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danmudcun
Daniel Mudie Cunningham
✨curator and gallery director @wollongongartgallery
✨artist, writer and collector of funeral songs
FUNERAL SONGS, 2007–2027 🎶
In Hobart this week on a site visit for the forthcoming — and final — new iteration of Funeral Songs, marking the work’s 20th anniversary.
Art friends: if you’re not already part of the project and would like to contribute a song, you still can — link in bio.
@monamuseum
FUNERAL SONGS, 2007–2027 🎶
In Hobart this week on a site visit for the forthcoming — and final — new iteration of Funeral Songs, marking the work’s 20th anniversary.
Art friends: if you’re not already part of the project and would like to contribute a song, you still can — link in bio.
@monamuseum
Are You There? — my book — just turned 1🥂
So I’m marking the occasion with a Xmas sale 🎄
Now $50 incl. shipping (that’s half price!) 📮
Link in bio — until they’re gone. 💨
POPULAR VERSUS CULTURE
GEORGIA BANKS 💖
Popular Versus Culture presents new and recent works by Georgia Banks that examine visibility, legacy and the cultural systems through which both are pursued. Framed as a solo exhibition but expanded through collection works and invited artists, the exhibition explores what Banks describes as “legacy leeching”—the entanglement of practices across popular and high culture to test what endures, circulates and disappears.
Artists: Georgia Banks with Tony Coleing, Sarah Contos, Karla Dickens, Geoffrey Harvey, Richard Larter, David McDiarmid, Ramesh Mario Nithiyendran, Denese Oates, Kiron Robinson, Paul Saint, Martin Sharp, Vicki Varvaressos, Ruth Waller, Simon Zoric
Curated by Daniel Mudie Cunningham
Opening: Friday 5 June, 6pm
Exhibition continues until 6 September 2026
@wollongongartgallery
POPULAR VERSUS CULTURE
GEORGIA BANKS 💖
Popular Versus Culture presents new and recent works by Georgia Banks that examine visibility, legacy and the cultural systems through which both are pursued. Framed as a solo exhibition but expanded through collection works and invited artists, the exhibition explores what Banks describes as “legacy leeching”—the entanglement of practices across popular and high culture to test what endures, circulates and disappears.
Artists: Georgia Banks with Tony Coleing, Sarah Contos, Karla Dickens, Geoffrey Harvey, Richard Larter, David McDiarmid, Ramesh Mario Nithiyendran, Denese Oates, Kiron Robinson, Paul Saint, Martin Sharp, Vicki Varvaressos, Ruth Waller, Simon Zoric
Curated by Daniel Mudie Cunningham
Opening: Friday 5 June, 6pm
Exhibition continues until 6 September 2026
@wollongongartgallery
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
MITCH CAIRNS | ARTIST’S MOUTH ✨
Warmest congrats to Mitch Cairns on Artist’s Mouth, a 20-year survey at National Art School—tracing a practice from his grad show here to recent paintings, including works from the stellar Restless Legs, commissioned and presented by Art Gallery of New South Wales and later touring to Wollongong Art Gallery (pic 9 is a detail of the work Self portrait as a pair of restless legs, 2024).
Seeing so many works all together felt like being reunited with a cast of old friends—back to MOP Projects days when we first met—grounded in artist-run spaces (he’s run a few including his current project Cellar Door), and extending through shows at his gallery The Commercial, major institutional shows and public collections. Nice, too, to spot a work I acquired for Artbank during my time there (pic 6 detail - One half of a woman’s waistline repeated - study II, 2012).
There’s something in Cairns’ practice about attention—care for artists, for friendships, for the structures that hold a scene together—and the way that regard is returned.
Great speeches from Elizabeth Pulie (also the subject of one of his brilliant portraits, pic 7) and co-curator Robert Leonard, who described trying to get to the bottom of Mitch’s work like a puzzle—only to find it keeps opening onto more questions than answers (pic 2 with co-curator Lucy Latella). Go see it at NAS or IMA when it heads to Brisbane.
Big love to you Mitch! 💛
@nas_au
@instituteofmodernart
@thecommercial
@artgalleryofnsw
@wollongongartgallery
@artbankau
@elizabethpulie
@lulatella
@cellardoor_sydney ✨
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
EDGE CITY | ELVIS RICHARDSON
I’ve been thinking about Elvis Richardson’s work since the late 90s, so EDGE CITY feels like a conversation that’s been unfolding over decades.
