This sculptural installation by Madeleine Preston will be showing in the Clay Date exhibition at 541 Art Space – in Art Month. The show also features work by a number of the artists including Mechelle Bounpraseuth, Caitlyn Hurley, Rachael McCallum and Luke O’Connor. Come along to the opening drinks this Friday from 6-8pm – Level 1/541 Kent St, Sydney.

“…Ancient modernism is a response to seeing some of the key works of modernism in a recent residency in Paris. Often the works in the major galleries would show their age with some paintings yellowing, fading or cracking. I wanted to make work that reflected a sense of modernisms antiquity through hand built forms and broken surface treatment. The forms do not manifest the precision of pure geometry and the surfaces with their faded glaze and obscured patterns speak more of decoration than revolution. The wall works create the illusion of form through colour…” photo by docqment


Many thanks to writer Vanessa Berry for her compelling piece ‘Internal Logic’ for the ‘Colour & Form’ show.


At the end of the hallway at the entrance to the gallery hangs a screenprint by Sydney Ball. Canto XXI is a radiant orange square, which frames a circle of a softer orange, which further frames a stripe of ultramarine. The colours are arresting, their incandescence constrained by the stillness of the precise, geometric forms. It is a distillation of planetary energy, perhaps, or a pattern underlying a mathematical process: one of the gifts of abstraction being the openness of interpretation it bestows on the viewer.

Ball’s Cantos series, initially produced in New York in the 1960s, are landmark works of abstract painting. They were named after an epic poem by Ezra Pound which the poet worked on for more than fifty years. It is fitting for them to be a reference point for these works by Ball, for Ball’s Cantos also set the trajectory of his life’s work: his preoccupation with colour and form.

The two screenprints from the Cantos, produced by Ball in 2003, are something of a lynchpin for the Colour and Form exhibition. The exhibition combines works from Australian abstract artists of the 1960s – Sydney Ball, Michael Johnson, and John Peart – with contemporary artists working with abstraction in painting and sculpture. The three 1960s artists introduce a range of forms of abstraction, from the formal geometry of Ball’s Cantos, to the textured and organic shapes and colours of John Peart’s 1965 acrylic work Untitled #982, and the dynamism of Michael Johnson’s Collins Street #4 and its dashes and drips of colour.

In counterpoint to the historical precedent of representational painting that preceded it, abstract art offers no “window on the world”. It is an opaque viewing experience, an opportunity to look at the materiality of the artwork rather than through it. Nonetheless, abstraction suggests an internal logic: within the boundaries of the work viewers navigate form and colour in sensory and associative ways.

Jonny Niesche’s Personal Cosmos builds on the immersive, floating effect of a colour field painting, using the reflective and shimmering surfaces of mirrors and voile. The viewer is reflected in the work, shadowed within the pink cosmos, visually becoming a part of it and moving within it. Niesche’s sculptural work Cadence loop #10 shares this shimmering quality. The zigzag strip of steel has been painted an iridescent purple-blue which changes in hue as you move past it, and the light angles differently on its surface.

Other works invite a different method of navigation. Sean Meilak’s sculpture series Arrangements, six collections of geometric and architectural shapes, plays with scale so the viewer, too, feels a telescopic shift in perspective. These could be models of ruins or monuments. Or they could be the elements of a visual alphabet, and each arrangement a phrase or a sentence: Meilak’s process is to cast the elements individually, and to compose the arrangements during installation. Each arrangement has the sense of a light touch, of elements drawn together in the moment.

Intuition was also an important part of the process for Celia Gullett’s painting Geometric Abstraction XXI. Gullett uses layers of oil paint to build up a luminous surface, inspired by medieval works on wood. Her use of colour is often intuitive, developing as the work progresses and one colour leads to another. Here she uses a geometric motif of simple, slightly-overlapping shapes. At the overlapping edges the colours change, and the forms seem to embody the shape of a quiet thought.

Abstract forms heighten contemplation, and can suggest a way of thinking as much as a discrete thought. This way of thinking can be playful and indeterminate. In Tomislav Nikolic’s I don’t intend to understand, fields of delicate pastel tones resolve into lines of darker colour within the bright blue of the painted frame. This balance of nebulousness and resolution hints at a thought-state where ideas float, sometimes coalescing, other times drifting. This thought-state contrasts with those suggested by more defined geometry, such as Belle Blau’s Whole Unto Itself, where strong lines create clear boundaries within the space of the canvas, as they open it up into an illusory depth.

Another work of tight geometric composition is Ron Adams’ Lucky Strike for Nicola. Adams’ work takes shape from influences and relationships: in this case the box of matches that is emblematic of his friendship with the artist Nicola Smith. The rows of pale stripes with black tips are interrupted by one varying segment of red, the one unspent match. The red glows with potential, tempting the eye in the same way one’s fingers would reach for the last remaining good match in the box.

