, performance, installation, and sound.

Alongside an ongoing musical practice under the name California Girls, McGrath works predominantly at using writing as a visual arts practice.

McGrath is currently finishing a book about ghosts and porn as part of his MFA (UNSW) under the supervision of Snack Syndicate. Amongst these streams, he co-hosts ‘Sleepless in Sydney’ on FBi every Wednesday, 11PM to 1AM. Having grown up and spent most of his life in the outer suburbs of unceded Ngunnawal and Ngambri Land (“canberra”), McGrath sees these experiences as driving his central interests in horror cinema, emotional affect, musical subcultures, and queer studies. McGrath has participated in Performance Space’s Liveworks; Live Dreams program, as well as their Queer Development Program, written for a variety of arts publications, alongside various exhibitions.

About Dream The Blue On My Face: This work emerges from a recent series of works experimenting with short, poetic texts on framed glass. These works take small experiences — such as dreams of watching ballet dancers while developing blue facial sores — and seek to cast them in ephemeral, in-between space. In many past exhibitions, text was applied to gallery walls with pencil, referencing the amateur typographies of queer cruising locations. Taking a step away from the specificities of these gay practices, these words floating and refracting over the surface of the wall suggest a movement towards the treatment of text as containing a potential for impossibility and nothingness.

Image courtesy of the Artist @free_wificore

Anna Pogossova The Cave With The Yellow Rock I

Resin, enamel, embedded opalite crystal 25cm w x 32 cm h x 7cm d 2022

About Anna Pogossova: Anna Pogossova was born in 1984 in Moscow, Russia. Her practice encompasses a number of mediums including digital illustration, photography, sculpture and 3D modelling. Her solo exhibitions include Ø (Portals) Soft Magic, Jerico Contemporary, Sydney (2022); Anticipation Machines, Jerico Contemporary, Sydney (2020); X Satellite, Jerico Contemporary, Sydney (2019); V (Valentine), Firstdraft Gallery, Sydney (2018); XV, Firstdraft Gallery, Sydney (2015); and H, Gaffa Gallery, Sydney (2013). The artist currently lives and works on Gadigal Land in Sydney, Australia.

About The Cave With The Yellow Rock I: The Cave with Yellow Rock I is a piece from Anna Pogossova’s current body of work, Ø (Portals) Soft Magic, 2022, as part of an ongoing exploration of semiotics of fiction, world building, and the logic of the imaginary.

Anna Pogossova is represented by Jerico Contemporary, Sydney.

Image courtesy of the Artist annapogossova.com @annapogossova

Annabel Blackman Wrongo

Airbrush and spray paint on paper 75cm x 55 cm 2022

About Annabel Blackman: Annabel Blackman is a sometimes artist but most of the time architect / musician based on the South Coast of NSW.

About Wrongo: Portrait of the artist as a grinch who is always wrong-o.

Image courtesy of the Artist annabelblackman.com @hannabelecter

Belem Lett Sunflower 4

Oil, gesso, marble dust, pigment on aluminium composite panel 58 x 50 cm 2021

About Belem Lett: Belem Lett received a BFA (hons Class1 2008) and an MFA (2012).

Exhibited Locally, Internationally and has participated Fairs including; Spring 1883 (Melbourne), Den Fair (Melbourne) Sydney Contemporary (Sydney). Lett has been in prizes including: Brett Whiteley Travelling Art Scholarship 2010 (Winner), Fishers Ghost Art Award, NAB Emerging Artist Award, The Sunshine Coast Art Prize, The Padddington Art Prize, The Chippendale New World Art Prize, The Elaine Bermingham National Watercolour Prize, The Glover Prize, Arthur Guy Memorial Prize, Hazelhurst Work on Paper Award, Waverley Art Prize, Grace Cosington Smith Art Prize & The Blake Prize. Lett undertook a residency at the Cite Internationale des Arts, Paris 2011. Artworks are held in public and private collections including; Mirvac, Artbank, Crown Group, 10 Group, Australian Catholic University, City of Sydney Art Collection. The former Director of Wellington St Projects 2013-2019. Lett is represented by Edwina Corlette Gallery (Brisbane) & James Making Gallery (Melbourne).

About Sunflower 4: Lett’s work plays with light and colour as inseparably the same. The act of painting is considered through the history of gestural abstraction. Reduced to a surface and paint applied with a colour loaded brush. There is an implicit physical momentum involved in Lett’s work; the push/pull, twists, the drag of the brush, the drip, the stop and start. Individual works explore the surface and traditional constraints of the painting through, at times, bouncing off its edges and returning inwards to explore the interior space of the painting. While at others zooming off the edge in a manner, which implies a broader limitless world that we are only seeing a cropped section of. There is a consistent concern with movement, colour and light currently explored through the reduction of materials to a minimal surface and gesture recorded through brush movement.

Belem Lett is represented by Edwina Corlette Gallery, Brisbane, and James Makin Gallery, Melbourne Photography by Felipe Olivares belemlett.com @belem_lett

Cassidy Jackson Hazelwood

Acrylic and pastel on canvas 1.3m x 2m 2022

About Cassidy Jackson: Cassidy Jackson is 24, born and raised on the south coast of Sydney, Dharawal Country, and represented by 130 Art Studios in Wollongong.

With a background in design and drawing, Cassidy began establishing herself as a painter in 2020. After turbulent year of disconnection and introspection she tuned to creating art as a therapeutic practice. Growing up in a conservative environment, Cassidy found a new freedom flag in painting and it became an act of rebellion. Embracing the chaos of the world, and reclaiming systems built around her through irony and absurdism. Her recent collection ‘Sleep Walkabout’ depicted a storybook journey of pain with new awareness, exploring growth, consciousness and roots, referencing country western and religious themes.

About Hazelwood: An abstract- figurative piece, utilising line and scale to create a disarray of neutral entanglements. This piece is depicting a farm-house barn, reclaiming conservative country western themes, through illustrations of nudity and alcohol. Cassidy listened to the Lee and Nancy album frequently when she painted this, specifically the song ‘Summer Wine’, which translates in the subject matter. The oak frame creates a shadow line around the canvas, emphasising the pieces intricacy.

Cassidy Jackson is represented by 130 Art Studios, Wollongong Image courtesy of the Artist cassidyjackson.squarespace.com @cassidy.jackson

Cindy Yuen-Zhe Chen Sonic Ink Vibrations: Tidal 1

Ink on Wenzhou paper 23.5 x 23.5cm 2021

About Cindy Yuen-Zhe Chen: Cindy Yuen-Zhe Chen lives and works in Sydney on unceded Gai-mariagal, Darramuragal and Gadigal lands. Her artistic practice examines how embodied listening and sounding can extend experimental drawing as a multi-sensory, emplaced process. Through interactions with the sounds, surfaces, people and atmospheric contingencies of places, Chen develops drawing, listening and sounding as interconnected practices that engender connections and enact distinct senses of places.

Chen is currently a finalist for the 2021-22 NSW Visual Arts Emerging Fellowship and a resident artist at Parramatta Artists’ Studio in 2020-22.

As a recipient of the University Postgraduate Award, Chen completed a PhD in Art, Design and Media at UNSW Art and Design in 2020.

Chen’s research was published by TRACEY | Journal and Loughborough University, England in 2021, where she had also presented her research at the Drawing Research Network Journal Conference in 2019. In 2018, Chen undertook a solo exhibition and residency at Ningbo Museum of Art. In 2017, her work was selected for Art Nova 100 at Today Art Museum in Beijing.

About Sonic Ink Vibrations: Tidal 1: Sonic Ink Vibrations: Tidal 1 was created by vibrating ink on water using resonant frequencies of sound feedback compositions recorded at tidal pools in Middle Harbour, Sydney. The sounds of birds, waves and insects were concurrently recorded and reflected off the curved hollows of sandstone at low tide. This process generated extreme high and low frequency sound feedback that was used to activate ‘suminagashi’ or floating ink. This experimental technique combines traditional Japanese ink marbling with acoustic technologies to integrate my drawing and sound practices. This work was selected as a finalist for the Hazelhurst Art on Paper Prize 2021.

Image courtesy of the Artist Coin included for scale cyzchen.com

Claire Healy and Sean Cordeiro Mille Crisantemi Chiari

Pizza box, gouache acrylic 91 x 52.5 cm 2020

About Claire Healy and Sean Cordeiro: Claire Healy and Sean Cordeiro use their artistic practice as a tool to help locate themselves within the systems employed by our contemporary society. The pair believe that the central motif of our age is the tension created between the Primacy of the Individual and the Social Contract that is subscribed to through our complex, global inter-dependancy with our fellow human beings. The formal and informal systems that our collective society utilises both supports and constricts the individuals that comprise the organisation. The artistic collaboration reconfigures and juxtaposes elements of the biological, the historic, the cultural and the astronomical to create artworks that help decipher who we are and what we have gained and forfeited in order to realise our present existence.

Their work has been included in numerous exhibitions in Belgium, China, the Czech Republic, France, Germany, Hong Kong, Italy, Japan, New Zealand, Singapore, Switzerland, Turkey, Taiwan, the UK and the USA. Career Highlights include solo exhibitions at the Künstlerhaus Bethanien, Berlin; The Art Gallery of New South Wales; La bf15, Lyon; The Corcoran Gallery, Washington DC and a survey exhibition at the Museum of Contemporary Art, Sydney. Healy and Cordeiro’s installation Life Span was part of the Australian representation at the 53rd Venice Biennale. They have also participated in the Auckland Triennale, the Adelaide Biennial, Setouchi Triennale and the Oku-Noto Triennale, Japan. The City of Sydney commissioned their public work Cloud Nation which is located in the Green Square Library Tower. Their newest public art commission, Place of the Eels is located in Parramatta Square.

About Mille Crisantemi Chiari: From the body of work: The Pizza Effect. Created at Tenjimyama Studios, Sapporo, Japan.

The Pizza Effect is not burning the roof of your mouth with hot cheese. Rather, the phrase ‘the Pizza Effect’ was inspired by the changing attitude which Italians have towards pizza.

Originally thought of as a low-class Southern Italian food, many rural Italians immigrated to America and took their food culture with them. Pizza Effect is a commemoration and a celebration of the strange children that are born of this marriage of cultures: seaweed on pizzas, avocado in sushi, KFC for Christmas, Japanese single malt whisky, American Teppanyaki. Using family crests know as Kamon in place of the name in this series, Kamon are used to decorate and identify an individual, a family, or (more recently) an institution or business entity.

Claire Healy and Sean Cordeiro are represented by N. Smith Gallery, Sydney Photograph by Luis Power claireandsean.com @clairehealyandseancordeiro

Damian Showyin Fireworks At Midnight

Acrylic on paper 87.0cm x 67.0cm 2021

About Damian Showyin: Damian Showyin’s paintings are like abstracted windows. Oblong shapes of deep, layered colours seem to hold whispered secrets. On acquiring a Damian Showyin original for his personal collection, head curator of International Art at the Art Gallery of New South Wales Justin Paton took to Instagram to air his praise: “Showyin is a wonderful builder in colour, constructing his intensely satisfying paintings from softly brushed blocks, stacks and windows”. The work’s dense grid logic (which is Showyin’s unmistakable hallmark) compelled Paton to ponder “how things in any setting — a city, landscape or community — must accommodate each other to get along”.

With acrylic, oil pastel, chalk pastel and posca, mostly on paper, Damian has developed his own personal language; one of patterns and braided shapes. He delights in the teeming and tight harmony of the buildings, fences and gardens he inhabits and is surrounded by. “I loved showing my paintings [at the Underbelly Arts Festival 2015]” says Damian. People said that my paintings look nice and that I’m a good painter. That made me feel good.” When not painting, Damian works laboriously on the loom weaving compelling textile wall pieces, sculptures and cushions. Damian Showyin works out of Studio A.

