The Turning

THING/LANGUAGE

Mitchel Cumming
2023
Blindside

The annual exchange between Lilac City Studio (Sydney/Gadigal) and Blindside ARI (Melbourne/Naarm) hopes to foster a cross pollination between the two cities & their respective ARI communities. For the program's second year, Sydney artist & ARI director (KNULP, Sydney/Gadigal) Mitchel Cumming will be hosted in residence at Blindside for the summer studio.

Mitchel Cumming is an artist and poet living and working on unceded Gadigal and Bidjigal land. His work frequently involves the establishment and/or manipulation of exhibition contexts: a process in which elements generally considered supplementary to artistic production become instead a primary material.

Cumming's exhibition THING / LANGUAGE, is a culmination of his time in the residency.

lemon calls to lemon (temporarymade for Jack and Bernadette), 2023

two lemon trees purchased from and returned to Bunnings Collingwood, in line with the company’s change of mind policy.

Photography: Sebastian Kainey

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Black Mould RIP Brittany Murphy

Mia Kidis
Jack Mannix
Sadie Whelan

transformations [something poetic]

transformations [something poetic] is the inaugural collaborative exhibition from galleries BLINSIDE (Naarm) and Lilac City (Cadi, Djubuguli), bringing together artists Jemima Lucas, Erin Hallyburton, Mitchel Davis, Charlotte Simpson, James Carey, and Bridie Lunney.

transformations [something poetic] is a collection of works situated in material and spatial flows; interrupting and transforming forces that cooperatively vibrate and resonate. These are works that amplify vulnerabilities, the hidden and overlooked becoming an intensification of movements and charge.

Curators: James Carey & Bridie Lunney

James Carey is an artist and lecturer in Interior Design, School of Architecture and Urban Design, RMIT University, and is an artistic director at BLINDSIDE Gallery in Naarm / Melbourne. James’ creative research practice is process-based, having inherent curiosities to notions of duration, labour, maintenance and value in contemporary cultures and societies.

Mitchel Davis is currently undertaking a Bachelor of Fine Arts in Sculpture at National Art School, Sydney (Cadi, Djubuguli), Interested in the intersection between mediums, Mitchel combines elements of painting, sculpture, and textiles in his practice to explore themes of family, identity and masculinity.

Erin Hallyburton is an artist and researcher who lives and works in Naarm (Melbourne). Her sculptural practice engages with fat studies and intersectional theory in order to examine the conceptual and material limits of the body, and how these limits manifest in certain sites. Edible and transforming materials enact ongoing processes with the gallery space, highlighting the viscosity of architectural and hierarchal structures that are presented as neutral and static. Hallyburton is completing her Master of Fine Art candidature at Monash University.

Jemima Lucas investigates productive powers between psychological and materially opposed gestures of control and release/power and agency. The material assemblages hold allegorical potential, situating the works as active conduits for the body. Through balanced expressions of perpetration and yield, antithetical forces negotiate their impact on one another.

Combining practices of sculpture, installation and performance, Bridie Lunney acknowledges the body as a conduit between our emotional and psychological selves and the physical world. Performative and sculptural gestures in the works suggest a reconfiguration of hierarchical relationships between architectural space, objects and the body. Lunney is a Lecturer in Sculpture at the National Art School, and is an Artistic Director of BLINDSIDE gallery.

Charlotte Simpson works primarily through a sculptural practice, with works having a material focus on discarded objects and site. Their practice returns to ideas of architecture retaining multiple durations, exploring the relationship between architecture and human as co-dependent. Works are often found through the act of installation, directly responding to site. The symbiotic and temporal relationship between the object and site is where the work lies. Charlotte is currently completing a Master of Fine Art at National Art School.

Installation view, transformations [something poetic], Lilac City Studio, Sydney. Photo: Document Photography

Jemima Lucas, Tell me what you are. Will you hold me in your arms? 2022, stripped trampoline, cast latex, aluminium oyster, eyelets, tempered mild steel spiked hooks. Photo: Document Photography

Erin Hallyburton, Metabolism, 2022, glass bottles, biofuel (waste fish and chip oil, lye, methanol). James Carey, turbulent times, 2022, paper, ink, words, gallium. Photo: Document Photography

Erin Hallyburton, Metabolism, 2022, glass bottles, biofuel (waste fish and chip oil, lye, methanol). James Carey, turbulent times, 2022, paper, ink, words, gallium. Photo: Document Photography

James Carey, turbulent times, 2022, paper, ink, words, gallium. Photo: Document Photography

Bridie Lunney, (TBC), 2022, zinc. Jemima Lucas, Tell me what you are. Will you hold me in your arms? 2022, stripped trampoline, cast latex, aluminium oyster, eyelets, tempered mild steel spiked hooks. Charlotte Simpson, One of Two Floors, 2022, Linoleum pieces (National Art School studio floor). Photo: Document Photography

Installation view, transformations [something poetic], Lilac City Studio, Sydney. Photo: Document Photography

Mitchel Davis, BLUEBIRD, 2022, construction vest, sewing pins, found air mattress, cotton thread, silver. Photo: Document Photography

Charlotte Simpson, One of Two Floors, 2022, Linoleum pieces (National Art School studio floor). Photo: Document Photography

Jemima Lucas, Tell me what you are. Will you hold me in your arms? 2022, stripped trampoline, cast latex, aluminium oyster, eyelets, tempered mild steel spiked hooks. Photo: Document Photography

Erin Hallyburton, Metabolism, 2022, glass bottles, biofuel (waste fish and chip oil, lye, methanol). James Carey, turbulent times, 2022, paper, ink, words, gallium. Photo: Document Photography

Erin Hallyburton, Metabolism, 2022, glass bottles, biofuel (waste fish and chip oil, lye, methanol).

James Carey, turbulent times, 2022, paper, ink, words, gallium. Photo: Document Photography

Mitchel Davis, BLUEBIRD, 2022, construction vest, sewing pins, found air mattress, cotton thread, silver. Photo: Document Photography

Installation view, transformations [something poetic], Lilac City Studio, Sydney. Photo: Document Photography

Charlotte Simpson, One of Two Floors, 2022, Linoleum pieces (National Art School studio floor). Photo: Document Photography

Radiant Void

Summer Studio: Radiant Void
Elena Tory-Henderson & Siena White

13-29 Jan, 2022

Lilac City Studio's summer residency at Blindside marks the inaugural exchange between the two ARIs. Siena White & Elena Tory-Henderson of Lilac City have used this time to connect with the culture & community around Blindside and its position within the wider arts community of Naarm/Melbourne. They hope to contribute to a cross-pollination between the two cities, their artists & dialogues.

The culminating exhibition, Radiant Void, reflects on their personal journey as artists & ARI workers, the ongoing vulnerabilities, uncertainties, care and physical labour involved in running an art space. The processes used to create the works are continuous, repeated and careful gestures akin to the labour behind running an exhibition space - cleaning, painting, sanding, spaking. These repeated gestures of dedication are also sisyphean at times, meditative and comforting at others.

Siena's moon drawings embody these themes of dedication and meditation through laboriously layered and repeated graphite strokes. The moon, an ever present guide, a parental comfort in times of transition & doubt, is represented as a void within the graphite, neither foreground nor background, but like reflection on water - part of a single material plane and yet belonging to a world beyond that cannot be seen.

Elena's wall and floor rubbings are a process of care and intimacy with the physical space of a gallery. The act of rubbing with graphite powder and vapor rub both reveal the textures, marks and dents formed and accumulated within the wall and floor over time.

The closing event on Saturday 29th of January will be a chance to discuss the practice of running an independent art space and make connections between the two cities.

Please register your attendance at the closing event on Saturday 29 January 4-6pm. via this link.

Elena Tory-Henderson, untitled, 2022, graphite, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Elena Tory-Henderson, untitled, 2022, graphite, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Siena White, moon d, 2021, graphite on paper, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Installation view, Elena Tory-Henderson & Siena White, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Siena White, moon e, 2021, graphite on paper, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Siena White, moon f, 2021, graphite on paper, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Siena White, moon c, 2021, graphite on paper, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

Elena Tory-Henderson, untitled, 2022, Vick’s VapoRub, Summer Studio: Radiant Void, Blindside 2022. Photograph Nick James Archer.

