Madeleine Preston’s ‘Tanagras Archive’ installation will be showing in Home’s Invitational exhibition opening on July 11th.

“…The work in The Tanagras Archive are based on the Louvre’s Tanagras collection. On their unearthing in the 19th century, these Greek ceramics were coveted by the French bourgeoisie as affordable symbols of wealth and taste. A large collection of the Tanagras are held in the Louvre in Paris. They are located very near to the more famous Venus de Milo and people trudge past the Tanagras not registering their singular nature, they are made of clay, their age or importance. This heirarchy of artefacts gave me a strong sense of how fashion and museology dictate the way history and the history of art is understood. It also gave me a sense of how the small and quiet can become the forgotten. I chose to recreate the Tanagras in an attempt to remember them…”

Pictured is Museum Quality, 2014, underglazed terracotta and domestic glassware, dimensions variable.

photo: Joy Lai & John Dennis.

REVIEW OF 09.05.18

Many thanks to Susie Smith for her review of our 09.05.18 exhibition.

Liminal spaces and shifting states of being trace moments of mediation, transition and absorption throughout Home@735’s exhibition 09.05.18. Assembled together, each of the five artists’ works emanate impressions of presence and absence.

Janet Haslett’s series Cy in the Centre offers a familiar rumination on this theme. Visitors to last year’s Cy Twombly retrospective at the Pompidou form her subjects, as she paints the process of looking. Almost all see the Paris exhibition through the lens of their phones – backlit and bright on the screen and mediated by that small blockade at arm’s length. Haslett places the scenes before us as a simple statement of observation, without a moralising refrain. These are moments captured with her camera during her own process of looking, and reported later in the studio. Rapid and small brushstrokes delineate the spaces within each canvas to render each image a fleetingly glimpsed scene. Through the muted palette of grey, the rectangular spaces of the galleries and works begin to slide in a slippage of layered surfaces, like losses to the visual periphery beyond the screen.

Nearby, Nancy Constandelia’s colourfields on French grey linen form poems in blue. Subtle gradations of colour are the result of a single, loaded brush drawn across the canvas, yielding less and less paint to the surface. Exposed lines of canvas bring us back to the surface of the paintings from a recession into depths of colour and remind us of the physicality of the paint. Constandelia’s fascination with the materiality of her medium is made clear through the textural, smudgy-fringed fields of ultramarine in Epoch I and Epoch II. The ultramarine works on display are translucent, both absorbing and emitting light. In contrast, The Vanishing performs an absorption through a deeply layered recession of blues and blacks. Through these works, Constandelia considers how light, colour and the material of paint itself act together to create an artwork.

Downstairs, the ambiguous spaces within Anthony Cahill’s paintings build landscapes of the mind through snippets of memory. The abstracted spaces unfurl through layered planes of colour. Cahill plays with colour discords, layering dappled colours over others and pushing opposing brights towards new harmonies. Cahill places his figures in these moving spaces in enigmatic and imagined interactions. All at once, the figures are part and apart from one another and the space around them – blending in through tonal harmonies and dislocated by the abstraction of their surrounds. Cahill paints the disjunctures of modern life in a reverie on our experiences in this world of loose digital connections and urban distance from nature. In Souvenir one figure extends the offering of a feather to another as if in memory of the ghostly bird perched nearby. Elsewhere the unknowable majesty of nature is palpable in the solid, shifting spaces which hold the figures’ gaze.

Morphing and in flux, Jenny Orchard’s hand-built earthenware creatures form a polemic against human interference with the world around us. The products of genetic testing, Orchard’s Interbeings have man-made ‘jumping genes’ which continue to change their nature, and are genetic interferences based in fact; on mice with sprouting boar’s tusks and human ears, created to be tested on. The Nigerian multi mud creature is a spiky form of moving limbs, spines and spots with pursed lips, nearby the triffid-like copper green Vase 1 stands sturdily on four legs and across the stairwell the mohawked Punk Dog curls his toes and looks on through leaf encircled eyes. Orchard draws on the African myths of her childhood in Zimbabwe in works such as Creature from the Ghostlands, an ethereal cloud-like figure emblazoned with a metallic lustre glaze, remembering the copper mines of Zambia through its copper and manganese glow. As escapees from the lab, Orchard imagines her creatures building their own societies and environments around their otherness.

