Many thanks to arts writer Jane O’Sullivan for her excellent review of our ‘Melbourne Comes to Sydney’ show.

Her hands are curled with emotion and her eyes are half-closed, as though she’s in such turmoil she can barely see the world. David Rosetzky’s portrait of choreographer Shelley Lasica is a powerful study of the way emotion is carried in the body. It’s also a theatrical opening to an exhibition of 14 artists currently practicing in Melbourne. Some, like Rosetzky, are well-known but not regularly seen in Sydney. Others are earlier in their careers. It is a diverse group, but unexpected connections soon develop.

Hanging near Rosetzky’s Shelley is Kirsty Budge’s painting How could you do this to me question mark. It’s a psychological drama, dominated by a man with outstretched arms who looms over a tired-looking woman pocketed in the corner. Like Rosetzky, Budge is interested in lines of the body and what they say about inner states, but also in lines that emphasise, divide and intervene.

In a very different way, Lynette Smith’s video Birds (a fragment) also approaches the topic of isolation, but by using the motif of solitary birds in winter.

Other artists exhibited downstairs dance in and out of abstraction and figuration. Travis MacDonald’s painting The idiots study of sound shows sound rising and curling like smoke above the cymbal of a drum set. It’s a kind of garage band cover of Roy de Maistre, but focused not on colour but the texture and direction of the brushstrokes. It’s paired with a dreamy and menacing oil painting by Nicholas Ives, where details and edges seem to hover just out of focus.

Ali McCann’s Polytechnic works are playful explorations of form and colour, with geometric objects placed into constructed landscapes. In one, a bright orange cuisenaire rod stands on its end, mimicking the way a child might ignore the intended lesson of the object and just have fun with it instead.

Also downstairs is Ebony Truscott’s still life of a festival wristband with a buckled tealight candle and dog-eared stack of post-it notes. Truscott aims for realism, but her real interest is compulsion. By translating these objects into paint, Truscott heightens our sudden need to pull or flick or squish them. It’s like being reminded not to bite your nails.

From there, the exhibition moves upstairs to Emily Ferretti’s Curvy Tree, a gentle curve with crenelated branches and a subtle play with volume.

To one side, Guy Benfield’s untitled photo presents a wild night in with a plastic tub and a bottle of cheap wine. It’s printed on a white fold-up box, like a takeaway pizza, and encased in perspex.

Elvis Richardson also looks at the domestic in her photographs of forgettable interiors. By pairing them, Richardson draws our attention to a common detail, the pictures of women on the walls. These images within images then start to form a kind of double-exposure portrait of the people who once settled in these spaces.

Kenny Pittock also tackles the everyday with humorous sculptures of sugary treats, including a Sunnyboy ice block reworked to give it a little more emotional reality.

At the other end of the hall, there are four engraved glasses by Zilverster, the alchemical collaboration between Irene Hanenbergh and Sharon Goodwin, and a harmonious abstract painting by Rachael McCully-Kerwick.

Nearby, there’s an assemblage by Tia Ansell that reads like a moodboard cut from a home renovation magazine. Called Construere, it combines a piece of woven, plaid cloth with the kind of tiling you might find on a kitchen splashback of bathroom floor, putting these domestic materials into an abstract relationship with each other, structured by gridlines. Ansell seems to be building a language that moves between the architectural, archeological and anthropological. But whichever way round, Construere is a fascinating critique of boxed thinking and the shape and texture of contemporary life.

Jane O’Sullivan




Written by Dame Rebecca West, Black Lamb and Grey Falcon: A Journey Through Yugoslavia is one of the literary masterpieces of the 20th century.

Over 1,100 pages, the book gives an account of Balkan history and ethnography during West’s six-week trip to Yugoslavia in 1937. While researching its long and complicated history, West clarified her ideas about Yugoslavia – and about much else besides. The publication of the book in 1941 coincided with the Nazi Invasion of Yugoslavia. Black Lamb and Grey Falcon is more than a timeless guide to Yugoslavia – it is a portrait of the author’s soul and of Europe on the brink of war.

Born Cicely Isabel Fairfield, Rebecca West (1892-1983) was a British author, journalist, literary critic and travel writer. An author who wrote in many genres, West reviewed books for The Times, the New York Herald Tribune, the Sunday Telegraph and The New Republic. Her major works include Black Lamb and Grey Falcon (1941), A Train of Powder (1955), her coverage of the Nuremberg trials and The Meaning of Treason, later The New Meaning of Treason, a study of the trial of British fascist, William Joyce and others. Time Magazine called her ‘indisputably the world’s number one woman writer’ in 1947. She was made a CBE in 1949 and DBE in 1959.