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Cool Drinks, Warm Breeze

Catherine Flora Murray

The càntir is a folk vessel, a water-pitcher from Catalonia (it is also found across Spain with various names). When in the shade on a hot day, its unglazed and porous clay facilitates evaporative cooling of the water contained within, as hot air passes through. The decorative, glazed, surface of these pieces depict images, both real and imagined, of common souvenir tropes: vistas, signage, friendly phrases and characters. Some of these are found, collected from holidays visiting my family. Others include graphic designs from the archive of my Avi’s (grandfather’s) business in Barcelona, using his logo and surname. The resulting pieces are intended as sort-of souvenirs of my experience of my mother’s culture, which become emblems of feeling like an outsider from within. I intend to explore and question the nostalgia these folk pieces can evoke, in both their relationship to traditional craft practice, and as signifiers of my Catalan heritage. Each piece can be seen as a series of soft-focus memories embodied in the rustic object; something a tourist cherishes as they reflect on a distant holiday; longing for a remote sunset, sipping a cool drink and enjoying the warm breeze.

Catherine Flora Murray’s practice spans ceramics and sculpture, and engages with the history of art, visual culture, and craft practices. She is interested in the personal and cultural resonances within the materiality of folk objects and the narratives that they hold. She recently completed a Master of Fine Arts (Ceramics) at the National Art School, Darlinghurst, in 2021.

Media Release

Photos: Document Photography

Soft Goods

13 May – 6 June, 2021

Brodie Cullen

Naomi Kent

Charles Levi

Elena Tory-Henderson

Marian Tubbs

Adrian Voss

'Regardless of specialised education or technical vocabulary, by virtue of wearing garments, sleeping among linens, and sitting on upholstered surfaces, we are all de facto experts in textiles’

Julia Bryan-Wilson

Soft Goods is the curatorial project of Amelia Skelton in collaboration with Lilac City Studios. The exhibition brings together local, and interstate artists whose work, through various forms of material and conceptual inquiry, explore the intimate relationship between people and the textile object(s).

Prompted by the idea of people being ‘de facto experts’ on textiles due to being in constant surround, or contact with them, Soft Goods aims to draw attention to the innate accessibility and familiarity of textiles, and in turn their affective potentialities.

‘Soft Goods’ are tangible products that are literally soft; the textile objects that we are almost always surrounded by, defined and categorised by our visceral and intimate experience of them.

Artists

Brodie Cullen is an emerging Sydney-based artist currently completing his final year of a Bachelor of Fine Arts (Painting) at the National Art School. Cullen elevates what is typically overlooked through the process of salvaging sections of discarded mattresses, stretching and painting on them to disrupt traditional frameworks of painting. Cullen’s intervention shifts the value of the mattress from a discarded, stained, neglected object to a poetic material, embedded with history and intimacy.

Naomi Kent is a textiles artist living and working in Sydney. Graduating in 2019, with BA in Branded Fashion Design from Billy Blue College of Design, Kent uses her knowledge in garment construction to create sculptural textile works that teeter between functionality and fun.

Charles Levi is an emerging Sydney-based artist who undertakes the exploration of queer identity and the complexities that come with it through recalling and recollecting memory. Graduating with a Bachelor of Fine Arts from Sydney College of Art (Painting) in 2019, Levi creates vibrant and intricate assemblages of textiles, paint, in combination with recurring visual motifs and symbolism, through the process of re-visiting and re-claiming formative memories of becoming.

Elena Tory-Henderson is a person based on Gadigal land (Sydney) [whose artistic practice has primarily explored the interplay between the material & immaterial in the gallery space, often through something akin to drawing/painting/spacial installation.]

Elena has exhibited in both solo and group shows throughout Sydney, as well as at the Perth Institute of Contemporary Art. In 2014 Elena completed a Bachelor of Fine Arts (Honours) in Painting and was awarded the Austrian Arlbeg 1800 residency. Her first curatorial project BODY/BLOOD was exhibited at Visual Bulk Gallery in Hobart in 2018. Since 2016 she has worked as number one assistant to Lilac City Studio CEO, Siena White. In 2020 Elena completed a Bachelor of Design in Architecture at the University of Sydney and now works in the architectural field.

Marian Tubbs is an artist living and working on Bundjalung and Gubbi Gubbi/Kabi Kabi land.

Tubbs' practice traverses Internet, video and assemblage-based installation to transform the everyday into a space of interrogation. Placing objects and images in new or fluid contexts, Tubbs challenges contemporary notions of worth and value, and slows down accelerated modes of voyeurism and consumption. Positioned as an emotional and political melting pot of present day realities, her work questions how and why we view images, what consumerist products are and the role they play in our day-to-day.

Adrian Voss grew up in Germany and studied Fashion Design in Berlin. From 2011 he worked for renowned fashion companies in Sweden, France and the Netherlands. Since arriving in Australia in 2019 he has been intrigued with the quality of wool and cotton garments manufactured during earlier periods in Australian history. Sourcing, mending and re-purposing classic Australian textiles has developed into his sustainable fashion project, Toni, recently featured in Australian Vogue. Woollen blankets, cotton handkerchiefs, towels and tablecloths are re-designed into contemporary jackets, shirts and hats. Included in this exhibition are two mended woollen pieces, the Holy Blanket and Virginia’s Jumper.

Media Release

Installation view, Soft Goods, 2021, Lilac City Studio, Sydney. Photo: Document Photography

May lane, 2021, Brodie Cullen, thread, acrylic on found mattress.
Funny Baby Shirt, 2021, Naomi Kent, cotton, polyester, dried flowers, thread, and buttons. Photo: Document Photography

Installation view, Soft Goods, 2021, Lilac City Studio, Sydney. Photo: Document Photography

Virginia’s Jumper, 2020, Adrian Voss, wool and cotton. Photo: Document Photography

Virginia’s Jumper, 2020, Adrian Voss, wool and cotton. Photo: Document Photography

Forever and ever and ever, 2021, Elena Tory-Henderson, carpet and glass. Photo: Document Photography

Forever and ever and ever, 2021, Elena Tory-Henderson, carpet and glass. Photo: Document Photography

Modality, 2015, Marian Tubbs, pigment print on silk, edition 2/2 + 1AP. Photo: Document Photography

Modality, 2015, Marian Tubbs, pigment print on silk, edition 2/2 + 1AP. Photo: Document Photography

Total Recall: Way Back When, 2021, Charles Levi, recycled fabrics, acrylic paint, woollen yarn, embroidery thread, graphite on calico. Photo: Document Photography

(Detail) Total Recall: Way Back When, 2021, Charles Levi, recycled fabrics, acrylic paint, woollen yarn, embroidery thread, graphite on calico. Photo: Document Photography

(Detail) Total Recall: Way Back When, 2021, Charles Levi, recycled fabrics, acrylic paint, woollen yarn, embroidery thread, graphite on calico. Photo: Document Photography

Holy Blanket, 2020, Adrian Voss, wool and hand darned cotton blanket made from reused material. Photo: Document Photography

(Detail) Holy Blanket, 2020, Adrian Voss, wool and hand darned cotton blanket made from reused material. Photo: Document Photography

May lane, 2021, Brodie Cullen, thread, acrylic on found mattress. Photo: Document Photography

May lane, 2021, Brodie Cullen, thread, acrylic on found mattress. Photo: Document Photography

Funny Baby Shirt, 2021, Naomi Kent, cotton, polyester, dried flowers, thread, and buttons. Photo: Document Photography

North

Anastasia Klose

15 April - 2 May

North, a solo exhibition of Anastasia Klose’s recent drawings since moving to far north Queensland, Kuku Yalandji Country in late 2019. Klose’s drawing practice is inspired by the animals and landscape around her.

Anastasia Klose was born in Melbourne in 1978. She studied Fine Art majoring in drawing at the VCA. Previously she completed a Bachelor of Arts at Melbourne University. She initially became known in the 2000s for her autobiographical video, performance and installation works. Since then, she has developed a drawing practice. Humour, animals and her curiousity about life beyond what is immediately visible are her usual subjects. Always a stinge/unemployed she thinks dirt, fluff, dog hair and heavily marked paper endlessly recycled into new drawings adds to the talismanic charge of each drawing. Currently she is showing in Know my Name at the National Gallery Canberra and PINK at Wyndham Art Gallery Melbourne. She lives in Mossman Gorge, Far North Queensland.

