Julie Rrap
MELBOURNE ART FAIR 2026 | 19-22 FEB
ARC ONE Gallery is delighted to present a dynamic selection of new works by MARINA ROLFE, LYDIA WEGNER, JARRAD MARTYN and JYA-RUBY NATION as well as prominent series by PAT BRASSINGTON, JANET LAURENCE, JULIE RRAP, NIKE SAVVAS, JOHN YOUNG, ANNE ZAHALKA and THE ESTATE OF JOHN DAVIS for the Melbourne Art Fair 2026.
Spanning painting, print, sculpture and photo-media, the presentation reflects the depth and diversity of contemporary Australian practice, bringing together materially rigorous and conceptually driven works by artists whose practices are widely recognised by collectors and public institutions.
If you would like access to the preview catalogue, please request this from the gallery via email mail@arc1gallery.com
@julierrap
@janetlaurence
@lydiawegner
@jarradmartyn
@melbourneartfair
IMAGES:
1. JULIE RRAP, “Power Climber” Lance, 2019, bronze, edition of 3 + 1 A/P, 1/3
389 x 8 x 8 cm.
2. JANET LAURENCE, Tarkin IV (partial), from the Sacred Green series, Duraclear, acrylic, dibond mirror, 122 x 46cm.
3. LYDIA WEGNER, Red Loop, 2026
Face Mounted inkjet print, edition of 4 + 2 A/P, 1/4, 50 x 35 cm.
4. JOHN DAVIS, The Collection, 1991
Twigs, Calico, Bituminous Paint, Cotton Thread, 44 x 144 x 35 cm.
5. JARRAD MARTYN, Basilisk, 2025, oil on linen, 23 x 25 cm.

Have you spotted this incredible artwork at our MECCA Bourke Street flagship yet?
Persona and Shadow: Conception (1984) by Julie Rrap is a powerful series of nine cibachrome prints in which the Rrap photographs herself reinterpreting iconic depictions of women by artists such as Edvard Munch and Édouard Manet.
Rrap created the work after visiting exhibitions in Europe in the early 1980s and recognising that they rarely included the work of women artists. Inspired by Jean Genet’s The Thief’s Journal (1949), she explained: “I used it [the novel] as a metaphor for what I was doing with art history – I wasn’t invited, so I had to break in and look around.”
By inserting herself directly into the frame, Rrap reclaims space in the canon of art history - a bold act that continues to resonate within MECCA’s flagship, where women’s stories and creative legacies are celebrated ❤️🔥

I began using the term trickster … in the 1980s … At this time in Australia and internationally, the appropriation movement in art was in full swing and because of the nature of what I was doing—re-enacting figures from famous European paintings—I was associated with the appropriation movement. I actually felt the idea of the thief was a much more radically critical stance for a woman artist to take because women artists had historically been so marginalised. Their relationship to European masters really needed to challenge that hierarchy. The trickster as a persona allowed me to slip through these gaps in art history and disturb the balance. ‒ Julie Rrap
🔳🔲🔳
Julie Rrap, Persona and shadow: puberty 1984, National Gallery of Australia, Kamberri/Canberra, kODAK (Australasia) PTY LTD Fund 1984 © Julie Rrap @julierrap #art #contemporaryart #photo #photographer #photography

A pleasure to listen to Caroline Baum moderating a fascinating Drusilla Modjeska, introducing her new book on European women artists, active between the wars as well as a couple of contemporary artists she sees that connect with her thematic - if you’ve read Stravinsky’s lunch you’ll understand her perceptive eye that brings the work to life memorably. Thank you Roaring Forties Bookshop for hosting #drusillamodjeska @lacarolinebaum #womeninspiringwomen #womenartists @julierrap

A pleasure to listen to Caroline Baum moderating a fascinating Drusilla Modjeska, introducing her new book on European women artists, active between the wars as well as a couple of contemporary artists she sees that connect with her thematic - if you’ve read Stravinsky’s lunch you’ll understand her perceptive eye that brings the work to life memorably. Thank you Roaring Forties Bookshop for hosting #drusillamodjeska @lacarolinebaum #womeninspiringwomen #womenartists @julierrap
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