Exhibitions
Art exhibitions in Perth
KolbuszSpace offers a curated schedule of monthly art exhibitions in Perth, promoting innovative and critically engaging early career artists across broad mediums.
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NOVEMBER 2026 – ONLINE ONLY
ON NOW at the Art Gallery of New South Wales is Near at Hand: Dobell Australian Drawing Biennial 2026, featuring KS artist Ryan Nazzari.
The Dobell Australian Drawing Biennial is the country’s leading curated exhibition dedicated to contemporary drawing, and this sixth edition brings together just 11 artists from across Australia. Curated by AGNSW Assistant Curator of Australian Art Scott Elliot, the exhibition reflects the breadth and vitality of drawing today. Nazzari’s watercolours bring together animals, figures, limbs and faces in strange, hybrid forms that are immediately his own.
The exhibition is now open at the Art Gallery of New South Wales and runs until 7 March 2027.
KS will follow this significant institutional presentation with an exhibition of new works by Nazzari in November 2027.
Image: Ever, watercolour on Arches paper, 42 X 30CM. A$ 390 (unframed)
OPENING FRI NOV 6: 6 – 8PM
VIEW SAT NOV 7 + SUN NOV 8: 10 – 4PM
Montana Cooke’s paintings stage figures in close, uneasy proximity, where touch can register as tenderness, dependence or friction. Bodies press against one another, separate and reappear, while shifts in posture and scale turn each painting into a charged psychological space.
For the first time, Cooke will work at large scale. Across eight major paintings, her figures gain greater physical and emotional force without losing their tenderness or nuance.
Cooke has exhibited in London and New York, and is now showing in Australia for the first time with new, ambitious large-scale paintings.
Montana Cooke studio image
OPENING FRI NOV 6: 6 – 8PM
VIEW SAT NOV 7 + SUN NOV 8: 10 – 4PM
Aileen Corbett is an Irish-born, Melbourne-based ceramic artist whose sculptural practice explores spatial perception and the emotional resonance of place. Working with stoneware, she creates hand-built geometric forms at the intersection of art and architecture, considering how built environments shape belonging, memory and movement. Precision is balanced by the responsiveness of clay, allowing structure to sit alongside intuition and sensitivity. Through abstraction and architectural reference, Corbett examines the psychological dimensions of the places we inhabit and carry with us.
Corbett trained at Melbourne’s School of Clay and Art under Shane Kent. Her recent recognition includes Third Prize in the 2026 Fifty Squared Art Prize, Second Prize in the 2025 LEDA Art Prize, finalist selection in the 2025 Fisher’s Ghost Art Award and the Craft Victoria Object Prize in 2023. This will be her third solo exhibition with KolbuszSpace and her work is now held in private collections across Australia.
Past Exhibitions
OPENING FRI 9 OCT: 6 – 8PM
VIEW SAT 10 OCT + SUN 11 OCT: 10 – 4PM
Waldemar Kolbusz presents a new body of paintings that engages even more directly with contemporary cultural social codes and contradictions which shape his life and practice. Moving between figuration, abstraction and disruption, the works consider how perception is formed, manipulated and revised. This exhibition marks a shift into more expansive territory.
Waldemar Kolbusz is a Boorloo-based painter with a practice spanning more than twenty years. His work has been exhibited in Australia and internationally and is held in private, corporate and institutional collections.
Image: studio portrait by Jody D’Arby
OPENING FRI 7 AUG: 6 – 8PM
VIEW SAT 8 AUG + SUN 9 AUG: 10 – 4PM
A Quiet Force considers the reciprocal relationship between human beings and the natural world: how we shape, organise and also damage our environments, and how those environments act upon us in return both physically and psychologically. Organic forms, built structures and traces of human intervention recur across the exhibition, suggesting an ongoing exchange between bodies, materials and place.
Pasalic moves between photography, tapestry, painting and sculpture as interconnected modes of thought. A monumental tapestry more than two metres wide anchors the exhibition, surrounded by two streams of smaller works spanning compact tufted textiles and mixed-media paintings on board incorporating steel, toner, transfer, acrylic and varnish. Softness meets hardness, handwork meets industrial process.
Recent features in VAULT and frankie reflect the growing attention surrounding Pasalic’s work and its distinctive combination of material experimentation and conceptual clarity. Born in Croatia, Pasalic has lived and worked across Europe and Australia. She holds degrees in industrial design and design from the University of Zagreb and has exhibited in Zagreb, Ljubljana, New York, Brussels, Vienna, Adelaide, Jerusalem, Sydney, Canberra and Perth.
Image: Soft Pressure 3. Oil, acrylic and resin on board, 100 X 76CM
OPENING FRI JULY 3: 6 – 8PM
VIEW SAT JULY 4 + SUN JULY 5: 10 – 4PM
New Zealand based artist Gaye Jurisich returns to KS with her new solo exhibition, titled All In Now, presenting nine large scale works that mark a bold and confident evolution in her practice.
Framed around landscape as narrative and energy, Jurisich’s work moves through memory, desire, fear, time, scale and spirit. In All In Now, colour takes on a heightened role, with the palette becoming even braver and more affecting. There is a clear sense of evolution in these works, showing an artist entirely accomplished with her materials, and still testing how far she can push them.
Jurisich’s works are held in collections across New Zealand, Australia, Berlin and New York, including the Pratt Institute. Her practice is marked by a rare confidence with material, where gesture, colour and surface are pressed without losing control. In All In Now, that confidence is unmistakable, with works that feel expansive and direct.
Image: Shudder, 2026. Mixed media on canvas, 165 X 110CM
OPENING FRI JULY 3: 6 – 8PM
VIEW SAT JULY 4 + SUN JULY 5: 10 – 4PM
Perth based ceramic artist Beverley Iles presents Breathe, a new solo exhibition of sculptural works made with found wild clays and site specific materials. Known for works that grapple with place, belonging, permanence and coexistence, Iles brings a deeply physical and intuitive approach to ceramics, allowing material, form and surface to carry ideas of body, environment and transformation.
The exhibition moves across three distinct areas of work: large breathing forms, brick based works and smaller wall pieces where nail-polished, high gloss sections emerge from soft, organic openings. Across the exhibition, Iles continues to challenge conventional ideas of ceramic beauty, allowing raw material, bodily references and worked surface to become inseparable.
Iles graduated with a Bachelor of Fine Arts from Curtin University in 2016 and has exhibited regularly, won numerous awards and completed residencies including in Basel, Switzerland. In Breathe, her ongoing interest in the natural world, found materials and human connection comes together in these quietly forceful works.
Image: Sigh 1, 2026. Wild found clay, wood, nail-polish, 30 X 11 X 10CM
JUNE 2026 – ONLINE ONLY
Croatian born artist Liliana Pasalic presents Field Notes on Matter, an ongoing body of pigment prints on paper developed over the past three years. Extending from her earlier work in experimental photography, first exhibited in a solo show in Zagreb, Croatia, these new works continue Pasalic’s investigation into the connections between humans and the world around them, from nature and the built environment to the metaphysical, the spiritual and the increasingly digital.
Approaching photography not as a documentarian, but as a painter, Pasalic brings together painting, photography, drawing, textiles, collage and sculpture in a process led by curiosity and experimentation. Ripped posters, urban decay, building sites, drawing and painting appear as symbols of human activity, while flora, fauna and natural materials point toward nature, spirit and interdependence. At other times, analogue and digital references explore the relationship between humans and machines, with physical processes offering a return to material presence, touch and direct experience. In Field Notes on Matter, physical materials such as fabric, stained glass, ice and water are used as filters, altering images by hand rather than screen and grounding the works in the tangible world.
Pasalic has lived in Zagreb, London and Adelaide, and now lives in Zurich. She has exhibited in solo and group exhibitions in Zagreb, Ljubljana, New York, Brussels, Vienna, Adelaide, Jerusalem and Canberra. Known for a practice that moves across painting, tapestry, design and photography, she continues to blur disciplines and challenge the boundaries between mediums.
Image: Composition in C Minor. Pigment print 310gsm Ilford cotton rag, available in 3 sizes. Edition of 5
OPENING FRI MAY 8: 6 – 8PM
VIEW SAT MAY 9 + SUN MAY 10: 10 – 4PM
Material Girl by Robyn Bernadt reimagines pages from Coles and Vogue magazines, transforming mass media print into woven and cross-stitch-inspired works that blur the line between print and textiles, digital and handmade. Drawing from sources at opposite ends of the cultural spectrum, Coles, with its recipes and household tips, and Vogue, a symbol of style and luxury, the works examine how femininity is constructed, marketed and consumed.
Employing traditional craft practices historically tied to women’s labour and the domestic space, Bernadt reshapes print media into exquisite objects. Her process becomes both a method of making and a quiet mode of critique.
The woven and cross-stitch patterns reference the origins of computing, in which early binary systems were modelled on weaving design and the punch-card mechanisms of the Jacquard loom.
What emerges exposes the hidden structures these magazines uphold, making visible the gendered labour and expectation and the soft coercion embedded in lifestyle marketing. In Material Girl, the magazine becomes more than material; it becomes a metaphor- recoded, rewoven, and reclaimed as a subtle form of resistance.
Robyn Bernadt is a paper installation artist living and working in Boorloo (Perth). Bernadt graduated from Edith Cowan University with a Bachelor of Visual Art in 1999 and has since continued to practice and exhibit regularly.
Image: Women’s Work, 2025. Coles magazine on Arches paper, 100 X 80CM
ONLINE ONLY: APRIL 2025
VIEW IN GALLERY BY APPT
Montana Cooke paints from the inside of a feeling, not the story around it. The work starts hot, before anything is explained, and she follows that first surge until it finds shape. Emerging and based between Perth and London, she graduated with a BA Honours in Fine Art from Falmouth University in 2022.
Cooke’s process is physical and blunt. She layers, scratches back, cuts, repaints, rearranges, and leaves the edits visible. Working with acrylic, pastel, charcoal, pen, and oil bars, she builds surfaces that feel direct and alive. Against the constant pull of screens, Cooke prefers to keep her attention analogue. She draws instead of scrolling, and you can feel that discipline in the work, it is present and unperformative.