Press Release

Joy, (2021), Anastasia Klose, soft pastel, ink, collage, spray paint, conte on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Saint Trisha, (2020), Anastasia Klose, soft pastel on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Osprey at night in the Telstra tower, (2020), Anastasia Klose, soft pastel and ink on Arches paper, 81 cm x 122 cm

1.45am, (2020), Anastasia Klose, soft pastel on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Dead pets live forever , (2020), Anastasia Klose, soft pastel and ink on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Protective drawing for someone you love (2020), Anastasia Klose, soft pastel and ink on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Butterfly, (2020), Anastasia Klose, acrylic and oil pastel on Arches paper, 81 cm x 122 cm. Photo: Document Photography

When my dad called me to tell me I was wasting my life, I knew then I was on the right track, (2020), Anastasia Klose, soft pastel on Arches paper, 81 cm x 122 cm. Photo: Document Photography

Installation view, North, (2021), Anastasia Klose, Lilac City Studio. Photo: Document Photography

Installation view, North, (2021), Anastasia Klose, Lilac City Studio. Photo: Document Photography

Night time, (2021), Anastasia Klose, ink, soft pastel, collage on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

My dog is a bitch, (2020), Anastasia Klose, acrylic and pastel smudges on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Black Kite Hunting, (2021), Anastasia Klose, soft pastel and conte on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Animals are better than us and shouldn’t suffer for us, (2020), soft pastel on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Frogs (2021), Anastasia Klose, conte pastel on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Anxiety sponge, (2021), Anastasia Klose, soft pastel and conte on paper, 60.5 cm x 85.5cm. Photo: Document Photography.

Anastasia’s portal, (2020), Anastasia Klose, oil pastel, conte and soft pastel on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

I’ll love you forever , (2021), Anastasia Klose, ink, soft pastel and conte on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Same age as Ye, 2021, Anastasia Klose, soft pastel on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Nutmeg pigeon, 2021, Anastasia Klose, soft pastel on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Sunbird nesting, 2021, Anastasia Klose, soft pastel and ink on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

Signature piece, 2020, Anastasia Klose, ink, soft pastel and pastel dust on paper, 60.5 cm x 85.5 cm. Photo: Document Photography.

All that you can call your own, you can say that you are

Does MINE = ME?

“…a man’s Self is the sum total of all that he CAN call his”
William James 1890

Artists:
Nick Collerson
Catherine Flora Murray
Amelia Skelton
Richard Spheres
Sean Wadey

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Cat at Dusk, 1988, oil on linen, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Nick Collerson, Archipelago, 2018, oil on linen, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Cat At Dusk, 1988, oil on linen, (right) Nick Collerson, Archipelago, 2018, oil on linen, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Amelia Skelton, Shroud: 2010-2019, 2020, resin keyrings, artists t-shirt, second hand fabric, ink on cotton, thread, found acrylic, metal eyelets, rope, found earring, and found charm, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Bad Luck Cat, 1991, oil on linen, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Catherine Flora Murray, 2, 3, and 6, 2019, terracotta, white slip, clear glaze, cork stopper, twine, (right) Amelia Skelton, Shroud: 2010-2019, 2020, resin keyrings, artists t-shirt, second hand fabric, ink on cotton, thread, found acrylic, metal eyelets, rope, found earring, and found charm, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Catherine Flora Murray, 2, 3, and 6, 2019, terracotta, white slip, clear glaze, cork stopper, twine, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Sean Wadey, Over time this can result in pain, 2020, terracotta slip and LED light on polymer car bump, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Catherine Flora Murray, 2, 3, and 6, 2019, terracotta, white slip, clear glaze, cork stopper, twine, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Bad Luck Cat, 1991, oil on linen, (right) Amelia Skelton, Shroud: 2010-2019, 2020, resin keyrings, artists t-shirt, second hand fabric, ink on cotton, thread, found acrylic, metal eyelets, rope, found earring, and found charm, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Installation view, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Amelia Skelton, Shroud: 2010-2019, 2020, resin keyrings, artists t-shirt, second hand fabric, ink on cotton, thread, found acrylic, metal eyelets, rope, found earring, and found charm, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Kitten n’ Bouquet, 1984, oil on linen, Cat Hunting Australian Natives, 1984, oil on linen, All that you can call your own, you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Richard Spheres, Cat At Dusk, 1988, oil on linen, (below) Sean Wadey, Over time this can result in pain, 2020, terracotta slip and LED light on polymer car bump, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Sean Wadey, I stay high (motherfucker), 2020, air brushed acrylic and glazed ceramic on polymer car bumper, Richard Spheres, Cat At Dusk, 1988, oil on linen, (below) Sean Wadey, Over time this can result in pain, 2020, terracotta slip and LED light on polymer car bump, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

Sean Wadey, I stay high (motherfucker), 2020, air brushed acrylic and glazed ceramic on polymer car bumper, (below) Sean Wadey, Over time this can result in pain, 2020, terracotta slip and LED light on polymer car bump, All that you can call your own you can say that you are, Pass~Port Store and Gallery, Sydney. Photo: Document Photography.

A4

Group show of A4 works at DownUnder Space

Pops Bagnall
Gabriel Cole
Drew Connor
Henry Curchod
Nell Ferguson
Simone Griffin
Patrick Hartigan
Mildred Irwin
Benjamin Reid
Cameron Skelton
Sam Stephenson
Oscar Sulich
Elena Tory-Henderson
Augusta Vinall Richardson
Siena White

Installation view, A4, DownUnder Space, Sydney. Photo: Document Photography

Benjamin Reid, Helicopter love, 2019, graphite on paper

Patrick Hartigan, Untitled, 2019, collage and watercolour on paper

Mildred Irwin, Cindy, 2019, collage

Henry Curchod, Untitled, 2019, watercolour and ink on paper

Sam Stephenson, Untitled, 2019, graphite on ceramic

Augusta Vinall Richardson, Untitled II, 2019, pencil and ball point pen on paper

Augusta Vinall Richardson, Untitled I, 2019, pencil and ball point pen on paper

Drew Connor, When I gave up on you//I gave up slowly, 2019, A4 LaserJet print, novelty magnets, 1 AP, ed. 5

Cameron Skelton, Micky Mouse, 2016, liquid chalk on photograph

Gabriel Cole, Paid Up and Proud, 2019, oil onto paper, enamel on clear plastic

Siena White, It is the star to every wand'ring bark, 2019, graphite on paper

Oscar Sulich, Untitled, 2019, ink on paper

Simone Griffin, Untitled, 2019, watercolour and ink on paper

Drew Connor, When I gave up on you//I gave up slowly, 2019, A4 LaserJet print, novelty magnets, 1 AP, ed. 5

Elena Tory-Henderson, forever & ever II, 2019, acrylic on cloth

Nell Ferguson, Untitled, 2019, watercolour

Installation view, A4, DownUnder Space, Sydney. Photo: Document Photography

(left) Gabriel Cole, Paid Up and Proud, 2019, Oil onto paper, enamel on clear plastic, (right) Oscar Sulich, Untitled, 2019, Ink on Paper, A4, DownUnder Space, Sydney. Photo: Document Photography

Installation view, A4, DownUnder Space, Sydney. Photo: Document Photography

LILAC CITY at BURTON

August 2019
Lilac City at Burton Project Space

Claudia Bagnall
Henry Curchod
Ryan Hancock
Sam Stephenson

photos: Document Photography

(left) Claudia Bagnall, Bring your friends, 2019, plaster, collage, found board (right) Claudia Bagnall, Long guitar solo, 2019, concrete, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

Ryan Hancock, Farscape, 2019, glazed ceramic, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

(left) Claudia Bagnall, Bring your friends, 2019, plaster, collage, found board (right) Claudia Bagnall, Long guitar solo, 2019, concrete, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

(left) Henry Curchod, (detail) Dance epidemic 1518, 2019, oil and acrylic on canvas; (right) Sam Stephenson, Sweatshirt, 2019, foamcore, sweatshirt, perspex, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

Sam Stephenson, Sweatshirt, 2019, foamcore, sweatshirt, perspex, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

Henry Curchod, (detail) Dance epidemic 1518 (floor art), 2019, inkjet on marbled velvet, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

Henry Curchod, Dance epidemic 1518 (floor art), 2019, inkjet on marble velvet; Dance epidemic 1518, 2019, oil and acrylic on canvas, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

Installation view, Lilac City at Burton, Burton Project Space, Sydney. Photo: Document Photography.

LILAC CITY X SIGNAL

12/06/2019

In collaboration with our friends Signal, Lilac City Studio presented Cameron Skelton’s pine wood figure sculptures at The Cube.

The figures are reduced to a basic skeleton made of pine wood and are held together by knuckle nails and skrews. They stand, sit, and lean, headless and fleshless. Their gender is not allocated and neither is an identity. They mimic human existence as if to mock us. They are ourselves. Reducing us to our basic existence as physical structures that sit, stand, and lean.

Photos courtesy of Signal

Recreation II

Kyra Henley

October 2018

Henley constructs paintings through a process of collage to create new and absurd narratives. Images sourced from magazines, and books of the 1950s, 60s and 70s are recontextualised to create unfamiliar landscapes of familiar images. These faux-realities become eerie masks to the destruction & darkness of the Post-War World from which the images come, the highly saturated pallet and incredible level of detail adding to this sense of facade.