Damian Showyin is represented by Studio A Image courtesy of the Artist and Studio A studioa.org.au @_studio_a_

Danielle Karlikoff Silver Alien Bone Earrings

Sterling silver Length: shorter bone 3mm, longer bone 38mm, Width: 2-5mm, Depth: 2mm 2021

About Danielle Karlikoff: Danielle Karlikoff (DK) is a multi-disciplinary designer based in Sydney, Australia. Her practice consists of autonomous, research-based projects on the one hand and commissioned custom jewellery pieces on the other.

In the translation of her ideas on jewellery, the body is mostly absent, creating for a fundamentally hybrid practice that embraces a multitude of contradictory forms, techniques and materials. In-between wax sculpting, casting, soldering and image making, DK seems to never miss an opportunity to share her truly refreshing take on fine jewellery through bizarre objects that appear to exist in-and-out of this world.

About Silver Alien Bone Earrings: Wearable earring bones to protect you through all dimensions. Handmade in Sydney, Australia.

Image courtesy of the Artist daniellekarlikoff.com @computa_hydrates

Dennis Golding Untitled [Botany Bay]

Photograph. Canson etching edition rag 134cm x 75cm 2018

About Dennis Golding: Dennis Golding is a Kamilaroi/Gamilaraay artist, curator and collaborator based in Sydney. His practice reclaims Aboriginal history and identity through sharing his personal experiences and childhood memories from growing up within Sydney’s Redfern. Golding critiques the processes of colonialism in Australia using a range of mediums to encourage new conversations around historical, social, political, and cultural narratives.

About Untitled [Botany Bay]: Golding pursues a critical view of social, political and cultural representations of Aboriginal Australian history and contemporary experiences. Often referencing science-fictional narratives through the visual motif of the cape, Golding explores relationships between figures of popular culture such as superheroes and Australian colonial histories. In this photograph, the artist depicts a gaze of a gaze, provoking the viewer to understand the impacts of colonisation and disruptions to Country, people and culture. Golding challenges the categorical boundaries from Indigenous and non-Indigenous markings and of country and experiences that are often led by difference of race, culture, social class, and histories.

Image courtesy of the Artist dennisgolding.com @dennisgolding

Dennis Golding Beyond the Coastal Watch

Photograph. Canson etching edition rag 87cm x 109cm 2019

About Dennis Golding: Dennis Golding is a Kamilaroi/Gamilaraay artist, curator and collaborator based in Sydney. His practice reclaims Aboriginal history and identity through sharing his personal experiences and childhood memories from growing up within Sydney’s Redfern. Golding critiques the processes of colonialism in Australia using a range of mediums to encourage new conversations around historical, social, political, and cultural narratives.

About Beyond the Coastal Watch: Golding pursues a critical view of social, political and cultural representations of Aboriginal Australian history and contemporary experiences. Often referencing science-fictional narratives through the visual motif of the cape, Golding explores relationships between figures of popular culture such as superheroes and Australian colonial histories. In this photograph, the artist depicts a gaze of a gaze, provoking the viewer to understand the impacts of colonisation and disruptions to Country, people and culture. Golding challenges the categorical boundaries from Indigenous and non-Indigenous markings and of country and experiences that are often led by difference of race, culture, social class, and histories.

Image courtesy of the Artist dennisgolding.com @dennisgolding

Dianna Baker Smith with Samuel Hodge The Drama of Hands

Pigment print on cotton rag paper 54 x 80cm 2021

About Diana Baker Smith: Diana Baker Smith is an artist who works across moving image, performance, and text. Her practice combines archival research, collective memory, and fiction to explore the politics of art history. Her most recent works, examining the archive of the Australian artist and dancer Philippa Cullen (1950-75), have been presented at the National Gallery of Victoria in Melbourne, Artspace in Sydney, and Contemporary Art Tasmania in Hobart. Diana is a founding member of the art collective Barbara Cleveland, and has worked collaboratively with artists Frances Barrett, Kate Blackmore, and Kelly Doley since 2007. Their series of video and performance works about the fictional feminist artist Barbara Cleveland have been presented at the National Gallery of Australia in Canberra, Art Gallery of NSW in Sydney, Hayward Gallery in London, and Padiglione d’Arte Contemporanea in Milan. Diana holds a PhD from the University of NSW, where she is Lecturer in Fine Arts in the School of Art & Design.

About The Drama of Hands: The Drama of Hands is part of Baker Smith’s project analysing the archive of Australian artist and dancer Philippa Cullen (1950-75). The work’s title is taken from a handwritten note Baker Smith found in Cullen’s papers at the National Library of Australia. In The Drama of Hands, Baker Smith holds a photograph of her holding a photograph of yet another photograph: Cullen dancing during her 24 Hour Concert (1974). In this performative work, Baker Smith responds to Cullen’s call for “the drama of hands” to reflect on her tactile relations to the dancer’s archive and embodied ways of doing art history.

Image courtesy of the Artist dianabakersmith.com @dibakersmith

Eddie Abd tantour (touch it)

Digital print 50cm x 38cm 2022

About Eddie Abd: Eddie Abd (she/her) is an artist and arts worker living and working on unceded Darug and Gundungurra lands. Eddie is interested in self representation as a means to situate the self within wider historical, cultural and political tensions. She works with video and digital imaging as an extension of her painting practice. Eddie was awarded the 2021 Blake Prize (Emerging Artist) and is shortlisted for the Create NSW 2021/2022 Visual Arts (Emerging) Fellowship. She is a 2022 Australia Council for the Arts Biennale delegate. Born in Lebanon, Eddie studied Fine Arts at the Lebanese University then moved to Australia where she completed a Bachelor of Digital Media at the University of New South Wales (COFA).

About tantour (touch it): tantour (touch it) brings together Scaramouche, Grendizer and the colonised tantour to create yet another possible exotic.

Image courtesy of the Artist eddieabd.com @eddie.abd

EJ Son Flesh Work

Silicone, earthenware 14x10x10cm 2021

About EJ Son: EJ Son is a multi- disciplinary, working across new-media, sculptural installations, video and ceramics. With a focus on provocation and humour as a device to interrogate the complexity of power in the construction of gender, sexuality and race. Their practice is often times paradoxical, arousing the tension that is created by our cultures tendency to taxonomies, they aim to deconstruct and create space for new feelings to be considered.

They completed a Bachelor of Visual Arts (First Class Honours) at Sydney College of the Arts in 2018, they are a recent recipient of the Parramatta artist studio’s on-site residency at the powerhouse museum, winner of 2020 Emerging Artist prize from the Gosford Regional Art gallery and was commissioned by MAMA Albury to make titty tower (2021) to exhibit for SIMMER 2021. They have exhibited at the Bus Projects, Verge gallery and PARI and will be showing new works at the Cool Change contemporary in Perth, 4A Centre for Contemporary Asian Art, Firstdraft and The Lock up in Newcastle in 2022.

Photography by Estelle Yoon ejson.net @ejhotdogs

Emily Hunt Viriditas

Silk painting, ceramic clips, glazed stoneware 90 x 90 cm 2022

About Emily Hunt: Emily Hunt creates ornamental, figurative ceramics. Her history as a rarebook dealer has informed her encyclopedic approach to her art-making, taking influences from the history of ornament, visionary art, and scholarly magical texts.

About Viriditas: Viriditas (Latin, literally “greenness,” formerly translated as “viridity”) is a word meaning vitality, fecundity, lushness, verdure, or growth. It is particularly associated with abbess Hildegard von Bingen, who used it to refer to or symbolize spiritual and physical health, often as a reflection of the Divine Word or as an aspect of the divine nature.

Image courtesy of the Artist emilyhunt.de @emil.hunt

Evi O Dana

Acrylic and medium on timber 21 x 30cm 2022

About Evi O: Evi O. is an award-winning multi-disclipinary designer and self-taught artist. With a curious eye and mind, she is constantly exploring and observing her surroundings.

Her art practice was initiated by a genuine personal drive to explore and express human curiosity and ultimately understand and further contribute to the bigger environment. Finely balanced colour is the cornerstone of Evi O’s practice, and her works are reduced and abstracted. Running a design practice that exposes her to varied dimensional, media and spatial challenges influence her artistic approach, where play of medium and materials become tools that convey the conceptual foundation. Art and design are conduits to her creative odyssey. She practices from Marrickville, Sydney servicing the world.

About Dana: Dana was a part of a body of work called HERS. Responding to the provocation of what today’s society could be if it was up to us (females), Evi O sought a collective scenario from the minds of 16 creative women leaders: Amylia Harris, Beci Orpin, Dana Tomić Hughes, Danling Xiao, Georgina Reid, Janet Laurence, Jess Scully, Joy Li, Karen McCartney, Kate Reid, Michelle Law, Nadine Bush, Palisa Anderson, Paulina de Laveaux, Tea Uglow and Zara Seidler.

Varying in generation and roles in the industry, each of these women were asked the same questions: Their D. o. B and location of birth – to give context of their cultural uprbringing.

Their societal identities – to give context of their roles in the community.

What they think the world would be if it was up to us females – to gain their philosophical insight.

And what colours would that be – to give visual foundation to each piece.

Each set of answers were then reinterpreted into abstract forms, producing a set of visual survey that provide patterns to either like-mindedness, or contrast, and paint a hypothetical, psychological glimpse into what it could be if it was a different societal picture, in the same world as we know today.

Evi O is represented by Saint Cloche, Sydney Photography by Andrew Grune evi-o.art @evi_o

Garry Trinh The Long Goodbye

Watercolour on paper 29.5 x 41.5cm 2021

About Garry Trinh: Garry Trinh is an artist working in photography, video, painting and works on paper. He makes art about the uncanny, unexpected and spontaneous moments in daily life. He is inspired by his surroundings and from the vast visual output of mass culture. He is perplexed by the perception of artists as coffee-drinking loafers who work whenever they feel like it. He doesn’t even drink coffee. His works are about a way of looking at the world, to reveal magic in the mundane. He is never bored and never late. He holds a BA in Psychology and a BA in Visual Communications / Photography and Digital Imaging from the University of Western Sydney. Trinh lives and works in Sydney Australia.

About The Long Goodbye: One of the last paintings I made before my son was born. Those final months of looking back and saying goodbye to life as I had know.

Image courtesy of the Artist garrytrinh.com @garrytrinh

Genevieve Felix Reynolds New Kingdom

Oil paint on patinated steel 84 x 60 x 7 cm 2021

About Genevieve Felix Reynolds: Genevieve Felix Reynolds employs visual archives to explore contemporary abstractions of time and space. Parallel investigations into architecture, archeology and digital technologies are collated via the language of contemporary painting, installation and play. Felix Reynolds has featured on the front cover of magazines Art Almanac and Art Guide, and she was the recipient of the 2019 Sunshine Coast Residency Award and the 2016 Paddington Young Artist Award. She has been a finalist in the NSW Emerging Fellowship, Ravenswood Prize and the Churchie Emerging Prize and has exhibited both nationally and internationally, participating in exhibitions at Gallery Pompom (Sydney), Brisbane Powerhouse (QLD), Michael Reid (Sydney), Gallery of Modern Art (QLD), Chasm Gallery (New York City), Mana Contemporary (New Jersey), Durden and Ray (Los Angeles), among others.

Felix Reynolds completed a Bachelor of Photography (Hons) in 2012 with the Godfrey Rivers Medal for Highest Achieving Studio Practice. In 2021 she was awarded Masters in Fine Arts for her thesis researching intersections of contemporary painting and image archives, titled ‘The Flattening of Everything’. Felix Reynolds practice has been supported by Create NSW, Australia Council, Arts Queensland and Griffith University.