Her figures return and return again, not as characters but as evidence. Repetition becomes insistence, a way of testing the same emotion from different angles, with different force. Gesture, spacing, and small shifts in posture turn the surface into a charged room, where care and conflict jostle.
Cooke has exhibited in London and New York City, and this online exhibition brings together a focused suite of smaller works, marking her first presentation in Australia and with KolbuszSpace. Her gallery solo of oversized canvases at KS will follow in November 2026.
Image: 2 Yellow Figures. Acrylic, oil pastel, charcoal and pen on 140gsm acid free paper, 33 X 32CM
OPENING FRI MAR 27: 6 – 8PM
VIEW SAT MAR 28 + SUN MAR 29: 10 – 4PM
This new exhibition by Matthew McVeigh titled Songs in the Cuts brings together a series of mixed media works that examine the entangled histories of surveying, mapping, and mining in Western Australia. The works mobilise the language of cartography and topographic abstraction, translating the scars of extraction into layered visual fields. Each work becomes a site where geological strata, aerial surveys, and mining incursions are rendered not merely as technical documents, but as cultural inscriptions that cut through Country.
The recurring motif of the “cut” operates on multiple registers: as a physical incision into the earth, a bureaucratic delineation of territory, and a cultural rupture that severs ancestral songlines. Yet within these painterly translations, the cuts also reverberate with counter-narratives, songs carried across deep time that resist erasure. Lines undulate like soundwaves, ochres bleed into survey grids, and mining pits become reimagined as apertures through which memory and loss echo.
By juxtaposing schematic precision with gestural fluidity, this exhibition underscores the paradox of modern surveying: a technology of control that nonetheless cannot contain the immensity of Country’s rhythms. The paintings and other works situate themselves between the archive and the landscape. They both re-inscribing colonial maps with an aesthetic of resistance and also re-sound the silenced songs embedded within the earth.
Matthew McVeigh is an interdisciplinary artist who graduated from WAAPA. His practice is predominantly interested in how identities, histories and institutions can be consumed and subsumed into homogenized narratives. McVeigh’s works have been acquired by collections such as the Holmes à Court Collection and the Art Gallery of WA Collection.
Image: Matthew McVEIGH & Dr. Erick RAMANAIDOU. Delineated Dividends. Levels, ore from Pilbara mining sites, tape, dimensions variable.
OPENING PARTY FRI FEB 13: 6 – 8PM
VIEW SAT FEB 14 + SUN FEB 15: 10 – 4PM
This exhibition celebrates the official launch of KS Art Leasing and Lease-to-Buy (interest free) — a new, flexible way to live with and acquire contemporary artwork. This new program reflects a shift toward more accessible, adaptable collecting, for both private and commercial spaces.
KS can assist with everything from selecting a single statement work to curating a broader leasing mix suited to your space and purpose. Enquire for full catalogues and pricing.
Lease
Artworks are available to lease short or long term, from 6-week blocks through to a max of 12 months.
Lease-to-Buy (interest free)
At any point during a lease, you can convert to a purchase.
All lease payments made are deducted in full from the retail price, with no interest and no uplift on the final price.
Payment timing is flexible and can be arranged your way within the 12 month max.
DEC 2025 – OPENING PARTY DEC 12
VIEW SAT DEC 13 + SUN DEC 14: 10 – 4PM
We celebrate five years of our end of year group show with a curation that brings the best of KS into clear view. Including new works by Aileen Corbett, Blair Gauld, Caroline Cassel, Dantina + Julian Shaw, Diane Scott, Georgia Bisley, Kartika Laili Ahmad, Luke Kolbusz, Matthew McVeigh and Waldemar Kolbusz.
On view all of December by appt with our big opening party 12 December.
All welcome.
Image: Caroline CASSEL. Vénus, Acrylic on canvas, 150 X 100CM
2025
OPENS FRI 14 NOV: 6 – 8PM
VIEW SAT 15 NOV + SUN 16 NOV: 10 – 4PM
I am drawn to surfaces—old windows, crumbling render, discarded construction materials—not for nostalgia, but for their capacity to abstract. These photographs are studies in texture and form, revealing accidental compositions that often verge on the uncanny. The phenomenon of pareidolia—seeing forms or faces where none exist—guides much of this work. In the distortions and juxtapositions, a deeper emotional and cultural logic emerges.
Though rooted in a close, historical study of place, the images resist straightforward narrative. They are quiet confrontations with time and transformation. The colors are sun-bleached, rust-stained, or saturated by sea air. These works are not landscapes in the traditional sense, but psychological environments—spaces where presence and absence co-exist.
There is a painterly impulse throughout—whether in the muted palette, the soft focus of glass, or the gestural marks of weather and decay. This approach invites viewers to slow down, to look closely, and perhaps to find themselves reflected in these shifting surfaces.
Pablo Hughes is a multidisciplinary artist working in photography and installation. He examines decay and renewal, the commonplace and overlooked. His images are empty of people yet marked by human presence, touching on climate change alongside personal ideas of escape, change and transformation.
Born in Dublin, with Spanish heritage, Hughes lives and works in Boorloo / Perth. He draws subjects from Spain and beyond, linking cultural similarities into a collective narrative. He holds a BA in Media Studies and Photo Media from ECU, has shown widely, is a finalist in multiple awards, and is held in public collections including ECU, Central, City of Bunbury, City of Melville and Uniting WA. This will be his first solo exhibition at KS.
Image: Glow Job, 1100 X 730 mm, Hahnemuhle German Etching.
SEGWOOD GALLERIES – ADELAIDE, 16 Freemasons Lane
OPENS 15 OCTOBER: 5 – 8PM
Gloss by Waldemar Kolbusz looks at surfaces that dazzle and conceal. Kolbusz’s new paintings explore shine, status and illusion, where pools and abstractions shift between attraction and disguise. The exhibition reflects on how we linger on what is bright and immediate, even as meaning continues to slip beneath the surface.
Presented at the new Segwood Galleries in Adelaide, with a Perth preview at KolbuszSpace, Gloss introduces Kolbusz’s latest body of work. Based in Boorloo / Perth, Kolbusz has been painting full time and exhibiting for over two decades. His works have been commissioned for major projects and are held in collections nationally and internationally.
Image: Gloss, 2025. Oil on linen 165 x 110CM
ONLINE ONLY, OPENS 9 OCTOBER – view in gallery by appt.
For more than forty years, Dantina and Julian Shaw have lived and breathed design together as landscape designer and architect, building a life around form, function and material honesty. Now a new collaborative practice which began as a solution to a practical need in their own home making steel doors, has evolved into a sculptural dialogue between structure and closeness.
Working with mild steel, they weld grid formations that straddle design and art, pressing the question of what counts as either. Mild steel is a low carbon steel, workable and strong, responsive to atmosphere. Outdoors it slowly oxidises, registering weather and developing a surface that hardens into a protective patina. Indoors it keeps a quieter sheen.
Presented as their first online solo with KolbuszSpace, Steel sits at the crossroads of design and art and reflects the gallery’s commitment to curiosity, excellence and inclusion for people whose creative lives extend beyond the boundaries of formal art training: collaborators who have devoted their lives to design and now bring that same rigour, invention and intent to contemporary sculpture.
Image: 2505, 2025. Mild steel, 800 X 300 X 65MM
OPENS FRI 19 SEPT: 6 – 8PM
VIEW SAT 20 SEPT + SUN 21 SEPT: 10 – 4PM
This body of work explores the interplay and interdependence of urban and natural environments. Symbols of local architectural decay — ripped posters, spray-painted doodles, LED lights — are layered with Australian native plants, coral reef flora and landscape, creating a dynamic dialogue between the manmade and the organic, the traditional and the unconventional. Through deep material experimentation, Pasalic creates works that blend abstraction and figuration, ranging from intimate to large scale. Each piece is built like a painting.
Liliana Pasalic’s approach to tapestry challenges the medium’s conventions. She subverts traditional tools and techniques by incorporating negative space, instinctive drawing with tapestry guns, dense wool textures, delicate layers of spray paint, and unexpected modes of display. The resulting works resist categorisation — oscillating between painting and sculpture — while reflecting on the fragile beauty of urban decay and its entanglement with nature. Layers of urban ruin obscure and reveal natural forms, echoing the experience of our immediate surroundings.
Pasalic’s practice draws on modernist legacies while simultaneously borrowing from, questioning, and reimagining the conventions of contemporary painting and sculpture. Emerging throughout is a meditation on interdependence and oneness, the idea that all things are connected. Her work reminds us that what happens to nature, or to another person, also happens to us.
Pasalic has exhibited in solo and group shows around the world, including in Zagreb, Ljubljana, New York, Brussels, Vienna, Adelaide, Jerusalem, and Canberra. This will be her first solo exhibition at KS.
Image: Irrational Optimism, 2025. Tufted wool, acrylic, LED, felt on monk cloth, 137 X 104CM
OPENS FRI 22 AUG: 6 – 8PM
VIEW SAT 23 AUG + SUN 24 AUG: 10 – 4PM
“In painting everything begins somewhere. But if all of it—the origin, the hand, the object, the very materials—is deliberately without value, I have a good chance of achieving my goal: a painting without context or purpose. Simultaneously everything and nothing. A painting that exists in its purest form, free from the weight of judgment.
To this end, I work with found objects—discards from the nonsense of humanity. Found objects beget their own objections—each material a provocation. My medium is leftover house paint and charcoal collected from the bush. Nothing sacred, nothing precious. I paint from all sides—horizontally, vertically—refusing orientation, refusing narrative. I experiment constantly. Decisions made in the moment. Accidents allowed. Meaning irrelevant.
