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LON Gallery is proud to announce representation of Keemon Williams.

A queer artist of Koa, Kuku Yalanji, Meriam Mir and South Sea Islander descent, Williams’ work seeks to dissolve preconceived archetypes of personal and broader identities.

With an interdisciplinary approach to practice, he expands his relationships with location, personal histories and cultural plasticity, reconciling a sense of belonging in the ubiquitous, uncanny everyday.

Following his inclusion in the group exhibition, Echoes in the Flesh, and a significant number of recent institutional accolades, we are thrilled to be presenting a solo exhibition of new work by Keemon at the gallery in early 2027.

Keemon Williams’ work was recently included in the 2025 edition of Primavera at the Museum of Contemporary Art, Platform 2025 at the Institute of Modern Art, in the LaTrobe Art Institute exhibition Unbecoming and in exhibitions at the Rockhampton Museum of Art, Redland Art Gallery, Perth Institute of Contemporary Art, University of Queensland and Northsite Contemporary Arts.

His work is held in public and private collections throughout Australia, including the National Gallery of Victoria, Artbank, Redland Art Gallery and Murdoch University.

To request a catalogue of available works please contact the gallery via email or DM.

Image:
Keemon Williams
RECOVERY, 2021
Photographic print
120 x 81cm
Edition of 5

@plasticaboriginal

We need a return to form not a return on investment
2026,
synthetic polymer on board
61 x 55.6cm

New work for @longallery show “DECADE” celebrating ten years as an artist led commercial gallery.

Enquire on their page for more info and check out the show which runs till 21 Feb!

Efficiency, efficiency, efficiency. 

‘Primavera 2025’ artist, Keemon Williams, says he’s always striving for more efficiency in creation. In an industry where the machines are often the artists, what does greater efficiency mean for the artistic process and viability? 

‘Part of the artistic gesture is the reclaiming or taking back of certain industrial practices that are eroding artistic viability because of the speed this production process offers but also distancing artists from an intimate relationship with materials,’ he says. 

See Keemon’s work now in ‘Primavera 2025: Young Australian Artists’ only at the MCA Australia.

Want to learn more? Read about creating en masse, the labour intensity of the art industry, and more in Keemon’s interview with ‘Primavera 2025’ curator Tim Riley Walsh, available now only at mca.com.au or link in bio.

Watch his interview at youtube.com/@mcaaustralia or via link in bio. 

— 

Primavera 2025: Young Australian Artists
5 September 2025 – 9 March 2026 

@plasticaboriginal @tim.riley.walsh @creativeaustralia 

Images: ‘Primavera 2025’ artist Keemon Williams, photograph: Hamish McIntosh; Keemon Williams, ‘Business is Dooming’ (detail), installation view, ‘Primavera 2025: Young Australian Artists’, Museum of Contemporary Art Australia, Sydney, digital video, colour, sound, photographs on matte rag and lustre paper, vinyl, wool, 7.17 minutes, looped, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Hamish McIntosh.

Efficiency, efficiency, efficiency. 

‘Primavera 2025’ artist, Keemon Williams, says he’s always striving for more efficiency in creation. In an industry where the machines are often the artists, what does greater efficiency mean for the artistic process and viability? 

‘Part of the artistic gesture is the reclaiming or taking back of certain industrial practices that are eroding artistic viability because of the speed this production process offers but also distancing artists from an intimate relationship with materials,’ he says. 

See Keemon’s work now in ‘Primavera 2025: Young Australian Artists’ only at the MCA Australia.

Want to learn more? Read about creating en masse, the labour intensity of the art industry, and more in Keemon’s interview with ‘Primavera 2025’ curator Tim Riley Walsh, available now only at mca.com.au or link in bio.

Watch his interview at youtube.com/@mcaaustralia or via link in bio. 