The influences that shape abstract work often remain only as the lightness of resonances, but can provide a rewarding insight into the works’ intentions. In Smoker Series – After Guston, Madeleine Preston uses shapes from, and the lung-like pink and black colour palette, of Phillip Guston’s Nixon-era paintings. This establishes a visual connection between two eras of American politics: the Watergate crisis of the 1970s, and the contemporary American political situation of the Trump administration.

The resin sculptures of Kate Rohde also engage with the idea of corruption, taking influence from Adolf Loos’ argument, in the 1913 essay “Ornament and Crime”, that excess in design can have a corruptive influence on society. Rohde’s florid bowls and vases have a gleaming, scampering vitality. Each vessel seems to burst forth with ornamentation, a challenge to the neat boundaries of the object.

For all their variations in style, artists who work with abstraction use colour and form to play on our associations, transposing our thoughts and perceptions. Sometimes this is an immersive and quiet experience, and other times an exuberant one, and often our engagement is one of transcendence. The works in Colour and Form carry us into their internal worlds, as they are drawn into connection, across the decades.


Home is pleased to announce we will be exhibiting work by Vanessa Stockard in our 2018 Invitational exhibition opening in June.

“…twenty years of introspection and experimentation, ranging over a number of media, have forged Vanessa’s style and craft, enabling her to reveal complex misdemeanours, while simultaneously demanding the viewer’s self-reflection. She deals with isolation and sadness with intimate care and attention…the deceptive everyday nature of her subject matter belies hidden depths of relationship, feeling and emotion. One could describe her process as absence of thought, a freedom of construct, not unlike the stream of consciousness associated with authors such as Hemmingway and Thomas Wolfe…these works are more like innocent and delicate poems, whispering untold truths with an economy of words…”

Vanessa’s work will be exhibited in our upstairs gallery alongside works by Justin Mortimer, Yvette Coppersmith, Ricky Swallow, Chelsea Lehmann, Nuan Ho, Tony Garifalakis and Natasha Walsh.

Pictured is self portrait as bust (detail), oil on birch, 50x50cm


Big thanks to Belle Magazine for including the wonderful Angela Brennan sculptural works from our ‘Colour & Form’ show in their current issue.

Angela Brennan is represented by Roslyn Oxley Gallery, Sydney.


I hope you can join us tonight for Home’s ‘Colour & Form’ exhibition opening. I’m thrilled to have the opportunity to curate artworks by 14 exceptional artists.

‘Colour & Form’ includes artworks by Sydney Ball, John Peart and Michael Johnson – three of the artists involved in the seminal 1968 ‘The Field’ exhibition at the NGV – showing alongside some of Australia’s finest contemporary practitioners of non-objective and hard edge abstraction in two and three-dimensional forms.

Thanks to all the artists and galleries involved with in the show with a special thanks to Kate Smith for loaning us the wonderful Tomislav Nikolic work, Darren Knight for the painting by New Zealand artist Saskia Leek and Damien Minton and Watters Gallery for loaning us an exceptional John Peart painting from 1965.

Come along for opening drinks from 6-8pm – 735 Bourke Street in Redfern – kick off your Art Month night at Home!

Cheers, Anthony


One of six stunning sculptural installations by Melbourne artist Sean Meilak showing in Home’s ‘Colour & Form’ exhibition. Join us for opening drinks tomorrow night from 6-8pm for the Redfern/Chippendale precinct night for Art Month.

“… Sean is interested in the psychology of space and his work references the architecture of ancient Rome, film set design as well as modern and postmodern art and design movements. He is particularly influenced by Surrealism, Italian furniture design and the theatrical environments created by filmmakers such as Michelangelo Antonioni and Reiner Werner Fassbinder…”

Pictured is Arrangement 1, 2018, plaster and plied pigment.

Sean Meilak is represented by Niagara Galleries.


Sydney based artist Celia Gullett will be exhibiting in Home’s ‘Colour & Form’ show. Join us for drinks on Thursday from 6-8pm in Art Month – 735 Bourke Street Redfern.

“…Celia’s work reflects an ongoing interest in surface; stripping the colour to its purest state. In much the same way that the Dutch Masters worked, she builds up the surface of the painting through methodical layering, creating a luminosity from below the surface. She partners colours, creating a dialogue between the physical and metaphysical properties of colour – one hue calling for the presence of another to complete the composition…”

Pictured is Geometric Abstraction XXI, 2017, oil on panel.


One of two sculptural ceramic pieces by Melbourne based artist Angela Brennan showing in Home’s ‘Colour & Form’ opening this Thursday from 6-8pm.

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.

Pictured is Echo, 2014, earthenware – Image courtesy of the artist and Roslyn Oxley Gallery, Sydney.


Light activates Personal cosmos, Voile and acrylic mirror – one of two works by Jonny Niesche showing in ‘Colour & Form’.

“…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…”

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

Jonny Niesche is represented by Sarah Cottier Gallery.


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.