Ideas overflow, disrupt boundaries, and bleed into one another—uncontained, unresolved.” (John Eden, 2025)
John Eden is a prolific artist who paints and draws the everyday as well as the surrounding bushlands where he lives and works in the hills near Perth. Eden graduated from Leeds Polytechnic, BA(hons) Fine Art in 1990 and then finished his post-grad in teaching at Middlesex University.
Image: Squid Berry Bimba, 2025. Bush charcoal and salvaged house paint on canvas, 172.5 X 138CM
OPENS FRI 25 JULY: 6 – 8PM
VIEW SAT 26 JULY + SUN 27 JULY: 10 – 4PM
Tanya Linney’s new exhibition of paintings explores the collapse between painting and photography—where one medium bleeds into the other, unsettling distinctions between simulation and reality. Drawing on ideas from theorists like Jean Baudrillard and Roland Barthes, the works hover at the edge of recognition, asking what it means to register, interpret, and trust an image in a world now so overloaded with them.
At its core, the exhibition reflects Linney’s ongoing engagement with material experimentation and perceptual ambiguity. Through layering, removal and transformation, her surfaces become sites of tension—between presence and absence, memory and material. These are works twice removed: not only from reality, but from the conventions of representation itself. These paintings resist legibility, favouring the haunted space between construction and sensation.
Tanya Linney is a Perth-born, Sydney-based artist. After a successful international modelling career (1992–2009), she studied Textile Design at the International School of Colour and Design, then completed a Bachelor of Fine Arts (Painting) at the National Art School in Sydney (2017–2020). Linney has exhibited in Australia and internationally and has been a finalist in numerous prestigious art prizes.
KolbuszSpace is proud to represent Linney and present her first solo exhibition with the gallery, at a pivotal moment as her career gains significant momentum.
Image: Tanya LINNEY. Gitare Jet. 2025 Oil on canvas, 139 X 109CM
JUNE 2025
Waldemar Kolbusz lives and works in Boorloo / Perth and has been painting full-time and exhibiting regularly for over two decades, both nationally and internationally.
SLIDE explores the tension between surface and substance—between what’s promised and what’s actually felt. These new paintings are seductive, composed, and at times glossy, but beneath that polish is a quiet dissonance. They ask what we’re really drawn to—and why.
In both abstract and figurative works, Kolbusz questions how we process emotion, memory, and meaning in an age of curation and repetition. His paintings are not just images, but containers for contradiction: beauty and unease, order and collapse, clarity and doubt.
The work resists resolution. It sits in the space between performance and sincerity, between what we’re conditioned to want and what we truly feel. The result is a body of work that is as much about the act of seeing as it is about the tension of being seen.
What remains when the gloss fades?
And can we still recognise it as real?
Image: Golden, 2025. Oil on linen, 155 X 125CM
JUNE 2025 – ONLINE ONLY
Liliana Pasalic’s new works on paper capture the tactile urgency of her process, revealing an instinctive visual language that runs across both her painting and textile practices. These are not sketches in the traditional sense, but resolved pieces in their own right—layered with gesture, rhythm, and material intuition. There’s a raw immediacy in the way she approaches the surface, echoing the physicality of weaving or the build-up of paint on canvas.
Pasalic’s broader practice is rooted in experimentation and transformation, often blurring the boundaries between painting, sculpture, and textile. She draws inspiration from architectural and natural landscapes, contemporary art, and the metaphysical, translating abstract ideas and values into tangible forms. Her work is guided by spontaneity, improvisation, and a desire to create something unfamiliar and surprising, reflecting her personal evolution and the environments she inhabits.
What’s striking is the quiet conversation between mediums. The same forms, tensions, and spatial thinking found in her tapestries and paintings reappear here in distilled, energetic marks. For collectors, these works on paper offer an affordable way to acquire a piece of Pasalic’s evolving practice—they’re intimate, grounded, and deeply connected to the larger narrative of her work.
These works on paper, while more accessible in scale and price, are no less significant. They offer a glimpse into Pasalic’s dynamic process and her commitment to exploring the interplay between materiality and meaning.
Pasalic has exhibited in solo and group shows around the world, including in Zagreb, Ljubljana, New York, Brussels, Vienna, Adelaide, Jerusalem, and Canberra. Her first major solo exhibition at KS will be in September 2025.
Image: Hyped Up Sports Event. Oils, acrylic, spray paint, collage on 300gsm archival recycled paper, 86 X 64CM.
MAY 2025
Georgia Bisley is a Boorloo/Perth-based textile artist known for her distinctive, large-scale tapestries crafted from repurposed yarns and hand-dyed linens. Her practice interrogates themes of identity, culture, and the digital realm, exploring the processes of ‘unmaking’ and ‘undoing’ to challenge conventional notions of perfection within textile traditions.
Building on her sell-out 2023 exhibition Hyper Real, which drew from the bold, hyper-realistic imagery saturating contemporary culture, Bisley’s latest body of work titled, Soft Focus, offers a considered counterpoint. This new exhibition shifts into a softened, blurry tactile realm, embracing materiality and nuance to disrupt the sharp precision of digital aesthetics.
A 2021 finalist in the prestigious Wangaratta Contemporary Textile Award, Bisley has since achieved widely acclaimed exhibitions and completed numerous corporate and residential commissions, cementing her reputation both nationally and internationally.
See Me Now, 2025. Wool, dye and aerosol on linen, 240 X 175CM.
MAY 2025
The Pleasure Gardens is a series of large-scale organic abstract works by Diane Scott, where the interplay of paint, space, and form transcends traditional notions of landscape. Scott’s works explore the materiality of paint itself—considering not only its visual impact as a transformative force but its capacity to exist as a physical object.
Each piece evolves into a complex topography of layered brushstrokes, vibrant pigments, and gestural marks, evoking the sensory experience of nature in a heightened, abstracted state. Scott’s approach embraces the unplanned, allowing the unpredictable qualities of both the medium and the process to inform the work’s evolving structure.
In The Pleasure Gardens, Scott positions paint as both a tactile substance and a gateway to emotional and spatial exploration. These expansive fields of abstraction invite the viewer into a journey where perception becomes fluid and engagement with the work is dynamic and embodied.
Diane Scott is a New Zealand artist with a Master of Fine Arts (First Class Honours) from Elam School of Fine Arts, University of Auckland. Her work is widely featured in arts publications and held in corporate and private collections across New Zealand, the USA, and France.
Ground, 2025. Acrylic on synthetic paper, mounted on aluminium and framed 150 X 108CM.
APRIL 2025
Acclaimed New Zealand-based artist Gaye Jurisich presents Reminders of the Time, her third exhibition with Kolbusz Space. Jurisich has built a distinguished career through her multi-faceted practice, creating works that explore the transience of life and the breadth of human experience.
This latest body of work invites the audience into a nuanced meditation – layered, complex, and rich in detail – on life’s transitions. Jurisich’s distinctive style has softened, reflecting a quieter and calmer introspection. Yet, her work remains deeply connected to her unmistakable mark-making and personality, resulting in a series of paintings that balance subtlety with her signature expressive voice.
With works held in international collections across New Zealand, Australia, Berlin, and the Pratt Institute in New York, Jurisich’s art continues to demand attention. We are excited the artist will be present at the opening.
Image: You Remind Me of Things Which Can Be, 2024. Mixed media on canvas, 150 X 110CM
MARCH 2025
Street posters 2020-2025 will bring together, for the first time, five years worth of street posters made by Boorloo / Perth based artist Sam Bloor and Naarm / Melbourne based photographer Jesse Marlow. This series has been an ongoing collaboration which has seen over 100 posters and over 20 designs go up across the two cities.
Jesse Marlow is a Melbourne based photographer. His works are held in public and private collections across Australia, including the National Gallery of Victoria, Australian Parliament House Canberra, Monash Gallery of Art, City of Melbourne and State Library of Victoria. He is a Leica ambassador and a member of the international street photographers’ collective UP Photographers.
Sam Bloor is a visual artist from Perth, who’s background as a traditional signwriter informs his use of text provocations and large scale public artworks. Blurring the line between his trade and artistic careers Bloor intends to play with existing perceived notions of value and labour. This will be his third exhibition at KS.
Image: Locust & Honey. Matte laminated archival print on aluminium (ready to hang), 60 X 90CM.
FEB 2025
Waldemar Kolbusz lives and works in Boorloo / Perth and has been painting full-time and exhibiting regularly for over two decades both nationally and internationally.
Kolbusz paints in two streams which interrelate. His figurative works test the differences between an idealised human experience and actual experience – the increasingly blurred overlap between the two in our contemporary lives. His expressionistic works explore this same fine edge, alluding to a kind of perfection, but then to something else.
The gallery and studio will be open all weekend showing some new works and others not previously shown in Perth.
Image: Days (insitu), 2024. Oil on linen 185 x 125CM
DEC 2024 + JAN 2025
Continuing the popular end of year group show tradition, KS presents selected artist studio-direct and quality / collectible stockroom works throughout the month of December, with opening party on Dec 13.
Artists include Pablo Hughes, Kartika Laili Ahmad, Matvey Nechaev, John Eden, Tanya Linney, Liliana Pasalic, Pablo Hughes, Sam Bloor, Imogen Kotsoglo, Waldemar Kolbusz.
All welcome.
Image: John EDEN. Untitled with mixed car-fire pieces II, 2024. Salvage paint and paint pen on canvas, 160 X 160CM
2024
DEC 2024
Gaye Jurisich, a highly respected multi-disciplinary artist based in Hamilton, New Zealand, reflects on the transient nature of life, human circumstances, and behaviors throughout her practice. Her explorations generate associations that veil hidden agendas and complexities, allowing her to seamlessly shift between abstract and figurative traditions.
Gaye Jurisich has garnered widespread recognition and reviews for her contributions to the art world. Her pieces can be found in numerous international collections, including those in New Zealand, Australia, Berlin, and the Pratt Institute in New York. This exhibition presents a unique opportunity to acquire affordable works.
Image: Oh, You Lovely Thing. Oil, acrylic and charcoal on paper, 47.5 X 29CM
3 – 17 December at .M Contemporary SYDNEY
Waldemar Kolbusz’s new works for Stay Here are about pulling back from fast images, fast emotions, manufactured moments and more carefully invite consideration toward something more authentic.