Elvis has always worked with what’s already out there and in circulation — crime scene images, found YouTube videos, real estate photos, art world data — to ask who gets to belong, and on what terms. Here that focus lands on the interiors and thresholds of suburbia, deconstructing the systems that shape how we live.
EDGE CITY unfolds across two chapters, with a companion exhibition drawn from the WAG collection bringing in artists thinking through place, industry, memory and change, particularly here in Wollongong.
Elvis Richardson
Riste Andrievski
Judy Bourke
Kevin Butler
Edith Draper
Bianca Hester
Rob Howe
Garry Jones
Madeleine Kelly
Derek Kreckler
Catherine O’Donnell
Evan Salmon
Nick Santoro
Laurens Tan
Christopher Zanko
📍@wollongongartgallery
Until 18 October
📷 @silversalt_photography
Except image 1 by Christo Crocker and the video at the end is ‘Tomorrow’ by @elvis.richardson
SEAFOOD EXTENDER 🐟 ✨
Seafood Extender is a live performance program of 14 projects I curated for @culturalcapital.city, activating the new @sydneyfishmarket as a stage for ritual, sound, movement and gathering.
The program kicks off with SPIRIT LEVEL @tinahstevenski @jolloyd4448 @andrewtreloar performing at the Sydney Fish Market on Sunday 22 March, 12pm.
Conceived as an extension of the site’s new suite of permanent public artworks, the program invites artists to respond to water, food, trade, ecology and the social choreography of the marketplace.
SPIRIT LEVEL draws attention to the immediate environment, the continuous bustle of human connection and the experience of a busy market on the harbour. Tina Havelock Stevens and Jo Lloyd will morph through varying states. This exploration will also be revealed in their modes of performance, Jo dances, Tina drums, but not always. There is a continuous quest to find balance between equally weighted extremes. The spirit level of our senses will teeter on the humorous.
Future SEAFOOD EXTENDER live program dates to be announced. 🦐💨
🔗 more info 🔗 full artist list 🔗 link in bio
SEAFOOD EXTENDER 🐟 ✨
Seafood Extender is a live performance program of 14 projects I curated for @culturalcapital.city, activating the new @sydneyfishmarket as a stage for ritual, sound, movement and gathering.
The program kicks off with SPIRIT LEVEL @tinahstevenski @jolloyd4448 @andrewtreloar performing at the Sydney Fish Market on Sunday 22 March, 12pm.
Conceived as an extension of the site’s new suite of permanent public artworks, the program invites artists to respond to water, food, trade, ecology and the social choreography of the marketplace.
SPIRIT LEVEL draws attention to the immediate environment, the continuous bustle of human connection and the experience of a busy market on the harbour. Tina Havelock Stevens and Jo Lloyd will morph through varying states. This exploration will also be revealed in their modes of performance, Jo dances, Tina drums, but not always. There is a continuous quest to find balance between equally weighted extremes. The spirit level of our senses will teeter on the humorous.
Future SEAFOOD EXTENDER live program dates to be announced. 🦐💨
🔗 more info 🔗 full artist list 🔗 link in bio
SEAFOOD EXTENDER 🐟 ✨
Seafood Extender is a live performance program of 14 projects I curated for @culturalcapital.city, activating the new @sydneyfishmarket as a stage for ritual, sound, movement and gathering.
The program kicks off with SPIRIT LEVEL @tinahstevenski @jolloyd4448 @andrewtreloar performing at the Sydney Fish Market on Sunday 22 March, 12pm.
Conceived as an extension of the site’s new suite of permanent public artworks, the program invites artists to respond to water, food, trade, ecology and the social choreography of the marketplace.
SPIRIT LEVEL draws attention to the immediate environment, the continuous bustle of human connection and the experience of a busy market on the harbour. Tina Havelock Stevens and Jo Lloyd will morph through varying states. This exploration will also be revealed in their modes of performance, Jo dances, Tina drums, but not always. There is a continuous quest to find balance between equally weighted extremes. The spirit level of our senses will teeter on the humorous.
