A series of resin based sculptural works by Melbourne artist Kate Rohde will be showing in our  ‘Colour & Form’ show.  Join us for drinks next Thursday from 6-8pm in Artmonth.

“…the Ornament Crimes series of vessels were made as a tongue in cheek response to the famous 1913 essay ‘Ornament and Crime’ by Adolf Loos, and the idea of overtly decorative design as something evil with the ability to corrupt society. The overtly decorative forms are a celebration of excessive sculptural forms, inspired by the spectacularly detailed Baroque and Rococo age which attempt to convey a playful and contemporary rendering of the traditional decorative arts of these eras. Using mainly resin and non-traditional craft materials, I create a range of zoomorphic sculptures, jewellery and decorative art objects…”

Pictured is leafy bowl, 2018, polyurethane resin, 20x30x30cm.


We are thrilled to be exhibiting new work by ceramic artist Jenny Orchard in our 2018 program. Jenny will be part of our May exhibition along with Anthony Cahill, Nancy Constandelia, Janet Haslett and UNSW Art & Design graduate Beccy Tait.

Expressing the connected nature of all life and matter is at the core of Jenny Orchard’s art practice. Working with painting, collage and primarily ceramics, her work forms part of a narrative about a fictitious and parallel world in a state of change. Her practice references places she has lived and lives, as well as her fascination with European tradition, African and Aboriginal mythologies, Australian contemporary culture and the environment. Jenny’s ceramic ‘creatures’ and vases are formed using earthenware clay and an array of vibrantly coloured glazes, each possessing a unique personality and exhibiting a complete defiance of convention. This intermix of elements combined with the decorative tradition of clay expresses her interest in the interconnectedness of life, culture and form. “…each image or ceramic forms a story on its own, but the narrative running through all of them is that of accelerated change, chance encounters and the suggestion of parallel realities…”

Born in Turkey, Jenny grew up in Zimbabwe and immigrated to Australia in 1976.  She studied at the College of Fine Arts in Sydney, receiving her Bachelor of Arts in 1980.  Jenny has exhibited widely in Australia and Internationally. She has been awarded many prizes including the 2017 University of Queensland’s National Self-Portrait Prize and the 2017 Biennial Sidney Myer Fund Australian Ceramic Art Award. Her work is held in the collections of the National Gallery of Australia, Powerhouse Museum, Sydney, Queensland Art Gallery, Art Gallery of South Australia and the National Gallery of Victoria.

Pictured is A Rude Bear and Exile on Edith Street, 2013, ceramic vase and earthenware glazes

Jenny Orchard, A Rude Bear and Exile on Edith Street, 2013, ceramic vase and earthenware glazes


Two of the wonderful artworks in our ‘Colour & Form’ exhibition – Tomislav Nikolic, I don’t intend to understand, 2015, acrylic, marble dust, 13.5ct white gold leaf on linen and wood.

This painting exhibited with courtesy of art consultant Kate Smith.

Tomislav Nikolic is represented by Fox/Jensen Gallery.

Foreground: Angela Brennan, Potami, 2014, earthenware.

Angela Brennan is represented by Roslyn Oxley Gallery, Sydney.

Join us for opening drinks from 6-8pm on Thursday the 1st of March in Art Month.

Tomislav Nikolic, vestige of now: 2, 2015, acrylic, marble dust, 23.75 Platinum gold leaf, glass on linen, plaster gesso and wood and Angela Brennan, Potami, 2014, earthenware.


Melbourne artist Sean Meilak will be exhibiting a sculptural installation in our ‘Colour & Form’ show opening on the 1st of March. Join us for drinks from 6-8pm on the Redfern/Chippendale precinct night in Art Month.

Check out an excellent account of Sean’s work and practice in current instalment of The Design Files –

Pictured is Marble Park, 2016, plaster, marble, steel, MDF, acrylic paint, enamel, UniBond adhesive, PVA.

Sean Meilak is represented by Niagara Gallery, Melbourne

Sean Meilak, Marble Park, 2016, plaster, marble, steel, MDF, acrylic paint, enamel, UniBond adhesive, PVA.


Currently completing her Master of Fine Arts at the National Art School, artist Belle Blau will be exhibiting work in our ‘Colour & Form’ show opening on Thursday the 1st of March.

