Numbers —
June, 2026
Kevin is always on time, usually early. He often checks his wristwatch and likes it when we are early, too. Harrison and I join him and his friend, Cathy, for their weekly morning walk along the Manly Corso.
Art Guide —
21 January, 2026
Face Everything sees what Nell refer to as her “extended family of characters and spirits” come to inhabit the house-museum.
Art Guide —
16 January, 2026
Christopher Kulendran Thomas’s solo exhibition at Artspace spans the 25 years between the live broadcast of the September 11 attacks and the present surge of AI-driven media.
Stanley Street Gallery —
November, 2025
Agus Wijaya’s red milk probes our devotion to data, the belief systems that guide our fixation, and interrogates alternative ways of building meaning.
Art Guide —
September 2025
Pumani’s knowledge of Antaṟa is so precise, it is easy to compare her paintings to a map.
Art Guide —
July/August, 2025
For Evans, the garden is both “talisman and method”, a structuring principle that shapes how this exhibition unfolds.
Memo Review —
14 June 2025
The works across Restless Legs emerge as tender riddles, leaning toward fragmentation over clear registration, making slippery the friction between the immediacy of the image and the pull of words.
ArtAsiaPacific —
April, 2025
The group exhibition probed the act of remembering, and art as its alternative archaeology.
MAIS WRIGHT —
February, 2025
In our lives and on our devices, energy is mutable and invisible. Divination and technology collapse into the same magic. This exhibition draws on Sophie Penkethman-Young’s intimacy with both.
Art Collector —
January, 2025
At the heart of Stevens’ work is the belief in storytelling as an act of survival: of archives, oral histories, sacred traditions and local ecosystems.
Sullivan+Strumpf —
May, 2024
Throughout her practice, Kanchana has been drawn to materials that unravel history, memory, place and feeling.
Contemporary Hum —
October, 2023
Curated by Sophie O’Brien, Head of Curatorial and Learning at Bundanon Art Museum, The Polyphonic Sea seeks to “explore the wealth of languages around us, from speech and writing, gesture and music, to the ongoing flow of communications from the natural environment.”
Sydney College of the Arts —
August, 2023
Here, art emerges from the varied containers of each publisher to take up physical space in the world of the gallery.
The University of South Australia | SAMSTAG —
August, 2022
There is a rhythmic tap, tap, tap emanating from Julie Blyfield’s studio in Maylands, Tarntanya (Adelaide) that sounds in concert with the birds of the surrounding garden. It is in this space and its orbit that the artist undertakes a daily vigil: being with, caring for and then recreating nature in her own vision. A …
The University of South Australia | SAMSTAG —
October, 2022
A classical ballet dancer of 10 years, an avid journaler from a young age and always obsessive documenter, Mountford is attuned to the way architectural considerations direct bodies through a space.
The University of South Australia | SAMSTAG —
October, 2022
The works of Inneke Taal interweave moving image, sound and the poetic line to consider subtle embodied experiences and spatial relationships.
The University of South Australia | SAMSTAG —
October, 2022
Class of 2023 Samstag Scholarship Lauren Burrow investigates the histories of materials and narratives of resistance.
Contemporary Hum —
August, 2022
The opening of the 23rd Biennale of Sydney coincided with what politicians and news outlets termed a “rain bomb”. Across the country’s east coast, unprecedented torrential downpours saw rivers swell, dams bulge and entire towns left underwater. It was, in fact, the release of an “atmospheric river” that had formed in the skies over Meanjin/Brisbane …
Vault Magazine —
October, 2022
“I always have profound doubts about making art. I wish I didn’t, and I envy friends that don’t.”
Vault Magazine —
May, 2022
“What’s most exciting about Loie is that she continually uses her embodied experience to reinvent abstraction in her own language. She manages to engender a type of bodily relation to the paintings. Upon viewing, we are attached to the paintings through an umbilical cord.” – Elizabeth Buhe
SCA Gallery —
March, 2022
An essay by curator and artist Salote Tawale, edited by Emma O’Neill.
Sullivan+Strumpf —
September, 2021
Patience and comfort with failure are vital for a ceramic practice as finely tuned as Coelho’s.
Goulburn Regional Art Gallery —
February, 2021
Ryrie’s work begins with an everyday attentiveness to the world, the long watch of ostensibly static scenes as they unfold and the almost monastic return to the same spot to wait again and again.
Vault Magazine —
February, 2021
Kirsten Coelho’s ceramic practice offers a meditation on histories past and present.
Vault Magazine —
November, 2018
“I think art is a lot like tunnelling out of prison with a teaspoon,” says Genesis Belanger. Though the artist works primarily in clay, concrete and stoneware, the tools of her cultural ‘dig’, so to speak, extend far beyond the simple teaspoon.
Vault Magazine —
February, 2020
Located on the Tropic of Capricorn, 240km northwest of Alice Springs, Papunya is remote to any urban centre but has long been occupied for its proximity to a major Tjala Tjukurpa site. It has also, more recently, been sanctified as the birthplace of the Western Desert Art Movement.