West trained as an actress in London, taking the name ‘Rebecca West’ from the rebellious young heroine in Rosmersholm, written by Henrik Ibsen. She became involved in the suffrage movement. West worked as a journalist for the feminist weekly ‘Freewoman’ and the ‘Clarion’, drumming up support for the suffragette cause. In September 1912, West accused the writer H. G. Wells of being “the Old Maid among novelists” in a provocative review of his novel ‘Marriage’. The review attracted Wells’ attention and an invitation to lunch at his home. The two writers became lovers in late 1913. Their 10-year affair produced a son, Anthony West, and their friendship lasted until Wells’ death in 1946.

By the time Black Lamb and Grey Falcon: A Journey Through Yugoslavia was published – in two volumes totalling half a million words – West was somewhat at a loss to discover why she had been moved “in 1936 to devote five years of my life, at great financial sacrifice and to the utter exhaustion of my mind and body, to take an inventory of a country down to its last vest-button, in a form insane from any ordinary artistic or commercial point of view”. The result, which she feared “hardly anyone will read by reason of its length”, is one of the supreme masterpieces of the 20th century.

The book’s inexhaustible capacity for self-fuelling discussion, for examining the implications of everything that it touches upon, is central to West’s structural and stylistic method. Any conclusions she draws are tied to the process by which they are being teased out. Black Lamb and Grey Falcon is, along with everything else, a great flood of ideas. As with Lawrence, it is impossible to say where sensation stops and cogitation begins. Black Lamb and Grey Falcon is a vast, ambitious and complex book which repeatedly stresses the kinship between homely and universal truths.

Rebecca West, Black Lamb and Grey Falcon: A Journey Through Yugoslavia published in 1941


Home is thrilled to be exhibiting a work by Tamara Dean in our ‘The Portrait’ exhibition in August. The work titled ‘Conor’ is from Tamara’s 2015 series, ‘About Face’.

“My best friend once told me I have the best of both worlds, not being able to identify to one sex but flowing in and out of them and knowing my sexuality. It is still hard when people are crude or uninformed, however I have learnt that this is not my issue, it’s theirs. This is still something I work on every single day, not taking on other people’s problems, and my androgynous “look” is an asset instead of a burden.”  Conor

“There is an arresting beauty in androgyny.

Androgyny challenges our cultural conceptions of femininity and masculinity. The questions that often arise – “Are you a boy or a girl?” or “are you a man or a woman?” – suggest that gender stereotypes, learned behaviour and cultural prejudices can influence the way we perceive and in turn relate to people. For me androgyny can be perceived as a universal face of humanity…”

Tamara Dean has exhibited widely in Australia and internationally. Her works are held in Parliament House Art Collection, Canberra ACT, Francis J. Greenburger Collection, New York, Artbank, Art Gallery of South Australia, The Mordant Family Collection, Australia, Tweed River Gallery, Neil Balnaves Collection, Australia, ArtOmi Collection, New York and Gold Coast City Art Gallery.

Tamara Dean appears courtesy of Martin Browne Contemporary, Sydney.

Tamara Dean, Conor, from the 2015 series ‘About Face’. Image courtesy of the artist and Martin Browne Contemporary, Sydney


The Forresters be playing a set at the gallery this Thursday the 14th for the Waterloo/Greensquare night in Art Month.

Joining me will be Matt Galvin (Perry Keyes) on guitar and Brielle Davis (Not Good with Horses) on vocals. Kicking off at 7pm, the set will feature tunes from the soon to be released The Forresters EP.

Come along to hear some music and see some great artwork in our ‘Melbourne Comes to Sydney’ exhibition – join us for drinks from 6-8pm. The performance will be filmed as part of The Forresters music video for the track ‘About You’.

AB in the lounge


Brilliant work by David Rosetzky opening at Home this Thursday. Join us for drinks from 6-8pm.

Pictured is Shelley, 2017, Gelatin silver print.

David Rosetzky appears courtesy of Sutton Gallery, Melbourne.

David Rosetzky, Shelley, 2017, Gelatin silver print.


Home is pleased to be exhibiting new ceramic work by Kenny Pittock.