“…Belle Blau is an interdisciplinary artist based in Sydney, Australia. Her work begins in writing; using poetics as the starting point for the creation of both music and painting. In exploring the relationship between language and image, her words act as source material to generate new avenues of abstraction. By allowing subjectivity to infiltrate the self-referential purity of formalism, she subverts the traditional intentions of the genre: placing emphasis on the value of emotional experience over objectivity. Blau hijacks and reinvents the possibilities of reductionism, enacting a feminist expansion of the traditionally male movement.

Blau extends the boundaries of abstraction by employing its potential to “make physical” otherwise enigmatic aspects of human experience. What results is a visual conversation; paintings that stand alone yet speak to each other, of written complexities grasped through their distillation into image…”

Pictured is Whole Unto Itself, 2017, acrylic on canvas

Join us for drinks from 6-8pm on the Redfern/Chippendale precinct night during Art Month.

Belle Blau, Whole Unto Itself, 2017, acrylic on canvas


We are thrilled to be exhibiting two sculptural works by Angela Brennan in our ‘Colour & Form’ exhibition opening on Thursday 1st of March.

Based in Melbourne, Angela Brennan’s practice incorporates a range of media including painting, drawing and ceramics. She incorporates both abstraction and figuration in her work, and has a varied approach to subject matter, informed by classical and contemporary sources.

Angela Brennan was commissioned to exhibit a solo study in the Australian Centre for Contemporary Art’s major 2016 exhibition Painting. More Painting. In 2017 her work has been included in Shut up and Paint at the National Gallery of Victoria, and the National Gallery of Australia’s touring exhibition Abstraction: celebrating Australian women abstract artists. She has been awarded numerous overseas residencies, most recently the Australia Council studio at the British School of Rome and Artist in Residence at The University of Sydney Archaeological Excavations of the Paphos Theatre Site, Cyprus. Her work is widely represented in major public and private collections in Australia and overseas.

Angela Brennan graduated in Fine Art, painting, at RMIT University in 1981. In 1992 she received a Bachelor of Arts from the University of Melbourne, majoring in Philosophy. She is presently completing a PhD at MADA, Monash University.

Angela Brennan is represented by Roslyn Oxley Gallery, Sydney.

Angela Brennan, Potami, 2014, earthenware – image courtesy of the artist and Roslyn Oxley Gallery, Sydney.


Canto XXI, 2003 is one of two screen prints by Sydney Ball we will be exhibiting in our ‘Colour & Form’ show opening on March the 1st.

Painter, printmaker and sculptor Sydney Ball (1933-2017) was a pioneer of post-painterly abstraction in Australia. Born in Adelaide, Ball worked as a draughtsman before taking up art studies in the late 1950’s. His early influences were challenged when in 1963 he moved to New York and encountered the work of abstract expressionists including Mark Rothko, Willem de Kooning, Jackson Pollock and Robert Motherwell.

Through the influence of these artists, Ball developed his own sophisticated language of colour-based abstraction. This was first presented in Ball’s ‘Cantos’ series, works that were initially exhibited after his return to Australia in 1965. With their bold structured forms of unmodulating colour and precise surfaces, the ‘Cantos’ signalled the domination of colour expression and formed a new direction in abstract painting in Australia, culminating in ‘The Field’ exhibition at the NGV in 1968.

Canto XXI, 2003 is from a suite of screenprints that revisit Ball’s ongoing series of ‘Cantos’ paintings, drawings and prints, which he first developed in the mid-1960’s while living and working in New York between 1963 and 1967.

The title Cantos is drawn from a cycle of poems by Ezra Pound.

Canto XXI, 2003, screenprint


Home@735 Gallery will be exhibiting a work by Louise Tuckwell in our ‘Colour & Form’ show opening on March the 1st.