With our sense of what matters skewed by a craving for instant gratification, shallow adrenaline rushes, vapid connections and rapid lifestyles; the pursuit of deeper self-examination or present-moment awareness is frequently avoided. While this is fine on occasion, this avoidance has evolved into a pervasive contemporary addiction.
Waldemar Kolbusz lives and works in Boorloo / Perth and has been painting full-time and exhibiting regularly for over two decades. His works have been commissioned for major projects and are in numerous collections nationally and internationally.
NOV 2024
Following on from the success of Matthew McAlpine’s 2022 exhibition Anthem, these new abstract paintings continue to prod at the intersection of landscape, nationalism, and environmental degradation in contemporary Australia.
We’ve Golden Soil furthers McAlpine’s work materially with the inclusion of cast ornate frames in several paintings that reference Western Australia’s colonial legacy and continued presence today. Artworks are rendered with a gritty impasto surface in a palette that alludes to landscape, land development and chemical leaching.
McAlpine is an artist predominantly working in painting and sculpture and is currently living and working in Boorloo/Perth. McAlpine graduated from Curtin University in 2016 with a Bachelor of Arts (Honours) and has been exhibiting regularly ever since.
Image: We’ve Golden Soil, 2024, acrylic, sand and binder on canvas and cast polyurethane foam, 110 x 90 x 10cm
OCT 2024
Georgia Bisley
Aileen Corbett
Mal Harry
Waldemar Kolbusz
Benjamin Kontoullas & Kartika Laili Ahmad
KolbuszSpace joins a select group of designers and artists exhibiting in The Nature of Transition, a thoughtfully curated experience by Cindy-Lee Davies set against the historic backdrop of the Fremantle Naval Store.
The Nature of Transition celebrates the connections that emerge between objects, people and the spirited essence of lived environments—an interplay made possible through careful design.
Exhibitors include Artedomus, Darryl Dempster, Emma Lindegaard Studio, Jordy
Hewitt, Lightly and Remington Matters, while KS showcases works by
represented artists Georgia Bisley, Aileen Corbett, Mal Harry, Waldemar Kolbusz
and will also feature brand new lighting design collab duo Benjamin Kontoullas
and Kartika Laili Ahmad.
Sign up for full programme and details HERE
OCT 2024
Liliana Pasalic has lived in Zagreb, London, and now Adelaide, working primarily with painting and tapestry. Her practice explores themes of home and identity, frequently referencing archetypal women’s roles and stereotypical suburban depictions. Utilizing contemporary and historical textile and tapestry techniques and drawing from her formal background in industrial design, Pasalic pushes the boundaries of her mediums, blurring and combining individual disciplines and newly incorporating LED lighting directly into the works.
“I have collected a lot of photographic source materials of pasted-up posters in the urban environments of the cities where I have lived, and within these photographs I find and extract motifs and remnant graphic elements. These refer, like a woven visual history, of my familiar psychologically mapped home environments.”
Pasalic has exhibited in solo and group shows around the world, including in Zagreb, Ljubljana, New York, Brussels, Vienna, Adelaide, Jerusalem, and Canberra.
Image: Urban Threads, 2024. Tufted wool, acrylic LED, felt on monk cloth, 165 X 110CM.
OCT 2024
Nowhere May We Remain is a visual elegy that responds to the profound mental and emotional impacts of climate change. It explores themes of loss and existential grief and offers comfort and commiseration in the face of unfolding ecological disaster.
Robyn Bernadt’s new exhibition concerns the detritus of our commodified lifestyles. Discarded cardboard packaging, advertising junk mail, and other wastepaper materials are reshaped into exquisite objects that celebrate the beauty of the natural world and subvert commodification by elevating the throwaway.
Bernadt is a paper installation artist living and working in Boorloo (Perth). Bernadt graduated from Edith Cowan University with a Bachelor of Visual Art in 1999 and has since continued to practice and exhibit regularly. This will be her second solo exhibition at KS.
Image: Memento Mori II. National Geographic, Stonehenge paper 57cm x 38cm
SEPT 2024
In BLU, Olivia Colja investigates the constraints of a restricted range of blue hues, and believes this has encouraged her expressive trajectory towards a more explorative and personal mark-making.
These underlying palette restrictions have allowed her room for a deeper dialogue between creation and perception: the interaction between adhering to external limitations and expectations with her intrinsic desires, instincts, personal histories, habits, preferences, and character.
BLU documents Colja’s new artistic freedom to move through moments of fear, stillness and unravelling .
“A rhythmic narrative fills the canvases which will expand the medium’s capability to structure the viewer’s experience in a literal-not-pictorial space and time.” (ARTFORUM, 1975)
Olivia Colja is a West Australian artist, curator and community advocate. Her paintings explore a variety of themes including explorations of her relationships with significant people in her life, landscape, her artistic practice. This is Colja’s second solo exhibition at KS.
Image: Stagnate, 2024. Oil on stretched canvas, 157 x 107cm
Gallerysmith, 40 Porter Street PRAHRAN, MELBOURNE
AUG 22 – SEPT 14
With a practice that alternates between abstract and more figurative painting, Waldemar Kolbusz’ works come naturally charged with a high energy. His large and richly painted canvases pulsate and move, creating an ongoing dialogue with the works. Kolbusz works in a fluid way, often resolving numerous paintings simultaneously, and whilst a significant shift in thinking is required to move between the different genres, his cerebral approach informs and nourishes the work; allowing freedom in the figurative works and giving shape to the abstract.
Kolbusz’ paintings have been commissioned for major projects Australia-wide and collected nationally and internationally. His works are included in corporate collections around the country. (Marita Smith, Gallerysmith)
AUG 2024
Context is everything. On location at Karijini House and in conjunction w/ Tenille Teakle and Jan van Schaik, KS is proud to be involved in this special event blending architecture, design and art by:
Kartika Laili Ahmad
Benjamin Barretto
Aileen Corbett
Waldemar Kolbusz
Tanya Linney
Matthew McAlpine
Andrée van Schaik
Jan van Schaik
Image: Waldemar Kolbusz. About, 2023. Oil on linen 155 X 125CM
Join us for the first PERTH ART WEEKEND. A 3-day curated programme of exhibitions & events to engage with artists, curators, collectors and art professionals all around Perth.
Partner galleries include WA Museum, Art Gallery of WA, PICA, Lawrence Wilson, KAMILĖ GALLERY, OFFMARKET Gallery, Stala Contemporary, Holmes à Court Gallery, Moore Contemporary, DADAA, FORM.
Sign up for full programme and details HERE.
AUG 2024
This singular exhibition presents the innovative practices of artists working within and beyond the craft space, with unique textiles by regional WA Aboriginal artists alongside contemporary ceramic works by two Walyalup / Fremantle-based artists.
Tom Freeman and Holly O’Meehan’s sculptural ceramics feature in parallel with textiles by Anita Churchill, Kelly-Ann Drill, Delany Griffiths, Dora Griffiths and Cathy Ward of Waringarri Aboriginal Arts. The Waringarri artists’ shift in 2024 to screen-printing is
new: this is the premiere of their vibrant screen-printed textiles with the culturally significant motifs of the Miriwoong people.
O’Meehan delves into the impact of colonial agricultural methods on the natural environment in WA’s Great Southern and SW Regions. She incorporates handmade clay and ceramic objects with organic material and discarded items. Freeman playfully joins unconventional media to clay forms; exploring clay’s physical transformations that occur beyond his control. He adds found pieces from his daily life to spur unexpected outcomes. (Sandra Murray, Curator)
This exhibition is proud to be part of the IOTA24 Festival, supported by Lotterywest and is funded through the Department of Local Government, Sport and Cultural Industries for Creative Development.
Image: Tom Freeman: Yellow cake, 2024. Glazed stoneware clay, enamel paint, brushed gold knobs, 28 x 21 x 3cm. Image courtesy the artist
JULY 2024
Austin Honour is a British/Australian multidisciplinary artist who’s work collages conventions of painting, sculpture and tattooing. Previously located in Berlin, Honour is now based in Perth, Australia.
Interested in ideologies of history, material and value, Honour works within a holistic studio practice which aims to connect media, concept and form. Honour’s recent paintings stem from an engagement with found imagery often depicting objects of history and nature. Honour was awarded a BA Hons Fine Arts from Central St Martins in London in 2014.
Honour has shown twice at KolbuszSpace with Blue Room in 2021 and Outer in 2022 and this is his next much anticipated solo.
Image: Paricutin, 2024. Oil on canvas, 180 X 140CM.
MAY 2024
Blair Gauld is a Boorloo (Perth) artist working with photography. Having relocated countries often in his childhood and youth, Gauld hid behind a camera to cope with intense shyness and difficulty connecting with others. His work explores identity, and is honest in admitting little resolve in who we really are or what we should be doing with our lives. His compositions show his, and indeed our own longing to fully experience a deeper understanding for the moments and places we inhabit.
Gauld is self-taught, honing his skills through more commercial fashion photography and film which he is increasingly in demand for. However, more recently he has forgone digital photography for 4 X 5 large format film, bringing an incredible amount of clarity and depth to his photos. These works are meticulous in their authenticity.
Image: Real Gone Kid, 2023. Photograph on Canson rag paper, 125 X 125CM. Edition of 3.
APRIL 2024
Around Inside: Exploring the Intersection
Beverley Iles produces works that grapple with the essence of place: as a first-generation migrant and adoptee, Beverley is interested in belonging, stability, construction of personal permanence and the complexities of coexistence. While her sculptures show a love of materiality, they also highlight their material and industrial failures, and insecurity around certainty and place.
Around Inside looks at the practice of two KS ceramic artists and how their works overlap thematically and contextually, whilst challenging both the boundaries of the ceramic medium and conventional notions of beauty.
Iles graduated with a Bachelor of Fine Arts from Curtin University (2016), has exhibited regularly, won numerous awards and completed two residencies including one in Basel, Switzerland last year.