Our Art Month exhibition, ‘Melbourne Comes to Sydney’ will feature a stellar line-up of artists: Tia Ansell, Guy Benfield, Kirsty Budge, Emily Ferretti, Nicholas Ives, Kenny Pittock, Travis MacDonald, Ali McCann, Rachael McCully-Kerwick, Elvis Richardson, David Rosetzky, Lynette Smith, Ebony Truscott and Zilverster (Goodwin & Hanenbergh).

Kenny Pittock (1988) is a Melbourne based artist working primarily with ceramic sculpture and painting. Kenny’s work uses a combination of humour, wordplay, and optimism, along with just a dash of anxiety, to respond to contemporary Australian iconography and culture.

Kenny has been lucky enough to exhibit his work in many great acronyms including ACCA, PICA and MONA FOMA. As well as Australia, Kenny has also had exhibitions in Italy and Singapore. Kenny was the recipient of the 2017 Redlands Emerging artist award, and his work is featured in many collections including Deakin University, ING Bank, and the City of Melbourne State Collection.

Pictured is Three Little Pigs, 2019, Acrylic on ceramic.

Kenny Pittock,Three Little Pigs, 2019, Acrylic on ceramic.


Home is pleased to be exhibiting work by Lynette Smith in our ‘Melbourne Comes to Sydney’ exhibition. Lynette’s video work, Birds (a fragment), will be showing in The Booth.

Lynette Smith completed her Bachelor of Fine Arts at RMIT University in 1995 and went on to do postgraduate study in linguistics and philosophy at the University of Melbourne in the 2000s. Her practice includes drawing, the moving image, books and text for voice. Lynette has exhibited in public, private and artist-run galleries since 2000 and been invited to residencies in the United States and Lithuania. In 2004-2005 she was on the board of West Space, an artist-run space in Melbourne.

Pictured is an installation shot of Lynette Smith’s A bewilderment exhibition in 2017, from the Centre for Contemporary Photography, Melbourne. Photo: Christian Cappuro

Lynette Smith, A bewilderment, 2017, Centre for Contemporary Photography, Melbourne. Photo: Christian Cappuro


Home is pleased to announce we will be exhibiting work by Rachael McCully-Kerwick in our upcoming ‘Melbourne Comes to Sydney’ show.

This is an image of Rachael’s work from the ‘INHABITANTS’ exhibition currently showing at Piermarq Gallery – 76 Paddington Street, Paddington.

Also showing are works by Hayden Jackson and Brock Q. Piper. The exhibition runs till the 23rd of February and is highly recommended.

Pictured is Sunday, 4pm, 2018 oil and acrylic on canvas (left) Absent Mim and Hollyhocks, 2018 oil and acrylic on canvas.

Rachael McCully-Kerwick appears courtesy of Piermarq.

Rachael McCully-Kerwick, Sunday, 4pm, 2018 oil and acrylic on canvas (left) and Absent Mim and Hollyhocks, 2018 oil and acrylic on canvas.


Home is thrilled to be exhibiting a suite of works by renowned painter Chris Capper in our 08.05.19 exhibition. Many thanks to Damien Minton for loaning us the Chris Capper paintings for the show.

“…Chris Capper’s painting is focussed on the nexus between representational still life painting and the metaphysical aspect of formalist abstraction. Many of the works have gone through manifestations over a number of years, creating a ‘ghosting’ of previous aesthetic decisions…”

Born in Melbourne, Chris studied painting at the Western Australian Institute of Technology (now Curtin University) in the early 1970s. He has exhibited regularly in both Perth and Sydney for over thirty years. Now based in Newcastle, Chris Capper was acknowledged with a survey exhibition at the Maitland Regional Art Gallery in 2007. Capper’s works are held in the Alexander Library, Art Gallery of Western Australia, Curtin University, Edith Cowan University, Goulburn Regional Art Gallery, Macquarie University, Manly Art Gallery, University of Western Australia and the Victoria and Albert Museum.

Pictured is Agapanthus and window, 2012-15, oil on canvas

Chris Capper will feature in one of Damien Minton’s 4 exhibitions over 4 weeks at Sheffer Gallery. Opening next Tuesday is ‘My City of Sydney’ featuring the work of Martin Sharp and Toby Zoates – 38 Lander Street, Darlington – hope to see you there!