She has participated in the Waverley studio program (2021), the residency program at Eastside International (Los Angeles, 2017), the William Street residency program (City of Sydney, 2020) and the Sunshine Coast residency program (2019). In 2022, she has been invited to pursue visual research in Italy at the Palazzo Monti (Lombardy).

About New Kingdom: Genevieve Felix Reynolds’ collage-like approach to composition allows time, alongside space, to be churned and compressed. Acting as a sort of instinct-driven archivist, she mines databases, museums, digital media and antiques stores for objects and imagery, amassing a personal collection of cultural artefacts - ancient, modernist, handmade, mass-produced, abstract. Incongruous elements reveal a magpie-like approach to source material. These compositions serve to highlight the abstracted state of spatial and temporal experience in the 21st century, but a solution to the overwhelming breadth of contemporary visual information is also implied: one’s own coordinates in space and time. Looking, like the act of painting, can be reprieve.

Image courtesy of the Artist genevievefelixreynolds.com @genevievefelixreynolds

Gillian Kayrooz Do Not Use If The Seal Is Broken

C-Type Photograph Image Size: 29 x 20 cm Framed Size: 31.7 x 23 cm 2020

About Gillian Kayrooz: Gillian Kayrooz is an emerging artist from Western Sydney, whose practice reflects her personal experience and ongoing engagement with local communities. Kayrooz’s work is collaborative; she invites members of the community to contribute authentic impressions, in a bottom-up rather than top-down conception of history and place.

Kayrooz holds a Bachelor of Visual Arts with First Class Honours from Sydney College of the Arts, University of Sydney. In 2018 she was awarded the Create NSW Young Creative Leaders Fellowship which led her to exhibit internationally in the Asia-Pacific region. Most recently she has completed residencies in Australia, China and Japan. In 2020 she presented her solo exhibition Argileh at Wedding Cake Rock at Firstdraft, and was an artist at the Parramatta Artists’ Studios. In 2021, Kayrooz became a codirector on the board of Firstdraft, a member of Farifield’s PYT Ensemble and in 2022 she will present a solo exhibition at the Murray Art Museum in Albury.

About Do Not Use If The Seal Is Broken: Do Not Use If Seal Is Broken was developed in the Hokkaido town of Sumikawa. Featuring a collection of organic material and man made debris from the parkland and surroundings of Mt.Tenjinyama in Sapporo, Japan.

The work comments on the domestic interaction between the natural and local environment observed in the neighbourhood of Sumikawa.

In particular, the parallel behaviours of consumer production vs. environmental protection. Through the use of a scanner, the floral matter and plastic consumables are brought to life through a delicate series of photographs, drawing similarities to the dutch vanitas genre of still-life.

Image courtesy of the Artist Coin included for scale gilliankayrooz.com @gilliankayrooz

Harrie McKay Artichoke

Permanent gel pen on raw canvas 81 × 68 cm (framed) 2022

About Harrie McKay: Harrie McKay’s practice is oriented around the personal and collective memories we house within ourselves and hold physically within our body.

The experience of touch is a fundamental aspect of McKay’s material and process-oriented practice. McKay explores the sensibility of connectedness through the labour-intensive processes of drawing with a ballpoint pen, combined with the layering of materials onto raw canvas. This process forms rich and worn textured surfaces that disclose the reiterative hand and material interplay.

About Artichoke: Artichoke comes from a larger body of work concerned with the stillness, comfort and intimacy associated with place. This body of work reflects on McKay’s personal experiences of home – both as a conceptual framework and as a physical site of rejuvenation and material memory.

Image courtesy of the Artist Coin included for scale harriemckay.com.au @harriemckay

Heath Franco DESKAT

Archival inkjet print on cotton rag.

Edition 4 of 6 + 2AP 28 x 42 cm 2013

About Heath Franco: Born in 1984 in Cooma, NSW, Heath Franco’s practise is influenced by Western popular culture, notions of home, the chaos of existence, and possibilities of alternate/hidden realities. Primarily working in time-based media; his body of work incorporates video, performance, installation, and sound. Time-based works are structured with respect to flow and rhythm and, in turns attract and repulse through a mix of hyper-aesthetic, repetition and absurd performance. Franco’s works from recent years present a renewed interest in physical materials and analogue methods of composing multimedia artworks.

About DESKAT: Limited edition archival print of digital image representing a video still from the video work ZIXKATZ (2013).

Image courtesy of the Artist vimeo.com/heathfranco @heathfranco

Henry Curchod Murdrum (crabomb)

Oil and charcoal on linen 76.5 x 61 cm 2021

About Henry Curchod: Henry Curchod (b. 1992, Palo Alto, California, USA) is known for his large colourful figurative paintings, which capture moments that are typically impressionistic, sensorial and fleeting. His work reflects his diverse cultural background. The son of Kurdish-Iranian and Anglo-American parents, his images reference a rich myriad of visual forms that are Asian, European and Oceanic in origin. There is an intimacy to many of his works, in terms of how they are composed—whirling ethereal scenes, often partial in view—and how his painted figures can appear unselfconscious and natural, suggesting a relationship with the artist or viewer that is familial and private.

He is preoccupied with the romantic, and takes pleasure in illuminating the minutiae of life; idle moments of modest beauty that contain a natural poetry that can at times approach the profound. Rich in association—some contemporary, some traditional—the works themselves remain enigmatic and curious. He presents the viewer with a series of paradoxes: the new and the old, the grand and the slight, the flippant and the reverent, the quotidian and the miraculous. These are paintings that have the capacity to both enthral and confound.

About Murdrum (crabomb): When I was younger I used to use drawing and painting to process difficult things. My uncle came to my studio one day and showed me a drawing from when I was six, it was a drawing of a crab with dynamite attached to it, blowing a lot of people up. This was pre 9/11, so not sure what I was processing, but I felt compelled to recreate it as a larger picture.

Henry Cuchord is represented by Sumer Gallery, New Zealand and Mamoth, United Kingdom Image courtesy of the Artist henrycurchod.com @henrycurchod

Honey Long and Prue Stent Mineral Growth

Pigment ink-jet print 108cm x 72cm 2019

About Honey Long and Prue Stent: Honey Long and Prue Stent’s practice is a merging of photographic and sculptural disciplines. Grounded in experimentation between bodies, materials and environments, there is a pervasive desire to play with and entangle these spheres- seeking a greater sense of connection to them. Informed by processes of foraging and chance encounters, often cultural debris will become reconfigured within fluid and dreamy contexts, triggering subconscious associations while also aiming to avoid classification.

Honey and Prue have been working together since 2010 and are currently based in Melbourne. Solo exhibitions have taken place at Arc One Gallery, Melbourne (2018), PhotoEspana, Madrid (2018) and Nicola Von Senger, Zurich (2018). Notable group shows they have been in include Eyes on Australia, Pingyao International Photography Festival, China (2019), In Her Words, Horsham Regional Gallery, Melbourne (2019) Future Feminine, Fahey/ Klein Gallery, Los Angeles (2018), London Photo, The Female Lens: 9 Contemporary photographers, Huxley Parlour Gallery (2018), The Josephine Ulrick and Win Schubert Photography Award Finalist Exhibition, Gold Coast (2018), REVERIE REVELRY: Fashion Through Photography, Ballarat Foto Biennale, Melbourne (2017) and Trash Cans For Hearts and People Have No Soul, Fotofestwal Lodz, Poland (2017).

About Mineral Growth: We have an ongoing practice of inserting our bodies into different landscapes and using them as a kind of extension. Often we will involve synthetic materials which also blend in in one way or another. In Mineral Growth limbs cling to a an abandoned salt stockpile. Under the harsh sun, soft skin and hardened salt seem to sweat the same and if one looks closely a sheer pantyhose on one leg winks with its own glimmer. We found this site on the edge of Lake Hart while driving along the Sturt Highway in Kokatha country in South Australia. Although we were actually not aware of it at the time it is worth noting that this area sits on the edge of the Woomera exclusion zone. A secret military testing site, the zone carries a heavy history of environmental degradation which has effected most prominently local First Nations people, their land and its animals.

Honey Long and Prue Stent are represented by Arc One Gallery, Melbourne

Image courtesy of the Artists honeyandprue.com @prue_stent and @honeylong

Huseyin Sami Untitled (Blue on Blue)

Acrylic on polyester 52cm x 41cm 2021

About Huseyin Sami: Huseyin Sami was born in England in 1979 and currently lives and works in Sydney. His practice is an ongoing enquiry into—and rearticulation of— painting. His conceptual approach distills painting conventions, granting new and unpredictable potential to its distinct agents. In his pursuit of material independence, Sami relinquishes artistic agency and embraces the element of chance. Sami’s invented painting apparatus, called ‘painting machines’, extend the time and space between himself and painting in order to invite uncontrolled and natural circumstances into the process.

These inventions include tiered constructions through which paint passes before arriving on the surface and hyper-extended paint brushes used to mark distant surfaces. Sami also often conducts live performances from which paintings are produced.

Sami received a Bachelor of Visual Arts with with First Class Honours from Sydney College of the Arts in 2000, and a Master of Visual Arts from the same institution in 2003. He has exhibited internationally in major exhibitions including Equal Area, 4A Centre for Contemporary Asian Art, Sydney (2018); Superposition of Three Types, Artspace, Sydney (2017); Shut Up and Paint, National Gallery of Victoria, Melbourne (2016); Vivid, The Museum of Contemporary Art, Sydney (2016); and Primavera, The Museum of Contemporary Art, Sydney (2004). His work is held in public and private collections internationally including the Museum of Contemporary Art, Sydney, Art Gallery of Western Australia, Perth and the National Gallery of Victoria, Melbourne.

About Untitled (Blue on Blue): Untitled (Blue on Blue) (2021) is part of an ongoing series of paintings investigating the materiality of the medium within the painting process.

Huseyin Sami is represented by Sarah Cottier Gallery, Sydney

Image courtesy of the Artist huseyinsami.com

Hyun Lee Girl On Fire

Archival inkjet print on cotton rag Set of 2 prints, 260mm x 390mm each 2019

About Hyun Lee: Lee’s essays and photographic work have appeared in art and fashion publications such as Ruins Magazine (London), the FdeC Reader (Tokyo) and 4A Centre for Contemporary Asian Art’s 4A Papers (Sydney). She is the writer and director of ASIAN GIRLS, a short film which was a recipient of the Screen NSW: Emerging Filmmakers’ Fund. Completed in mid 2017, it had its world premiere at South by Southwest Film Festival (SXSW) in March 2018.

About Girl On Fire: Girl On Fire is a photographic series depicting a girl who has shaved her head and set herself on fire. These images were created in the spirit of protest.

The completion of the work eerily coincided with the beginning of 20192020 NSW bushfire season which saw unprecedented levels of climate change induced destruction. As smoke descended on the Sydney CBD, business continued as usual, unmoved by environmental catastrophe. It’s in these times that the disruptive power of protest holds more importance than ever.

Image courtesy of the Artist Coin included for scale hyunleee.com @hyunleeee

Izabela Pluta Floating fissure

Chromogenic print on metallic paper, unframed 60 x 50 cm 2020

About Izabela Pluta: Izabela Pluta (b. 1979, Warsaw, Poland) migrated to Australia in 1987.

