Archive : 2018

June 13 - June 30, 2018

Erin Linhart

What You Left Behind

What You Left Behind is text-based visual poetry meditating on the physical and non-tangible remnants of life. Drawing influence from the powerful and sometimes confronting visual form of protest signs; this exhibition encourages the viewer to visualise and question past, present and future inheritances that influence the footprint of our personal legacy and the environment. Through deconstruction and investigation Linhart, navigates sentiment, tragedy and humour of the past and present, questioning the human condition to capture an emotional response to untraditional or traditional forms of beauty.

Nathan Jokovich

Mongrel Rupture

Mongrel Rupture consists of a suite of paintings that attempt to address the affect of the inaudible buzz that oscillates underneath the surface of a post card landscape; a weighted cloud that hovers over the Australian continent. Deliberately ambiguous and elusive with the denial of a palpable legibility, the works are concurrently accessible and impenetrable in their meaning, retreating to the undefinable. On the surface they possess a kind of silence that is not unlike the unspoken narratives that stain Australian history.  The impetus of the works reflect in their own materiality, and eludes to the emptiness of historical settings; Europe or Australia, the imagined landscape. Images are wiped out, erased, architectural references imbrued with personal narrative, played against the canonisation of the history of painting itself.  The private becomes intimately entwined with the public and vice versa. 

Aaron Grech, Anna MacNeill, April JY Kim, Brigit Maher, Brooke Van Der Linden, Caitlin Shearer, Cat Rabbit, Emma Hampton, Evie Barrow, Gemma Flack, Hayley Martin, Kaitlyn Hickey, Kathy Sarpi, Kenny Pittock, Kitiya Palaskas, Lizzi Morris, Louise Gilligan, Lucy Roleff, Madeleine Cleeve, Megan Rennie, Min Pin, Nani Puspasari, Peo Michie, Pey Chi, Phoebe Beard, Tai Snaith, Tegan Iversen

Soft Toy City

Soft toys are made from material & sewn together, usually filled with some type of huggable material such as wool, cotton or plastic beans.They're often cute, fun, playful, colourful & if we're talking old toys, sometimes a bit weird, sad & creepy. Soft toys are essentially made for children, yet they are comfort objects & are able to provide support to someone's mental & emotional well-being at any age.
In Soft Toy City artists explore their own personal relationship or perhaps even non-relationship with soft toys now as adults. Specifically, but not limited to, old soft toys (like old teddies) that were significant to one growing up and what those toys mean now (if anything at all).
The works will be created & shown in a variety of different ways from painting to soft sculpture. Youth, nostalgia, honesty, sentimentality & the concept of cute will be explored within the exhibition. 

May 23 - June 9, 2018

Mia Kenway

Slight Changes

In a practice that encompasses drawing, painting and sculpture, Mia Kenway reconsiders found imagery to create a softly abstracted version of reality. The work is often subtle, in tone as well as application, and offers a new perspective of our field of vision, one that is ultimately more light and optimistic. This recent series of paintings explores change through differences in colour and pattern.

Katie Stackhouse


Perspicuity pivots around lenses of perception and notions of reality. Limestone, a material that can be millions of years old is formed from previously live creatures by forces of geology and holds an inherent catalogue of time. Through the Virtual Reality headset and materiality the temporal notion of the past and future conjuncts with tension, offering possibilities for constructs of time to be destabilised and swayed. Stackhouse is interested in geological formations, landscape and methodologies of human interaction with places and artifacts and is informed by research of the human need to design and construct tools to enable functional and imagined experiences.

Ebony Gulliver & Louise Meuwissen

Ecologies of time : Everything comes from somewhere and goes somewhere.

Ebony Gulliver and Louise Meuwissen share a fascination for the nature of time. Time is sensual and it is lived. It quickens in its inexorability, it coalesces, and it withers away. In their respective practices, times incessant ever-presence and irreversibility are evidenced in the meticulousness of their creative process and in the symbolic use of the arrow, the circle, and the void. These motifs draw upon mythical, philosophical and scientific interpretations of the rhythms observable in nature and the cosmos – energies to which we are all subject and forces to which we are all bound. There is an intimacy to be found between the macro and the microcosmic. The surfaces of their works are adorned with layers of intricate, interlacing arrangements. Focusing on perceptual aspects, forms build and proliferate, developing spaces that sometimes recede and at others creep or explode beyond the bounds of the frame.