Elsewhere, inside the booth Beccy Tait’s looped video work Hypergogia enacts the sensory experiences of night terrors through a split screen of enveloping horrors. As a sufferer of night terrors, Tait’s year-long exploration of the sleep disorder has proven to be a cathartic artistic process. Viewed within the small dark-room beneath the stairs at Home, Tait wished to recreate the confines of her world of sleep for visitors. The images are paired with a ghostly soundtrack of thrums, taken from scientific recordings of planet vibrations in our solar system. In the videos Tait presents figures lost, blindfolded, drowning and decapitated. Hands grasp from unseen corners and a dreamscape of familiar themes make reference to a floating Ophelia, monsters in a wardrobe, fears glimpsed in a mirror, and the soft, golden figure of Tait in an Edwardian dress running in the night recalls a history of the Australian Gothic.

Through the exhibition, Home@735 threads together these liminal moments of flux to focus thought on the thresholds of experience.


– Susannah Smith

Opening night shot by Steve McLaren


Congratulations to Yvette Coppersmith winner of the 2018 Archibald Prize with her work – Self-portrait, After George Lambert, 2018, oil on linen.

Home is thrilled to be exhibiting one of Yvette’s portraits in our Invitational show opening on Wednesday the 11th of July.

Yvette’s painting will be showing alongside works by artists including Vanessa Stockard, Adam Cullen, Deborah Kelly, Tony Garifalakis, Jason Phu and UK painter Justin Mortimer.


Home is pleased to announce that Sydney artist Jason Phu will be exhibiting work in our Invitational show opening in July. Jason is one of a group of artists responding to a Sidney Nolan painting.

Jason Phu works across a range of mediums from installation, painting and sculpture where he traces the connections between the tradition of Chinese brush and ink painting and contemporary practice. His work has been informed by several China based residencies at CAFA, Beijing; DAC Studios, Chongqing; and Organhaus, Chongqing which has enabled him to further investigate the tradition of calligraphy.

Jason graduated with honours from COFA in 2011 and NSCAD, Nova Scotia. Recent solo exhibitions in Australia include Westspace, Melbourne; Nicholas Projects, Melbourne; CCAS Gorman Arts Centre, Canberra; and ALASKA PROJECTS, Sydney.

He won the Sulman Prize in 2015 and in the same year received a Freedman Foundation Travelling Scholarship which allowed him to develop his practice between China and Australia.


New work by Madeleine Preston showing in ‘Bad Mannerism’ – a group show opening tomorrow night at Galerie Pompom. Curated by Chelsea Lehmann the show also features work by Drew Connor Holland, Lynda Draper, Chris Dolman, Bruce Reynolds, Chelsea Lehmann, Madeleine Preston and Chris Aerfeldt.

‘…thus, too, they came to know the incorrigible sorrow…to live in company with a memory that serves no purpose. Even the past, of which they thought incessantly, had a savour only of regret…the only way of escaping from that intolerable leisure was to set the trains running again in one’s imagination and in filling the silence with the fancied tinkle of a doorbell, in practice obstinately mute…” 

Albert Camus – The Plague

The title ‘Intolerable Leisure’ comes from Albert Camus’ The Plague. The quote comes to mind when I think of the beauty Paris Museums contain and how many of the riches came at the expense of the disenfranchised. The series of works I am now making as part of ‘Intolerable Leisure’ are in response to works of art seen in Paris museums including The Cluny Medieval Museum. My current focus is on work where the function or meaning has been lost in time and translation.

Pictured is Intolerable Leisure (vessel), 2018, copper, felt, ceramic and wood, dimensions variable.