Image: Pericarp 4, 2024. Hand dug clay, stained timber, 47 x 32 x 31CM
APRIL 2024
Around Inside: Exploring the Intersection
Perth-born ceramicist Aileen Corbett’s sculptural ceramic forms oscillate between art and architecture, figurative and minimal abstraction. Using clean lines and sharp angles, her work is largely inspired by the physical environment and the utilitarian architecture of lesser seen cities.
Around Inside looks at the practice of two KS ceramic artists and how their works overlap thematically and contextually, whilst challenging both the boundaries of the ceramic medium and conventional notions of beauty.
Corbett studied at the School of Clay and Art in Melbourne under Shane Kent. Her first solo exhibition Brutalist (2022) at KS sold out.
Image: Velour Pinot, 2024. Glazed stoneware and tinted alumina, 280 X 220 X 250MM
MARCH 2024
Gaye Jurisich, a highly respected multi-disciplinary artist based in Hamilton, New Zealand, reflects on the transient nature of life, human circumstances, and behaviors throughout her practice. Her explorations generate associations that veil hidden agendas and complexities, allowing her to seamlessly shift between abstract and figurative traditions.
In this new body of work, Jurisich investigates the relationship between self and onlooker, and between onlookers, and the self as the onlooker – the imitations and the vulnerabilities, power and emotion.
Gaye Jurisich has garnered widespread recognition and reviews for her contributions to the art world. Her pieces can be found in numerous international collections, including those in New Zealand, Australia, Berlin, and the Pratt Institute in New York. This exhibition presents a unique opportunity to acquire affordable works.
Image: Onlooker VII, 2023. Acrylic, oil and charcoal on paper. 30 X 30CM
MARCH 2024
Olivia Jones’ latest exhibition titled New Bloom deepens her investigation of self. A departure from the soft, dreamlike colours of her near sell-out exhibition of 2022, this new series of works speak more loudly about living with mental health.
Moving to a broader palette and now painting on rough hessian instead of canvas, Jones invites and looks for vibrancy to surface through the mix of glossy blacks and deep purples she mixes with the crushed Toodyay stones and quartz from her family’s rural property. These deeply textured and striking works serve as acts of resistance and symbols of resilience for all.
Olivia Jones is an early career artist from Western Australia and holds a Bachelor of Arts (Honours) from Curtin University.
Image: Gallery install – New Bloom , 2023. Oil paint with crushed Toodyay rock on linen.
FEB 2024
Waldemar Kolbusz lives and works in Perth and has been painting full-time and exhibiting regularly for over two decades both nationally and internationally.
Kolbusz paints in two streams which interrelate. His figurative works test the differences between an idealised human experience and actual experience – the increasingly blurred overlap between the two in our contemporary lives. His expressionistic works explore this same fine edge: they allude to a kind of perfection, but then to something else.
Image: All of That, 2023. Oil on linen 198 x 122CM
2023
DECEMBER 2023
KARTIKA LAILI AHMAD
GEORGIA BISLEY
SAM BLOOR
OLIVIA COLJA
AILEEN CORBETT
JOHN EDEN
MAL HARRY
AUSTIN HONOUR
BEVERLEY ILES
GAYE JURISICH
LUKE KOLBUSZ
WALDEMAR KOLBUSZ
MATVEY NECHAEV
JOANA PARTYKA
NOV 2023
Diane Scott’s new large paintings and wall sculptures explore the perception and experience of form and space, by using the qualities of composition, orientation, and scale to simultaneously make space visible and to bend it.
Scott seeks the work to be atmospheric and haptic, to find spaces that are unimagined until the moment of making: strength in beauty and the beauty in strength.
Diane Scott is a New Zealand artist who has a Master of Fine Arts (First Class Honours) from Elam School of Fine Arts University of Auckland. She is featured broadly through arts publications and her work is in corporate and private collections in NZ, USA and France.
Image: The Love you Left, 2023. Acrylic, graphite on synthetic paper 152 x 98CM.
NOV 2023
Peat harbours a complex history, synonymous with broader social, political and ecological issues. However humble, it is emblematic of the inextricable link between man and nature. Taking peat as its subject, this exhibition of drawings and cast forms is both an enquiry into – and an ode to the significance of peat as matter of great consequence.
Since graduating from Fine Arts at the Royal Melbourne Institute of Technology, Kotsoglo has completed arts residencies in Iceland (SIM Residency, NES Residency) and Scotland (The Bothy Project), and exhibited both nationally and internationally as part of group and solo exhibitions. Her work is held in private collections around the world.
Image: Peat Cast 1, 2023. Bronze 10 x 7 x 7CM.
OCT 2023
Revelations of self are instead the result of lived experience; a cumulative process of understanding. Day-to-day, we find ourselves engaging with the mundane and the extraordinary, making sense of what we can. Our identities are shaped by the very forces we navigate; the enduring legacy of our wrestling with choices and emotions; with the parts of ourselves we gladly inherit — and those which are foist upon us.
This new body of work by Luke Kolbusz is a visual articulation of this deeply personal, singular process. In the way all protagonists of dreams are ourselves, these self-portraits oscillate between absence and presence; bleeding and blurring, interspersed with moments of intense detail – all rendered in a counter-intuitive and highly unconventional palette, striking in its breadth and intensity. Faceless figures are embroiled with signs in scenes that feel both laden with symbolism yet remain wholly disorienting in their obscurity – and deliberately so. (excerpt Imogen Kotsoglo, October 2023)
This will be Luke Kolbusz’s third solo exhibition since graduation from Fine Arts at the University of Western Australia and after his sell-out exhibition Big World in 2020 and New Armour in 2021.
Image: Domestic, 2023. Acrylic and oil on linen. 102 x 76CM
OCT 2023
Expanded sculptural forms sit at the intersect of art and industrial lighting design in this exhibition of new works by Kartika Laili Ahmad. While often imbued with a sense of nostalgia, Ahmad’s most recent works offer an aesthetic investigation into our present and future; this exhibition demonstrating Ahmad’s exploration of ideas surrounding anthropomorphism and personification through gradients and opacity.
Ahmad’s exhibition Brutalist at KolbuszSpace in 2022 received attention from across Australia and the UK and sold out.
kartikalailiahmad.com
instagram
Image: Buxom, 2023. Stainless Steel, perspex, argon, neon 120 x 120 x 60CM. Edition 3/9 vanilla veet.
SEPTEMBER 2023
ONLINE ONLY / VIEW BY APPOINTMENT
Scott explores the tensions that exist between image and object and questions the hierarchies of the elements that comprise painting through the jumping of the image to the material, and from surface to void. She examines how an abstract painting can function as an object you see, but also in what that object makes visible through process, materiality and sensation.
Scott is interested in producing work that simultaneously questions and withholds, and how this resistance to translation is a vital part of an artwork’s enigma. These new paintings in acrylic and graphite on sealed synthetic paper, show a transition from hard edge to organic and hyper focus on Scott’s fascination with space, lines and edges.
Diane Scott is a New Zealand artist who has a Master of Fine Arts (First Class Honours) from Elam School of Fine Arts University of Auckland. She is featured broadly through arts publications and her work is in corporate and private collections in NZ, USA and France.
Image: Burning Gold, 2023. Acrylic, graphite on sales synthetic paper. 590 X 420MM
SEPTEMBER 2023
ONLINE ONLY / VIEW BY APPOINTMENT
STOCKROOM S P O T L I G H T
New works by represented KolbuszSpace artists including Robyn BERNADT, Christophe CANATO, Olivia COLJA, John EDEN, Mal HARRY, Austin HONOUR, Beverley ILES, Gaye JURISICH, Waldemar KOLBUSZ, Matthew McVEIGH, Ryan NAZZARI and Diane SCOTT.
Image: Christophe Canato: HOMO FABER – Siguë, 2022-23. Archival inkjet print, archival Hahnemühle paper, hand applied glitter 80 x 80CM, ED of 5.
AUG 2023
Hyperreality seeks to examine the understanding of our shared existence, shaped and constructed as it is by culture and media. And while not a formal reflection of hyperreality, Bisley’s works are instead imbued with its very essence; each a cohesive – albeit innately fragmented – gesture. HYPER REAL is Bisley’s reckoning with a brave new digital world wherein tangibility is devalued, and truth subsumed by optics.
These are tapestries of sorts, hung with a reverence often reserved for such. Yet where tapestries find their roots in elite settings and often in the form of highly figurative, delicate homages to the divine, Bisley’s works offer something more. The works in HYPER REAL possess a functional durability, constructed from remnant yarns. They largely depict fragmented, abstract scenes that elevate the mundane; and where gender has long since underpinned the history of textiles, these works feel distinctly genderless.
Bisley was a finalist in the prestigious 2021 Wangaratta Contemporary Textile Award and this is her anticipated first solo exhibition.
Image: Georgia BISLEY. Dark Academia, 2023. Wool on linen, 260 x 150CM.
JULY 2023
“This series of paintings are palpable intermissions simmering with a jostling, charged fragility. Large-scale and saturated, while their subjects are of foreign exterior places abroad, somewhere beyond the 129th meridian, their essence is about interior states: something amorphous, something incomprehensible.”
These are not just paintings that make us feel or reflect on serious or frivolous emotions; but works that enact a scepticism regarding the very experience of serious and frivolous emotions in themselves. Feelings are immeasurable. Does painting produce, capture, reflect or nullify them? In Kolbusz’s hands, the content leaks between limbo and surety; I am free to choose, I am no longer content.”
Excerpt from Diversions by Aimee Dodds, June 2023
Image: Infinity, 2023. Oil on linen, 153 x 138CM.
![Bloom, 60cm x 85cm, Archival digital print Canson Rag photographique, Sam Bloor, 2023[73]](https://kolbuszspace.com/wp-content/uploads/2023/04/Bloom-60cm-x-85cm-Archival-digital-print-Canson-Rag-photographique-Sam-Bloor-202373.jpg)
JUNE 2023
New photography and sculpture by WA based artist Sam Bloor. 09/06 brings together elements of found painting, energetic mark-making, and hostile architecture in the voice of the contemporary post-vandalism movement.
