One of the feature works in our Invitational show is this 1982 painting by Sidney Nolan. Alongside the Nolan will be responses by Deborah Kelly, Jason Phu and Dennis Golding. Many thanks to art consultant Kate Smith for allowing us to exhibit this work.
Pictured is Sidney Nolan, Landscape with Ned Kelly, 1982, Ripolin enamel on composition board.


Home is pleased to be exhibiting work by UK artist William Reinsch in our Invitational Show opening on Wednesday the 11th of July. Join us for drinks from 6-8pm.

“…my work explores themes of anxiety, confusion and mortality as well as the idea of being nude both physically and psychologically. My hopes as an artist are to find new and more impact-full ways to express complex emotions by way of the paint itself and the play of colour and positioning within the preliminary collage…”

Pictured is Shame Study, 2017, oil on canvas.


Home is pleased to announce we will be exhibiting work by Melbourne artist Sam Martin in our ‘Materiality’ exhibition opening in October. Pictured is Fixed Elsewhere, 2018, Thread on canvas over wood frame – courtesy of the artist and STATION, Melbourne.

My practice explores various weaving techniques outside the realm of painting. I research many methods of construction such as basketry, embroidery, tapestry, rug-weaving and ancient forms of armour, and reinterpret these as contemporary painted forms.

Protection, strength, labour and layering are all themes and metaphorical scenarios that are running through these pictures. I’m not only interested in the painting as a surface, but also as a container which can hold multiple approaches.

The images are made up of incremental reactions to previous marks, offering opposing dialogues of repetition, variety, structure and improvisation. I allude to this in the titles, which are lifted from improvised music. These sounds and approaches inspire compositional ideas and are a constant soundtrack in my studio.


Home’s co-director Madeleine Preston has a solo exhibition opening July 25th at Galerie Pompom. The exhibition titled Intolerable Leisure is informed by her recent residency at the Cité.

“…I visited the Quai Branly Museum with its vast collection of art from Africa, Asia, Oceania and the Americas. The collection originates in what the museum calls ‘economic exchanges as the result of the first colonial expansion.’ What struck me most was that a large part if not most of the collection would have been amassed through theft and ‘economic exchanges’ that favoured the buyer – if an ‘exchange’ occurred at all. Like many European museums of its kind that are funded to study non-European cultures, the museum is a study in European expansionism and Imperialist attitudes to non-European cultures. Intolerable Leisure takes the idea of the museum as a cipher for violence and history to talk about how museums continue to be used to tell specific stories…’

Pictured is – Kiaapaatt masks, collected in 1934 from Greenland



Home is pleased to announce we will be exhibiting work by sculptor Anita Larkin in our ‘Materiality’ show opening in October. Pictured is M9 Beretta, 2017, needle felted wool which is one of the objects in the Softly Gently, Softly Quietly installation we will be showing.

“…Anita Larkin transforms the collected object into sculptures evoking a human narrative, revealing a strange beauty within the forgotten and discarded. The works display a wry sense of wit and humour, and play with the suggestion of physical movement or a practical function for the hitherto inanimate object…”

Anita Larkin is represented by Defiance Gallery.


Home is pleased to announce we will be exhibiting this self-portrait work by Natasha Walsh in our Invitational show opening on Wednesday the 11th of July.

Self-Portrait, 2016, oil on copper, was a finalist in the 2016 Archibald Prize.

Natasha completed her Masters at NAS in 2016-17 and has been a finalist in the Archibald Prize three times, including her work ‘Numb to touch (self-portrait)’ in 2018. Natasha Walsh is represented by Dominik Mersch in Sydney

“…in her recent self-portraits the artist’s examines her own mortality. An inevitable result of working from life, intensely observing the passing of the present as it manifests itself upon her own directly reflected face. The copper support evokes the fluctuating nature of her subject matter as it is highly responsive to change until sealed by the layers of paint…”from the moment that I prepare the surface, it begins to naturally oxidise. Different pigments changed colour in response to this process and the painting visibly ages as I worked on it…”


Home is delighted to announce we will be exhibiting work by Kirsty Budge in our first exhibition in 2019. The show titled ‘Melbourne Comes to Sydney’ will feature a stellar line-up of Melbourne artists.

Kirsty Budge’s work vacillates between abstraction and figuration. Her psychologically charged paintings are populated with humour, humans, hopes and horrors. The works connect personal experiences, thought patterns, observations and environments through intuitive processes. Real and imagined forms are combined on the same picture plane and, through the process of mark-making, each is given equal value in the space of the painting. The structure of each painting emerges through a lengthy process of excavation and application by the artist, resulting in an image that is both a response to and a construction of a personal narrative.

Kirsty Budge is a New Zealand-born, Melbourne-based artist. In 2016 she exhibited in The Painters Are In at Spring 1883, her first solo exhibition with Daine Singer; Painting. More Painting, the Australian Centre for Contemporary Art’s major survey of Australian contemporary painting; I’m not desperate, you’re desperate, a solo exhibition at Sarah Scout Presents; and at the Spinnerei Leipzig in Germany.

During 2017 she had her second solo exhibition Gawkalitis with Daine Singer, exhibited in the VCA 150 alumni 9×5 exhibition and as a finalist in the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery. In 2018, Budge undertook a residency at the Cité Internationale des Arts, Paris, as recipient of an Art Gallery of New South Wales Studio Scholarship and exhibited in NADA New York.

Pictured is How could you do this to me question mark, 2017, oil on canvas.

Kirsty Budge is represented by Daine Singer


We are thrilled to announce that Home’s Madeleine Preston has been selected for the London Summer Intensive.

The London Summer Intensive is a four-week residency for artists offered by the Slade School of Fine Art, UCL and Camden Arts Centre. The Slade is a dynamic, world-renowned international art school and Camden Arts Centre is an influential space for contemporary art exhibitions and education.

The residency will run throughout August 2018 and will focus on independent studio practice, providing a stimulating and flexible environment for 21 artists from all over the world to experiment and make new work. Supported by artist facilitator Jefford Horrigan and visiting artists, it will reflect the lively, rigorous and open-ended approaches to art-making championed by both institutions. Artists will work in studios and workshop spaces at the Slade Research Centre, Woburn Square in Bloomsbury, close to the British Museum and the galleries of Soho and the West End.

Previous residencies have brought together artists from over 20 different countries providing diverse and exciting working environments. Visiting artists and curators from past programmes have included Faisal Abdu’Allah, Caroline Achaintre, Sacha Craddock, Simon Faithful, Mark Godfrey, Dryden Goodwin, Anne Hardy, Evan Ifekoya, Chantal Joffe, Paul Johnson, Sally O’Reilly, Harold Offeh, and Phoebe Unwin.

Madeleine Preston in her studio – photo by Joy Lai

This project is support by the Copyright Agency’s Cultural Fund


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.