Future SEAFOOD EXTENDER live program dates to be announced. 🦐💨
🔗 more info 🔗 full artist list 🔗 link in bio
FOR THE TIME BEING group exhibition curated by Noelene Lucas
OPENING | Sat 7 March 2-5pm
Anke Stäcker, Beata Geyer, Cathy Laudenbach, Daniel Mudie Cunningham, Eugenia Raskopoulos, Julie Gough, Laurens Tan, Michael Tan, Noelene Lucas, Peter Charuk, Peter Fitzpatrick, Sue Murray
Curatedby Dr Noelene Lucas
“for the time being” is an exhibition of video art that addresses what is at the heart of video art, time. Each work unfolds in time and has time as its central subject. The artists variously address time as process, as an expression of contemporary life or as our unfolding relationship to land.
Downstairs and Backroom
Exhibition dates: 7-29 March
Gallery open: Fri - Sun 11am-5pm
ARTISTS and CURATOR talk Sunday 22 March 2pm
@lucasnoelene
@ankestar
@beatageyer
@cathylaudenbach
@danmudcun
@eugeniaraskopoulos
@julietasmania
@laurenstan88
@michaeltan___
@petercharuk
@peterfitzpatrick_pgfitz
@suemurrayartist
#articulateprojectspace #videoart #contemporaryart #sydneygallery #creativecommunity
MANNAFIELD ON GLOUCESTER
Next week I’m in a group exhibition curated by Noelene Lucas. ‘For the Time Being’ features a great line-up — many artists I’ve known and admired for years.
My work, Mannafield on Gloucester, began in October 2023 from a conversation with my mum, Catherine, and gradually became a video portrait that I completed recently for this exhibition.
Mannafield on Gloucester returns to our former family home in Hurstville. More than three decades after leaving, Mum and I revisited the house after finding an online image showing it empty and condemned. That encounter reopened memory and became a collaboration between us. Blending still and moving image with her recorded voice, the work shifts away from the building itself toward a portrait of my mother in the present, shaped by what the house brought back.
For the Time Being
7 — 29 March 2026
Artists
Sue Murray · Laurens Tan · Beata Geyer · Peter Charuk · Peter Fitzpatrick · Eugenia Raskopoulos · Julie Gough · Michael Tan · Anke Stäcker · Noelene Lucas · Cathy Laudenbach · Daniel Mudie Cunningham
Opening
Saturday 7 March, 2–5 pm
Articulate Project Space
497 Parramatta Road, Leichhardt
Fri–Sun, 11 am — 5 pm
@catherinewhiteig
@articulateprojectspace
MANNAFIELD ON GLOUCESTER
Next week I’m in a group exhibition curated by Noelene Lucas. ‘For the Time Being’ features a great line-up — many artists I’ve known and admired for years.
My work, Mannafield on Gloucester, began in October 2023 from a conversation with my mum, Catherine, and gradually became a video portrait that I completed recently for this exhibition.
Mannafield on Gloucester returns to our former family home in Hurstville. More than three decades after leaving, Mum and I revisited the house after finding an online image showing it empty and condemned. That encounter reopened memory and became a collaboration between us. Blending still and moving image with her recorded voice, the work shifts away from the building itself toward a portrait of my mother in the present, shaped by what the house brought back.
For the Time Being
7 — 29 March 2026
Artists
Sue Murray · Laurens Tan · Beata Geyer · Peter Charuk · Peter Fitzpatrick · Eugenia Raskopoulos · Julie Gough · Michael Tan · Anke Stäcker · Noelene Lucas · Cathy Laudenbach · Daniel Mudie Cunningham
Opening
Saturday 7 March, 2–5 pm
Articulate Project Space
497 Parramatta Road, Leichhardt
Fri–Sun, 11 am — 5 pm
@catherinewhiteig
@articulateprojectspace
MANNAFIELD ON GLOUCESTER
Next week I’m in a group exhibition curated by Noelene Lucas. ‘For the Time Being’ features a great line-up — many artists I’ve known and admired for years.
My work, Mannafield on Gloucester, began in October 2023 from a conversation with my mum, Catherine, and gradually became a video portrait that I completed recently for this exhibition.
Mannafield on Gloucester returns to our former family home in Hurstville. More than three decades after leaving, Mum and I revisited the house after finding an online image showing it empty and condemned. That encounter reopened memory and became a collaboration between us. Blending still and moving image with her recorded voice, the work shifts away from the building itself toward a portrait of my mother in the present, shaped by what the house brought back.
