Home@735 Gallery is pleased to announce that will be exhibiting a work by Tomislav Nikolic in our ‘Colour & Form’ exhibition opening during Art Month in March 2018.

Many thanks to art consultant and collector Kate Smith for loaning us this wonderful work for the show.

Tomislav Nikolic is currently exhibiting a new body of paintings titled ‘Vestiges of Now’ at Xavier Fiol Projects in Madrid.

vestige of now: 2, 2015, acrylic, marble dust, 23.75 Platinum gold leaf, glass on linen, plaster gesso and wood.


Home@735 Gallery is pleased to announce that we will be exhibiting a work by Sydney artist Celia Gullett in our ‘Colour & Form’ show in March 2018.

Celia graduated from Sydney’s COFA with a Bachelor of Fine Arts Degree in 1984. She has exhibited widely including solo exhibitions at Tim Olsen Gallery, Nanda\Hobbs Contemporary and Hill Smith Gallery in Adelaide. She has been selected as a finalist in leading Australian art prizes including Mosman Art Prize, Fleurieu Water Prize and the Paddington Art Prize.

“…Celia builds up the surface of the painting through methodical layering, creating a luminosity from below the surface. Her 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…”

Geometric Abstraction XXIV, 2017, oil on panel


Home is pleased to announce that we will be showing a work by the late and great Sydney Ball in our ‘Colour & Form’ show in March 2018.

Painter, printmaker and sculptor Sydney Ball (1933-2017) was a pioneer of post-painterly abstraction in Australia. Born in Adelaide, Ball worked as a draughtsman before taking up art studies in the late 1950’s. His early influences were challenged when in 1963 he moved to New York and encountered the work of abstract expressionists including Mark Rothko, Willem de Kooning, Jackson Pollock and Robert Motherwell.

Through the influence of these artists, Ball developed his own sophisticated language of colour-based abstraction. This was first presented in Ball’s ‘Cantos’ series, works that were initially exhibited after his return to Australia in 1965. With their bold structured forms of unmodulating colour and precise surfaces, the ‘Cantos’ signaled the domination of colour expression and formed a new direction in abstract painting in Australia, culminating in ‘The Field’ exhibition at the NGV in 1968.

Home@735 Gallery will be exhibiting Sydney Ball’s Canto IX, 2003, screenprint in our “Colour & Form’ show in March 2018. This work – from a suite of screenprints – revisits Ball’s ongoing series of ‘Cantos’ paintings, drawings and prints, which he first developed in the mid-1960’s while living and working in New York between 1963 and 1967.

The title Cantos is drawn from a cycle of poems by Ezra Pound.

“For me, the holy trinity of colour painting is colour, space and light.” Sydney Ball, 2012.

Sydney Ball, Canto IX, 2003, screenprint


Home@735 is pleased to announce we will be exhibiting work by Auckland based artist Saskia Leek in our ‘Colour & Form’ show opening in March 2018 during Art Month.

“…her sourcing of subject matter from amateur found art works and unfashionable outdated second-hand prints creates a sense of both kitsch sentimentality and nostalgic melancholy…”

Saskia Leek is represented by Darren Knight Gallery

Saskia Leek, Untitled 2016, oil and gesso on aluminium board.


Home@735 Gallery is pleased to announce that Melbourne artist Sean Meilak will be exhibiting in our ‘Colour & Form’ show during Art Month – opening in March 2018.

“… 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…”

Sean Meilak is represented by Niagra Galleries.

Sean Meilak, Study for a metaphysical garden, 2017 (detail).


Home@735 Gallery director madeleine Preston was awarded a special commendation at the 2017 Woollahra Small Sculpture Prize. Pictured below are Madeleine (left), Sergio Hernandez who won the Plinth Prize and Sanné Mestrom who was the winner of the 2017 Woollahra Small Sculpture Prize.