She completed her Master of Fine Art at The University of New South Wales, and went on to complete her PhD in the Faculty of Creative Arts, The University of Wollongong, in 2017. Her studio practice embraces photography as a way of interpreting and re-conceptualising the function that images have in the present. Recent major exhibitions include ‘From impulse to action’, which commissioned Pluta’s major work, ‘Counter forces’, for Bundanon Art Museum; ‘Nihilartikel’ at UNSW Galleries, Sydney; ‘Blue Assembly: Oceanic Thinking’ at UQ Art Museum, and ‘Radical Slowness’ at The Lock-Up, Newcastle. Pluta’s first European solo exhibition, ‘Variable depth, shallow water’, was staged in 2021 at Spazju Kreattiv, Malta’s National Centre for Creativity in Valetta. In 2019, Pluta was commissioned to create a significant new work, ‘Apparent distance’, by the Art Gallery of New South Wales for ‘The National 2019: New Australian Art’. Pluta has undertaken national residencies including Durrmu Arts, Peppimenarti, International Art Space (IASKA) Kellerberrin, as well as International residencies in Tokyo, Barcelona, Paris, Belfast and Beijing. She lectures in art at UNSW Arts, Design & Architecture in Sydney, and is represented by Gallery Sally Dan-Cuthbert, Sydney.

About Floating fissure: I’m interested in photographic processes associated with anomalies, chance and coincidence. A site that I have recently explored is the archaeologically disputed underwater rock formation, Yonaguni, that lies at the intersection of the Pacific Ocean and the East China Sea, near the Western most island of Japan. This studio still-life sits within my broader exploration of temporality, mutability and the impermanence of places and was made in Yonaguni using flotsam to explore how linear time and cyclical time could be interrupted.

Izabela Pluta is represented by Gallery Sally Dan-Cuthbert, Sydney Image courtesy of the Artist izabelapluta.net @izabelapluta__studio

Jack Lanagan Dunbar Copper Carbonate Tablet VII

Cast acrylic plaster, epoxy, acrylic display case 2021

About Jack Lanagan Dunbar: Jack Lanagan Dunbar’s work explores the tension between materiality and time with an eye on history, whimsy, archaeology, the classical, Romantisicm, humour and tragedy.

About Copper Carbonate Tablet VII: A low relief wall work set inside a museum like display case. Produced by the artist while in lockdown in Berlin, Germany.

Jack Lanagan Dunbar is represented by COMA, Sydney Image courtesy of the Artist jacklanagandunbar.com @jacklanagandunbar

Jesse Rye preoccupied/rhizome (edition 2/4)

Screenprint on BFK Rives paper 51 x 40cm (print size 43 x 30cm) 2022

About Jesse Rye: Jesse Rye is an emerging artist based in Sydney. Jesse’s practice approaches phenomenology, affect and crip theory. Working primarily in sculpture, print and sound; Jesse’s work troubles societal preconceptions of how we perceive, evaluate and negotiate the world - particularly focusing on the topographies of diverse sensory experiences. Jesse has lived experience with disability.

About preoccupied/rhizome: preoccupied/rhizome speaks to distraction, preoccupation, amorphousness of thought, indeterminacy and suggestibility. It reconfigures a thought as an event, a container or perhaps a latent agent; a rhizome to be sequestered away or simply forgotten - maybe to later appear as a volunteer in the garden. Something located in the body of its creator; a thought is a simultaneously synthetic and organic artefact.

Image courtesy of the Artist jesse-rye.com @mucusbubble

Jodie Whalen This Long Reflection

Collage / photomontage 45cm x 60cm 2018

About Jodie Whalen: Working within a multidisciplinary practice of experimental performance and installation, with concepts informed by excavating the everyday.

Whalen appropriates her own personal history and popular Western culture into symbolically-dense immersive environments combining; experimental performance and site specific Installation. Filled with liminal spaces – unresolved relationships, broken geometry, personal ritual and transitory moments. These environments are created as a site of contemplation and inward reflection for viewers. Whalen’s practice explores an interest in creating emotionally fraught environments drawn from her studio practice and an interest in ritual as a signifier of the art making process. Ritual, repetition and process – are common themes explored in her practice and given temporal form in her work.

Whalen completed a Master of Fine Arts at The College of Fine Arts in 2013. She has exhibited extensively in spaces that include; ARI’s, regional galleries, arts centres and major arts institutions. She has also undertaken several Artist in Residence programs including; Parramatta Artists Studios, Hazelhurst Regional Gallery, Goulburn Regional gallery and Firstdraft. She was also the recipient of numerous grants and prizes including the NSW Visual Arts Emerging Fellowship 2018, NAVA NSW Artist Grant 2016 and Australia Council For The Arts, New Work Grant, Emerging 2015.

Image courtesy of the Artist jodiewhalen.com @jodie.whalen

Joe Wilson and Chanelle Collier The Very Best Of #115 [Laser Kitties]

Acrylic on found LP 38 x 38cm 2021

About Joe Wilson and Chanelle Collier: Joe Wilson and Chanelle Collier are a collaborative love team based in Sydney. They have a generative practice developing ideas and dialogue. A language of resistance is built around an interest in relational exchange and agency in labour. They work alongside gallery and institutional programs using image, object, and sound mediums. The qualities of the work test and question through criticality and care.

About The Very Best Of #115 [Laser Kitties]: The Very Best Of series of acrylic paintings on found LP’s supports their ongoing feild recordings of museums (This Is Not A Love Song [Sound Archive]). Each painting raises funds or is made as a gift to contributors.

Image courtesy of the Artists joewilson.space @joeandchanelle

Joseph Christie Evans Solo

Oil on Board 53.5 x 62 cm 2022

About Joseph Christie Evans: Joseph Christie Evans explores the medium of painting within a fast-paced and technologically influenced period. His work finds its foundations in the form of portraiture and urban landscape, influenced by social media snapshots and historical representations of opulence, and the ways in which we construct our identity. The mediums of his representation range from oil to acrylic on board and canvas, integrating the presentation of the style of realism in a contemporary art context. He received a graduate diploma in fine arts from the National Art School in 2022. He is also active in the Sydney arts scene - exhibiting, participating and organising multiple art shows, and working with artist run and commercial galleries in the Sydney area.

About Solo: The subject is a friend of mine Lottie, who I sketched and did studies in her room in Redfern. The work is intimate and unguarded, showing warmth from a moment of her practicing for a gig without the performativeassociation with a stage or a social platform; like the urban story of a woman being in an elevator with Robert Redford, asking him “are you the real Robert Redford?”, and he replied “only when I’m alone.”

Image courtesy of the Artist josephchristieevan.wixsite.com/mysite @joseph.christieevan_s

Kai Wasikowski Texture study #4 (Carr Pond)

Photogravure, ink on Hahnemühle Copperplate 300gsm paper Image size: 28 x 22 cm Paper size: 39 x 28 cm 2022

About Kai Wasikowski: Kai Wasikowski is a multi-disciplinary artist. With Australian settler and Polish heritage, Wasikowski approaches image-making to locate his positionality in relation to the impacts of colonialism and late-capitalism, and the inseparability of environmental justice from their ongoing effects.

Wasikowski’s projects have engaged with western histories of landscape photography, with a particular interest in the instrumentality of the camera—how it and related optical technologies prescribe ways of seeing whilst simultaneously constructing an unseen.

Wasikowski completed a Bachelor of Visual Arts (First Class Honours with University Medal) at the Sydney College of the Arts, University of Sydney in 2016. He has presented solo exhibitions with Artereal Gallery, Michael Bugelli Gallery, Firstdraft Gallery, Nicholas Projects and group exhibitions with the Museum of Old and New Art, Artspace (Sydney), HOTA Gallery and the Australian Centre for Photography. Wasikowski’s work has been recognised through awards such as the Dr. Harold Schenberg Art Fellowship, the American Australian Association’s AusArt Scholarship and the Fisher’s Ghost Photography Award. His work has been featured in publications such as Art Monthly Australasia, Artist Profile, Art Collector, VAULT Magazine and the Australian Financial Review. Recently Kai was awarded a scholarship to undertake his MFA at Rhode Island School of Design.

Image courtesy of the Artist kaiwasikowski.info

Kapu by Prinita Thevarajah Containers

Glass Sizes vary

About Prinita Thevarajah: Prinita Thevarajah is a multidisciplinary artist working primarily in glassmaking and essay writing, and in 2020 she co-founded the online wellness platform, Studio Ānanda. She collaborates with designers and publications globally. Using playful colors and asymmetric shapes across glass jewelry and interior objects, Thevarajah’s style is both eclectic and ephemeral, celebrating the innocence and purity that often gets lost in this modern world. She received her MA in Art, Education and Community Practice at NYU Steinhardt and currently lives and works across Brooklyn and Sydney.

About Containers: A collection of original glass containers are available for auction.

kapu.glass @kapu.glass

Ken Done Wet Sunday IV

Acrylic on board 61 x 46 cm 2010

About Ken Done: Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

Working predominantly in oils and acrylic, Done takes inspirations from diverse sources - the ebullience of the sea and sky, the transcendent emotions of a quiet garden, aboriginal art, Japanese poetry, the urban shout of Sydney, where he makes his home - but the sensibility that underlies his work is uniquely his own.

Image courtesy of The Ken Done Gallery kendone.com.au

Kien Situ Shanshui (Plate)

Chinese Mo Ink, Gypsum Plaster 480H x 480W x 80D 2022

About Kien Situ: Kien Situ 司徒建 (b. 1990, Australia) is an artist working across architecture, sculpture and installation to explore the ideas of memory, displacement and identity in relation to constructed objects and built environments. Drawing upon both his diasporic Chinese-Vietnamese upbringing and his Eurocentric architectural education Situ creates objects which deconstruct his formative hybrid aesthetics. The incorporation of ink is foundational to Situ’s practice as part of his broader investigation into the interrelationships between geography and identity. The material associations of region-specific ink and colour provide deeply embedded connotations to time and place.

About Shanshui (Plate): At the fall of the Tang Dynasty, Chinese poet Du Fu wrote ‘The country is broken, yet mountains and rivers still remain’. My work is a continuation of this cultural fragmentation; and as an artist belonging to the Chinese+Vietnamese diaspora; it explores the affect of distance towards meaning in a spatial and temporal sense. Despite the ruinous and subtracted appearances of the work, it was created additively; that is; without any ‘subtraction’ from an existing whole and without postproduction. It is an inversion on the idea of a ruin; an incomplete image aspiring to capture broken heritage.

Kien Situ is represented by Yavuz Gallery Image courtesy of the Artist @kiensitu

Kieran Bryant techno chicken has an egg

Ink jet print on cotton rag (unframed) 34 x 51 cm 2016

About Kieran Bryant: Kieran Bryant is an emerging artist who loves water and its metaphorical possibilities. He uses performance, collaborative actions, installation, photography, sculpture, video, and text to identify interior liquid landscapes and emotional wateriness within queer bodies. His work is autobiographical; employing a pastiche of popular culture modes and sources to craft a singular narrative.

Since 2013 Bryant has worked as a member of collective, 110%, with Beth Dillon and Lachlan Herd. Additionally, since 2021 he has worked as a member of collective, Smushing, with Samuel Hodge. In 2017, he participated in a residency at the Cité Internationale des Arts Paris, for which he received the Ross Steele Scholarship for Residency in Art & Design. He also participated in Performance Space’s Queer Nu Work Development program, and Liveworks Lab. In 2018, Bryant held a solo exhibition at Verge Gallery, and completed a Master of Fine Arts with an Australian Postgraduate Award. In 2019, he was awarded the Freedman Foundation Travelling Scholarship for Emerging Artists. This consisted of a professional development trip to London, and undertaking a residency at Grantham Canal Camp in Nottingham. He also mounted a solo exhibition at Firstdraft. In 2021 Bryant held an exhibition at Verge Gallery with Samuel Hodge.

About techno chicken has an egg: Sometimes I’d be techno chicken at the club or a party. This is one of a series of techno chicken, with or without an egg. This time techno chicken got an egg.

Image courtesy of the Artist kieranbryant.com @pebbles_bryant

Koji Ryui Jusqu’à toi?

