Sydney based artist Sarah Goffman will be exhibiting in Home@735 Invitational opening on Thursday June the 15th. Sarah will be creating a still life assemblage in response to the Andre Kertesz photograph, Untitled (Still life on painted bureau), circa 1970, silver gelatin print – available at Badger & Fox Gallery

“…I make what I want to own. And of course, I try to make what I want to see.  Sometimes I make work in reaction to other people’s works, or in response to a time, a place, a substance and sometimes in response to myself.  When I consider a space, I try to find the perfect response, the response that will highlight the past and it’s tension with today…”

Sarah Goffman’s current exhibition,  I am a 3-D Printer at the Wollongong Art Gallery runs till June 18th. Pictured is Plastic Arts, 2009, The Good, The Bad, The Muddy, Mori Gallery photo: Mike Myers.

André Kertész (2nd July 1894 – 28th September 1985) was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and his efforts in developing the photo essay. His ability to compose lyrical images, infused with wit and insight would remain a constant throughout his career. Neither a surrealist or a strict photojournalist, Kertész combined a street photographer’s dry humour and eye for the moment with the formal aesthetic of a modernist in his black and white photography. In addition to the street life of Paris, he also photographed many famous artists including Chagall and Mondrian. In 1964 his photography was featured in a solo show at the Museum of Modern Art. The work of Kertész was featured in many exhibitions throughout the world, exhibiting into his early nineties. Pictured is Untitled (Still life on painted bureau), circa 1970, silver gelatin print available at Badger & Fox Gallery

For more information about Home@735 Invitational check out my blog at

Sarah Goffman, Plastic Arts, 2009, The Good, The Bad, The Muddy, Mori Gallery photo: Mike Myers.
Andre Kertesz, Untitled (Still life on painted bureau), circa 1970, silver gelatin print


Born in New York in 1928 where he lived and worked much of his life, street photographer Garry Winogrand was lauded for his portrayal of American life and its social issues in the mid-20th century. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at the Museum of Modern Art in New York in ’67 and had solo exhibitions at MOMA in 1969, 1977 and 1988. In 2013 the San Francisco Museum of Art staged a major retrospective exhibition with over 160 photographs of Winogrand’s work. The exhibition was shown at venues including the National Gallery of Art in Washington D.C., The Metropolitan Museum of Art, Jeu de Paume in Paris and Fundacíon MAPFRE in Madrid, Spain.

Winogrand’s output was prodigious. At his death, he left behind 2500 undeveloped rolls of 36-exposure 35mm film, 6,500 rolls of film that had been developed but not printed and 300 unedited 35mm contact sheets – that’s at least 300,000 images – equal to at least two life’s work for other photographers. Garry Winogrand died at the age of 56.

Women Are More Beautiful Than Men, Silver gelatine print by Garry Winogrand from the Badger & Fox Gallery Collection will showing in the Home@735 Invitational exhibition opening on June 15th. For more details on the show, check out me blog at 

Garry Winogrand, (American, 1928-1984), Women Are More Beautiful Than Men, Silver gelatine print


Andrea Chen, Lynda Draper, Isaac Nixon, Lucienne West, Paul Williams

 By Rebecca Gallo

Perhaps it’s the home gallery context, but there seems to be a thread of domestic materials, relationships and contexts running through Home@735’s first show for 2017.

Paul Williams infuses patterned surfaces with intimacy and nostalgia. He gives depth to the seemingly superficial, evoking a sense of warmth and homeliness through simulated wood veneer and intersecting lines. A check pattern echoes throughout his latest paintings, a riff sampled from the wallpaper of his home studio but also the shirts of tradies and hipsters, and maybe some ancestral memory of kilts. A highlight is his work Interior/Exterior, where broad green checks on a pink background give way to a view of the top few floors of a spare apartment building, marooned in a sea of sky. A cold exterior is viewed through the frame of the warm, saturated interior. A reminder, perhaps, of the layers of idiosyncratic memory and history that amass behind every blank suburban blank façade.

Lynda Draper’s ceramic sculptures are abstracted self-portraits where the head becomes a moveable, changeable system. Her head-vessels appear light-hearted and playful; the faces are abstracted and the glazes are bright. The expressions, however – or lack thereof – seem quiet and serious. The external self is a crowd pleaser, but an introvert is not far beneath the surface. In Self Portrait Hair Up or Down, a handle of hair protrudes from a lumpen head like a pitcher. In Self Portrait Hair Up, a two-tiered up-do becomes a trophy cup, with multiple strands organised as handles, as if the whole team could grab one and drink from the winnings. The idea of competition contrasts with the slowness of the medium, which bears the time-stamped indentations of the artist’s hand.