“…Tuckwell’s work searches for a system of balance and harmony – drawing on the influential algebraic and geometric work of Ancient Greek mathematician, Euclid. His systems of logic, opposing axioms and geometry pervade Tuckwell’s intuitive compositions. Suggestion, surprise and a subtle sense of humour are also important elements for Tuckwell. Contrastive diagonals, obtuse colour juxtapositions and subtle perspectival shifts demonstrate a bold and playfully abstract architectural language…”

Louise Tuckwell originally studied at the Julian Ashton Art School and later graduated from the National Art School. While painting is her primary practice she is also well known for textiles works. A series of her tapestries recently toured Australia as part of the 2nd Tamworth Textile Triennial. Tuckwell has been exhibiting her work for over 30 years and has previously shown with Tim Olsen Gallery, Utopia Gallery and Damien Minton Gallery.

Her work is held in the collections of the Museum of Contemporary Art Australia, Artbank, City of Sydney, New England Regional Art Museum, Tamworth Art Gallery, Bathurst Regional Gallery, Allens Linklaters and the Justin House Museum.

Pictured is Is It There, 2017, acrylic on board.

Louise Tuckwell is represented by Gallery 9, Sydney.

Louise Tuckwell, Is It There, 2017, acrylic on board.


Home@735 Gallery is pleased to announce we will be exhibiting work by Sydney artist Jonny Niesche in our ‘Colour & Form’ show in Art Month opening on Thursday March the 1st.

“…favouring the openness, clarity and seduction of post painterly abstraction Niesche’s works combine the traditions of sculpture, digital printing and installation to recast our understanding of the effects of surface, color and architectural space. Using complex steel fabrication, mirrors and digital printing processes on transparent fabric, Niesche aims to go beyond associative feelings about color and instead bring forth associations from every type of experience: sexual, psychological, religious, metaphysical, architectural, material or superficial…”

Jonny Niesche completed his MFA at Sydney College of the Arts (2013) under Mikala Dwyer, and under Heimo Zobernig at Academy Fine Arts in Vienna. In 2015 he was awarded the Fauvette Loureiro Travelling Scholarship. Recent group exhibitions include Matter matters, at Massimo Carassi, Milan, Italy, March, 2017 ; Superposition of three types, Artspace, Sydney, 2017; Shut up and Paint, National Gallery of Victoria, 2016; Painting. More Painting, Australian Centre for Contemporary Art, 2106; The Kaleidoscopic Turn, National Gallery of Victoria 2015;

His recent and upcoming solo exhibitions include: Love-light at Sarah Cottier Gallery this coming April, Zeller van Almsick in Vienna, Austria in June; Peter von Kant in London in September, Cosmos cosmetics, Minerva, 2016; New Jörg, New Jörg, New Jörg Kunstverein, Vienna Austria, 2016.  His work is held in the collections of the National Gallery of Victoria, MONA, Artbank, and private collections in USA, Europe, Asia and Australia.

Pictured is ‘Love-light’ installation view at Sarah Cottier Gallery April, 2017. Photo Ashley Barber.

Jonny Niesche is represented by Sarah Cottier Gallery.

‘Love-light’ installation view at Sarah Cottier Gallery April, 2017. Photo Ashley Barber.


New to Home’s stockroom, this limited edition screenprint – Bongos, 1999 by Adam Cullen.

Adam Cullen (1965 – 2012) was an Australian artist whose style at times had been labelled by some art critics as simplistic, crude, adolescent or puerile. Conversely, Cullen is regarded as one of Australia’s most collectible contemporary artists.

He graduated from the City Art Institute with a Diploma of Professional Art in 1987 and received a Master of Fine Arts from the UNSW in 1999. He exhibited widely across Australia and Internationally. In 2002 he represented Australia at the 25th Sao Paulo Art Biennial.

Cullen used a highly personal visual language to address a broad range of topics including crime, masculinity and cowboy culture. He merged high and low cultural influences in his work, which are defined by their iridescent colours and bold gestural marks. His artworks combine irreverent humour with an astute sensitivity to society. He often employed the image of infamous and iconic Australian bushranger Ned Kelly in his artwork. He also portrayed the killers of Anita Cobby and illustrated the Chopper’ Read’s fairy tale book, Hooky the Cripple.

He spent the last three years of his life with writer Erik Jensen working on a biography. Jensen became witness to the decline and death of Adam Cullen. The book that eventuated, Acute Misfortune: The Life and Death of Adam Cullen was eventually published by Black Inc. The book is an intelligent and visceral memoir of the disintegration of Cullen’s life, shining a light on the mythology the artist had created around his artistic persona.