We are thrilled to announce we will be exhibiting a pair of compelling collage works by Sydney artist Deborah Kelly in our Invitational exhibition opening in early July. Recognised as one of Australia’s foremost political artists, Deborah Kelly has exhibited widely throughout Australia and internationally. Working in collage, portraiture and animation, Kelly questions and challenges global capital, public policy, religious authority, patriarchy and privilege. Throughout, her polemic is always nuanced and always approached with empathy, intellect and wit.

Her work has been shown at MOMA PS1 in NYC, the ICA in London and in the Biennales of Singapore, Venice, Thessaloniki, Tarra Warra and Sydney. The monograph Deborah Kelly & was published by Artspace in 2013. Her work is held in the collections of the National Gallery of Australia, QAGOMA, MCA, AGNSW, the State Library of Victoria, Museum Victoria, Artbank, and private collections in Australia, the US, China, Indonesia and Germany.

“…for the first time in my practice, with the collage works Junee Archival (Sausage Party Showdown) #1 and #2, I deal with images of emblematic artefacts and paintings by a named 20th century artist to construct new artworks. The works relate directly to the source material’s cultural weight and meaning and seek to expand upon it; to subvert it, to remix for reuse.

The Junee Archival diptych is constructed on Nolan’s commissioned endpapers for Elwyn Lynn’s celebrated 1977 book, The Australian Landscape and its Artists. Notable in retrospect for its crushing preponderance of male artists and complete absence of Aboriginal artists, the books’ endpapers strike me as exemplary of the Australian art history I inherited as a 1970s schoolgirl. Produced by a London-based artist performing outback-larrikin-in-exile for his largely European audience, the work Junee is the (parched) ground for what I hope is an ironic, camp, look back at and riposte to craven antipodean reliance on colonial, heteropatriarchal pedagogies and narrations of high culture…”



Sharne Wolff

On Wednesday 21st August 1968, Melbourne’s ‘The Age’ newspaper ran a small article tucked to one side of page two. Headlined, On Moon in 1969 ‘possible’. The brief snippet from Washington reported the growing probability of a manned Lunar landing by Apollo spacecraft the following year. The same day, splashed across the front page, an ostensibly more important domestic announcement heralded the opening of the new St Kilda Road premises of the National Gallery of Victoria (NGV).[i]

Amidst much heady fanfare and the palpable optimism of the era, the inaugural exhibition named The Field welcomed crowds at the new NGV. The aptly titled display included works by forty young Australian artists – most of whom had been introduced to American ‘post-painterly abstraction’ by virtue of their overseas travels or via imported exhibitions. By means of The Field, this new generation of artists entered the mainstream with a selection of colour field and hard edge paintings, shaped canvases and sculptures.

Fifty years on The Field is still regarded by many as a ground-breaking show. Its lasting relevance is visible in Colour and Form – which forefronts the work of three of The Field’s original group of painters. Work by Michael Johnson, Sydney Ball and John Peart – the latter two artists having died in recent years– are accompanied by a larger party of next generation colourists namely, Ron Adams, Belle Blau, Angela Brennan, Celia Gullett, Saskia Leek, Sean Meilak, Jonny Niesche, Tomislav Nikolic, Madeleine Preston, Kate Rohde and Louise Tuckwell.

In the cosy confines of Home Gallery’s living room and hallways, Colour and Form’s intention mirrors that of The Field to, “make possible a considered judgement of the work of these artists seen in the company of their fellows and of stylistic principles they share”.[ii]. Curator Anthony Bautovich has juxtaposed the work of emerging artists with that of the three original artists, and grouped together unlikely old and new forms in shared spaces. Historical and mid-career painting and mixed-media works from Peart (1965) and Johnson (1987) respectively, are brought together with Ball’s duo of new-millennia screenprints from the 2003 Canto series (first developed in the mid-1960s), and over twenty recently-made paintings, sculptures and ceramic assemblages.