Isaac Nixon’s works are formal explorations what might constitute – or substitute – a surface and a medium for painting. A recent National Art School painting graduate, Nixon sculpts small, painting-shaped objects from non-art materials: tiles, scrunched masking tape, a doona cover. Some are coated in paint or gesso, turning the materials of tape and cotton into the support in lieu of canvas or board; in the case of Tile Piece, mosaic tiles become the painted surface atop a timber support. Sensation and association are built up through the materials themselves rather than through a painted image. Domestic mosaic tiles, utilitarian packing tape, comforting bed linen. Some are soft and pliant, others rigid and unyielding, evident in their willingness or lack thereof to conform to the rectangular motif.

The etchings of Lucienne West, also a recent National Art School graduate, channel early-twenties angst through a DIY fanzine aesthetic. Words and phrases like song lyrics wend around moody portraits: ‘Time ain’t gonna cure you honey’, ‘To forget I’m missing you’. A cigarette hanging from lips, a listless figure in bed. Fragmented words and figures seem to recur between the prints, creating an instant sense of déjà-vu and complementing the nostalgic aesthetic. Etching is a gradual, cumulative process, and its combination of velvety tones and fine line detail suits the diaristic tone of this series.

Andrea Chen, a recent graduate from UNSW Art & Design, combines oral family history with animation and a documentary approach in her video work, Yi. A record of her grandparents’ experiences during the Sino-Japanese war, Yi combines archival images with hand-drawn animations that reconstruct the traumatic scenes described. In an imaginative twist, there are passages where her elderly grandparents’ faces and hands are sketched, moving in time with their recorded voices. The result is a sense of time passing, of reflection and also of the vagaries and complexities of memory. The work is specific, personal and intimate, but it also acts a historical document. This fluctuation between the personal and the universal, the intimate and the external, underpins the diverse works in this show.

artist talks


Still life painting by Queensland based artist Helene Grove will be showing at Home@735 Gallery in our Invitational exhibition. White Teapot, 2006, synthetic polymer on board is one of works from the Badger & Fox Collection – – we will be exhibiting opening on June 15th. Helen Grove won the Portia Geach Prize in 2013 and has been a finalist in the Moran, Wynne, Archibald and Dobell Drawing Prize.

For more information on Home@735 Invitational exhibition check my blog at

White Teapot, 2006, synthetic polymer on board by Helene Grove.


One of the artworks from the Badger & Fox Collection we will be exhibiting in our June exhibition is Max Dupain’s Roadside Stall Princes Highway. The show opens on Thursday the 15th of June, join us for drinks from 6-8pm.

Max Dupain is one of Australia’s most revered photographers. He developed an influential style of commercial photography that emphasised the geometric forms of his architectural and industrial subjects. Born in Sydney in 1911, he lived there all his life, photographing the city from the late 1930s.

For many Australians, Dupain’s photographs define beach culture, and it was the beach that was the inspiration for his most famous and enduring images. A dedicated patriot, he believed in clearly and simply showing Australia’s way of life. His 1937 photograph ‘The Sunbaker’, shot at Bondi Beach, became an icon that enjoyed worldwide recognition.

His early work was fairly conventional pictorial imagery, but by the mid-1930s he had broken away and taken up a Modernist, realist style, experimenting with light and formal composition.

From the 1950s Dupain specialised in architectural photography, which is the finest of his professional work. He developed a close working relationship with prominent architects including Harry Seidler, Philip Cox and Glenn Murcutt.

Dupain’s philosophy could be summed up in two words, simplicity and directness. Dupain remained an adherent of black and white photography, he believed that colour was restricting in its objectivity and that nothing was left for individual interpretation.

In 1939, Dupain married photographer and childhood friend Olive Cotton, but they divorced soon after. A decade later, Dupain married Diana Illingworth and subsequently they had a daughter Danina and a son Rex, who also became a photographer. Dupain was given an OBE in the New Year’s honours list, 1981. His photographs are held in most of the major galleries around Australia and as well by private collectors world-wide. Dupain continued working until his death in 1992 aged 81.