Porcelain, sand, twig (tradica sebifera), glassware 20 x 5 x 10cm 2021

About Koji Ryui: Koji Ryui makes sculptures and installations that explore the delicate space between formal reality and human perception. Through subtle and often subversive interventions, commonplace materials are transformed, repurposed for poetic assemblages. Observing the inherent histories and possibilities of disparate objects and materials, Ryui establishes sculptural propositions in search of the essence of things. In Ryui’s hands, what we conceive of as knowledge is not fixed but slippery, temporal and subjective.

Koji Ryui (b.1976,Japan) has been included in major exhibitions internationally, including the 10th Asia Pacific Triennale at GOMA, Brisbane, 2022. Other recent exhibitions include the 2019 iteration of The National: The New Australian Art at the Art Gallery of NSW; the 21st Biennale of Sydney 2018 Superposition: Equilibrium and Engagement, curated by Mami Kataoka; the 10th Mildura Palimpsest Biennale 2015 Unmapping the end of the world; and Roppongi Crossing 2013: Out of Doubt at Mori Art Museum in Tokyo, Japan. Ryui’s work has been exhibited in reputable institutions internationally including the Art Gallery of NSW, Sydney; Museum of Contemporary Art (MCA), Sydney; the MORI Museum, Tokyo; Artspace, Sydney; Gertrude Contemporary, Melbourne; Monash University Museum of Art, Melbourne; and PICA, Perth, and is held in public and private collections including the Art Gallery of NSW, Sydney; Monash University Museum of Art, Melbourne; and the Museum of Contemporary Art, Sydney.

About Jusqu’à toi?: In recent years, Ryui has been investigating the possibilities of the vertical plane, shifting from floor-based problems of elevation to wall-based situations of objects.This ostensibly simple departure presents many possibilities for Ryui, whose practice deals inherently with substrates and supports as sculptures in themselves. Plinths, shelves and mounting devices are, thus, incorporated into the careful balancing that underpins his plural constructions. Where Ryui has previously adapted found objects to perform alternative functions (such as turning vases into instruments or lamps), the sculpture treats each component like words in a sentence or notes in a song, the purpose for which is accumulation towards composition. Enlisted this way, Ryui quite literally writes sentences and melodies that give voice to his chosen materials.

Koji Ryui is represented by Sarah Cottier Gallery, Sydney Image courtesy of Sarah Cottier Gallery sarahcottiergallery.com/artist/koji-ryui

Leanne Xiu Williams Fever Dream

Oil on linen 40.64 x 50.8 cm 2022

About Leanna Xiu Williams: Leanne Xiu Williams (b. 1995) lives and works on Gadigal land (Sydney).

With an educational background in Art History, she is a painter whose practice currently involves locating her own visual language across a range of different subjects, such as through figures, portraits, and still life. She is interested in exploring how painting can allude to experiences beyond representation; in particular, how it can evoke memories, dreams and images that linger just beyond conscious thought. Her work attempts to do this by addressing the tension between representation and abstraction.

The interrogation of this relationship is central to her practice, and she is principally concerned with how the materiality of paint can give substance to the evocative qualities of the subject. While she draws inspiration from images & art across many mediums, her work blurs the boundaries between scenes derived from reality, memory, and found imagery in order to call into question the surreal nature of lived experience.

About Fever Dream: Fever Dream explores the surreal emotional terrain of the state between sleep and wakefulness.

Image courtesy of the Artist leannexiu.com @leannexiu

Lisa Sammut features become clear

Paint on book page 27 x 36 cm 2021

About Lisa Sammut: Lisa Sammut’s practice encompasses sculpture, light, video and installation.

Using a wide range of media, her playful and poetic works oscillate between notions of optimism, perspective, belonging and time. She has exhibited widely in Australia, undertaking several recent large-scale projects; including new work for The National 2021: New Australian Art, Art Gallery of NSW (2021); 20:20, Murray Art Museum Albury (2020); HIGH LOOM, Casula Powerhouse Arts Centre (2019); and A monumental echo, presented at both Firstdraft, Sydney (2018) and Fremantle Arts Centre, Perth (2019). She has completed commissions for both public and private spaces including Time Forms, City of Sydney (2019) and Waiting Room, University of New South Wales (2019). Her work has been recognised in several prizes including as a finalist in the John Fries Award, UNSW Galleries (2018) and Ramsay Art Prize, Art Gallery of South Australia (2021) as well as featured in publications including Artist Profile, Artlink, and Art Guide Australia. Lisa currently lives and works on Ngunnawal/ Ngambri Country, Kamberri (Canberra).

About features become clear: Part of a series of works on paper altering an Atlas of the Universe, this work considers the disconnect between astronomical symbols and the cosmic reality they seek to embody or represent.

Image courtesy of the Artist Coin included for scale lisasammut.com @_lisammut_

Lottie Consalvo From Here 10

Acrylic on board 32 x 32 cm (including frame) 2019

About Lottie Consalvo: Lottie Consalvo works across painting, performance, video and sculpture.

Her work explores the psychology of human experience, the imaginary and dreaming. Ideas surrounding desire, longing, loss and the ungraspable are present within her work. Often referencing nature, she parallels ungovernable natural phenomena with the mind. Her paintings are like a physical presence for imagination, memory and psychological states.

Consalvo paints often monumental forms with vast empty spaces. The high contrast of opposing dark and light and the outcome of an almost impoverished surface sees Consalvo’s manifestation of the unknown and the intangible.

Lottie Consalvo is a Newcastle based artist, originally from Melbourne and born in Sale Victoria in 1985. In 2015 Consalvo was selected to be in residence with Marina Abramovic in Sydney as part of Kaldor Public Art Projects 30. Consalvo also exhibited in Millerntor Gallery#5, Hamburg.

In 2018 the artist had her first solo museum exhibition at Heide Museum of Modern Art in Victoria. Her work has been exhibited internationally, most recently in Mexico and New Zealand. Lottie is held in collections including Artbank, Newcastle Art Gallery, Maitland regional Art Gallery, Macquarie University, Newcastle University, Museum of Art and Culture Lake Macquarie, Allens Law Firm and The Stevenson Collection (NZ).

About From Here 10: I stare at the sea and its parts move in slow motion, a dangerous, mysterious matter that my eyes cannot ever fully hold onto. When I imagine the sea consuming the land I am above it and there is a deep brooding song playing in the distance.

Lottie Consalvo is represented by Dominik Mersch Gallery, Sydney and Jan Murphy Gallery, Brisbane Image courtesy of the Artist @lottieconsalvo

Lou Harris ways of holding (10)

Concrete, oxide, terracotta clay 40 x 40 x 4 cm 2021

About Lou Harris: Lou Harris (b.1996) lives, works and plays on Gadigal/Cadigal and Wangal land (Sydney, Australia). Lou uses vulnerability to explore the potential of sculpture, sound, writing, photography, installation and performance.

Here vulnerability is a methodology that realistically articulates the limits and potentials of the artist’s body, marked by concessions made for various physical and emotional boundaries. These concessions, which acknowledge pain, trauma and exhaustion as preconditional to the work, open up generative engagements with limitations and shortcomings.

Lou’s work centres around the creation of ‘support structures’, small sculptures made with haptic movements (lifting, dragging, pouring, digging) that capture traces of the artist’s body in the materiality, scale and placement of works. This embodied, intuitive practice is guided by the materiality of found objects, clay and concrete — which are proportional to the artist’s body, weight, and strength. Through material negotiations with these objects, Lou accommodates their needs, desires and vulnerabilities in a way that creates spaces to relate, support and connect. Lou views curating as a central modality to this work, through which spaces, sounds, works of art and communities can be realised to guide people to connect to the world around them.

About ways of holding (10): ways of holding deals with acts of unearthing and resisting disappearance through bodily imprints, energy transfer and (re)orienting spaces. Each tile is formed through a process of casting concrete and excavating clay formations. An unearthing of the clay from the concrete mimics a process of emotion unearthed within myself. Internal landscapes shift to create space and room to breathe.

Image courtesy of the National Art School louharris.space @_goodjuju______

Lynda Draper Rainbow

Ceramic 40cm x 45 cm 2014

About Lynda Draper: Lynda Draper (b. Sydney, Australia) is a visual artist who works primarily in the Ceramic medium. She has received numerous national and international awards and grants including a Skills and Development grant and two New Work grants from the Australian Council for the Arts. Awards include the: Sidney Myer Fund Australian Ceramic Award; Premier Acquisition Award at the 54th International Competition of Contemporary Ceramic Art , held at the International Museum of Ceramics, Faenza, Italy; 16th International Gold Coast Award, Gold Coast Regional Gallery and the Sass & Bide COFA Art Award. Lynda is a graduate of the National Art School , Sydney. In 2010 she completed an MFA at UNSW Art & Design with the assistance of a Planex scholarship.

Lynda’s works are included in significant National and International collections including at the: National Gallery of Australia, Canberra; International Museum of Ceramics, Faenza, Italy; Renwick Alliance Gallery, Smithsonian Institute Washington; Artbank, Australia; Shepparton Art Museum (SAM) , Victoria; FA Grue collection, Italy; Collection of the Dutch Royal Family; Myer foundation; Campbelltown City Art Gallery; Gold Coast City Art Gallery; University of Wollongong and the IAC Collection FLICAM Museum, Fuping, China.

About Rainbow: This work explores the intersection between dreams and reality. Many ceramic sculptures evolve from a state of reverie shaped by fragmented images of my environment, memory, ghosts from the past. I am interested in the relationship between the mind and material world and the related phenomenon of the metaphysical. Creating art is a way of attempting to bridge the gap between these worlds. This work aims to invite imagination and the contemplation of some kind of other realm.

Lynda Draper is represented by Sullivan+Strumpf, Sydney Image courtesy of the Artist Coin included for scale lyndadraper.com @lynda_draper

Mackenzie Benato Somewhere Nice And far Behind

Acrylic paint, spray paint, oil pastel 215cm x 113cm 2021

About Mackenzie Benato: Mackenzie Benato is a multi-disciplinary artist who works on the Gadigal land of the Eora Nation. Since 2020 Benato has worked on a series of paintings across salvaged curtains, fabrics, tiles and stones. Begun during lockdown as something to do with his hands, the works were painted to be something ‘nice’. Drawing on imagination as a place, to retreat to as a child and adult and bright colours in chaotic layers.

About Somewhere Nice And far Behind: This work layers bright colours by stacking paint and pastel, creating figures by imagining shapes in the layers. The imagery draws on day-dreams from childhood and again as an adult, as an escape, from lockdown and the resulting distance from their mother, Mary Benato during the last 6 months of her life. Flowers, clouds, Lego, stories, for the artist the work was something nice to do with their hands and somewhere nice to be. Inspired by bubble-gum bright colours and elements of graffiti culture, the materials, methods of layering, and ‘over-working’ are inspired by Mary Benato’s works.

Image courtesy of the Artist @thirstmoth

Marikit Santiago Thank God It’s Friday Fast

Acrylic, oil, transfer etching, pencil, pen and spray paint on found cardboard 90cm x 60cm 2017

About Marikit Santiago: Working across painting and sculpture, Marikit Santiago co-opts her practice with references, imagery, and symbolism from her Australian-Filipino ancestry, Catholicism, and the Western Art canon. Within these pluralities, she interrogates their existing contradictory sensations, values, and ideas. In 2020, Marikit won the prestigious Sir John Sulman Prize for her work ‘The divine’, which examines the concepts and principles surrounding faith, creation stories, motherhood, cultural heritage and gender roles. Marikit was also a two-time finalist for the Archibald Prize at the Art Gallery of New South Wales, a 2019 Sulman Prize finalist, and was shortlisted for Create NSW’s 2018 Visual Arts Emerging Fellowship. In 2018, the Churchie Emerging Art Prize at the Institute of Modern Art awarded Marikit with the Sam Whiteley Commendation Award. Marikit’s notable exhibitions include the Bayanihan Philippine Art Project (2017), which toured to Art Gallery New South Wales, Blacktown Arts Centre, Campbelltown Arts Centre, Mosman Art Gallery and Peacock Gallery; New Sacred (2018) at Mosman Art Gallery; I LOVE YOU MELISSA (2018) at The Lock Up; Mahal (2018) at Firstdraft; and Everyday Madonna (2019) at Casula Powerhouse Arts Centre. Marikit graduated with a Master of Fine Art (2017) from the University of New South Wales, and holds a Bachelor of Fine Art (Honours Class I) in 2011and a Bachelor of Medical Science (2007). During this time, she was awarded a Dean’s Award for her undergraduate degree and the Australian Postgraduate Award for her Masters degree. Her work features in private and public collections across Australia.

