STAIRWELL

Robyn Walton, Cool Whip, rubber tube & found objects, dimension varies, 2018/2022, NFS

Through minor and formalistic distortion, she emphasises our relationship to ‘function' by rendering it obsolete. Moya Lawson

Caitlin Devoy, Switch, rubber, 60 x 250mm, 2022, NFS

LANDING

Nat Tozer, Observations of the ground through canvas, buried and unearthed canvases, 1150 x 1220mm NFS

Karley Feaver, The Fluidity of Life, epoxy clay, resin, leather, glass, wood, 210h x 140d x 140w mm, 2024, $750

Rose Meyer, Notes Noted, typewriter ink on paper roll, 230 x 6500mm x ~12yrs, 2012 to present, POA

A work always in process, reading through my notebooks and re-noting things that still resonate after the passage of time. The slow act of typing them into an undated stream of text serves to not only eliminate any hierarchy between mundane life, academia, art making, or life changing events but is also a revisitation of self in an earlier state, recapturing ideas, re-examining thoughts and reformatting them to be lost again in the dense texture of type. Final texts are rarely included in a notebook, instead there is the almost done, the unfinished, the draft, the pace of thinking can be slower, confined to the speed of the hand and the arrival of thought. The notebook is a raw place.

Jessica Pearless, After Klein, Acrylic on shaped stretched canvas, 305 x 305mm, 2014, $1500

Su Nelson, Hestia I, rescued matai and hair, 400 x 200mm, 2023, $400

Goddess of hearth and home, Hestia represents our inner archetype that keeps the fires burning. Sometimes the most noble accomplishments are the consistent reliable commitment to nourishment and manaakitanga. Part of ‘unholy trinity’ series exploring body, shadow, and emotional realm.

Inga Fillary, UNTITLED, assembled card tables, 1400 x 2100 mm, 2024, NFS

Karley Feaver, The Deceptive Wand, epoxy clay, artificial flora, foam, resin, metal, 24k gold leaf, size doesn’t matter … I mean…390h x 140😂d x 90w mm, 2024, $850

I’m exploring the power of objects as both seducers and comforters - delving into the topics of infidelity and sexuality, and presenting vessels where memories and emotions are contained. These memories are invisible yet tangible and hold personal significance.

Saint Jude, slug, clay, resin, acrylic paint & found materials, 2024, $350

I want to know what it’s like as a slug making a trail across the wall like cum across bedsheets

Teresa Peters, DISASTROUSFORMS.COM ~ ARTEFACT no.4, archival print, 730 x 730mm, 2021, $3000

EDIT SUITE

Philippa Blair, A Horse Called Silver, acrylic and oil on canvas, 760 x 2280mm, 2020, NFS

Esther Deans, Mercury Plaza, oil on board, 280 x 355 mm, 2014

LOUNGE & LIVING

Ekaterina Dimieva, Ambrosia, oil on canvas, 300 x 250mm, NFS

Judy Darragh, Untitled, found object assemblage, 2018, NFS

Ann Shelton, She addressed the tree with the respectful name (sloe, sloe berry, blackthorn, spiny shrub, Mother of the Wood, wishing thorn), Archival pigment print on Hahnemühle, Bamboo, 1120 x 840 mm, from the series i am an old phenomenon, 2022 ongoing. POA

Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were violently displaced through the witch hunts across Europe and other continents in the wake of Christianity and the rise of capitalism.

Put in the context of ecology and intersectional feminisms, the current environmental emergency and the many impacts of this high capitalist moment, the consequences of this suppression and attempted erasure of this plant-based belief system continue to be profound.

Knowledge, often, but not always held by women, of the healing, caring and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification. The images in 'i am an old phenomenon' are part of the reassemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches, and wortcunners who kept this knowledge safe.

Inga Fillary, HUMAN, ALL TOO HUMAN, 1550 x 1040 mm, blood, binder, latex, 2022, $4250

Anoushka Wallis, Sand in the Vaseline, water based ink on found image, 283 x 210mm, NFS

Anoushka Wallis, Cronus, water based ink on found image, 347 x 260mm, $250

Et al, Mercy International Relief Foundation, found tray, 600 x 450mm, POA

yasmin dullabh, 10.515, knitted yarn, size variable, 2023, POA

A dress unworn

Su Nelson, Study in Red, rescued timber, glazed ceramic, terracotta, crayon, yarn, 290 x 200mm 2024, $300

Bringing together differing reds, forms and matter into an alchemy of differences with one unifying identity

Layla Rudneva-Mackay, Eye Prick, Oil on Canvas, 450 x 350mm, POA

It comes in waves and stands in

close

I feel

I do not see

You, rational eye informing a

rational I

Speaking loud

a dominant eye is turning into

the dominant I

A reassured I

is very sure

And my waves fall still

And I do not feel

I roll. Over

Remembering that time we all

had dinner in the dark before

kids because it was a thing.

Through fumbling fingers for

cutlery other sensations came,

quietly almost insignificant.

Or after reading – I can't

remember.

Lying on the floor in my small

office with eyes closed,

trying to feel the building’s

vibration in my body, the distant

movement of unknown people

on wooden floors and Slamming

doors.

Moving from the architectural

model in my mind of a building

seen, to the sound of distant

walls and a sense of a large mass

that I can feel thought.

Actively looking for a lost thing.

A thing that’s always there.

Which I cannot see with my eyes.

And never imagined I would

lose.

For you are the dominant eye.

So who am I?