Max Dupain (1911-1992), Roadside Stall Princes Highway, Vintage Silver Gelatin Photograph from The badger & Fox Collection.


Had a great studio visit yesterday with Sydney artist Mclean Edwards. We are thrilled to be exhibiting two of Mclean’s compelling portraits in our Invitational exhibition opening on Thursday the 15th of June.

McLean Edwards studied at the Canberra School of Art. Since that time he has exhibited his work in numerous group and solo shows including the Archibald Prize at the AGNSW in 2004, 2006, 2007, 2010 and 2013. His artworks are held in collections including 1346 Venice Collection, Australian War Memorial Museum, Canberra, Newcastle Region Art Gallery, Newcastle, Allens Arthur Robinson, Germanos Collection, Sydney, Artbank, Bond University, BHP Collection, Deutsche Bank, Hong Kong investors, PT Kodel (Indonesia), University of Queensland Art Museum and private Collections in Australia, New Zealand, UK and U.S.A.

Mclean Edwards is represented by Olsen Gallery Sydney.

Check out available paintings by Mclean Edwards at Olsen Gallery website at

For further information on Home@735 Invitational exhibition, check out me blog at

Mclean Edwards’ studio in Sydney


Home@735 Gallery director Madeleine Preston has a show opening this Friday the 3rd at 55 Sydenham from 6pm.

Darlinghurst Eats its Young (DEIY) is a poetic meditation on gentrification, nostalgia and image saturation under the sign of technology. The collaboration between Michael Filocamo and Madeleine Preston began over 3 years ago and explores the implications of gentrification, and the digital revolution on the past. The 55 Sydenham Road exhibition documents that process to date and includes documentation from the 5 previous Darlinghurst Eats its Young exhibitions and their online responses as well as the trailer for the collaborative DEIY documentary.

The footage was shot over a period of 3 days with a cast and crew of over 20 people and charts the last hours of Madeleine’s friend Maggie’s life. Over the course of the 3 weeks of the exhibition Madeleine will be working on ideas for the edit and creating an installation of documentation of the project since its inception in 2010.

Trailer credits: Producer/Director – Madeleine Preston, Cinematographer – Michael Filocamo, Sound Design – Ashley Scott

Also opening on Friday – new work by Simon Yates.


Opening on Thursday June the 15th, Home@735 Invitational will feature a selection of small portraits. One of the works is by Melbourne artist Steve Cox.

UK based Melbourne painter and writer Steve Cox is best known for his psychologically penetrating images of young men; his work ranges from portraiture to narratives to what he describes as stream of consciousness landscapes. He writes art-related and queer-related articles and reviews for a number of publications. He studied painting at the Victorian College of the Arts from 1978 to 1980, where one of his main lecturers was Gareth Sansom. In 1983 he was awarded the Keith & Elisabeth Murdoch Travelling Fellowship and subsequently spent eighteen months making work in London and Cairo. In 1983 he was included in the important survey of Australian art, Perspecta, at the Art Gallery of New South Wales 

Cox’s work is held in The National Gallery of Australia, The National Gallery of Victoria, The Ian Potter Foundation, Melbourne, The estate of Francis Bacon, London and The estate of Reggie Kray, London. His work has been featured in Nevill Drury’s New Art series of books, and in Sonia Payes’ Untitled, a book of photographic portraits of contemporary Australian artists.

Steve Cox, Study of a Man, 2002, oil on canvas.


Performing Dogs 1930’s, gelatine print by French photographer Brassai will be showing in our June exhibition – Home@735 Invitational. The exhibition will feature artworks from the Badger Fox Collection including works by Brassai, Lartigue, Kertesz, Max Dupain and Bill Henson. See part of the Badger Fox Collection at their online gallery at

Born Gyula Halász (9th September 1899 – 8th July 1984), the French photographer Brassai took his name from his hometown of Brassó in Transylvania – now Brasov in Romania. Brassai studied art at the academies of Budapest and Berlin before coming to Paris in the mid-twenties.

Brassaï’s love affair with Paris started at Montparnasse. The pulsating heart of art in Paris, the district was also known as one of its most colourful; its night-time population a kaleidoscope of petty criminals, hoodlums, streetwalkers and pleasure seekers. Brassaï’s first project seized the essence of nocturnal Paris in a series of grainy, textured pictures which set the basis for early street photography. Published in 1933 with the title ‘Paris de nuit’, this portfolio remains the most famous exploration of the city’s hidden underbelly and is considered a classic of early street photography. His series of photo-books of Paris graffiti have also been hugely influential.