About Thank God It’s Friday Fast: Jollibee is the most popular fast food chain in the Philippines. Locally owned and founded, Jollibee’s vast popularity survived and surpassed the introdution of McDonald’s in the Philippines in 1981 and continues its success, with the expansion of international outlets (including a proposed site in Western Sydney). As well as being a mascot for delicious Filipino fast food, Jollibee serves as a playful symbol of victory over the coloniser.

Marikit Santiago is represented by The Something Machine, Bellport NY Image courtesy of the Artist marikitsantiago.com @marikitsantiago

Martyn Hodge Sulfur Crested Cockatoo

Oil on canvas 40 x 30 inches 2021

About Martyn Hodge: Born in 1985, Hodge is a self-taught, Brisbane based painter but spent most of his life on a small farm in the Northern Tablelands of NSW. Growing up in the bush he developed a deep connection and love of the landscape, animals and plants and these motifs often occur in regularity across his work.

About Sulfur Crested Cockatoo: One of my local Sulfur crested cockatoos that often eat the food from the trees around the local bus stop.

Image courtesy of the Artist @martyn_hodge

Mason Kimber Passage/Grid

Acrylic and oil stick on canvas 87 x 66.5 cm 2017

About Mason Kimber: Mason Kimber (born Perth, 1985) is a Sydney-based artist who makes paintings that extend into sculptural relief and installation to look at how the histories within surfaces can speak to the memory of place. After graduating in 2013 with an MFA in Painting from the National Art School, Sydney Kimber was awarded a three-month studio residency at the British School at Rome, Italy the following year. It was here that he studied ancient fresco painting, which led him to look closely at the various connections between painting and the built fabric of cities. Kimber’s current PhD research at UNSW Art + Design looks at how the iterative activity and thickness of painting’s surface can become a relational site of production, positioning painting as a critical spatial practice.

Selected projects include: MCA Collection: Perspectives on place, Museum of Contemporary Art Australia, Sydney (2021); Strata, Kronenberg Mais Wright, Sydney (2021); Prologue: Tongue on tongue / nos salives dans ton oreille, Galerie Allen, Paris (2019); Future Relics, Sophie Gannon Gallery, Melbourne (2018); Slanted Mansions, COMA, Sydney (2018); and NEW16, Australian Centre for Contemporary Art, Melbourne (2016).

About Passage/Grid: This work was from the exhibition ‘Arcades’ at Galerie pompom, and was made while Kimber had a one year studio residency at Artspace, Sydney.

During this time, he began to perform an archaeology of his own past works by reconfiguring fragments of into larger collages, creating a new type of painterly space.

Mason Kimber is represented by Kronenberg Mais Wright, Sydney and Sophie Gannon Gallery, Melbourne Photography by Jessica Maurer masonkimber.com @masonkimber

Meagan Pelham Colourful Dottys

Watercolour pencil, ink and acrylic 29.5 cm x 41.7cm 2021

About Meagan Pelham: Studio A’s resident romantic, Meagan Pelham, has a weakness for romance.

Her delicate pencil drawings depict brides, wedding cakes and loveheart shaped cocktail glasses posing elegantly next to handwritten poetry.

Meagan has developed a practice of repeatedly drawing owls, which she believes are the most romantic of all animals. Meagan calls these drawings her Love Owls. Meagan has an established practice in painting, drawing and performance. She has exhibited widely, at Casula Powerhouse, SCA Galleries and Artbank, and undertaken major collaborations with Erth Visual and Physical Inc., Koskela Creative Studio, Red Room Poetry, Cicada Press at UNSW and with Australian fashion label Romance Was Born.

In 2017 Meagan performed as the Owl Bride in birdfoxmonster, a collaborative production with Erth Visual and Physical Inc. presented by Carriageworks. In 2018 she performed her Love Poem Sorceress at the Museum of Contemporary Art Australia (as part of Bella Plus Connect) and in 2019 she, with six other Studio A artists, produced a 175sqm mural for the University of Technology Sydney, titled Bird Life Jungle Disco.

This year she collaborated with Romance Was Born on a third capsule collection. This one centred around Meagan’s beauty and the beast inspired roses. Meagan’s works are held in the Artbank and University of Technology Sydney Art collections.

Megan Pelham is represented by Studio A Image courtesy of the Artist and Studio A studioa.org.au @_studio_a_

Meng-Yu Yan Eye of a Little God

Framed digital photographic prints on matte art rag Diptych, 32 x 32cm each 2017

About Meng-Yu Yan: Exhibited in over forty exhibitions across Australia, China, France and Mexico, Meng-Yu Yan 颜梦钰 (b. 1992, Sydney) is a cross-disciplinary artist working with photography, time-based media, and installation. Their practice is mesmerised by ideas of mirroring and reflection, and their early Honours work investigated the origins of photography through the Claude Glass, black mirrors, and scrying practices. As a first generation, AustralianChinese, queer, non-binary artist, their practice disrupts notions of the binary and temporal linearity, sitting comfortably in liminal spaces. Yan’s first solo exhibition ‘occulere – vision & concealment’ debuted at Dominik Mersch Gallery in 2017. In 2019 Yan was awarded the Ross Steele Scholarship to fund their residency at the Cité Internationale des Arts in Paris, France. Yan completed their Master of Fine Arts (Research) funded by the Australian Government RTP Scholarship at UNSW Art & Design in 2020. Their research explored queer spectrality and cultural hauntologies through experimental photography. Currently their practice is concerned with occult and supernatural methodologies such as spirit photography, divination, performative haunting, and astrological practices.

About Eye of a Little God: Eye of a Little God (2017) takes its name from Sylvia Plath’s poem “Mirror”.

It is a self-portrait by artist Meng-Yu Yan whose practice contends with notions of the self, fluidity, and fragmentation. The exploration of their identities as a queer, non-binary, Chinese-Australian person sits in a liminal space that is in constant motion. Their reflection is never fixed, always shifting, and this slippery sense of one’s own mirror image or double is what they are forever attempting to grasp.

Image courtesy of the Artist mengyuyan.com @mengyu.yan

Mikaela Stafford FIZZ

3D digital render 841 x 1188 mm 2022

About Mikaela Stafford: Mikaela Stafford is a self taught 3D motion graphics artist exploring themes of curiosity, abundance and joyfulness. Her animation series considers ideas of AI consciousness and often depicts thriving and abundant bio-digital environments where technology and the natural world exist harmoniously.

This symbiosis is an important metaphor as we enter a new era of technological development, as we continue to face unfamiliar challenges and opportunities of a cyber-physical world.

Integrating traditional methods of photography, sculpture and lighting design into her digitally rendered 3D environments she creates vibrant and playful work. With a background in stage design, installation art and painting, Stafford’s practice is particularly interested in the intersection between physical and virtual worlds. Marrying familiar biomorphic forms with imagined environments, her digitally rendered work creates scenes without limits.

Image courtesy of the Artist mikaelastafford.com @mikaelastafford

Nadia Odlum Topple

Pencil, acrylic paint and vinyl on aluminium composite panel 33 cm x 50 cm 2022

About Nadia Odlum: Nadia Odlum is a multidisciplinary artist from Western Sydney. Driven by a fascination with urban environments, they create playful and immersive works that explore personal and collective experiences of urban life.

The works draw upon movement, patterns and forms within the built environment, then mirror and abstract these elements to form new spatial and material relationships. Often working site-specifically, Odlum’s output spans sculpture, drawing, painting, installation, artist-led workshops and performance collaborations.

Odlum’s work has been shown in galleries and public spaces across Australia and internationally. This includes presentations at the Art Gallery of NSW (Sydney), Home of the Arts (Queensland), and Mana Contemporary (New Jersey), as well as public art commissions for Urban Art Projects and Kaldor Public Art Projects. Education credentials include a Bachelor of Fine Arts (First Class Honours) at the National Art School in 2012 and a Master of Fine Arts by Research at UNSW Art & Design in 2016, receiving the Australian Postgraduate Award. Odlum has completed residencies at Cite Internationale des Arts in Paris, The Wassaic Project in New York, Palazzo Monti in Italy and Parramatta Artists’ Studios in Sydney. They are a current artist in residence at Parramatta Artists’ Studios Rydalmere.

About Topple: My practice stems from an unending fascination with urban environments.

The materials, symbols, and rules in urban space are all evidence of continuing human attempts to cohabitate and cooperate. In particular, wayfinding devices are like an ever-evolving form of choreography, directing movement and shaping interactions. Making art provides me with a way of processing this sometimes overwhelming complexity. In this work I have collaged together urban materials scrounged from the offcuts bin of a sign maker. A pattern once intended for a road sign is refigured into a new visual system. A jumble of shapes, pulling this way and that.

Image courtesy of the Artist nadiaodlum.com @nadiaodlum

Nick Santoro LIFE IS GREAT

Pen and ink on paper 30.5 x 37 cm 2021

About Nick Santoro: Nick Santoro (b. 1994) lives and works in Balgownie, on Dharawal land in NSW. Through painting, drawing and installation he closely examines the mundane and futile details of the subcultures, trends and environments that surround him. In 2017 he completed a Bachelor of Fine Arts at UNSW Art & Design. He has been regularly exhibiting in solo and group shows since 2013.

About LIFE IS GREAT: LIFE IS GREAT is a drawing made in Leichhardt one afternoon. In the middle is the solar panel sculpture that is in the park at the bottom of Norton Street which was enjoyable to draw because of all its lines. The heavy metal text in the corner says “Life is Great”. There are also some excerpts from songs my friends sing embedded amongst faces of people and dogs. There were some great dogs in the park that afternoon.

Nick Santoro is represented by The Egg & Dart, Thirroul Silversalt Photography egganddart.com.au/nick-santoro-artwork

Nikolaus Dolman Informal Formalism

Synthetic polymer, chalkboard paint, binder on shaped board with doorstops 1200 x 500mm 2021

About Nikolaus Dolman: Nikolaus Dolman (born 1987) lives and works in Melbourne. His practice spans across painting, printmaking, collage and assemblage. He explores notions of the immediacy and disposability of consumer culture by investigating our relationship with the conventions of advertising in public space. Dolman has shown his work both nationally and internationally and features in private collections around the world.

About Informal Formalism: Monolithic Hairwig / Tinfoil Helmet series explores the formal attributes of billboard escapism. This recent body of work inherits versions of archaic architecture, melting typography and spatial voids to reference both digital and public spaces within the realms advertising. Specifically how algorithms can distort perspectives, creating a confusing and divisional disconnection between fact and fiction.