Bloor has exhibited in a number of important exhibitions both nationally and internationally including the sold-out Birth and Death of a Mountain (2020) at KolbuszSpace and was commissioned to produce a major public work as part of the 2022 Perth Festival program. Bloor has won multiple awards and is represented in both private and public collections.
Image: Bloom, 2023. Archival digital print on Canson rag photographique, 60 x 85CM.
MAY 2023
“As a tourist in the Karijini gorges, I feel acutely aware of being out of place. However, beyond the awe-inspiring beauty I am starting to understand the spiritual side of this land, its sacred role to dreamtime; it is palpable. My respect and gratitude to First Nations people, to elders past and present, storytellers, keepers of knowledge, and cultural custodians; this is your land, and it always will be. I am humbled to have seen it and walked upon it. The gorges now live in my brain, in memory, dream and feeling. Through drawing and painting I come to terms with the land and my place in it.”
John Eden graduated from Leeds Polytechnic, BA (hons) Fine Art in 1990 and then finished his post-grad in teaching at Middlesex University. After relocating to Perth, Eden has primarily taught art before realigning seriously with his own practice.
Image: Long Story Short, 2023. Acrylic, spray paint and charcoal on canvas, 192 x 160CM
MAY 2023 – ONLINE ONLY
Blair Gauld is a young artist currently based in Perth working with photography. Having relocated countries often in his childhood and youth, Blair hid behind a camera to cope with intense shyness and difficulty connecting with others. Through his admittedly painful and awkward teens, he developed an acute sensitivity and interest in observing the people around him and then started recognising his own vulnerabilities and dreams in them.
Blair’s portraits and landscapes are optimistic, but they are honest in admitting little resolve in who we really are or what we should do with our lives. His compositions show his, and indeed our own longing to fully experience a deeper understanding for the moments and places he photographs. These works are meticulous in their authenticity.
“I have always been a romantic at heart yet have struggled to express it. For me, my work represents my dream of coming of age and falling in love. My own world.”
Blair is self-taught, honing his skills through more commercial fashion photography and film which he is increasingly in demand for, and will be taking him back to London to work and live. Grace is only Gauld’s second exhibition and KolbuszSpace is excited to be representing him at the beginning of his artistic career.
Image: Santa Monica. Photograph on Canson rag paper, 150 x 100CM.
APR 2023
Gaye Jurisich is a multi-disciplinary artist interested in the interconnections between elements and their surrounding space – between the materials and their spatial experience. She explores encounters between natural and industrial materials, arranging them in mostly unaltered and ephemeral states and is fascinated with the resulting juxtapositions and mutualities, often without need for authorship or ownership.
Intentional Viewpoints takes these narratives back into the studio and re-examines them in paint and clay, both expressively applied and carefully considered. While these new works are dependent upon references which exist in the outside world, Jurisich looks past the obvious and her sources have become layered and complex.
“Meaning for me does not rest in recognizing the source, but rather in seeing the result.”
“For a multi-disciplinary artist with a strong back catalogue, Jurisich’s work is detailed, precise and wild all at once, with her installations and sculptural works falling somewhere between Goldsworthy and Shiota.” Jess McNicol, 2023.
Gaye Jurisich lives and works in Hamilton, New Zealand and is internationally reviewed and respected. Her solo exhibition at KolbuszSpace called Secrets and Exposures in July 2021 sold out and her sculptures have featured in the both the Bondi and Cottesloe Sculpture by the Sea exhibitions. Jurisich has work in numerous international collections including the Pratt Institute in New York.
Image: I’ve Been Looking in all the Wrong Places, 2022. Mixed media on canvas. 240 x 180cm
MARCH 2023
Shadow Self explores both positive and negative aspects of our colonialism as a persuasive psychological influence, as that between an adolescent and their parent. Matthew McVeigh sets up our relationship to country and Nation as both intimate and uneasy, exploring the Australian psyche from the cultural cringe – romantic and gothic, and grounded in tradition ruled by National influences that draw their life from the accretive traditions which have alone created them.
This exhibition is a study of stereotypes, colloquialisms and popular culture, as umbilical connection but also incident to our colonial situation of emigrants nostalgically trying to sing their own songs in a strange land.
The works appropriate imagery and then layer psychological inkblots reflecting shadows of personality that the conscious ego does and doesn’t identify with, coming to terms with its dark history and ultimately reflecting a Nation very much still birthing and becoming.
Matthew McVeigh is an interdisciplinary artist who graduated from WAAPA. His practice is predominantly interested in how identities, histories and institutions can be consumed and subsumed into homogenized narratives. McVeigh’s works have been acquired by the Holmes à Court Collection and the Art Gallery of WA.
Image: Blotch, 2022. Digital print, archival. 120 x 150cm
Online only – March 2023
“If you only have you – make work about you.”
Nazzari is a prolific Perth artist with an obsessive social media presence which belies their introverted and quiet nature. Working with a combination of drawing, painting, screen technology and collage, they constantly work and rework.
These new watercolours are exquisite in their detail and generous with their insights on how we interact with our own inner selves and with others. These stream-of-consciousness paintings jostle a dedicated automation to their practice with a deeply sensitive and humanistic process, ultimately showing a beautiful tension teetering between confidence and fragility.
I am a huge fan of Nazzari and of artists who can through their work, tap into a deep questioning of what makes us who we are, and why we do what we do. However, few are able to match Nazzari’s sense of clarity – or else a willingness to discover it, and all with such masterly and painterly ease.
Image: Ever, 2023. Watercolour on Arches paper, 42 x 30CM.
ONLINE ONLY – MARCH 2023
VIEW CATALOGUE HERE – Viewer discretion is advised
Picasso’s legacy is problematic. As one of the most famous and infamous artists of our time, and a personal favourite for artist Matthew McVeigh, he is an idol who needs to be both destroyed yet simultaneously revered for his great contributions to art and culture. McVeigh is not known to be shy of speaking truths to power however in these new works he examines his own male gaze and like Picasso who said, “Good artists borrow and great artists steal”, he has re-imagined an uncancelled Picasso’s body of work placed in a contemporary context.
Matthew McVeigh is an interdisciplinary artist who graduated from WAAPA. His practice is predominantly interested in how identities, histories and institutions can be consumed and subsumed into homogenized narratives. McVeigh’s works have been acquired by important collections including the Holmes à Court Collection and the Art Gallery of Western Australia collection.
Image: Threesome, 2023. Acrylic and oil pastel on canvas, 91 x 122cm.
FEB 2023
Robyn Bernadt is a paper installation artist who works with reclaimed paper materials as an environmental response to art making. Her practice elevates these materials; altering their perceived value and challenging people’s perceptions about the materials they usually throw away. The works take on a value-added life of their own, and the viewer can be forgiven for considering the made and presented objects are of precious materials, given the jewel-like crafting that Bernadt employs.
Glory Box is an installation of five series of paper sculptures and delicate cut-paper works exploring feminist themes and subverting traditional craft practices by juxtaposing material and imagery. Bernadt challenges traditional notions of the domestic sphere and questions problematic stereotypes of the homemaker and sex object.
Bernadt lives and works in Boorloo (Perth), and graduated from Edith Cowan University with a Bachelor of Visual Art in 1999. This is her first exhibition at KolbuszSpace.
Image: X-Stitch Ladies I, 2022. Vintage Women’s Weekly and Arches paper, 36 x 51cm
2022
OPENS Fri 9 Dec: 6-8PM
VIEW Sat 10 Dec and Sun 11 Dec: 10-4PM
Kartika Laili AHMAD
Robyn BERNADT
Georgia BISLEY
John EDEN
Austin HONOUR
Beverley ILES
Gaye JURISICH
Luke KOLBUSZ
Ryan NAZZARI
Matvey NECHAEV
Joana PARTYKA
NOV 2022
Anthem, Matthew McAlpine’s first solo exhibition with Kolbusz Space, is a collection of recent abstract paintings that prods at the intersection of landscape, nationalism, and environmental degradation in contemporary Australia. Rendered with a selective palette with a gritty impasto surface achieved through the addition of builder’s sand in acrylic paint, the artworks poetically allude to colours and textures of charred landscapes.
Interested in the power of language and using the Australian National Anthem as a departure point, McAlpine has manipulated, removed, or added words to lines from the anthem. The text sits embedded in the paintings, applied with stencils, a process that metaphorically reckons with the construction of history, nationhood, and landscape. The idea of construction is further explored by using builder’s sand and fragments of a cast acrylic ornate frame in several works. The fragmented frames draw upon the continued presence of colonial legacies in contemporary Australia.
Matthew McAlpine is an artist predominantly working in painting and sculpture and currently living and working in Boorloo/Perth. McAlpine graduated from Curtin University in 2016 with a Bachelor of Arts (Honours) and has been exhibiting regularly ever since. His practice aims to explore the complexities and problems that arise from celebrating colonial legacies. While McAlpine draws upon a range of disciplines to interrogate these ideas, his practice is brought together by its poetic and material sensibilities.
This exhibition has been supported by a Creative Development Grant from the Department of Local Government, Sport and Cultural Industries, Western Australia.
Image by @saltydavenport
Online only – opens Fri 7 OCT, 2022
“If you only have you – make work about you.”
Nazzari is a prolific Perth artist with an obsessive social media presence which belies their introverted and quiet nature. Working with a combination of drawing, painting, screen technology and collage, they constantly work and rework.
This new exhibition of watercolours are exquisite in their detail and generous with their insights on how we interact with our own inner selves and with others. These stream-of-consciousness paintings jostle a dedicated automation to their practice with a deeply sensitive and humanistic process, ultimately showing a beautiful tension teetering between confidence and fragility.