Madeleine Preston (left), Sergio Hernandez and Sanné Mestrom



Home@735 director Madeleine Preston is a finalist in the 2017 Woollahra Small Sculpture Prize. The exhibition will be opened this coming Friday the 13th of October at the Woollahra Municipal Council, 536 New South Head Road Double Bay. Pictured is Smoker Series – after Guston, 2017, ceramic and felt, dimensions variable photo by docqment

“…my new work uses Philip Guston’s later paintings, and specifically his pallette to create forms and groupings about the trouble we find ourselves in when we allow populism to succeed. The period Guston created his Nixon series in and the Watergate crisis resonates with todays political climate and the workings of the current US administration. Using media traditionally associated with the domestic – textiles and ceramics – the commentary is not literal or loud. Instead the work acts as an interloper between the internal domestic world and the external one of world politics…”

Smoker Series – after Guston, 2017, ceramic and felt, dimensions variable photo by docqment


Many thanks to arts writer Chloe Wolifson for her piece on our current exhibition.

In its final exhibition for this year, Home@735 Gallery brings together seven artists whose diverse practices explore natural, human-made and psychological landscapes, with aesthetic threads providing surprising connections through the house.

An example of Leo Coyte’s portrait-like paintings hovers at the bottom of the stairs, and its siblings appear throughout the gallery. The series, called ‘Bumhead’, feature cartoon-like eyes, a teardrop nose, bumhole-mouth and rounded cheeks rendered in a tonally muted palette. These closely-cropped visages, chubbily pressing out from the frame, are slightly sinister yet humorous and seem almost inescapable, as they peer out at every turn.

The paintings hanging in the living room are the work of Tonee Messiah. These intuitively-formed abstract works comprise defined and translucent layers that draw the eye around and into the composition, suggesting but defying attempts to identify internal or external space – an echo of the dual identity of the gallery itself. Messiah’s works on paper also incorporate geometric forms into playful and dynamic compositions.

Grace Kingston’s soft sculptures sit invitingly on surfaces through the house, serving as a reminder of the domestic nature of this environment and a counterpoint to the pieces on the walls. They depict mossy or lichen-covered rocks photographed at the Sydney coast, and the resulting images have been printed onto fabric before being transformed into organically-shaped cushions. Kingston has added embroidered elements which confound the perception of texture and depth of these works, and the sensory experience is completed with a squeeze of the pillow which emits ambient sounds recorded at the same site.

Irene Hanenbergh’s 10 x 10 centimetre canvases each contain an impressionistic scene from nature. Some of these vignettes are made darkly atmospheric and others light-filled via Hanenbergh’s evocative daubs, and their display in groups of two or three invites the viewer to imagine a Romantic narrative as they move between these miniatures.

Mirra Whale depicts finches in small-scale paintings befitting their subject. Their forms are lifeless and contained, and their stillness is further emphasised in the shadows that they cast against a plain ground. A larger painting by Whale ‘M5 Owl’ presents what the title suggests is a victim of roadkill, in a classical still life composition atop a block. The moody greys of the scene complement the brown and white feathers of the owl which the artist has rendered with soft brushstrokes.

Mechelle Bounpraseuth’s ceramics conjure both humour and sadness, recalling iconic quotidian moments of the artist’s youth that will echo for many viewers. In this group of sculptures, food icons like mi goreng, Babybel cheese, garlic bread and jelly cups lie half-consumed and discarded, yet memorialised, in between chewed gum and cigarette butts.

Alex Karaconji’s stop-motion animation, presented in the booth under the stairs, employs a timeless sketch style to take the audience on a journey, as its title ‘The Flaneur’ would suggest, around the streets. Sydneysiders will quickly spot familiar landmarks, both high- and low-brow, as well as a first-person perspective of the protagonist reading over a coffee. It is an apt reflection of the buzzing city streets just outside the door of Home@735 Gallery, increasingly coming alive in the warming Spring weather.

Irene Hanenbergh, De Jaloerse (Toronto), 2015, oil on canvas.
Mira Whale, gouldian finch 2, 2017, watercolour on clayboard



Home@735 Gallery is pleased to announce we will be exhibiting a suite of paintings by Tonee Messiah in our last show for 2017 opening on Wednesday September the 20th from 6-8pm.

Tonee Messiah builds her painted surfaces with various hard and soft forms that overlap and intersect in an archaeological drift. The effect is one of movement and agitation, closure and expansion, drawing the viewer towards the inner sub-structure of the painting. Eschewing fixed references, Messiah explores complex psychological experiences the cannot be easily defined. She considers painting like another form of thinking, and as her surfaces build, so does her response to the world around her.