Installation view, Recreation II, Kyra Henley, Lilac City Studio, Sydney. Photo: Document Photography

(left) Kyra Henley, Escalator, 2018, oil on linen; (right) Kyra Henley, Buffet, 2018, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

(left to right) Kyra Henley, Numero Uno, 2018, oil on linen; Kyra Henley, Winners, 2016, oil on linen; Kyra Henley, Vacuum Pump, 2018, oil on linen; Kyra Henley, Man Talk Herculon Carpet, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Installation view, Recreation II, Kyra Henley, Lilac City Studio, Sydney. Photo: Document Photography

(left to right) Kyra Henley, Numero Uno, 2018, oil on linen; Kyra Henley, Winners, 2016, oil on linen; Kyra Henley, Vacuum Pump, 2018, oil on linen; Kyra Henley, Man Talk Herculon Carpet, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Installation view, Recreation II, Kyra Henley, Lilac City Studio, Sydney. Photo: Document Photography

Kyra Henley, Vacuum Pump, 2018, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Kyra Henley, Winners, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Kyra Henley, Buffet, 2018, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Kyra Henley, Escalator, 2018, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Kyra Henely, Man Talk Herculon Carpet, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

(left) Kyra Henley, Numero Uno, 2018, oil on linen; (right) Kyra Henley, Winners, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

(left) Kyra Henley, Vacuum Pump, 2018, oil on linen; (right) Kyra Henley, Man Talk Herculon Carpet, 2016, oil on linen, Recreation II, Lilac City Studio, Sydney. Photo: Document Photography

Currency

October 2018

‘Currency’ is an exhibition including works by Ann Hirsch, Signe Pierce & Alli Coates, Marian Tubbs, and JD Reforma. These works are curated around a central theme of VALUE. This theme is explored within gender & sexuality, material & the body.

Ann Hirsch

Ann Hirsch is a video and performance artist, who examines the influence of technology on popular culture and gender. Her immersive research has included becoming a YouTube camwhore with over two million video views and an appearance as a contestant on Frank the Entertainer...In a Basement Affair on Vh1. She was awarded a Rhizome commission for her two-person play Playground which debuted at the New Museum and was premiered by South London Gallery at Goldsmiths College. Hirsch has been an artist in residence at Yaddo, Atlantic Center for the Arts, and Lower Manhattan Cultural Council. Recent solo shows include MIT List Visual Arts Center and the New Museum’s online project space First Look.  

http://therealannhirsch.com/

Signe Pierce

Signe Pierce is an American multimedia artist working between New York and Los Angeles. She has worked in performance, photography, video and digital art. Her work has been shown at the Museum of Contemporary Art, Los Angeles, at the New Museum, New York, and at the Palais de Tokyo in Paris. Pierce has a BFA in photography from the School of Visual Arts in Manhattan.

http://www.signepierce.com/

Alli Coates

Alli Coates is a multimedia artist based in New York City and Los Angeles. She has been privileged to work with some of the top international brands and publications in the world, including Helmut Lang, Theory, Uniqlo, MAC Cosmetics, Diane Von Furstenberg, L'Oréal, and many others. Her photography and design work has appeared in Vogue, W, Dazed and Confused, VICE Magazine, GQ, New York Magazine, Complex, and ELLE.

People Who Are dubbed her a "Creative Ninja," due to her flexibility in mediums: photography, video art, print design, window installations, web design, and art direction.

Alli grew up in Manassas, VA, graduated with a BFA from George Mason University in Washington DC, and now works between New York City and Los Angeles.

https://www.allicoates.studio/

Marian Tubbs

Selected recent exhibitions include “Hypersea”, 2018, Monaco; “Looking Without Seeing”, 2018, Benalla Art Gallery, Vic; ”STATION, Sydney", 2018; "Another Dimension”, McClelland Gallery, 2018; “Apocalypse Summer”, 2017, ltd los angeles, LA; ”In Practice”, 2017, SculptureCenter, NY; “quiet revolutions and les enfants terribles”, 2017, Station, Melbourne; "Zona Maco", 2017, ltd los angeles, Mexico City; “Contemporary Monsters”, 2016, Minerva, Sydney; "Abstract Sex*”, 2016, Bard CCS, New York; "Pleasure and Reality", 2015-16, National Gallery of Victoria; “Contemporary Print Culture”, 2015, National Gallery of Australia; “riven”, 2015, Station, Melbourne; "Relational Changes", 2015, Christine König Galerie, Vienna; “NADA”, 2015, New York, Minerva; “Hairy Plotter and the Polygrapher's Tones", 2015, Toves, Copenhagen; "Primavera 2014: Young Australian Artists", 2015, MCA, Sydney; "Quake 2", 2015, Arcadia Missa, London; "Glean", 2014, Minerva, Sydney.

Tubbs has curated shows including "Care" (with Dana Kopel) at Interstate Projects, NY and "Witness" at Minerva, Sydney. In 2017 Tubbs was the recipient of the Marten Bequest Scholarship for sculpture, and in 2015 MCA's 'Online Commission'. Tubbs’ work is held at the National Gallery of Australia, National Gallery of Victoria, Museum of Contemporary Art and International institutional collections. In 2017 her work was included in the anthology 'Australiana to Zeitgeist' publishied by Thames and Hudson. In 2014, she contributed as an author to the philosophy volume "Deleuze and Guattari and the Arts: Intensities & Lines of Flight,” published by Rowman & Littlefield International. In 2015 she completed a PhD at UNSW Art & Design. She is a lecturer in Photomedia at the National Art School.

http://www.mariantubbs.com/

JD Reforma

JD Reforma is an interdisciplinary artist who mines personal and public histories to explore the decolonising potential of the Filipino. His works occupy the interstice between the popular and the political, collecting and collaging narratives of diasporic experience as a methodology towards unpacking and unlearning cultural shame.

Exhibitions include Coconut Republic, 2017, Firstdraft, which was awarded the Contemporary Prize at the 2017 Campbelltown Arts Centre Fisher’s Ghost Art Award; Halò, 2017, with Alfredo and Isabel Aquilizan, curated by Katrina Cashman, Bayanihan Philippine Art Project, Mosman Art Gallery; Club Ate, 2017, Blacktown Arts Centre, curated by Bhenji Ra and Justin Shoulder; En-suite, 2017, curated by David Attwood; and 48HR Incident, 2015, curated by Aaron Seeto, Pedro De Almeida and Toby Chapman, 4A Centre for Contemporary Asian Art, Sydney. He has exhibited extensively throughout NSW, including Firstdraft, MOP Projects, Alaska Projects, Kudos Gallery, 55 Sydenham Rd, Breezeblock, Casula Powerhouse Arts Centre, Campbelltown Arts Centre, Goulburn Regional Art Gallery; as well as Success, Fremantle, Western Australia and Fake Estate, Brisbane.

In 2018, he participated in the 4A Beijing Studio Program, alongside Rainbow Chan, Dean Cross and Andrew Liversidge. Upcoming projects include the 2018 NSW Visual Arts Emerging Fellowship, curated by Alexie Glass-Kantor, Michelle Newton and Lola Pinder, Artspace, Sydney; The TV Show, curated by Daniel Mudie Cunningham, Wollongong Art Gallery; and Neo-Filipino, with Caroline Garcia, Verge Gallery, University of Sydney.

http://www.jdreforma.com/

Installation view, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Signe Pierce & Alli Coates, American Reflexxx, 2013, digital video, Currency, Lilac City Studio, Sydney. Photo: Document Photography

(left) Ann Hirsch, Here for you (Or my Brief Love affair with Frank Maresca), 2011, digital video; (right) Marian Tubbs, Frogstomp, 2018, mixed media, Currency, Lilac City Studio, Sydney. Photo: Document Photography

(left) Marian Tubbs, Frogstomp, 2018, mixed media; (right) oK ok OK, 2017, site-specific computer-cut vinyl, altered Calvin Klein logos, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Marian Tubbs, Frogstomp, 2018, mixed media, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Ann Hirsch, Here for you (Or my Brief Love affair with Frank Maresca), 2011, digital video, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Marian Tubbs, Clutch, 2018, perspex, coral, pins, silicone, pigment, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Installation view, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Marian Tubbs, (detail) Suprasubliminals, 2018, digital video, silicone, latex, pigment, spray paint, computer tower, waste basket, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Signe Pierce & Alli Coates, American Reflexxx, 2013, digital video, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Marian Tubbs, Suprasubliminals, 2018, digital video, silicone, latex, pigment, spray paint, computer tower, waste basket, Currency, Lilac City Studio, Sydney. Photo: Document Photography

(left) Marian Tubbs, Suprasubliminals, 2018, digital video, silicone, latex, pigment, spray paint, computer tower, waste basket; (right) Ann Hirsch, Here for you (Or my Brief Love affair with Frank Maresca), 2011, digital video, Currency, Lilac City Studio, Sydney. Photo: Document Photography