I am a huge fan of Nazzari and of artists who can through their work, tap into a deep questioning of what makes us who we are, and why we do what we do. However, few are able to match Nazzari’s sense of clarity – or else a willingness to discover it, and all with such masterly and painterly ease.
Image: Harlequin 2, 2022. Watercolour on Arches paper, 42 x 30CM.
OCT 2022
‘Entre chien et loup’ (Between dog and wolf) is an expression that means at dusk or nightfall, the time of day when it is too dark to see the difference between a dog from a wolf. The dog symbolises the day and the protective light, while the wolf represents the night with fears and anxieties. In between there is the doubt and uncertainty of twilight… between dog and wolf.
In this exhibition Cassel is challenging what we think we are seeing. Purposefully concealing a clarity by manipulating scale and context of the everyday objects she paints, she presents works which defy any immediate identifications or conclusions. As in between dog and wolf, where neither is recognisable, these works sit resolutely in that uncertain in between – where Cassel presents for us opportunities for exploration and discovery.
Cassel says of her paintings: “I work by analogy, by link, using cutting and collage to elaborate unique constructions. My paintings are inspired by elements of reality that have been transformed, mistreated, disembodied in order to be reborn by extraction, by change of scale, within a new context. These multiple possibilities or combinations allow for suggestive and surprising encounters.”
Caroline Cassel lives and works in Paris, where she graduated from the École Nationale Supérieure des Beaux Arts. Cassel was then awarded a residency at the Crypt d’Orsay in Paris and also the Colin Lefranc Scholarship at Curtin University in Perth.
Image: L’oeuf (The Egg). 2022. Oil on linen, 80 x 80CM
SEPT 2022
In 2018 I came across an old Fotoautomatica booth on the corner of via del’Agnolo and via Giuseppe Verdi which I later painted for my exhibition Near You in Sydney 2020.
I have continued to think about the booth’s automatic pull of nostalgia in the face of contemporary irrelevancy – and the danger of this in terms of my paintings.
While a selfie’s purpose may not be self-examination or an investigation into the moment, this avoidance has become a contemporary addiction. The paintings in this exhibition are about pulling back from an automation of fast images, fast feelings, manufactured moments and more carefully positing into a real experience.
I recently learned that the 1969 Fotoautomatica in Florence was not original but rescued from the Soviet Union, restored to its original form, and installed by set designer Matteo Sani in 2011.
Image: Tanline. 2022, oil on linen, 153 x 122CM.
AUGUST 2022
Kotsoglo’s intricate drawings seek to explore the capacity of visual art to represent and examine the wider implications of a perceived distinction between humans and the natural world.
Kotsoglo’s rejection of anthropocentrism does not render her work political in the usual sense, instead providing space for reflection rather than rhetoric.
Kotsoglo will also be showing concurrently at PICA.
Image: MATTER 2 4 2022 (Thistle) – Ink and Charcoal on Arches Aquarelle 300gsm – 76×56cm
JULY 2022
“A sharp two-stanza poem by Margaret Atwood ends with the lines “a fish hook / an open eye”. It offers an uncomfortable positioning of being both inside and outside the boundaries of control within individual relationships. Navigating such an in-betweenness of chaos and composure especially drives Olivia Colja’s art and her exhibition Return to the Hook.
Yet it’s difficult questions around intimacy that propel Colja’s latest work. ‘Competitive love is dangerous and Returning to the Hook is a line between knowing what’s moral and what’s socially taboo, but still behaving in a harmful way towards yourself and others. It can be subtle and unconscious or aggressive and explosive’, explains Colja.”
Excerpt from essay by Autumn Royal, ART GUIDE AUSTRALIA
Image: Youth, 2022. Oil on canvas 122 x 122cm
Online only: May 2022
Christophe Canato is a French-Australian photo-media artist who was accepted to study at the École des Beaux-Arts in Paris at 17 and relocated to Perth in 2005.
Canato’s impeccably crafted and moving works explore social issues including politics and religion, physical identities and sexual orientations.
KolbuszSpace is proud to offer a studio-direct, limited release of his Anima series which examines male roles and identities in our contemporary western contexts.
This exhibition is a remarkable achievement. Each image is carefully wrought, a technical tour de force by a master of his craft. As Jean Cocteau explained “Art is a lie that always speaks the truth” and in this group of works Christophe Canato presents us with a series of elegantly constructed truths that are impossible to ignore.” TED SNELL, AM CitWA
Image: Anima #4. Archival inkjet print, edition of 5. 110 x 110cm.
JUNE 2022
Diane Scott is a New Zealand artist who has a Master of Fine Arts (First Class Honours) from Elam School of Fine Arts University of Auckland. She is featured broadly through arts publications and her work is in corporate and private collections in NZ, USA and France.
Scott explores the tensions that exist between image and object and questions the hierarchies of the elements that comprise painting through the jumping of the image to the material, and from surface to void. She examines how an abstract painting can function as an object you see, but also in what that object makes visible through process, materiality and sensation.
Scott is interested in producing work that simultaneously questions and withholds, and how this resistance to translation is a vital part of an artwork’s enigma.
Image: The Clearing, 2022. Acrylic and graphite on synthetic paper, sealed and mounted on aluminium, 151 x 102cm
JUNE 2022
Kartika Laili Ahmad is an emerging lighting designer based in Perth who blurs boundaries between commercial design and art installation.
Ahmad explores the use of neon and argon in her works and how it affects all of our senses – directly and indirectly.
“My work is influenced by my interest in how lighting can be used as a tool to stimulate and enhance the experiential quality in the interior environment.”
Designed and manufactured locally Ahmad controls the entire process to exacting engineering and finishes.
kartikalailiahmad.com
instagram
Image supplied by artist.
JUNE 2022
** SOLD OUT **
Aileen Corbett’s sculptural ceramic forms oscillate between art and architecture, figurative and minimal abstraction. Whilst employing a lively arrangement of clean lines and sharp angles, her work is largely inspired by the physical environment and the utilitarian architecture of lesser seen cities.
Maintaining a minimal aesthetic, Corbett is interested in the principles of order, balance and harmony whilst imbuing some of her works with a whimsical personality.
Corbett studied at the School of Clay and Art in Melbourne under Shane Kent. This is her first exhibition at KolbuszSpace.
Image by Pier Carthew.
MAY 2022
Austin Honour is a British/Australian multidisciplinary artist who’s work collages conventions of painting, sculpture and tattooing. Previously located in Berlin, Honour is now based in Perth, Australia.
Obsessed with context and cultural concepts, Honour explores the fascination we all share with extraterrestrials and the overlap it forces between imagination and reality, both in this work and as a metaphor for his broader practice.
Honour was awarded a BA (Hons) Fine Arts from Central St Martins in London in 2014.
Stills. Oil on linen 160 x 120cm
MAY 2022 Gallerysmith MELBOURNE
LOVE IS BACK by Waldemar Kolbusz presents in a climate of emotional maximalism, in which romance and joy are oversaturated and oversold to the extent that whatever original sensations might have existed, are now replaced. Relationships are mined for their honeymoon periods, then thrown away. The sensation of enjoyment begins to feel more of an appeal: I am in love. If you have ever had relatively meaningless sex with someone you appeared to be obsessed with only recently, you should recognise the husk of attachment I’m talking about. The exhibition isolates these tensions, considering which impressions might be truly our own.
Essay exerpt by Harry Sanderson
Happen, 2022. Oil on linen 183 x 183CM
APRIL 2022
Cult together with KolbuszSpace present an industry only event bringing together Australian design and art, with special guests Adam Goodrum and featured artists: Sam Bloor, Olivia Colja, Christophe Canato, Austin Honour, Waldemar Kolbusz, Imogen Kotsoglo, Matthew McVeigh, Matthew McAlpine and Joana Partyka.
View significant KolbuszSpace stockroom works alongside a collection showcase of furniture by Adam Goodrum for Australian design brand nau.
MARCH 2022
The filtering of gaze and desire through the CIS white heterosexual male perspective is still the dominant lens in which we view and understand body, and is a lens Gladden and Pace aim to shift and subvert through these collaborative new drawings and ceramics.
Together both artists have produced work that investigates the body as fluid, transformative and capable of existing outside of the rigid and prescribed confines of heteronormative desire, while also analysing the intersections of their queer lenses.
These new works sit together to be sometimes sweet, sometimes vulgar but mostly offering a hot, sweaty, hairy and dripping alternative approach to desire.
Dan Gladden (b. 1983) is a WA artist who has exhibited extensively both nationally and internationally since completion of his Bachelor of Visual Arts (Hons) in 2006, including Hatched 06 at PICA. His figurative paintings and drawings explore ideals of the masculine form, and analyse the construction of archetypal male identities.
Kimberley Pace (b. 1984) is a WA artist who has completed a Master of Arts from ECU and has exhibited regularly since 2009 both nationally and internationally. Kimberley’s practice investigates the fluidness of the corporeal body explored through a multidisciplinary studio approach involving garment, object, ceramics, drawing, performance, video and sound.
Dan Gladden and Kimberley Pace, Pickle Peel, 2021. Pencil on paper, 38 x 18 cm.
Online only Feb 2022
New works at KolbuszSpace to celebrate Sam Bloor’s significant Perth Festival exhibition UNDERTOW, where he will produce new works both on-site and beyond the walls of Fremantle Arts Centre which explore our coastline and the oceans beyond as a site of asylum and safe passage, interrogating Australian nationalism and border politics. The works challenge audiences to consider the necessity for generosity and compassion at a moment in time when our borders have never been so ferociously defended.
Since his sold out solo show at KolbuszSpace in Sept 2020, Bloor’s work has been acquired for the AGWA collection and he has shown and been collected internationally.
Image: UNDERTOW for Perth Festival, sponsored by FAC. Site specific work, Tourist Wheel Fremantle WA.
FEB 2022
Olivia Jones’ visceral and evocative oil paintings deal with history and mental health. Starting with richly coloured foundations and adding crushed rocks from her family bush block in Toodyay, Jones learns that no amount of white paint can conceal or erase the colour and texture beneath. By submitting to this futility and working within these realities, Jones adds acceptance and depth to these striking works and to the experiences which have shaped her. These works are a confident and quiet triumph.