Chris Capper, Agapanthus and window, 2012-15, oil on canvas


Home is pleased to be exhibiting painting by Travis MacDonald in our ‘Melbourne Comes to Sydney’ exhibition. Join us for opening drinks on Thursday the 7thof March from 6-8pm.

“…the personal and universal merge in the work of Travis MacDonald. Paintings based on observation and secondary sources express his interest in how events and objects are memorialised. His recent probing into the formal potential of the trophy as sculptural object serves to further this investigation, for what is a trophy but a memorialisation? Working out of his studio in Melbourne’s inner north, he utilises his collection of photography and his interest in history, music, conspiracy theories and world events to present a memory, blurred, twisted and suggestive of a greater narrative…”

Travis MacDonald was born in Bunnythorpe, New Zealand and currently lives and works in Melbourne. He completed a Bachelor of Fine Art at the Victorian College of the Arts in 2011 and has been exhibiting since 2009. He has been awarded the Gary Grossbard Drawing Prize and the Lionel Gell Foundation Drawing Scholarship. Most recently, MacDonald’s work was exhibited in Painting. More Painting at Australian Centre for Contemporary Art, Melbourne and held his first solo exhibition at Niagara Galleries in December 2016.

Pictured is The idiots study of sound, 2018, oil on linen.

Travis MacDonald appears courtesy of Niagara Galleries, Melbourne.

Travis MacDonald, The idiots study of sound, 2018, oil on linen.



Home is pleased to announce we will be exhibiting work by New Zealand born Melbourne based artist Tia Ansell in our upcoming ‘Melbourne Comes to Sydney’ show.

Tia Ansell’s practice focuses on processing, assembling and following materials that exist as architectural structures and patterns. Ansell is a scavenger of sorts, she captures the proliferation of symbolic materials, architecture and iconography and then embeds these moments into her objects that create a duplicate of pre-existing assemblages positioned in the public realm.

Ansell anchors these facets of contemporary life into ancient and codified traditions which play freely with techniques and materials, especially those that resonate with geodesic systems of weaving. Ansell utilises ancient anthropological modes of making and merges them with contemporary systems. She organises her parts that are weaving, painting, tiling and metal work into an assemblage to form a compositional unit arrangement. Her mode of operation involves archaeological methods of formation, collection and preservation.

The objects she creates explicitly depends on its site of origin and its bounds to material consumer culture that reflect the other.

Tia graduated the VCA in 2018 with a BFA (Hons). Exhibitions include ‘Evening side’ at Caves Gallery, Melbourne, 2017; Group exhibitions at Lon Gallery, Melbourne, 2018; Bus Projects, Melbourne, 2018; VCA Graduate Exhibition, Melbourne, 2017 & 2018; Hugo Mitchell Gallery, Adelaide, 2017; Margaret Lawrence Gallery, Melbourne, 2017 and Kingston Arts Centre, Melbourne, 2017. Tia exhibited with Caves Gallery at the Spring 1883 Art Fair in 2018.

She has been the recipient of numerous art awards and scholarships including Majlis Travelling Scholarship (2017), National Gallery of Victoria Woman’s Association Award (2017), John Vickery Scholarship (2017), Valerie Albiston Scholarship (2017) and the National Gallery of Victoria Prize (2014).

Tia has a solo exhibition at Station Gallery in March with Sam Martin and a group exhibition at Suite Gallery, Wellington, New Zealand in April.

Pictured is Bundle IV, 2018, linen, cotton, silk and wool tapestry with aluminium frame.

Tia Ansell, Bundle IV, 2018, linen, cotton, silk and wool tapestry with aluminium frame.


Home is pleased to be exhibiting work by Emily Ferretti in our upcoming Art Month exhibition, ‘Melbourne Comes to Sydney’.

Emily Ferretti is a painter whose figurative and abstract images derive equally from collected images, memory and the imagination. As a result, her images hover between representation and abstraction. Attuned to contemporary practice, Ferretti’s paintings engage with a history of picture making across genres and traditions.

Dedicated to a full-time studio practice over the past fifteen years, she has exhibited widely and undertaken studio residences including Gertrude Contemporary, Melbourne, Cite de Arts International, Paris, and Green Street, New York.

Emily Ferretti is represented by Sophie Gannon Gallery, Melbourne.

Pictured is Summer, 2018, oil on linen. Photo: Matthew Stanton.

Emily Ferretti, Summer, 2018, oil on linen. Photo: Matthew Stanton.