Number One Assistant

Siena White

October 2018

This body of work is a response to the daily confrontation of being female in the context of a male dominated work environment. The works explore feelings and observations in navigating these environments, using humour, text and teen aesthetic from her own memories to create complex & personal collages about being a GIRL.

photos: Document Photography

Installation view, Siena White, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, After Francis Alys, (2018), acrylic on canvas, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, Seated Figure, (2018), acrylic on linen, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

(detail) Siena White, I am cute and organised, (2018), digital video, laptop, chair, chain, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Installation view, Siena White, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

(detail) Siena White, Number One Assistant, (2018), stickers, installation view, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, I am cute and organised (foreground), (2018), digital video, laptop, chair, chain; Siena White, Seated Figure (background), (2018), acrylic on linen, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, Dreams of an Assistant I, (2018), digital print on polyester, stainless steel rods, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, Dreams of an Assistant III, (2018), digital print on polyester, stainless steel rod, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

(left) Siena White, Dreams of an Assistant II, (2018), digital print on polyester; (right) Siena White, Dreams of an Assistant III, (2018), digital print on polyester, stainless steel rod, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, Dreams of an Assistant II, (2018), digital print on polyester, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, I am cute and organised (foreground), (2018), digital video, laptop, chair, chain; Siena White, Seated Figure (background), (2018), acrylic on linen, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

(detail) Siena White, Soft, (2018), vinyl banner, synthetic fur; (detail) Siena White, Number One Assistant, (2018), stickers, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

(detail) Siena White, Number One Assistant, (2018), stickers, installation view, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Installation view, Siena White, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

Siena White, Number One Assistant, (2018), stickers; Siena White, After Francis Alys, (2018), acrylic on canvas, Number One Assistant, Lilac City Studio, Sydney. Photo: Document Photography

BODY/BLOOD

August 2018

Body/Blood, curated by Elena Tory-Henderson is a group exhibition including Athena Thebus, Siena White, Dylan Batty and Dominic Byrne, held at Visual Bulk, in Hobart, Tasmania.

Between the artists lies an interest in identity, representing the self & the body’s implication within this. By placing these practices in conversation we hoped to provide a space of contemplation on how material, text, tension & texture can create works rich & thick with feeling.

Photo credit: Rémi Chauvin

Installation view

Dominic Byrne, Life Drawings, acrylic wall painting, 2018

Dominic Byrne, (detail) Life Drawings, acrylic wall painting, 2018
Siena White, No.1 Assistant, digital print on polyester, stickers, 2018

Dominic Byrne, (detail) Life Drawings, acrylic wall painting, 2018

Siena White, No. 1 Assistant, digital print on polyester, stickers, 2018

Siena White, (detail) No. 1 Assistant, digital print on polyester, stickers, 2018

Dylan Batty, Nmeme, rachet straps, found object, plastic packaging, 2018

Athena Thebus, Everything Beautiful In This World Is Mine, neon light, 2018

MONSTROUS/ORDINARY

July 2018

‘Monstrous and Ordinary’ is an exhibition curated by Lilac City Studios. The show places together the work of artists from Sydney and abroad including Ben Reid, John Michael Parry, Marian Tubbs & Lewis Hammond.

Tittering between the ordinary and monstrous, the works share a sense of familiarity pierced by an idiosyncratic eeriness. Parry’s ersatz archaeological installation uses everyday objects that stand in for unfamiliar histories, creating deliberate misinterpretations of a ‘human narrative’. The discord of materials used by Tubb’s creates an irksome clash of high and low culture, the eeriness of internet imagery in its anonymity and simultaneous ubiquity, violate the delicacy of the silk they are printed on. Reid’s subtle curation of familiar parts forms an unsettled whole, while the distorted & fragmented bodies of Hammonds paintings are made somehow more ominous by the rich & painterly use of oil paint with which they are represented.

The show places these works together with the aim that the audience experience this feeling of a violated ordinariness and how the materials used by the artists communicate this theme.

Photography Credit: Sam Stephenson

(detail) Marian Tubbs Under Striates 2 (2015)
2/2 + 1 AP
Pigment print on micro georgette

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
Acrylic paint on styrene foam, MDF, digital print on vinyl transfer, steel plate, concrete

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
Acrylic paint on styrene foam, MDF, digital print on vinyl transfer, steel plate, concrete

Lewis Hammond Porcelain (A promise of revenge) (2018)
oil on linen

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

Marian Tubbs Ersatz Falls (2013)
Pigment print on silk satin, found box

Ben Reid Untitled (puppet) (2018)
Plastic, wood, steel, cement, fabric

(detail) Marian Tubbs Under Striates 2 (2015)
2/2 + 1 AP
Pigment print on micro georgette

Ben Reid Breakdown (2018)
Single channel video, chair

(detail) John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
Acrylic paint on styrene foam, MDF, digital print on vinyl transfer, steel plate, concrete

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
Acrylic paint on styrene foam, MDF, digital print on vinyl transfer, steel plate, concrete

Lewis Hammond Porcelain (A promise of revenge) (2018)
oil on linen

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

(detail) John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

Untitled (You can’t run from the swarm when you live in the hive) (2017)
oil on linen

Marian Tubbs Ersatz Falls (2013)
Pigment print on silk satin, found box

(detail) Marian Tubbs Under Striates 2 (2015)
2/2 + 1 AP
Pigment print on micro georgette

Lewis Hammond I am inside out (2018)
Oil on canvas

Ben Reid Breakdown (2018)
Single channel video, chair

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

(detail) John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
River stone, nylon rope, digital print on vinyl banner, galvanised chain, stainless steel soap dispenser filled with water base lubricant, dye and green flock mixture

(detail) John-Michael Parry Reconstruction of an exhibition about the ‘medieval warming era’ dating from 1997AD, reconstructed in the year 4018 (2018)
Acrylic paint on styrene foam, MDF, digital print on vinyl transfer, steel plate, concrete

LCS

February 2018

An exhibition curated by Lilac City Studio at the Campbell Project Space, 78 Campbell St, Surry Hills.

Gabriel Cole
Simone Griffin
Soul Mckenzie
Jasper Powrie
Elena Tory-Henderson
Gussie Vinall Richardson

Photos courtesy of Sam Stephenson, Alex Johnston, and Simone Griffin

Gabriel Cole
God Save The Queen, 1966, Part 1 - 2, 2018
acrylic and enamel on canvas

Elena Tory-Henderson
forever and ever II 2018
enamel & paper

Soul Mckenzie
laugh now, laugh later 2017
cartridge paper, paper, oil pastel, charcoal & oil paint on canvas

Gussie Vinall Richardson
(top) How Deep Is Your Love I
perspex box, digitally printed fabric, found image & custom stickers
(bottom) How Deep Is Your Love II
perspex box, digitally printed fabric, photograph & custom stickers

Jasper Powrie
IMG_20171025_142652 2017
glazed ceramic

Gabriel Cole
God Save The Queen, 1966, Part 1 - 2, 2018
acrylic and enamel on canvas

Simone Griffin
Lambo, 2018
gelatin silver print on fiber-base paper, glass, wood, printed lycra, nickel-plated railing

Simone Griffin
detail Lambo, 2018
gelatin silver print on fiber-base paper, glass, wood, printed lycra, nickel-plated railing

Gussie Vinall Richardson
How Deep Is Your Love (beginnings)
perspex box, found fabric, digitally printed fabric, acrylic on plastic adhesive, found text/image, custom stickers

Elena Tory-Henderson
forever and ever, 2018
carpet & acrylic paint

Jasper Powrie
IMG_20171025_142652 2017
glazed ceramic

Gabriel Cole
God Save The Queen, 1966, Part 1 - 2, 2018
acrylic and enamel on canvas

Elena Tory-Henderson
forever and ever, 2018
carpet & acrylic paint

DEEPER AND DEEPER (DEEPER)

photos: Fiona Susanto & Sam Stephenson

Elena Tory-Henderson & Dominic Byrne

So Much Desire, Such a Small Body, 2017
cow hide leather, timber, chroma key material,
dimensions variable

Holbein’s Bunny, 2017
acrylic paint,
360 x 490 cm

Tickle Me, Elena, 2017
single-channel video, 2 min, 22 sec.
edition of three, plus A.P.

Hand Over, 2017
single-channel video, 2 min, 43 sec.
edition of three, plus A.P.

