Archive : 2018

March 21 - April 7, 2018

Anthony Williams

Absurd Obsession

Absurd Obsession is an investigation into breaking down the segregation of fine art and to amalgamate ideas through opposing medium. Conforming to a concept of absurdity whilst still maintain an armature of traditional application, in short the balance between chaos and order. When I am painting I think about the substance of sculpture in creating form to enable me to make a viscous surface. When I sculpt I constantly think about drawing and the relationship to line to define and frame space. And when drawing I am thinking about painting and how to define and investigate form and the illusion of mass on a 2-dimensional surface. Subject to me isn’t so important, I do not wish to illustrate or represent my observation. My life long vocation is to use the subject only as an armature to make art.

Hao Nguyen

See Little Change

See Little Change is a series of works that explore the figure as an unclear identity faded to a ghostly embrace. They are paintings that depict the vagueness of figures and place them in an in between space. On paper, Hao takes the figure as far as he can and then takes it back again. Forward and back until he ends up with something bare. It is due to this deliberate vagueness that the work eludes any definition of what constitutes the figurative. Even if we don’t know we will make it up to fill in the gap.

Philippe Vranjes


SunsetSwampSewerage presents new sculptural works born from a fascination with Melbourne based sound artist Nik Kennedy (Spasmoslop/Umbilical Tentacle/Holy Boner/Yendo Bruuc/Spew Balloon). This new body of work forms an extended portrait of Kennedy and the experimental noise music community in which he is rooted. Underpinning SunsetSwampSewerage is a transitory discipleship; a commitment to the person-subject made tangible through an obsessive desire to know why and how one does what they do. By drawing heavily on the aesthetics, values, gestures, instruments, set-ups, body, dress codes and the rituals associated with Kennedy’s performances, Vranjes reconfigures personal memories and knowledge to create new stories and new possibilities.
Ari Sharp 

February 28 - March 17, 2018

Myles Prangnell

I Should Go Visit Nan

Myles Prangnell is a contemporary photographer engaging in the worlds of social documentary and constructive photo making. Myles’ practice diversifies from analog to digital, still-life to landscape. He makes images that are built on creating connections between experiences and identity to form a body of work that engages with the relationships between them.

Elly Steinlauf


Nepenthe is a series of botanical images depicting subtlety in nature, focusing on colour, texture and form. Utilising the natural sunlight and open windows available to the gallery space, the artworks are responsive to light and weather changes over the course of the exhibition, with varying transparencies and tones being highlighted and subdued due to these naturally fluctuating changes.

Kareem Soliman

The Mortal Struggle of the Soul

February 7 - February 24, 2018

Melanie Lazarow

Persistence / Resistance

Political art treads a fine line between the imagination and the polemic. In this exhibition I put protesters at the centre of the problem. I show protesters, myself included, in looping wires, cushions and sewn objects. In a world of undeniable climate change, discrimination and an unprecedented widening in the gap between rich and poor, this exhibition is a question as much as an answer.

Melanie Joy is a Melbourne based artist whose practice is predominantly installation based. Her history of displacement, self exile and burning antagonism to injustice fuels her art which treads a fine line between polemics and investigation. She completed a Masters of Contemporary Art at Victorian College of the Arts in 2014 and since then has exhibited at Red gallery, Blindside, Linden Gallery, Alternating Current Art Space, Counihan Gallery, and Brunswick Street Gallery.

Sorcha McKenzie

Through Haze

Through Haze will not only convey decline, regrowth and the regenerative power of nature but depict the dichotomous relationship between the designed city utopia and the social realities of city life. I believe the natural world is often a tonic for those who reside in the metropolitan drawl. My work conveys the paradoxical nature of urban landscapes; diverse networks form within these landscapes and brilliant architectural designs are realized yet they are places where one can feel intense isolation. Figures are suspended amongst modernist architectural dream buildings, drawing into sharp relief the failure to realize utopia on a social scale.

Emily Hornum


Liquify are site-specific video projections by Perth-based multidisciplinary artist Emily Hornum. These large-scale video installations emphasise the malleable, ephemeral and intangible materiality of our digital family archives. Liquify is a playful exhibition exploring how the family archive can no longer be perceived as a ‘fixed’ and ‘static’ object – it has become decentralised and every family member contributes to their narrative and history. In these works, the photos ‘melt’ down the wall illuminating that digital memories are recorded only as a set of data that is both intangible and fluid. They can be edited, deleted, distorted, corrupted, transformed, altered and displaced. 

Hornum’s arts practice shifts through notions of the archive, memory and new media. Graduating with a Master of Arts (ECU) in 2016, her practice works across analogue and digital photography, video and installation art. She has exhibited extensively in solo and group shows nationally and internationally, and finalised for numerous art awards including Fremantle Arts Centre Print Award and South Perth Emerging Art Award. In 2017, Hornum was appointed on the board for Perth Centre for Photography, was an invited judge for PCP’s IRIS Award and has three solo shows around Australia in 2018. 

January 19 - February 3, 2018

Katherine Edwards

Plantarum Feminam

This project was inspired by the story of Empress Josephine Bonaparte, and her fascination with Australian botany in the 1800s, evidenced in her Australian plants and animals collection at her Malmaison glasshouse and gardens, in Paris.

In “PlantarumFeminam”, Katherine investigates the unlikely emergence of women botanists of this era, and the relationship between women and nature, and the dichotomy of the ‘wild’ and tamed’ concepts around ‘the feminine’. As the study of plants has historically been a male domain, this shift in science was a rather radical form of feminism. 

Plantarum Feminam encompasses Katherine’s interest in the start of the Romantic period in Europe, and the rise of female botanists around the globe, who bridged a predominantly male domain, that of science. The notion that a woman of that era had the potential to be 'fashioned' by herself, handmade, not merely serving a man’s ego, or only via 'feminine' ideals, is a source of inspiration for Katherine’s paintings and sculptures. 

Fiona Skelton & Sam Hatfield

The Cult of Love

The Cult of Love is a multi-part video series that mashes together philosophical questions of self-awareness, the dynamics of intimacy, and a self-reflexive exposition of a collaborative artistic practice. 

If individual consciousness is merely a bundle of processes without any central point of synthesis, then joint consciousness may become not merely a possibility but a necessary outcome of any systematic collaborative process involving multiple selves who themselves already qualify as conscious. The progression of an intimate relationship is used as the narrative basis for artistically bringing into being a third “entity” that is aware of itself, while also making explicit the sexuality that is implied by the synthesis of definably separate selves. 

man[und]lady is a collaboration between artists Sam Hatfield and Fiona Skelton. The overarching premise of their joint practice is to use humour and the absurd to provocatively deconstruct psychosocial paradigms. Their work is also heavily influenced by their involvement in neuropsychological research. 

Alison Gray


In this series of works Alizon Gray builds gestural marks and uses heightened colour to paint the Alaskan landscape as illusory scenes. The paintings are abstract reflections of Gray’s time spent in Alaska in 2016 and are an intimate scale, as snap shots of a remembered experience. The works recall glimpses of cruising past glaciers and seemingly endless mountains along the Inside Passage, flying onto a glacier for an afternoon hike, taking the train into the White Pass and through the mountains to Anchorage, wandering the tundra, getting stuck in the middle of a braided river, and searching for an elusive glacial erratic. The paintings have been made as a response to Gray attempting to capture the enormity of the landscape with the lens of her camera and failing to do it justice.