Adam Cullen won the Archibald Portrait Prize in 2000 with his portrait of actor David Wenham. He was a finalist in the Archibald in 1997, 1999, 2001, 2004, 2006, 2011 & 2012, a finalist in the Moran Prize in 2000 & 2001 and won the Mosman Art Prize in 2005.

Adam Cullen, Bongos, 1999, limited edition screenprint


Home@735 Gallery’s ‘Invitational’ exhibition opening on Wednesday the 20th of June will feature a number of artworks from the collection of art consultant Kate Smith

Many thanks to Kate for loaning us paintings by artists including Sidney Nolan, Ricky Swallow, Tony Garafalakis and UK artist Justin Mortimer. Pictured is Donor VI, 2014, oil on canvas by Justin Mortimer.

“…Justin Mortimer (b.1970) is a British artist whose paintings consistently invite us to question the relationship between subject matter and content, beauty and horror, and between figuration and abstraction. While the imagery is almost exclusively pitiless, the texturing of the paint, the play between light and shade and the passages that lead from photo-realist definition to near-abstract formlessness are so sensitively handled as to make the work at least partially redemptive as well as to indicate a key philosophical dimension: the oblique relationship between evidence and interpretation…Mortimer’s paintings are not reportage or documentation, they are far too allusive and de-specified for that. Instead they represent a powerful and poetic visualisation of contemporary life, in all its grim and magical reality…” – Ben Tufnell

Justin Mortimer graduated from the Slade School of Art in 1992 and lives and works in London. He has won several prestigious awards including the EAST Award (2004), NatWest Art Prize (1996) and the BP National Portrait Award (1991). Recent solo exhibitions include Haunch of Venison, London (2012), Mihai Nicodim Gallery, Los Angeles (2011) and Master Piper, London (2010). Recent group exhibitions include How to Tell the Future from the Past, Haunch of Venison, New York (2013), Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary (2012), MAC Birmingham (2011) and the 2011 Prague Biennial. His work is held in private and public collections including the National Portrait Gallery, London, the National Portrait Gallery, Canada, Royal Society for the Arts, Bank of America, NatWest Bank and the Flash Art Museum of Contemporary Art in Trevi, Italy.

This text is reproduced with kind permission from Parafin Gallery, London.

Justin Mortimer, Donor VI, 2014, oil on canvas


Home@735 Gallery is pleased to announce we will be exhibiting a work by John Peart in our ‘Colour & Form’ show opening on the 1st of March 2018. Many thanks to Damien Minton and Watters Gallery for allowing us to exhibit this work – untitled #982, 1965, acrylic, felt tip on paper, 30x40cm.

John Peart (1946 – 2013) was an abstract artist with a career spanning more than 45 years. Peart was recognised as a leading non-figurative artist within Australia and has been included in numerous definitive exhibitions.

John Peart only ever planned to be an artist. Born in Brisbane, he moved to Sydney in 1962, finding work with Barry Stern Galleries and a friend in Frank Watters. Two years later, Watters and Geoffrey Legge opened their own gallery. Peart had his first exhibition at Watters Gallery as a painter in a group show, aged 19.

Peart had a long and distinguished career, first coming to national prominence through the seminal The Field exhibition in 1968. Featuring artworks of Colour field expressionism movement, the exhibition was held at the new National Gallery of Victoria. John Peart was awarded four major art prizes during that year.

In the 1980’s, Peart moved to the Wedderburn artist community. Situated on a 25 acre property south of Sydney, the informal group included artists Elisabeth Cummings, Roy Jackson, Suzanne Archer, David Fairborn and David Hawkes. Wedderburn advanced the shift towards a specifically Australian style of art – Peart later said “I realised that painting was not developing along a linear path dictated entirely by New York, then I got busy rediscovering Australia”.

John Peart’s work is held in the Australian National Gallery, all State Galleries and numerous other collections. He won the Wynne Prize in 1997, the Sulman Prize in 2000, and was a finalist in the Archibald Portrait Prize in 1998. A survey exhibition of his work toured Australia during 2004-06.

John Peart, untitled #982, 1965, acrylic, felt tip on paper – artworks available at Watters Gallery