Photography by Jacob Raupach nikolausdolman.com @nikolausdolman

Otis Burian Hodge Plum & Raspberry 2.208

Photograph 18x13cm 2020

About Otis Burian Hodge: Otis Burian Hodge is a photographic artist and gallery curator based on Gadigal land. His practice revolves around both digital and analogue photography, which often takes the form of publications via his passion for bookmaking. Burian Hodge explores the challenge of archiving specific feelings, memories, spaces and localities and translating them to a wider audience – sharing a specific moment with those who don’t share in it. His interest is in creating bodies of work that examine his surroundings with a straightforward method of documentation. He creates work whose content is identifiable and relatable, yet pushes the audience to imagine beyond its frame and incorporate their own lived experiences.

Since 2017, Burian Hodge has curated, programmed and produced a non-commercial gallery space called TCS_Windows (The CornerShop Windows). It is made up of three windows facing the street and hosts monthly shows of solo exhibitions focusing on bodies of work by photographic artists. These artists are often young or emerging, from local, inter-state and abroad. Initially exhibiting a wide variety of mediums, since the start of 2019 the gallery shifted to be exclusively focused on photography and photographic-based works, responding to the lack of spaces dedicated to this medium in Sydney.

About Plum & Raspberry 2.208: Home made jam by Nana Albury.

Image courtesy of the Artist otisburianhodge.com @otisbh

Owen Leong PWR_TOP

Hand carved inkjet print, acrylic paint, birch wood 25.4 x 20.3 x 3.8 cm 2022

About Owen Leong: Owen Leong is a contemporary artist working with sculpture, photography, video and performance. He uses personal mythologies to explore systems of power, culture and representation. His artworks employ forces of creation and destruction to investigate the cyclical nature of order and chaos, and to reflect more universal aspects of human nature. Leong’s work has been exhibited widely in Australia and internationally including the Art Gallery of New South Wales; Art Gallery of South Australia; Casula Powerhouse Arts Centre; Monash Gallery of Art; 4A Centre for Contemporary Asian Art; Singapore Art Museum; Today Art Museum, Beijing; Zendai Museum of Modern Art, Shanghai; OCT Contemporary Art Terminal, Shenzhen; and the National Museum of Poznan, Poland.

In 2017, Leong was a finalist in the Ramsay Art Prize, Australia’s richest prize for young contemporary artists working in any medium. In 2016 Leong was a recipient of the MAMA National Photography Prize and in 2015, he won the Josephine Ulrick and Win Schubert Photography Award. Leong has received numerous awards and grants from the Australia Council for the Arts, Ian Potter Cultural Trust, and Asialink. He has held artist residencies at Artspace, Sydney; Centre for Contemporary Chinese Art, Manchester; Cité Internationale des Arts, Paris; Tokyo Wonder Site, Japan; Swatch Art Peace Hotel, Shanghai; and Hong Kong Arts Centre, Hong Kong. His work is held in the public collections of the Australia Council for the Arts, Bathurst Regional Art Gallery, Bendigo Art Gallery, Gold Coast City Gallery, Murray Art Museum Albury, Newcastle Art Gallery, University of Salford Art Collection UK, and private collections in Australia and internationally.

About PWR_TOP: An infinite cascade of information, a relentless flow of data, an endless river of images. In the age of information technology we are immersed in a digital collective unconscious and connected by our electric dreams. CTRL_THEORY is a series referencing alternative queer zine culture popular at the start of the 21st Century.

Images are sourced online, edited and printed in black ink on pale pink paper. Hard bodies butt up against each other, flesh gripped tight in the shadows. An incandescent veil of magenta and lime paint is pulled like a taut membrane across the surface of each work. These digital fragments explore desire, power and play.

Owen Leong is represented by Artereal Gallery, Sydney Image courtesy of the Artist owenleong.com @owen_leong

Rainbow Chan Lychee and Longan (Study for Fruit Song)

Silk, silk dye, freshwater pearls 32cm x 40cm 2022

About Rainbow Chan: Rainbow Chan is a producer, vocalist and interdisciplinary artist of Hong Kong-Chinese descent, living in Sydney. Her practice engages with mistranslation, diaspora and the effects of globalisation on modern Chinese society. She is currently researching women’s oral history, folk songs and language with a focus on her ancestral ties to Weitou people, the first settlers of Hong Kong. Chan has performed at renowned venues and festivals including Sydney Opera House, Vivid, MONA FOMA, Gallery of Modern Art, Melbourne Music Week, Iceland Airwaves, National Taiwan Museum of Fine Arts, and Tai Kwun (Hong Kong). Additionally, her multi-arts installations have been exhibited with Firstdraft Gallery, Liquid Architecture, 4A Centre for Contemporary Asian Art and I-Project Space, Beijing. In 2020, Chan was part of Artspace’s One Year Studio Program and was selected as the Performance Space x West Kowloon Exchange resident artist. “Songs from a Walled Village”, her documentary for ABC Radio National, was a finalist in the Asia-Pacific Broadcasting Union Awards 2021. Chan is a finalist in the 2021/22 NSW Visual Arts Emerging Fellowship (Artspace, CreateNSW and NAS). Inspired by Cantopop and balladry, her latest record “Stanley” was released in 2021 by UK label Eastern Margins.

About Lychee and Longan (Study for Fruit Song): “Bridal laments” refer to a female custom that was performed by the Weitou people, the first settlers of Hong Kong. As marriages were arranged, becoming a bride signified a kind of death for a woman. Brides performed laments before their wedding day, a ritual which involved singing and weeping in front of family and friends. I have Weitou ancestry through my mother who never learnt the laments as the ritual faded in the 1960s.

Since 2018, I’ve been relearning laments from elderly Weitou women in the Caritas Lung Yeuk Tau Community Development Project. “Lychee and Longan (Study for Fruit Song)” is my visual transcription of lyrics from one lament. The line compares the helpless bride with lychee and longan which cannot be freed from the branch.

Image courtesy of the Artist chunyinrainbowchan.com @chunyinrainbowchan

Reg Mombassa Cyber Slave

Digital print 35 x 25cm 2018

About Reg Mombassa: Reg Mombassa is an artist and musician. Previously a member of Mental as Anything and currently playing with Dog Trumpet and The Pinks. He has exhibited paintings, drawings and prints with a variety of galleries here and overseas since 1969. He has worked as a freelance artist for the surf wear label Mambo from 1986 to the present day and has designed graphic images for a variety of uses.

About Cyber Slave: Cyber Slave is a framed signed limited edition digital reproduction. The kangaroo is an analogue for an Australian citizen chained to its mobile phone. Many people are now slaves to these phones that are monopolizing their time, damaging their physical and mental health and spying on them stantly, selling their secret thoughts, likes and habits to the tech giants.

I can barely use my phone and I don’t like it. As a child I resented the introduction of the telephone and television into our house, considering them an unwanted intrusion.

Reg Mombassa is represented by Rogue Pop-Up Gallery, Sydney Image courtesy of the Artist @regmombassaofficial

Remy Faint Table screen in red and yellow

Foldable wood screen, silk and pigment 70 x 56cm 2022

About Remy Faint: Remy Faint is an emerging artist based in Sydney (Gadigal). His practice is motivated by the desire to expand languages of painterly and sculptural abstraction by examining its global histories. Remy’s works are often modular and respond creatively to their architectural settings. While frequently working with diverse painting substrates, Faint references objects and materials specific to his Chinese heritage. Remy has exhibited widely in Sydney and is included in the upcoming national graduate exhibition ‘Hatched’, at the Perth Institute of Contemporary Arts [PICA]. He has also been a finalist in the Jenny Birt Painting Prize, Kudos Emerging Artist Award and has recently graduated with first class Honours from UNSW Art and Design. Remy will be an artist in residence at PICA in May 2022.

About Table screen in red and yellow: Table screen in red and yellow is an iteration of a folding screen that is cited as both a spatial tool and transcultural motif throughout Remy’s practice. The earliest instances of folding screens existed in the Han dynasty in ancient China, dating as early as the 4th century BCE. The work utilises silk as a painting ground and has varying layers of transparency. This enables the ability to see through the work, allowing the surrounding environment to influence the composition. The screen is also modular and can be positioned creatively, either as a self-standing object or on a wall.

Image courtesy of the Artist Coin included for scale remyfaint.cargo.site @remy.faint

Riana Head-Toussaint Tyres #1 Still image from UnTitled film work, 2019, duration: 00:06:01

Photographic image accompanied by text on paper, framed 6x4 inches 2022 (from UnTitled (2019))

Riana Head-Toussaint Hands #1 Still image from UnTitled film work, 2019, duration: 00:06:01

Photographic image accompanied by text on paper, framed 6x4 inches 2022 (from UnTitled (2019))

Riana Head-Toussaint Shelter #1 Still image from UnTitled film work, 2019, duration: 00:06:01

Photographic image accompanied by text on paper, framed 6x4 inches 2022 (from UnTitled (2019))

About Riana Head-Toussaint: Riana Head-Toussaint is an interdisciplinary crip/disabled artist of mixed-race, Afro-Caribbean heritage. Her work often crosses traditional artform boundaries, and exists in online and offline spaces. She makes both site-responsive, iterative work and more discrete projects; and her work often involves choreography, performance, film and sound design. Her choreographic practice is deeply informed and influenced by her movement language and embodied-experience as a wheelchair-user, and her selftaught/DIY artistic background and production methodologies. She creates works that interrogate entrenched systems, structures and ways of thinking; and advocate for social change.

Riana’s work has been commissioned and supported by a wide range of institutions and programs, including the Keir Choreographic Award, Human Rights Watch, the Institute of Modern Art, Performance Space, Utp, PARI, Firstdraft, Proximity Festival and Casula Powerhouse Arts Centre. As well as individualised creative pursuits, Riana’s artistic practice involves broader curatorial/space-making projects, aimed at increasing artistic opportunities and fostering connection between traditionally sidelined and marginalised artists. She is part of the 2022 Australia Council Biennale Delegates Program, and is currently setting up Headquarters: a disability-led digital space, committed to centering and celebrating the work of disabled creatives.

As well as being an artist, Riana is also a Solicitor and DJ (Aquenta).

About Tyres #1, Hands #1 and Shelter #1: In 2019, Human Rights Watch commissioned me to make a film to honour Syrian disability activist and refugee Nujeen Mustafa. Nujeen is perhaps most well-known for the journey she made with her sister, on foot, from Syria to Germany. Nujeen, like myself, is a wheelchair-user. This journey was the starting point for my film, UnTitled. I am auctioning three, framed stills from UnTitled, complete with accompanying audio-descriptive text.

The text facilitates another form of witnessing, derived from disability culture. It attempts to reflect the quality of the movement in the original film, which is important to me as someone with a movement-based/ choreographic practice.

Images courtesy of the Artist @riana.ht

Roberta Joy Rich Arrest No. 1

Digital print collage 297 x 420 mm 2020

Roberta Joy Rich Arrest No. 2

Digital print collage 297 x 420 mm 2020

Roberta Joy Rich Arrest No. 3

Digital print collage 297 x 420 mm 2020

About Roberta Joy Rich: Roberta Joy Rich is a multi-disciplinary artist who seeks to re-frame archives of African identity and histories, responding to constructs of “race” and gender identity. Often referencing her own diaspora southern African identity and experiences, she utilises language, archives and sometimes satire, in her video, performance, installation and mixed media projects. Rich draws from various socio-political, historical and popular culture epistemologies, to engage with notions of “authenticity”, with the aim of deconstructing colonial modalities and proposals of self-determination within her arts practice.