Tears For A Large Room, 2017
concrete, chicken wire, vaseline
dimensions variable

INEVERWANTTOFEELTHISGOODAGAIN!!!!!!,DOM, 2017
leather, timber
121 x 181 cm

Tears For A Large Room, 2017
concrete, chicken wire, vaseline
dimensions variable

Plastic

Plastic celebrates the sense of fulfillment and freedom that the act of adorning a mask can allow. For Skelon a mask enables a person to actualise their desires; and to morph into a fantastical reincarnation of them self.

photos courtesy of Sam Stephenson

LINKS:
Text
Artist CV

installation view

Item No. 38 (Our Mother)
dried flowers, dental floss, calico and found material, glass beads, ink

Masked Figure 2
cellophane, cardboard, inkjet on paper

Bagged Homosapien 1
plastic bag, coat hanger, glass beads, wire, dental floss, calico, ink

Masked figure 2 (An Ode to Diane)
editions of 3
cellophane, cardboard, inkjet on paper

Item No. 15
calico, ink, dental floss, glass beads

(left) Masked Figure 5
(right) Masked Figure 4
cellophane, cardboard, inkjet on paper

Item No. 61
calico, ink, dental floss, glass beads

(left) Bagged Homosapien 4
(right) Bagged Homosapien 3
found material, ink, thread, glass beads, plastic bag, coat hanger

Item No. 11 (a uniform)
found material, found plastic, dried plant, ink, dental floss, and ribbon

Item No.196
glass beads, dyed calico, vacuum sealed bag, thread, dentail floss, inkjet on paper, tape

installation view

Item No. 83 (Head Garment)
calico, glass beads, dental floss, thread and ink

Bagged Homosapien 2 (Marital garment)
plastic bag, coat hanger, glass beads, thread, found material

Item No. 42
calico, glass beads, dental floss, thread, ink

Item No. 140
calico, ink, dental floss, glass beads

Bagged Homosapien 1
plastic bag, coat hanger, glass beads, wire, dental floss, calico, ink

Masked Figure 3
cellophane, cardboard, inkjet on paper

Diane
papier-mache

installation view

Item No. 38 (Our Mother)
dried flowers, dental floss, calico and found material, glass beads, ink

installation view

A resignation (video still)
performance and footage by Emily Walder, Edited by Amelia Skelton