One of the most renowned photographers of the interwar period, Brassaï’s reputation was built on contributions to both commercial and avant-garde photography. His long-time friend, the author Henry Miller, nicknamed him “The Eye of Paris” for his devotion to the city.

He was close to many artists including Dali, Picasso, Matisse and Giacometti – many of whom are portrayed in his collection ‘The Artists of My Life’  published in 1982. His relationship with Picasso produced many famous portraits of the artist, as well as important publications including ‘Conversations with Picasso’. The book is a compilation of the photographer’s diary entries in which the image of wartime Paris stands alongside unknown aspects of the personality of Picasso himself. Unable to wander the city streets under the curfew imposed by the German occupiers, Brassaï dedicated the early ‘40s to photographing the works of Picasso in his studio, creating a unique photo-chronicle of the artist’s creative output.

Brassai (Gyula Halasz 1899-1984), Performing Dog 1930’s, Silver gelatin print.


Opening next Friday the 3rd at 55 Sydenham  – ‘Darlinghurst Eats Its Young’ – a collaborative work by Michael Filocamo and Madeleine Preston. Also exhibiting new work by Simon Yates.

‘Outbreaks of nostalgia often follow revolutions; the French Revolution of 1789, the Russian Revolution, and the “Velvet” revolutions in Eastern Europe were accompanied by political and cultural manifestations of longing. In France it was not only the ancien régime that produced revolution, but, in some respect, the revolution that produced the ancien régime, giving it a shape, a sense of closure, and a gilded aura.’ Svetlana Boym – Nostalgia and its discontents.

‘Darlinghurst Eats its Young’ is a poetic meditation on gentrification, nostalgia and image saturation under the sign of technology. The collaboration between Michael Filocamo and Madeleine Preston began over 3 years ago and explores the implications of gentrification, technology and the digital revolution on the past. The nostalgic reactions to previous Darlinghurst exhibitions by those too young to have been born in the 1980s became the departure point for this collaborative project. The work aims to provoke a reassessment of what makes community and place, images and longing. This exhibition documents that process to date and includes documentation from previous ‘Darlinghurst Eats its Young’ exhibitions as well as the collaborative documentary of super 8 and digital video footage.

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Still from upcoming film 'Darlinghurst Eats Its Young' by Michael Filocamo and Madeleine Preston
Still from upcoming film ‘Darlinghurst Eats Its Young’ by Michael Filocamo and Madeleine Preston


Charted, 2013, oil on board by Patrick Hartigan will be one of the works featured in Home@735 Invitational in June. The exhibition will focus on a selection of the works from the Badger & Fox Gallery Collection – – including works by some of the seminal photographers of the 20th century including Jacques-Henri Lartigue, Andre Kertesz, Brassai, Gary Winogrand and Bill Henson. For more information on the show check out my blog at

Patrick Hartigan’s practice brings together drawings, paintings, film and written work made in response to his experiences of domesticity, travel and found imagery. Patrick Hartigan is the art critic for The Saturday Paper.

“…painting has been, and continues to be, central to my process but I continue to enjoy working across different media. Painting is a more visceral medium than others and therefore feels more suited to the mess and complexities of people…”

His work is held in collections including the National Gallery of Australia, Canberra; the Art Gallery of Western Australia, Perth; the Chartwell Collection, Auckland City Art Gallery, New Zealand; and Wollongong University, New South Wales, Australia.

Charted, 2013, oil on board by Patrick Hartigan
Charted, 2013, oil on board by Patrick Hartigan


Our June exhibition – Home@735 ‘Invitational’ – will feature works from a prominent Sydney collection by some of the seminal photographers of the 20th century including Andre Kertesz, Brassai, Jacques-Henri Lartigue, Max Dupain, Bill Henson and painting by Brett Whiteley. We will also be inviting a number of Sydney artists to contribute one of their works to be included in the exhibition across portaiture/figuartion, still life and landscape. You can see the works at the online gallery

Pictured is Andre Kertesz (Hungarian American, 1894-1985) Untitled – for more information on Kertesz and his work, check out my blog at