— 

Primavera 2025: Young Australian Artists
5 September 2025 – 9 March 2026 

@plasticaboriginal @tim.riley.walsh @creativeaustralia 

Images: ‘Primavera 2025’ artist Keemon Williams, photograph: Hamish McIntosh; Keemon Williams, ‘Business is Dooming’ (detail), installation view, ‘Primavera 2025: Young Australian Artists’, Museum of Contemporary Art Australia, Sydney, digital video, colour, sound, photographs on matte rag and lustre paper, vinyl, wool, 7.17 minutes, looped, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Hamish McIntosh.

Efficiency, efficiency, efficiency. 

‘Primavera 2025’ artist, Keemon Williams, says he’s always striving for more efficiency in creation. In an industry where the machines are often the artists, what does greater efficiency mean for the artistic process and viability? 

‘Part of the artistic gesture is the reclaiming or taking back of certain industrial practices that are eroding artistic viability because of the speed this production process offers but also distancing artists from an intimate relationship with materials,’ he says. 

See Keemon’s work now in ‘Primavera 2025: Young Australian Artists’ only at the MCA Australia.

Want to learn more? Read about creating en masse, the labour intensity of the art industry, and more in Keemon’s interview with ‘Primavera 2025’ curator Tim Riley Walsh, available now only at mca.com.au or link in bio.

Watch his interview at youtube.com/@mcaaustralia or via link in bio. 

— 

Primavera 2025: Young Australian Artists
5 September 2025 – 9 March 2026 

@plasticaboriginal @tim.riley.walsh @creativeaustralia 

Images: ‘Primavera 2025’ artist Keemon Williams, photograph: Hamish McIntosh; Keemon Williams, ‘Business is Dooming’ (detail), installation view, ‘Primavera 2025: Young Australian Artists’, Museum of Contemporary Art Australia, Sydney, digital video, colour, sound, photographs on matte rag and lustre paper, vinyl, wool, 7.17 minutes, looped, image courtesy the artist and Museum of Contemporary Art Australia © the artist, photograph: Hamish McIntosh.

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

🩶Primavera 2025🩶

Joy of joys to be sharing my work amongst such a visionary and cutting edge cohort of artists in Alexandra Peters, Francis Carmody, Augusta Vinall Richardson and Emmaline Zanelli. Having admired your work from afar it’s a real privilege to share my story with yours. Thank you for the work that you do.

The last couple years have been quite painful, and I’ve often thought of quitting this whole art deal. Burnout, personal shit and unsustainable industry practice has left me with little to give. Artistically, socially and emotionally. But when I got the call from this year’s PV curator Tim Riley Walsh, and heard who was involved, I knew I’d never forgive myself for not at least giving it a go. Almost didn’t do it - but I’m proud that I did.

I was encouraged to stage a spiritual successor to one of my first bodies of work “Business is Boomin’” from my first solo at @kuiperprojects in 2021. For this year I’ve produced twin artworks “Business is Booming” a hoard of 999 die-cast aluminium boomerangs, and the multimedia installation “Business is Dooming”. Both grapple with the rapid, and often brutal, consequences of “momentum” in the arts. Productivity is commonly mistaken for capacity, and the clock never stops. Much of who I really am has fallen by the wayside as that dreaded line goes up and boundaries fade. More on this to come.

However, I was kept sane through the sincere and unwavering friendship Tim provided during the almost year-long process. He stood by every idea, phone call, refusal to show existing work, and ever-expanding laundry list of practicalities. He never doubted the vision for a second. Thank you.

His commitment, and the support of the broader MCA team really got this one over the line - even amidst a minor sea freight crisis!

Special thanks as well to Lyle Duncan. Thank you for always turning up without hesitation, ready to work even when I’m afraid to. Lyle also assisted in taking the photographic and video elements for the works.

This is all out of my hands now and a break feels appropriate - no more boomerangs FYI.

PV25 in Sydney at the @mca_australia. Til 8 March 2026.

Image credits to fab Hamish McIntosh

Recall.

Reboot.