May 2 - May 19, 2018

Alanna Lorenzon

Depth Perception

‘Depth Perception’ considers the way natural environments affect our bodies and minds. By distorting and collapsing perspective the graphite drawing work on paper explores the notion of how we perceive and experience the natural world, presenting an immersive textural environment that sits somewhere between landscape and mindscape.

Raneen Wardy, Sheilla Njoto, Charlie Kol, Katherine Audrey, Alexandra Ganci

Side of the Spectrum

Focusing on experimental responses towards the space, SIDE OF THE SPECTRUM is an exploration between a space and the audience; where the focus of the ‘art’ shifts from being the static area to being the dynamic relationship between the environment and the people. This exhibition is not a mere information propelled towards the public; rather, it is a conversation, a constantly changing communication, or a dialogue. As the audience moves, the figure of the artwork moves, making it an experience that photographs cannot provide
SIDE OF THE SPECTRUM is a response in relation to the space, which is conducted by a collective of artists from various disciplines. Deriving from different cultural background and focus, SIDE OF THE SPECTRUM is a blend of experience and experiment that bears a fresh element that raises questions towards the convention of exhibition itself.
SIDE OF THE SPECTRUM refers to altering dimensions and different wave lengths and frequencies which in turn relates to the artists who helped create the exhibition. It is about different people from different geographical backgrounds coming together to create a shared experience in turn showing a different side of the spectrum.

By transforming space, SIDE OF THE SPECTRUM will act as a means to transport people to a different destination while enjoying the space they’re passing by at the same time.

Paul Murphy & Paul Eggins

Dissimulation by Paul Squared

Paul Squared is a collaborative project with sculptor Paul Murphy, and visual artist Paul Eggins. Using the techniques of abstraction & cubism the pair intend to create an immersive space, through adopting the concept of camouflage. Through the use of shapes, structures, and colour, Eggins & Murphy aim to remove the audience members from their pre-conceived idea of the space it is installed within. The project is site-specific, with the artists adopting colours and shapes from the gallery to inform their pallet and process.

April 11 - April 28, 2018

Julia Stewart

What Remains

Whats Remains is an exhibition that explores everyday moments of beauty, humour and connection. Experimenting with painting on a variety of surfaces as well as wall reliefs, it includes works that explore the themes of intimacy, tenderness, fragility, and transition.

Azza Zein


Inspired by the title of Marcel Duchamp’s series that critically questions “the logic of measuring”, Stoppage explores our relation with data. What can painting gestures juxtaposed with graph images and textiles reveal about the essence of the measuring system? The French definition of ‘stoppage’ evokes a technique of repairing woven textiles. Combining conceptual and material lines, the painting series dissolve the binary between material production and the abstract production of knowledge. 

Max Lawrence White

Close To The Bone

Max Lawrence White’s exhibition is centred around colour and its infinite combinations, readings and meanings. In contemporary life, colour is experienced in a fleeting, transitory manner influenced by our fast-paced lifestyles and attachments to technology and social media. Within this experience, there are no rules or boundaries in regards to the interaction of colour. Intense artificial hues are combined with hues from more natural origins. Acknowledging this has lead to a process within White’s studio that embraces chance, choice and curiosity in order to recognise this new experience of colour. In this process, traditional and conventional approaches to colour are abandoned and disharmony is embraced. The primary aim of White’s work is to challenge the viewer’s fraught understanding of colour. Through the presentation of colour combinations inspired by contemporary everyday experiences, the audience is presented with a conception of colour that is free of historical and theoretical baggage. Colour is stripped of conventional connotations, superseding linguistic expression and becoming autonomous. The viewer is thus invited into an experience in which the full potency of colour is manifest.

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.