For the Time Being
7 — 29 March 2026
Artists
Sue Murray · Laurens Tan · Beata Geyer · Peter Charuk · Peter Fitzpatrick · Eugenia Raskopoulos · Julie Gough · Michael Tan · Anke Stäcker · Noelene Lucas · Cathy Laudenbach · Daniel Mudie Cunningham
Opening
Saturday 7 March, 2–5 pm
Articulate Project Space
497 Parramatta Road, Leichhardt
Fri–Sun, 11 am — 5 pm
@catherinewhiteig
@articulateprojectspace
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
r e a : c l a i m e d
Long-overdue recognition for one of Australia’s true pioneers of photo, digital and new media practice. I’ve been a fan and follower of Gamilaraay, Wailwan and Biripi artist r e a since the mid-1990s, when their work felt radically ahead of its time — formally inventive, politically incisive, and deeply personal in ways that have only become more resonant.
For years I’ve felt r e a’s practice was crying out for broader appreciation and a substantial retrospective, so it’s genuinely heartening to see this focused survey curated by Myles Russell-Cook foreground the depth, continuity and impact of more than three decades of work.
Restlessly experimental, r e a’s exploration of memory, race, gender and history remains as urgent as ever. The new 3-channel video commission is amazing. If anything, I just wished the show had been even more expansive — the practice can certainly hold it. 👏💥🖤
@reanoir
@myzrc
@acca_melbourne
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
NELL: FACE EVERYTHING 😊
All smiles to catch my old buddy Nell’s survey at Heide. True to form, it’s a joyous affair — yet, characteristically, beneath the happy faces lies a thoughtful engagement with art history, layered with personal and family narratives, some shadowed by sadness and trauma. These undercurrents deepen the rich lexicon of forms Nell has developed over more than 30 years. Her visual language is universal, yet unmistakably intimate. In the present, her optimism is a tonic.
I especially enjoyed revisiting her early surrealist paintings from 2005 ‘Dark Friends of the Southern Assembly’ and ‘Guardians of the Eastern Dark’ (pic 2). When first shown, they were underappreciated, possibly misunderstood, yet they already contained the seeds of the ghosts, lightning bolts, eggs and smiley faces that would come to define her practice. Seen now, in the context of her widely celebrated career, they are among the strongest works on view, elegantly binding the exhibition together.
Beautifully installed within the domestic spaces of the former home of Heide founders John and Sunday Reed, this may be the most compelling use of the house I’ve encountered in years. 👻 🐍🥚⚡️😊
@nellartist
@heidemoma
@stationgalleryaustralia
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
ANSELM KIEFER: ELEKTRA
I wasn’t sure what to expect. My interest in Kiefer has always been passing at best — all that brutalism parading as historical trauma, swaddled in material poetics, has never quite been my thing. The hardcore materials alone — lead, concrete, glass, barbed wire — tend to spike my anxiety rather than inspire awe.
And yet… Emerging from the latest subterranean tunnel at Mona into Elektra was literally breathtaking. The vast concrete amphitheatre is astonishing in its anti-aesthetic affront to museum glamour — like a farm shed on steroids — but the real shock is the painting that confronts you at the threshold. Mammoth, scorched and aggressively 3-dimensional, it bulges outward with burnt timber and thickly cracked paint, as if the canvas itself has survived a firestorm.
It feels less like an image than the embodiment of scorched earth staged within the literal excavation that made this cathedral-scale bunker possible. 🕳️🔨
@monamuseum
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Caring for the Brokenness of Things ✨
A must see — Anita Johnson’s exhibition, on view until 24 February 2026 at the University of Wollongong. Developed through her Doctor of Creative Arts, the project presents a series of sculptural works assembled from reclaimed and mended materials, reflecting on acts of care, remembrance and restoration.
Spanning TAEM Gallery (Building 25) and the Hope Theatre Project Space (Building 40), the exhibition considers how repair can become both an aesthetic and ethical gesture.
Well worth seeking out if you can. 🎻✨🪑☁️❤️🩹
@anita_johnson_artist
@uow
@defiancegallery
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
Story-save.com is an intuitive online tool that enables users to download and save a variety of content, including stories, photos, videos, and IGTV materials, directly from Instagram. With Story-Save, you can not only easily download diverse content from Instagram but also view it at your convenience, even without internet access. This tool is perfect for those moments when you come across something interesting on Instagram and want to save it for later viewing. Use Story-Save to ensure you don't miss the chance to take your favorite Instagram moments with you!
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