ArtAsiaPacific —
May, 2019
Presented at Perrotin’s Korean outpost in Seoul, “No Patience for Monuments” united “artists whose works push against a patriarchal, historical narrative and begin to offer a new way forward.”
Vault Magazine —
February, 2019
“It’s not an exaggeration to say that Kerry James Marshall is one of, or perhaps the most, significant voices of his generation.” said Tamsen Greene, Director of Jack Shainman Gallery, New York.
Vault Magazine —
August, 2018
Belonging to the first generation of artists who grew up with the internet, Zuckerman delights in bringing the ‘low’ of internet culture to the ‘high’ of Renaissance painting.
Vault Magazine —
August, 2019
An interview with CEO and Director of Art Fairs Australia Barry Keldoulis in anticipation of the 2019 edition of Sydney Contemporary.
The Urban List —
August, 2019
The Australian Chamber Orchestra responds to the work of Bill Henson in Luminous.
Vault Magazine —
August, 2019
In 2018, 29,000 visitors spent a total of $21 million on art – the highest short-term concentration of art sales in Australia annually. It’s no wonder then, it draws the best and brightest galleries from across the country and abroad.
Art Guide —
May, 2019
Artistic organiser Gary Carsley manages to sync the concepts of rococo and colonisation and in doing so, connects Australia’s past with a wider-global historical narrative.
Art Collector —
April, 2019
A preview of Kevin Chin: Structural Equality at Martin Browne Contemporary and Ed Bats’ eponymous solo at Gallery 9, Sydney.
Galerie pompom —
July, 2018
Upon viewing The Solar Way one may be overcome by an uncanny sense of emerging and becoming—a sustained mood of transcendence.
Art Collector —
May, 2018
An interview with Israel Birch ahead of his presentation with Martin Browne Contemporary at Auckland Art Fair, May 2018.
Art Collector —
May, 2018
An interview with Richard Lewer ahead of his presentation with Sullivan+Strumpf at Auckland Art Fair, May 2018.
Art Collector —
March, 2018
For her fourth year curating the Encounters program at Art Basel Hong Kong, Alexie Glass-Kantor focuses on “inviting the audience to make contact with objects, artists and ideas.”
Art Collector —
January, 2017
Eschewing the area’s name, which literally translates to ‘Yellow Bamboo Ditch’ in Cantonese, this industrial neighbourhood has caught the attention of savvy contemporary art collectors and gallerists.
Art Collector —
January, 2017
Presenting three Australian galleries who have recently celebrated 10 years since they first opened.
ArtAsiaPacific —
July, 2016
Amused at how the length of his whimsical artwork titles has become problematic for curators, Phu admits that the habit will only intensify given that the act of storytelling is inextricably linked to his practice.
ArtAsiaPacific —
May, 2016
“It’s about time a transvestite potter from Essex won the Turner,” declared Grayson Perry as he accepted Britain’s leading contemporary art award in 2003, in a frilly purple Little Bo Peep outfit, dressed as his feminine alter-ego character “Claire.”
ArtAsiaPacific —
November, 2015
Jakarta-born, Sydney-based photographer Adri Valery Wens explores his personal negotiation of these social dynamics through striking self-portraits.
ArtAsiaPacific —
November, 2015
After more than a decade of studying art in Paris in the 1980s, Chen Zhen returned to his native Shanghai in 1990 and was unnerved by how much the traditional landscape of his childhood was being taken over by modernisation.
ArtAsiaPacific —
October, 2015
In 2015, I spoke to Ramesh Mario Nithiyendran about the transformative power of clay, and how, by using the medium, he distorts and yokes Hindu mythology with contemporary narratives of sexuality to create multiple cross-cultural dialogues.
ArtAsiaPacific —
October, 2015
Ramesh Mario Nithiyendran, a Sri Lankan-born, Sydney-based sculptor, uses clay to produce corporeal sculptures that engage with contemporary discourses on gender, sexuality and religion.
ArtAsiaPacific —
July, 2015
“The moon is still the luna. The night sky is still the nightfall. The star chart is also a map,” reads a plaque adjacent to Luke Ching’s compelling, two-meter-high diptych…
ArtAsiaPacific —
July, 2015
Though Hong Hao works across a wide spectrum of mediums—photography, print, collage and installation, his debut solo show at Hong Kong’s Pace Gallery focuses exclusively on his paintings.
ArtAsiaPacific —
June, 2015
At 80 years-old, Hsiao is as energetic as the hues and brushstrokes that grace his canvases. The Chinese artist was cordial and quick to laugh when we met on the eve of the opening of his solo exhibition at de Sarthe Gallery in Hong Kong.
ArtAsiaPacific —
May, 2015
Given that Koki Tanaka rejects the idea of traveling exhibitions that are not adaptive or “site-specific,” the book Precarious Practice is the closest we will get to an unchanging, itinerant show of his works.
Voiceworks —
October, 2014
New fiction for literary magazine, Voiceworks.