While five decades separate Colour and Form’s oldest and newest examples, the exhibition demonstrates the Australian artists ongoing regard for the international style originally evidenced in The Field. It modestly nods agreement with the proposition that art’s interest in unravelling the mysteries and potential of colour has never waned. At the same time, Colour and Form proposes contemporary means of exploiting and interpreting the genre.

Encouraging the idea of the movement’s continuum from its American beginnings Bautovich is interested in the parallels between Sydney Ball and American artist, Frank Stella. Favouring Stella’s reductionist style that represented a rejection of abstract expressionism – and drawn from the Canto series based on Ezra Pound’s epic series of poems of the same name, Ball’s Canto IX and Canto XXI are examples of this idea. While formally confined by the geometry of their respective circles, they shimmer with intense colour and a paradoxical sense of the shape’s symbolic infinity.

From the next generation of artists in Colour and Form, we can recognise homage to these pioneering artists being fuelled by the influence of contemporary culture. The transcendental effect of colour in Jonny Niesche’s immersive Personal Cosmos signals the work’s affinity with Mark Rothko’s painting of the 1940s and 50s. Rothko publicly insisted that he was attempting to find “a pictorial equivalent for man’s new knowledge and consciousness of his more complex inner self.”.[iii] On closer view – as Rothko himself preferred – the medium of Personal Cosmos is revealed as voile and acrylic mirror. This added dimension delivers a twist and endows the painting with savvy power to reflect the viewer in certain light, including when taking a selfie. Meanwhile Niesche’s zig zag adventures with Cadence Loop #10 (cyan to magenta) – constructed from steel and ‘flip flop’ auto paint that encourages angled viewing – suggest his ability to refresh and extend Rothko’s original concept as well as conserving it.

While it may seem obvious, it is worth noting that each of the artists in Colour and Form share a common and profound interest in colour and form, though each has their unique way exploring these elements in their art. Ranging from Adams’ pop-inspired painting and Preston’s politically-associated assemblages to Rohde’s exotic neo rococo sculptures, Colour and Form epitomises the expansion of the genre and the experimental attitude of the group as a whole.

Later this year The Field will be restaged in its entirety at the NGV. Though only a few will personally remember the heady optimism of Melbourne in 1968, it seems the possibilities for colour and form are increasingly timeless.

[i] The Age, 21 August 1968, 1–2, Melbourne, Google News Archive, 20 March 2018.

[ii] Finemore, Brian. and Stringer, John. The Field, National Gallery of Victoria, Melbourne, 1969, 3.

[iii] Anfam, David, Ed. Abstract Expressionism. Royal Academy of Arts, 2016, 113.


Image details: Mark Rothko, White Center, 1950, oil on canvas (left) Jonny Niesche, ‘Cosmetic calculator (Picture this Pink)’, Voile and acrylic mirror.

Image courtesy of Station Gallery and the artist.

Jonny Niesche is represented by Sarah Cotter Gallery



Home will be exhibiting a work by Tony Garifalakis in our Invitational show opening in early July. Pictured is Untitled #14, from the Mob Rule (Family Series), 2014, Enamel on C type print. This is one of six works from the collection of art consultant Kate Smith to feature in the exhibition alongside paintings by Sidney Nolan, Ricky Swallow and UK artist, Justin Mortimer.

“…Tony Garifalakis’ practice over the past two decades has constituted an examination of social relations and the semiotics of power. His work particularly engages the ways in which the meaning of signs, symbols and images might be ascribed, conveyed or transformed through culture, and how conventional notions of hierarchy and status might be undermined or subverted. Garifalakis interrogates social, political, artistic and religious systems of belief – as well as the institutions that uphold them – through a range of strategies that include amplification of the signifiers utilised by those institutions themselves; subversive juxtaposition of image and text; and the deployment of dark, incongruous humour. Previously, Garifalakis has utilised the imagery from various of his own subcultural interests to consider the ways in which such iconography infiltrates popular culture…”