Olivia Jones is an early career artist working in Fremantle, Western Australia. She holds a Bachelor of Arts (Honours) from Curtin University and has exhibited at The Other Art Fair (Melbourne, 2017). This is her first major solo exhibition and was possible with funding awarded through the Department of Local Government, Sport and Cultural Industries for creative development.
Studio, photograph by Tasha Faye. 2021.
2021
DECEMBER 2021
(Catalogue essay excerpt by Harry Sanderson)
In early 2021 Luke Kolbusz rented a studio in Perth and began painting full time. This period of sustained concentration came after a few years of more fragmented practice following his graduation from UWA (BA Fine Art), which culminated in his first solo show, BIG WORLD. Ironically, it was only on the success of that first exhibition that Kolbusz’s scope truly expanded: he began working on larger canvases, increased the volume of his output, and made painting his primary vocation.
The muddy forms which had appeared in the BIG WORLD work also came into sharper focus. Those early paintings had consisted of vague figures and abstract shapes, which tended to fade through the canvas like fish in dark water. The new work was bright and lucid: the lines were clear and firm, and bolder blocks of colour began to appear against the washed-out out backgrounds. Kolbusz was developing into an artist who, if not necessarily more confident, was willing to be more upfront about his uncertainty.
This will be Luke Kolbusz’s second solo exhibition since graduation from Fine Arts (UWA) and after his sell-out first exhibition called Big World in 2020.
Sayer, 2021. Acrylic on canvas, 168 x 153cm
NOVEMBER 2021
At Home represents the conclusion of a two year research project by curator Leah Robbie into the history of Perth’s domestic exhibition spaces. Materialised into an immersive installation at Kolbusz Space, you will be invited to explore a piece of Perth’s art history through the use of vintage furniture and featuring available works of early career artists:
Beverley ILES, Emma HORVÁT & Ómra CAOIMHE, Eveline RUYS, Georgia BISLEY, Hannah BECSI, Jane GRIERSON, Jane ZIEMONS, Joana PARTYKA, Laura SIKES, Marina VAN LEEUWEN, Rae WALTER, Sophie LA MAITRE
Image: Terry Vinci, California Design 1930-65: Living in a Modern Way exhibition. 2014, Digital image.
NOVEMBER 2021
Austin Honour is a British/Australian multidisciplinary artist who’s work collages conventions of painting, sculpture and tattooing. Previously located in Berlin, Honour is now based in Perth, Australia.
Interested in ideologies of history, material and value, Honour works within a holistic studio practice which aims to connect media, concept and form. Honour’s recent paintings stem from an engagement with found imagery often depicting objects of history and nature. Harking back as a pastiche of Picasso’s blue period and Yves Klein, Honour’s work tethers itself through colour as if being viewed through a veil of blue.
Honour was awarded a BA (Hons) Fine Arts from Central St Martins in London in 2014.
The Mask, 2020. Oil on canvas, 140 x 105cm
OCTOBER 2021
Jordy Hewitt is an emerging Australian artist and painter. Born in Perth in 1985, she was awarded a Bachelor of Fine Arts from Curtin University in 2014. She has exhibited nationally in solo and group exhibitions and prizes including The Hutchins Art Prize (Tas), Whyalla Art Prize (SA), The Agendo Art Prize (VIC) and The Mandorla Art Award (WA). In 2016 she was awarded a Commercial Development Grant through the Department of Culture and the Arts, which helped her exhibit at The Other Art Fair in Sydney, where she won the People’s Choice Prize and her work promptly started garnering serious attention.
Hewitt’s new work shows a shedding away from what she has known to evolve deeper and find a new cycle and beginning, and challenge her mode d’emploi. Deliberately corrupting beautiful and blended colour fields into new muddy, dirty and unpredictable paintings, Hewitt takes them to an edge of mess through slapping, scraping and scratching. This new work shows bravery and confidence for an artist pushing themselves into uncharted realms and has resulted in hugely exciting new paintings.
Wellspring X, 2021. Oil and wax on canvas, 220 x 170 cm
SEPTEMBER 2021
New installation work questioning Harry’s own personal biases, in the way he observes the world and processes information.
“This work relates to broader cultural biases in how we all observe, respond to and care for the land we live in. That’s from an individual’s response, through to the cultural systems we take for granted. There are many questions to ask about the true value of relating to and analysing the world in tiny, systemized parts. In the other extreme; what practical value is overlooked when processing information through a more expansive and “feeling” interaction when relating to objects and the space around us?”
Oyster Quadrat Version 2 – Settlers Beach. Oil & alkyd medium on aluminium plate 995 x 995mm
AUGUST 2021
Hynynen is a collectible and award winning Finnish-Australian artist who captures a humanity which connects people with art through his bold and thought provoking works.
Hynynen’s practice moves seamlessly between painting, video and sculpture. His two-tone palettes invite a meditative contemplation on the dichotomies in society, providing a counterpoint between ‘man-made’ modernity, consumerism and expectation against the value and potential of simplicity in the natural world.
Nothing In Between will feature new abstract, sculptural Canvascape works which are enquiries into form and material, ebb and flow. These will be contrasted with new figurative paintings revealed in their essential elements of light and dark.
Bystander. 2021, oil on canvas 150 x 150cm
JULY 2021
Gaye Jurisich lives and works in Hamilton, New Zealand and is the first international artist to exhibit at Kolbusz Space. Hugely accomplished, Jurisich is an extensively respected and reviewed multi-disciplinary artist. This exhibition will be the first time Jurisich will show paintings in Australia and will also include some smaller sculptural works.
Secrets and Exposures are new works which interpret landscape as both narrative and energy, looking past the obvious to the artist’s interpretation of time, scale, space, spirit and combines this with her memories, desires, passions and fears.
When The Gates Close. 2020, mixed media on board 40 x 48cm
JUNE 2021
Studio Direct at Kolbusz Space presents a curated selection of Anna Sabadini’s recognisable investigations that include palettes and references to Old Master paintings. Each work moves beyond traditional edges by including an expanded context of materiality and inspiration from art history. The visibility of this context allows the viewer to appreciate the importance of relationships between paint, painting, painter and painting history.
After receiving a Doctor of Creative Arts from Curtin University, Sabadini taught there for many years. She has exhibited nationally and her work has won numerous awards and is in significant collections.
Studio Direct exhibitions provide collectors with a significant opportunity to invest in affordable and collectible works as a once-off opportunity. These exhibitions specifically support artists through periods of growth and flux in order to allow space and funds for further development of their artistic practices and promote sustainability of important artistic careers.
Palette and Ideas. Ink and paper and oil on board 60 x 60cm
MAY 2021
New works concerning experiences we may all share, or want to share in contemporary everydayness, with consideration of the increasingly blurred difference between what we actually experience and what we convince ourselves (and others) we think should be the case.
These works have forced a slowing down in both process and a practical sense in the hope to reclaim our feelings and experiences as truthfully our own.
Continues at Aptos Cruz galleries ADELAIDE
Honey Boy. 2021, oil on linen 153 x 183cm
APRIL 2021
In April 2020, the former president of the United States suggested injecting light and disinfectant into people’s bodies as a treatment for coronavirus. This is a thing that happened.
Suppose You Brought the Light Inside of the Body is an exploration of the meandering sorrow and absurdity of 2020. In this unique series of ceramic works, Partyka attempts to both make sense of and comment on the bewildering state of contemporary life and politics – the bush fires, the global pandemic, the social upheaval, the activism, the bumbling and bad politicians.
Fuelled by rage and grief, the work seeks to push the viewer to reflect on their own experience of the year, as well as offer hope and beauty from its ashes.
Partyka is a ceramicist, illustrator and political staffer based in Boorloo (Perth) and this is her first solo exhibition.
Abolition. 2020, white stoneware, glaze, gold lustre, height 18cm.
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FEBRUARY 2021
Rorschach is a digital print series inspired by the amorphous ink blots while also playing homage to Andy Warhol’s 1984 series by the same name.
Developed by the Swiss psychiatrist Hermann Rorschach in the early 20th century, the Rorschach test consists of ten standardized blots for a patient to decipher.
In these works made during isolation in 2020, McVeigh has collated media images on a range of social, political, economic and environmental issues that have both played on his psyche and saturated the media.
These layered and mirrored works invite the viewer to themselves decipher and contemplate the visual language of manipulated media imagery. Through these ten works, the same number as original blots, McVeigh has captured the veracity of where humanity has been in this era of post truth and anthropocene.
Military 2020 digital print 150 x 120cm
2020
DECEMBER 2020
selected artists – studio direct
Selected artists are encouraged to submit studio stock and experimental works, to invite collectors to start investigating their practice with a view to further investment. These art marts are designed for discounted work to sell, for introductions to be started, and grow confidence for new collectors.
OCTOBER 2020
Near You is a new body of work about the interplay between chance and identity – the similarities in experiences we may share and the disconnect in others, the randomness of that, and how it shapes who we become.
Continued at .M Contemporary in SYDNEY Nov 2020
Lobby 2020 oil on linen 122 x 91cm
SEPTEMBER 2020
Sam Bloor presents The Birth and Death Of a Mountain. An exhibition of new textile and print works exploring Bloor’s upbringing in cult-like surroundings as the son of a preacher. Notions of eternity and agency collide, presenting new reflections upon the ways we find solace in the ever expanding and collapsing void that is our universe.
MAY 2020
Continued at GallerySmith MELBOURNE June / July 2020
With a practice that alternates between abstract and more figurative painting, Waldemar Kolbusz’ works come naturally charged with a high energy. His large brightly coloured canvases pulsate and move, allowing a rich engagement with the works. He has always worked in a fluid way, and whilst a significant shift in thinking is required for different genres, his cerebral approach allows him to do both. It informs and nourishes the work; allowing freedom in the figurative works and giving shape to the abstract.
Lift 2020 oil on linen 152x122cm