HEADGEAR6LC

Mils gallery presents its 6th edition of headgear - held at Lilac City

Featuring:
~~~Ida Lawrence~~~h.j.huwman~~~Simone Griffin~~~Adriano Rosselli ~~~Eko Bambang Wisnu~~~Roman Stachurski~~~Siena White~~~
Amelia Skelton~~~Nick Mordzewski~~~Harrison Witsey~~~Eva Troyeur-Gibson~~~Joe Wilson & Chanelle Collier~~~Ryan Hancock~~~
Nicole Toms~~~Yuta Matsumura

Photos courtesy of Sam Stephenson
Artist links here

View HEADGEAR6LC shot and styled by Simone Griffin here

Installation view

installation view

Joe Wilson
Gallery Imperative 2 (Mask)
plastic, gyprock, timber, acrylic

Installation view

installation view

Siena White
Online dis-inhibitiob, toxic vs. benign
2017
sewn toy fur fabric
45x39x10cm

Nicole Toms
The Old Patch
2017
plaster, wax, cloth, paper and paint
22x16x13cm

Ryan Hancock
MaskCockRyan
2017
glazed ceramic, egyptian paste
38x22x15cm

Joe Wilson
Gallery Imperative 2 (Mask)
2016
plastic, gyprock, timber, acrylic
34x26x15cm

Adriano Rosselli
Breanne
2017
leather, make up
28x20x18cm

Roman Stachurski
Carry On Mask
2017
recycled plastic, foam, wood, brass, neon light
65x12x20cm

Ida Lawrence
Haven't blinked in years
2017
canvas, acrylic, card, false eyelashes
22x22x7cm

Eko Bambang Wisnu
The Mystical Street Dentistry Tour
2017
felt, satin ribbons, pom pom, fabric, plastic beads, plastic chains, acrylic, enamel and fluorescent pigments on canvas
178x70x26cm

Eko Bambang Wisnu
The Mystical Street Dentistry Tour
2017
felt, satin ribbons, pom pom, tassel, fabric, plastic beads, plastic chains, cone, acrylics, enamel, and fluorescent pigments on canvas
178x70x26cm

h.j. huwman
Headband with painted miniatures + found object (Mannequin Head)
2017
found mannequin head, leather, acrylic paint, cardboard, glue
43x18x30cm

Nick Mordzewski
Domdom cleaning (video still)
2017
stereo, colour, sound

Eva Troyeur-Gibson
Paper Knight
2017
acrylic, and watercolour on paper
39x24x12cm

Amelia Skelton
Is that all for today?
2017
cotton
40x20x20cm

Amelia Skelton
Is that all for today?
2017
inkjet on paper, wrapped in celophane
42x30cm

Roman Stachurski
ss Refuge Island Mask
2017
copper, steel, cotton, bamboo, grass, paint

Harrison Witsey
Mask
2017
painted ceramic on found object
27x20x6cm

Simone Griffin
A staged revelation
2017
paper, fabric, acrylic, mirror, wire, light

Ryan Hancock
MaskCockRyan
2017
glazed ceramic, egyptian paste
38x22x15cm

installation view

h.j. huwman
Headband with painted miniatures + found object (Mannequin Head)
2017
found mannequin head, leather, acrylic paint, cardboard, glue
43x18x30cm

Eva Troyeur-Gibson
Paper Knight
2017
acrylic, and watercolour on paper
39x24x12cm

Yuta Matsumura
Self Defense
2017
ceramic, glaze, LED light
25x18x13cm

installation view

LCE4

LCE4 is the fourth group show curated by the Lilac City team.

Kit Christian
Harry Culy
Ryan Hancock
Cooper Michael
Jasper Powrie
Athena Thebus
Elena Tory-Henderson

fb event here
artists link here

photos courtesy of Sam Stephenson

installation view

(left) Most Popular Youtube Videos
Jasper Powrie
2017
Video

(right) Angel
Athena Thebus
2015
Vinyl banner, metal eyelets
200 x 100 cm

installation view

Light fixture, Mount Victoria, Wellington, New Zealand, 2017
Harry Culy
2017
Archival Pigment print
30 x 40 inches
edition of 5 + 2AP

Hollywood Vicks
Elena Tory-Henderson
2017
carpet, vicks vapour rub
125 x 115 cm

Most Popular Youtube Videos
Jasper Powrie
2017
Video

Angel
Athena Thebus
2015
Vinyl banner, metal eyelets
200 x 100 cm

(left) Slab
Elena Tory-Henderson
2017
concrete, foam dv

(centre) MISS DIVINITY '16
Athena Thebus
2016
Printed Sherpa blanket, leather, chain
300 x 200 cm

(top) Happiness
Kit Christian
2017
acrylic on canvas
9 x 12 inches

Slab
Elena Tory-Henderson
2017
concrete, foam dv

a wall to talk to
Cooper Michael
2017
acrylic and bubble-gum on plaster cast
75 x 60 cm

Ryan1-12
Ryan Hancock
2017
glazed ceramics

Happiness
Kit Christian
2017
acrylic on canvas
9 x 12 inches

Light fixture, Mount Victoria, Wellington, New Zealand, 2017
Harry Culy
2017
Archival Pigment print
30 x 40 inches
edition of 5 + 2AP

Slab
Elena Tory-Henderson
2017
concrete, foam dv

Hollywood Vicks
Elena Tory-Henderson
2017
carpet, vicks vapour rub
125 x 115 cm

Angel
Athena Thebus
2015
Vinyl banner, metal eyelets
200 x 100 cm

(left) Slab
Elena Tory-Henderson
2017
concrete, foam dv

(right)Happiness
Kit Christian
2017
acrylic on canvas
9 x 12 inches

Most Popular Youtube Videos
Jasper Powrie
2017
Video

(left) Hollywood Vicks
Elena Tory-Henderson
2017
carpet, vicks vapour rub
125 x 115 cm

(right) Most Popular Youtube Videos
Jasper Powrie
2017
Video

installation view

GOSSIP FROM THE CYBER-ID

16/06/2017 - 23/06/2017

The internet has pulverised all thought into 140 characters or less, we strip mine this new featureless for lulz

Photographs courtesy of Sam Stephenson

Artist links here

Purchase enquiry: please contact us here

installation view

Steven Latimer
Still from ‘In fuccbois stepp’d so far’ (1977) Dir: Mary Wolstonecraft, England
2017
Acrylic on canvas

Siena White
Internet anonymity, dream state2
2017
Acrylic and oil on canvas

Siena White
Paraphernalia
2017
Oil on primed paper

Siena White
Internet anonymity, dream state
2017
Acrylic and oil on canvas

Siena White
Inter-net 2
2017
Vinyl based paint and oil on linen

(top) Siena White
Prink
2017
Oil on canvas

(bottom) Siena White
'Inter-net fantasie'
2017
Acrylic and oil on linen

Steven Latimer
Still from ‘We flew here’ (2011) Dir: Erin Nguyen, Australia
2017
Acrylic on canvas

Steven Latimer
An autoclave heart’ (2017) Dir: Alice Wild Williams, Ausralia
2017
Acrylic on canvas

Siena White
Internet anonymity and complex decision making
2017
oil on canvas

Siena White
Inter-net
2017
Oil on canvas

Steven Latimer
Still from ‘Keep Warm’ (1928) Dir: Alun Dalig-Skallen, Norway
2017
Acrylic on canvas

Steven Latimer
Still from ‘Maverick: the Jocky Wilson story’ (1983) Dir: Sam Stephenson, England
2017
Acrylic on canvas

Steven Latimer
Still from ‘Pax Mongolica’ Dir: Bat-Erdene Ganzorig, Mongoli
2017
Acrylic on canvas

(top left) Siena White
New Zealand screen shot
2017
Oil on canvas

(bottom left) Siena White
Internet anonymity and complex decision making 2
2017
Acrylic on canvas

(right) Siena White
Online dishinibition, benign vs. toxic
2017
Oil on linen

Steven Latimer
Still from ‘Cowardice to the sea: a post meme odysse’ Dir: Fran Auerbach, Canada
2017
Acrylic on canvas

Siena White
Still from ‘In the house of the Bear’ (2016) Dir: Ülo Raag, Estonia
2017
Acrylic on canvas

Siena White
Internet anonymity in blue
2017
Permanent marker on paper

Siena White
Drawing series
2017
Paper on pencil

CHINA: COUNTRY, FAMILY, FRIEND & LOVER

Sydney photographer Nick MacMahon's solo show at Lilac City.

A documentary photography series from time spent working with communities in urban and rural areas of China.

http://nickmacmahon.com/

Installation photos courtesy of the artist.

LCE3

Photographs courtesy of Sam Stephenson

The show was first conceived as an exhibition of ‘works on paper’, but more broadly incorporates the idea of the works that are preliminary to the larger praxis of the artist. These are, perhaps, works not generally displayed as final pieces, and show a new facet of each artist’s idiosyncratic way of making.

This year includes 26 artists:

ANNA CUTHILL
GEMMA AVERY
MATT BUSTEED
DOMINIC BYRNE
KIT CHRISTIAN
DREW CONNOR
ALEX COOKE
WILL COOKE
SIMONE GRIFFIN
RYAN HANCOCK
KYRA HENLEY
TILLY KUBANY-DEANE
STEVE LATIMER
HUW LEWIS
GUS MACLEOD
NICK MACMAHON
FINN PARKER
CLARE POWELL
KRISTINA SAVIC
FLIN SHARP
CAMERON SKELTON
SAM STEPHENSON
ELENA TORY-HENDERSON
SEAN WADEY
SIENA WHITE
EKO BAMBANG WISNU

Anna Cuthill
Any love song will do (diptych) 2017
Archival pigment prints
48 x 33 cm (each)

Finn Parker
The Scorpion 2017
33.5 x 33.5cm
Digital print on paper, temporary tattoos & spray paint

Will Cooke
Situation_8 2017
Spray paint on Arches paper
59.4 X 42cm

Siena White
Future moment 2017
Acrylic & oil on paper
12 x 15.25cm

Siena White
One second till friendship 2017
Acrylic & oil on paper
12 x 15.25cm

Dominic Byrne
Life Drawing I 2016, Life Drawing II 2016, Life Drawing III 2016
Pen on paper
30 x 50cm

Eko Bam Bang Wisnu
Antioxidant’s Manifesto no.1 [soy sauce bottle] 2017
Antioxidant’s Manifesto no.2 [mi goreng] 2017
Antioxidant’s Manifesto no.3 [blue text] 2017
Antioxidant’s Manifesto no.4 [masako] 2017
Antioxidant’s Manifesto no.5 [table] 2017
Antioxidant’s Manifesto no.6 [match box] 2017
Antioxidant’s Manifesto no.7 [cigarette] 2017
Antioxidant’s Manifesto no.8 [bandrek manifesto] 2017
Antioxidant’s Manifesto no.9 [plastic in bag] 2017
Coloured pencil on paper

Matthew Busteed
Last one out, get the lights 2017
Collaged posters
100 x 70cm

Simone Griffin
Turtle still III 2017
Turtle still II 2017
Turtle still I 2017
Gelatin silver print on fiber-base
2 x 15.25cm

Flin Sharp
Idea 2 2017
Acrylic, adhesive spray and vinyl decal on patterned canvas
50 x 40cm

Kit Christian
Cowboys floating above the poppies 2017
Lady floating with wild roses 2017
Pencil on paper
1 x 30cm

Drew Holland
Portrait 2017
Portrait But More Smiles 2017
Solvent transfer of found Drew Holland on cropped folio cover

Ryan Hancock
Ryeun Expandcock 2017
Glazed ceramic

Nick MacMahon
Cony 2017 2017
Camoda print
61 x 51cm

Elena Tory-Henderson
Arcs 016
A-part 2016
Pencil & conte on paper
40 x 32cm

Clare Powell
Two Hot Days in a Row 2017
Digital print on paper

Alex Cooke
Man wearing cowboy hat (Part of CENTRAL) 2016

Sam Stephenson
Elton John & Eminem 2017
Macauley Culkin & Michael Jackson 2017