Tony Garifalakis completed a Master of Fine Art (Painting) at RMIT University in 2000. Solo exhibitions include  Information Discharge Systems, Sarah Scout Presents, Melbourne, 2018, Repertoires of Contention (with Joaquin Segura), curated by Ivan Muniz Reed, Gertrude Contemporary, Melbourne  in 2017, Bloodline, Sarah Scout Presents, Auckland Art Fair, New Zealand in 2016, Mob Rule, Art Gallery of New South Wales, 2014; Angels of the bottomless pit, Centre for Contemporary Photography, Melbourne, 2014; Warlords, Hugo Michell Gallery, Adelaide, 2014; Affirmations, Daine Singer, Melbourne, 2012; The Misery of Philosophy, Curro Y Poncho, Guadalajara, Mexico and The Philosophy of Misery, Yautepec Gallery, Mexico City, both 2011.

His work has also been presented in a number of major curatorial projects and group exhibitions, including The Shape of Things to Come, Buxton Contemporary, Melbourne 2018, The Sunshine Suite, curated by Jon Campbell, Darren Knight Gallery, Sydney 2017, Pleasure and Reality, National Gallery of Victoria, 2015; Neverwhere, Gaia Gallery, Istanbul, 2015: Dark Heart, the Adelaide Biennial of Australian art, 2014; Whisper in my Mask, TarraWarra Biennial, TarraWarra Museum of Art, 2014; Melbourne Now, National Gallery of Victoria, 2013; Theatre of the world, Museum of Old and New Art, Hobart, 2012; Things Fall Apart, Artspace, Sydney and Negotiating this world: contemporary Australian art, National Gallery of Victoria, Melbourne, 2012.


Three of my colleagues from the Contemporary Curating class at UNSW Art & Design, Astrid, Angie, Sophie and I will be conducting a curatorial experiment over the coming 2-3 weeks.

We will be interviewing a number of patrons viewing the Sydney Biennale exhibition at the MCA this coming Monday and recording their responses to a series of questions regarding how technology/social media has changed the way they engage with visual art. These recordings will be uploaded to encourage a response from our online audience.

We will also have a survey of the questions on our social media platforms we would love you all to take part in – this will provide a statistical component to our experiment. We are looking forward to your involvement.

Pictured is the shell work of artist Esme Timbery – part of the Sydney Biennale exhibition at the MCA.

“…Bidjigal elder Esme Timbery is recognised for her decorative shelled models and objects that range from depictions of Sydney attractions to small slippers, frames and boxes….with her sister, Rose Timbery, Esme learnt the skills for shellwork as a young girl, first collecting shells from local beaches on the NSW south coast, before creating her first brooches at the age of seven. Timbery and her sister began selling their shell works in the ‘50s, and Timbery’s pieces were first exhibited in a contemporary art context in 2000 as part of the exhibition ‘Djalarinji – Something that Belongs to Us’ at the Manly Regional Gallery and Museum. Since then, Timbery has been involved in several significant exhibitions and contemporary art projects, and was awarded the inaugural 2005 Parliament of NSW Indigenous Art Prize for two shell-worked depictions of the Sydney Harbour Bridge.


Home is pleased to announce will be exhibiting work by Kenny Pittock in our 2019 program. The exhibition – ‘Melbourne comes to Sydney’ – will feature ceramics by Kenny Pittock and artworks across a variety of mediums by a great group of Melbourne artists. Pictured is one of Kenny Pittock’s ceramic pieces currently featuring in ‘Suburbia’ showing at Cement Fondu in Paddington.


Home is pleased to announce we will exhibiting work by Nuan Ho in our 2018 program. One of the exceptional new artists in this year’s line-up, Nuan is currently completing his Masters at the National Art School.

“…Nuan Ho is a Sydney based painter working within the tradition of figurative painting. Guided by a longstanding interest in the portrait, his practice engages with the depiction of the human figure. His work reveals an ongoing fascination with uncovering the unspeakable aspects of the human psyche. By casting a light onto historical archives his works urge viewers to confront the harrowing side of humanity that resides in all of us…”

Pictured is ‘86’ 2016, oil and acrylic on canvas.