Since completing her Master of Fine Arts at Monash University, Rich has exhibited projects in Melbourne, interstate and across Johannesburg and Cape Town. Recent exhibitions include, Deny/Denial/Denied; Blak Dot Gallery, Melbourne (2017), One Colour at a Time: Contemporary Screen Prints; Wits Art Museum, Johannesburg (2017), M/other Land; Arts House (2018), Transmissions; Gallery MOMO Cape Town, (2018), The Fairest Cape? An account of a Coloured; Bus Projects, Melbourne (2018), Firstdraft, Sydney (2019), WE KOPPEL, WE DALA; Metro Arts, Brisbane, Incinerator Art Award; Incinerator Gallery (2020), and Stimulus Package as part of Darebin City Council’s FUSE Festival (2020). An alumni of FCAC’s Emerging Creative Leaders Program (2017), her residencies in South Africa have been supported

by NAVA, The Freedman Foundation and Australia Council for the Arts. She is the 2020 recipient of the Debra Porch Award for an upcoming residency at the Cemeti Institute for Art and Society, Yogyakarta, Indonesia and recently received a Creative Development Grant for a new moving image work supported by ACMI and the Ian Potter Cultural Trust.

About Arrest No. 1, Arrest No. 2 and Arrest No. 3: Arrest (2020) was born from a collaborative commission with writer Ava Amedi, that discussed ideas of ‘glitch’ which led to the exercise of attempting to glitch images that disturbed me. Through a process of ‘manual glitching’, I took a scalpel to fashion, home decor, and National Geographic magazines and sliced their pixels. Subtracting, sliding, and adding new textures, my aim was to arrest the complacency of a Eurocentric gaze and critic the framing of Black bodies within the found images, in an attempt to establish new momentum via intervention.

Image courtesy of the Artist robertajoyrich.com @robertajoyrich

Rosie Deacon Fun Foam Fantastical!

Fun foam, resin, marine ply 60cm x 110cm x 1cm 2017

About Rosie Deacon: Rosie Deacon (b. 1985) is a Sydney-based artist working in sculpture and installation. She engages with the spectacle of obsession and realms of the absurd. In 2010, Deacon graduated from UNSW COFA with first class honours and was the recipient of both the Gallery Barry Keldoulis Grant for Emerging Artists and the Dinosaur Designs Prize. She has held solo exhibitions at Bega Valley Regional Gallery, The Egg & Dart, The Cube Mosman Art Gallery, Firstdraft, Gaffa, 107 Projects and been included in group shows across Sydney, Newcastle, Townsville and Sheffield, UK. In 2014, Deacon was selected as the inaugural Runway Annual Artist Commission. In 2015, Deacon was invited as the Guest Artist for Studio A’s project for Underbelly Arts Festival on Cockatoo Island. Deacon exhibited at abandoned theme park ‘Adventureland’ for Campbelltown Arts Centre’s Winter Wonderland, and was included in Performance Contemporary for Sydney Contemporary Art Fair, Carriageworks. In 2016, Deacon curated ‘Koala Nutbush’ ART BAR, at the Museum of Contemporary Arts, and was awarded Viewers Choice in the Redlands Konica Minolta Art Prize at the National Art School, Darlinghurst. In 2018, Deacon was the winner of the Sculpture Prize in the Fishers Ghost Art Award.

About Fun Foam Fantastical!: This piece follows my artwork ‘Fun Foam Fantastical-Fabulous Fun!’ (Firstdraft Gallery, 2016). This was an immersive installation that incorporated 700kg of Fun Foam - a gooey and textured craft material popular in the 1980s. I was gifted this truck load of Fun Foam from a studio neighbour (107 Projects, Redfern, 2015) who’s parents own a toy company, and were discarding 900kg of this product. This started my obsession with the dynamic and versatile material, where I shaped everything from kangaroos, koalas, trees, and Australiana mythical creatures. Photos of this work here.

Image courtesy of the Artist rosiedeacon.com @rosiedeacon

Ross Manning Ambient Painting 2022

Glass colour filters, silver and Araldite on canvas 30cm x 41cm x 8cm 2022

About Ross Manning: Ross Manning is primarily known as a kinetic artist who explores light, physics, sound and the elements. Repurposing disused and broken electronics, he alters these existing components to create dynamic sculptures and atmospheric installations. By bringing these components into conversation with materials such as fluorescent tubing, fans, string and brown paper, he explores our ongoing relationship with technology, breaking apart machines as if to demystify their rarified position and experiment with their material capabilities. In this process of demystification he opens up the possibilities for sensory experience.

In 2017, the Institute of Modern Art (Brisbane) presented a survey exhibition of Manning’s work, which will tour to ten venues across Australia between 2018-20. His work has been included in the 2016 Shanghai Biennale and the 2014 Biennale of Sydney. Manning has received major commissions from the Institute of Modern Art (Brisbane, 2015), Len Lye Centre | Govett- Brewster Gallery (New Zealand, 2016), and the Museum of Modern and Contemporary Art (Seoul, South Korea, 2016).

About Ambient Painting 2022: The series ‘Ambient paintings’ has parallels to the artist’s philosophical approach to sound, wherein the form of the work is intentionally openended and includes the process of making, conditions of making, materials of making, plus time. Ambient Painting 2022 uses colour filters taken from LCD data projectors that are attached perpendicular to the canvas’ surface.

In the absence of images and data information, light passing through the lenses split and mixed colour across the canvas surface, becoming a passive yet kinetic mode of painting, iterative of the unrepeatable present and ambient conditions. Colour and shape of the image is determined by the direction and quality of the ambient light in the space where the work is situated. This particular AP is best suited for raking light from above or below.

Ross Manning is represented by Milani Gallery, Brisbane Image courtesy of the Artist and Milani Gallery rossmanning.com @rossfmanning

Sophie PenkethmanYoung Neo Road Concept 1

Inkjet print 42.0 x 59.4 cm 2022

About Sophie Penkethman-Young Sophie Penkethman-Young is a Sydney based artist and digital producer.

Sophie is interested in how ideas and experiences translate digitally, how humanness could be described and how could it be uploaded to the cloud.

Sophie’s works have been included in exhibitions across Australia, Hong Kong, USA, Europe and the UK. Sophie is in the process of developing a performance lecture about loading screens… if that interests anyone reading.

Image courtesy of the Artist sophiepenkethmanyoung.com @sophiep_y

Tané Andrews bearded irises

Pen, pencil and ink of watercolour paper 75 x 52 cm 2021

About Tané Andrews: Tané Andrews (b. 1986) is an artist based in Sydney, Australia. His practice explores transience, transformations, and hybridizations within the natural world. Working with perishable organic materials including; flowers, living cocoons, wood, and water, as well as more durable products such as pearls, marble, and bronze. Andrews’ artwork involves repetition, process, and a demand for meaningful contemplation. In 2007 he completed a Bachelor of Arts (Art) with First Class Honours at Curtin University, Perth. Andrews has exhibited nationally and internationally since 2011. Solo exhibitions include: Lying in Wait, Wellington St Projects Sydney (2016), The Collector, Venn Gallery Perth (2015) and Silent Distortions, Venn Gallery Perth (2014). Notable group exhibitions include Perspectives, Ginza Museum of Modern Art Tokyo (2004) Sculpture at Bathers, Kidogo Arthouse Fremantle (2017) and DeMonstrable, curated by SymbioticA Director Oron Catts, Lawrence Wilson Gallery Perth (2015). In 2015 he was awarded a residency at Artspace, Sydney and in 2017 he was the recipient of the 4A Beijing Studio Program.

Image courtesy of the Artist taneandrews.com @taneandrews

Tina Havelock Stevens Temporal sonic apparatus

Cyanotype on watercolour paper 76cm x 56 cm 2021

About Tina Havelock Stevens: Tina Havelock Stevens reveals the ambiguities of human nature using moving image, still image, sound, performance, mixed media, text and immersive installations. Her sturdy experience in post punk bands and as an observational documentary film maker collide and mix, to create artworks that animate an experience of the world that is attuned to emotional responses to the rhythm and movement of structures and environments that we inhabit and traverse. Havelock Stevens is most known for immersive and transcendent audio-visual installations using a drum kit as a spontaneous compositional conduit and improvises live to her works on screen and/or appears in her moving image works. She also collaborates with dance artists and other musicians in this context and as live performance exclusively.

Havelock Stevens is the recipient of the prestigious 65th Blake Prize (2018) and the 55th Fisher Ghost Prize (2017).

Select shows: From Impulse to Action, Bundanon Art Museum (2022), Survey show NATURE EXTEMPORIZE, The Substation (Melbourne, 2021) solo show THANK YOU FOR HOLDING, Carriageworks, Sydney Festival (2021) Afterglow Yokohama Triennale, Japan (2020) Hope in the Dark, Gertrude Contemporary, Melbourne (2020) solo show PICA (2020) The National 2019: New Australian Art at MCA, C3 West project, MCA (2019) Artspace (Sydney, 2018), Manila Biennale, Philippines (2018) MILL 6/CHAT Foundation, Hong Kong (2016). Havelock Stevens has also exhibited, performed solo, and with collaborators at The Substation, Melbourne (2022) MONA FOMA (2020 & 2013) DARK MOFO, Hobart (2016) and Performance Space, Sydney (2015 - 2019)

About Temporal sonic apparatus: Stuff from the shed. Special tapes. Sun. A small snare drum. Radio on.

Wait.

Image courtesy of the Artist tinahavelockstevens.com @tinahstevenski

Tony Albert Interior Composition (with Appropriated Aboriginal Design Vase) XXII

Acrylic and Vintage appropriated fabric on Archers Paper 76 x 58cm 2022

About Tony Albert: Tony Albert is an Artist working between Brisbane and Sydney. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories.

Albert is the first Indigenous Trustee for the Art Gallery of New South Wales and is also chair of the AGNSW Indigenous Advisory Group. Albert’s commitment to connecting and collaborating with other Indigenous artists and the wider community within his practice, has made him an integral part of Australia’s visual arts sector and the wider Australian community.

Albert has exhibited extensively both nationally and internationally. Recent solo exhibitions include; Conversations with Margaret Preston, Sullivan+Strumpf (2021); Duty of Care, Canberra Glassworks (2020); Wonderland, Sullivan+Strumpf, Sydney (2019); Native Home, Sullivan+Strumpf, Encounters, Art Basel Hong Kong (2019) Confessions, Contemporary Art Tasmania (2019); Visible, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2018) and Unity, Sullivan+Strumpf, Sydney (2018).

About Interior Composition (with Appropriated Aboriginal Design Vase) XXII I am an Aboriginal Australian artist who acknowledges the complex histories of national artistic heroes. By reclaiming objects haunted by trauma and shame, I implore viewers not to forget the histories they embody, but begin constructive conversations that can heal past wounds and offer hope. In this image I dissect 20thcentury Australian artist Margaret Preston’s iconography with a reverse ethnography, using my personal collection of appropriated Aboriginal fabrics—popular within the tourist sector. As one of the iconic creators of Australian art, Preston was inspired by Aboriginal art and believed that it was essential to establishing a visual language that reflected Australia’s landscape and soul.

Tony Albert is represented by Sullivan+Strumpf, Sydney Image courtesy of the Artist and Sullivan+Strumpf tonyalbert.com.au @tonyalbert

wa sei Resolution

Acrylic on canvas 51 x 71cm 2020

About wa sei: wa sei (b.1993) is a Sydney based interdisciplinary artist, designer and photographer. Expressing from the subconscious, his artworks are calculated improvisations that are both dynamic and vivid in colour.

About Resolution: The ubiquitous meditation of the multi-dimensional being.

Image courtesy of ar-chive linktree.com/wasei @wa____sei

Zoe Wong Questions from strangers #2

Aerosol on silk mounted scroll 60 x 165cm 2020

About Zoe Wong: Zoe Wong’s practice explores her half Chinese, half Australian heritage as well as her queer identity through photographic appropriation and mixed media installations. Her work illustrates the complexities behind the influence that pop culture has on society’s notions of race and identity and how we perceive ourselves through representation in mass media. Wong describes her practice as a “De-Orientalising” practice in which she works to break down and critique notions of the East presented in a Western context.

Image courtesy of the Artist zoewong.com.au @_zwongy