Colonal Sanders & Alice Cooper 2017
Pencil on paper
1 x 30cm

Gemma Avery
Double Shot 2017
Digital pigment print & gesso on ply
5 x 25cm

Tilly Kubany-Deane
Work on paper 2017
Work on paper II 2017
Digital print on paper
3.5 x 24.5cm

Cameron Skelton
8T WAR PATH 2017
Digital media

Sam Stephenson
Elton John & Eminem 2017
Pencil on paper
1 x 30cm

Sam Stephenson
Macauley Culkin & Michael Jackson 2017
Pencil on paper
21 x 30cm

Sam Stephenson
Colonal Sanders & Alice Cooper 2017
Pencil on paper
1 x 30cm

Kyra Henley
Ass Biscuits 2017
Charcoal, acrylic, & paper on paper
9 x 55cm

Huw Lewis
The head that ate itself 2017
Ink & acrylic paint on paper
21 x 29.7cm

Kit Christian
Gundagai was a conspiracy 2017
Pencil on paper
21 x 30cm

Steven William Charles Latimer III
Recalled still from 'The Elec' (1972) Dir: Dario Bava 2017
Pencil, acrylic, & inkjet on paper
0 x 60cm

Sean Wadey
Pure Evil 2017
Pure Virtue 2017
Acrylic, paper and rubber ball on cardboard
35.5 x 28.5cm

Sean Wadey
Pure Evil 2017
Acrylic, paper and rubber ball on cardboard
35.5 x 28.5cm

Sean Wadey
Pure Virtue 2017
Acrylic & paper on board
5.5 x 28.5cm

Gus Mcleod
Basic Needs (Unchosen) 2017
Mixed media on paper

MILS GALLERY BOOK LAUNCH

Curator: Adriano Rosselli

MILS BOOK: A History of Mils Gallery, 2009-2016 is a mega-catalogue of sorts, celebrating the 70+ exhibitions that took place at Mils over its 7 year lifespan. It Includes over 400 artworks by over 120 artists, as well as two long-form essays by Anna Georgia Mackay and Vladimir Kravchenko.
Eko Bambang Wisnu and h.j.huwman were commissioned to design the cover of the book and they were both so nice that we decide to make two. The body of the book was designed by indonesian artist - Irfan Hendrian.

mils gallery website

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buy the book here

Photographs courtesy of Sam Stephenson

LOVE DON'T LIVE HERE

Photographs documenting PASS~PORT and friends fortnight in New York.

Photographs courtesy of Sam Stephenson

facebook event

POLLEN #002

Photographs courtesy of Epiphany and Carl

POLLEN website

facebook event

Inside issue #002

JOE WILSON & CHANELLE COLLIER ~ UNIFORM 17/11/2016-20/11/2016

see media release here

facebook event

Artist website

photographs courtesy of Sam Stephenson

Uniform (1-6) 2016, canvas

Poster 2016, Officeworks Poster Print A0

Soft Painting (1-4) 2016, Canvas Timber, 50x50cm

Uniform (1-6) 2016, canvas; Soft Painting (5-6) 2016, Canvas Timber, 50x50cm

Uniform (1-8) 2016, canvas; Soft Painting (5-7) 2016, Canvas Timber, 50x50cm

Changeroom; Garment Bag (1-8) 2016, canvas, 60x105cm; Soft Painting (1-2) 2016, Canvas Timber, 50x50cm

Soft Painting (1-5) 2016, Canvas Timber, 50x50cm; Uniform (1-6) 2016, canvas

Uniform (7-8) 2016, canvas

Posters 2016, Officeworks Poster Print A0

Soft Canvases (3-4) 2016, canvas, timber, 50x50cm

THE FOOTY SHOW 23/9/16 - 25/9/16

Photographs courtesy of Sam Stephenson

facebook event

Purchase THE FOOTY SHOW booklet here

Ryan Hancock - The Cherry Pickers and the Shoremen

Jordan Beenken - The Doy-Doy Boys

(left to right) Wil Akerman - Play the Ball or Suck Me Off, Wil Akerman - Jimmy Barnes, Lucy O'Doherty - Home Turf

Wil Akerman - (left) Play the Ball or Suck Me Off ; (right) Jimmy Barnes

Michael Cooke - Bruce Mennis

Siena White - GI 2

Siena White - Russell Crowe Emerging from the Water

Kit Christian - SEMI RAD RA DA

Gidon Sack - Concussion Painting

James Stevens - Wet Weather Line 1 and Wet Weather Line 2

Gemma King - The Scrum

Marissa Bagley - Aussie Anubis and Untitled

Marissa Bagley - Aussie Anubis

Marissa Bagley - Untitled

(left to right) Anna Cuthill - Rhys; Marissa Bagley - Aussie Anubis and Untitled

Anna Cuthill - Rhys

Cameron Skelton - Sponsored 1

(left to right) Aidan Jansen - As is Tradition ; Vanessa White - Alex Hargreaves

Sam Stephenson

Eli Turier - (left to right) Actual Artifact 3: Andrew John's very first mouth guard that his mother gave him after his very first fist fight that he lost; Actual Artefact 1: Andrew Johns' very first football that he got from his uncle on his 4th birthday; Actual Artifact 2: One of Andrew Johns' very first football boots that he got from Matthew John's once he'd grown out of them

Siena White - GI 2

Steven Charles William Latimer III - Round 14, 1981: Western Suburbs Magpies v Darlinghurst Boogymen

Ryan Hoffman - Descending Concussion

Nick MacMahon - (left to right) South Sydney Rabbitohs Charm Bracelet with Swarovski Crystals; South Sydney Rabbitohs Men's White Training T-Shirt

Nell Ferguson - Referee

Matt Busteed - Rex Mossop

Amelia Skelton - Referee

Cameron Skelton - Sponsored 2

Eva Troyeur-Gibson - Rugby Beasts

(left to right) Gidon Sack - Concussion Painting; James Stevens - Wet Weather Line 1 & 2

(left to right) Anna Cuthill - Rhys; Marissa Bagley - Untitled & Aussie Anubis

(left to right) Ryan Hoffman - Descending Concussion; Nick MacMahon - South Sydney Rabbitohs Charm Bracelet with Swarovski Crystals and South Sydney Rabbitohs Men's White Training T-Shirt

(left to right) Steven Charles William III - Round 14, 1981: Western Suburbs Magpies v Darlinghurst Boogymen; Sam Stephenson - Coach and Cheerleader

(left to right) Matt Busteed - Rex Mossop; Amelia Skelton - Referee; Cameron Skelton - Sponsored 2

Sam Stephenson - Coach

Sam Stephenson - Cheerleader

Sam Stephenson - Rabbitoh

Sam Stephenson - James Graham

KIT CHRISTIAN & CAMERON SKELTON ~ ROMANCE NOVEL 16/9/16 - 18/9/16

Photographs courtesy of Sam Stephenson

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Cameron Skelton 'gate keeper'

Kit Christian 'full of shit'

Cameron Skelton 'the zoo'

Cameron Skelton 'bananas'

Kit Christian 'wild rose'

Kit Christian 'multiculturalism'

Kit Christian 'venice beach scene'

Cameron Skelton 'lineal latex'

Kit Christian 'fleetingly'

Kit Christian 'policing and counterterrorism'

Kit Christian 'woman'

Kit Christian 'casper the friendly ghost'

Cameron Skelton 'dakota glitter'

(left) Kit Christian 'multiculturalism' (centre) Kit Christian 'Venice beach scene' (left) Cameron Skelton 'lineal latex'

installtion view

(left) Cameron Skelton 'Dakota Glitter' (right) Kit Christian 'Casper the friendly ghost'

(left) Cameron Skelton 'the zoo' (right) Cameron Skelton 'bananas'

(left) Cameron Skelton 'gate keeper' (right) Kit Christian 'full of shit'

ALEXANDER COOKE ~ ILL-ADVISED 2/9/16 - 4/9/16

A series of diptychs by Alexander Cooke that are attentive to the ordinary and mundane moments of everyday life.

Photographs courtesy of Sam Stephenson

artist website

facebook event

purchase works here

purchase Ill-Advised Zine here

Cards And Turps (2015) & Video Shop (2015)

Cinema Paradiso (2016) & Chinese Medical Centre (2016)

Abstract Awning (2013) & Rust (2013)

Spills (2013) & Brunswick Burbs (2015)

LAX Sleeper (2016) & Cheetahs NYC (2016)

Wrong Way (2015) & Nature Painting (2015)

Mirror Outside Service Station (2016) and Cafe Lithgow (2016)

Glass Shower (2013) & Cones (2015)

Grandma's Scratchies (2016) & Man On Bench (2015

installation view

ELENA TORY-HENDERSON ~ BERG 12/8/16 - 14/8/16

New works by Elena Tory-Henderson

Photographs courtesy of Sam Stephenson

(left) V-PART (2016), acrylic paint, 275x300cm (right) THREE PARTS (2016), polypropylene & wood dowel, 90x100cm

BIG PINK (2016) Elena Tory-Henderson, paper & acrylic paint, 160x160cm

V-PART (2016), Elena Tory-Henderson, acrylic paint, 275x300cm

A-PART (2016) Elena Tory-Henderson, acrylic paint, 200x300cm

(left) BIG PINK (2016) paper & acrylic paint, 160x160cm (right) detail ARCS (2016) MDF & acrylic paint, DV

ARCS (2016) Elena Tory-Henderson, MDF & acrylic paint, DV

ART SHOW 29/7/16 - 31/7/16

Photographs courtesy of Sam Stephenson

Defendant 12 (2010) edition of 3, Sam Stephenson, c-type print

i AM sorry (2016) Drew Holland, WWE screenshot photo-released onto recycled paper: Bed sheet, sketchbook and clothing

Has 2 be (b-side, 1997) (2016) Drew Holland, WWE screenshot photo-released onto recycled paper: Bed sheet, sketchbook and clothing

Lets not and say we did (2016) Callum Jeffrey, inkjet on cartridge

Bull Husk (2016) Ryan Hancock, glazed ceramic

Over (2016) Tango Conway, ink on Japanese rice paper

Pain (2016) Flin Sharp, oil on canvas

Panic (2016) Flin Sharp, oil on canvas

“Still from ‘Braty’ (‘Brothers’) (2015) dir: Viktor Kravchenko, Ukraine” (2016) Steven Latimer, acrylic on canvas

Bork (2016) Amelia Skelton, ink on tissue paper

Catepillar Dreaming (2016) & Catepillar Dreaming 2 (2016) Ondine Seabrook, oil on canvas

Wadey (2016) Matilda Kubany-Deane, inkjet on paper

Noodles-1984 (2016); Shrimp Noodles (2016); Sinsin Noodles (2016); & Soy Fish (2016) Isis Star, cast ceramic and decal

Pyjamas (2016) Anna Henry, oil on board

Reaction (2016) Yuta Matsumura, oil on board

Black Corner (2016); Body/Unholy (2016); & Skin Piece (2016) Justine Youssef, pigment, plaster and wax on paper

Untitled 1 (2016) & Untitled 2 (2016) Remy Pajaczkowski-Russell, stoneware with porcelain slip

Invisible Client (2016) & Body Guard (2016) Ryan Hancock, acrylic on calico

Untitled (2016) Siena White, oil on canvas

LCE2 24/6/2016 - 26/6/2016

A group exhibition of 20 artists curated by Siena White

Photographs courtesy of Sam Stephenson

(left to right) Michael Cooper preserved 2 minute noodles with play doh frame (2016) preserved 2 minute noodles & play doh frame; Sean Wadey Wet Dreams (2016) Acrylic & enamel on polyester; Kit Christian SEMI RAD RA DA (2016) spray paint, matte gel, sourced pigment & oil bars on canvas strectched on board