Messiah was born in Israel in 1983 and moved back and forth between Australia and Israel several times during her childhood before settling in Sydney where she still lives and works. She graduated from Sydney College of the Arts with Honours in 2004. Messiah is represented in the collections of Monash University Museum of Art, Artbank, Allens Linklaters, Barker College and Campbelltown Hospital.

Pictured is Data Compatibility, 2017, oil on canvas.

Tonnee Messiah is represented by Gallery 9, Sydney.

Tonee Messiah, Data Compatibility, 2017, oil on canvas.


I recently purchased this print of a Sidney Nolan painting from the second Burke & Wills series created in 1961-62.

“I doubt that I will ever forget my emotions when first flying over Central Australia and realizing how much we painters and poets owe to our predecessors the explorers, with their frail bodies and superb will-power.” – Sidney Nolan 1967

The ill-fated expedition of the Irish explorers Burke and Wills, who set out from Melbourne for the Gulf of Carpentaria in 1860, first interested Sidney Nolan during the late 1940’s. What continued to fascinate Nolan about Burke and Wills was their resilience in the face of adversity; their experience highlighted a fragile grip on reality. Nolan’s personal experiences of the land were closely linked to the development of mythology in his work.

Pictured is Sidney Nolan (1917-1992), Burke in the River: from Burke & Wills series, c.1961, Lithograph A/P.

Sidney Nolan (1917-1992), Burke in the River: from Burke & Wills series, c.1961, Lithograph A/P


Home@735 Gallery is pleased to announce that Melbourne artist Irene Hanenbergh will be exhibiting a suite of painting in our last show for 2017 opening on Wednesday the 20th of September.

Irene Hanenbergh deals with concerns of disciplined immaterial sensibilities within (marginalized) Romantic, Visionary and Fantastic art practices. She uses various media including drawing, painting, sculpture and printmaking.

Hanenbergh completed a Master of Fine Arts by Research at the Victorian College of the Arts (The University of Melbourne) in 2010. She holds as well a BFA (Hons) in Painting and Sculpture from The Academy of Fine Arts Minerva (1988, The Netherlands), a BFA (Hons) in Printmaking, from The Athens School of Fine Arts (1995, Greece) followed by 2 year Postgraduate Research at the same academy. Additionally she completed a Post Graduate Program at The Royal College of Art (1992, London). Intermittently over the last 25 years, she has spent considerable time on artist residencies & for the purpose of exhibitions, in various locations across Europe, Asia (Japan and Thailand) and the USA (NYC).

She has held solo exhibitions in Australia and internationally; amongst other Libertine, Celestine, at Neon Parc, House of Dandelion & Lohr (outperformance) at Hugo Michel Gallery, Adelaide; Argyle Dreaming (1863), a Black art project in Sydney; Dada-Roman (4711), at Caves in Melbourne and a collaborative exhibition Zilverster with Sharon Goodwin at Sarah Scout Presents in Melbourne. Other recent solo shows have included Long Live Jezebelusa (The overseer & the divide) and Lace Monitor (Victoria Everglades) at Ryan Renshaw in Brisbane; Periwinkle Flower for the Beggar and Laudanum & De Breeder at Neon Parc in Melbourne.

Over the last few years Irene has contributed to a number of notable group projects/exhibitions such as Lubok 11, a collaboration between Lubok Verlag (Leipzig) and PrintRoom (Rotterdam) presented at Museum Boymans Beuningen in Rotterdam; Like Mike (Neon Parc), Sedition (Bus Projects), The Parlour # 2 in Brooklyn, New York and previously in shows such as Athens Pride, The Breeder Gallery , Athens; New Psychedelia, QU Museum, Queensland; Show You My World, Gitte Weise Gallery, Berlin, amongst other.

Hanenbergh’s work is held in public and private collections in the Asia-Pacific (Australia, Japan, New Zealand), Europe and the United States; including The National Gallery of Victoria (NGV), QU Museum (QLD), The Museum of Old and New Art (Tasmania), Mornington Peninsula Regional Gallery (Victoria), Artbank Australia (NSW), ABSOLUT European Collection (Stockholm, Sweden), Centre for Contemporary Art (The Netherlands), Collection ASKT (Athens, Greece) and Rabobank (The Netherlands). Irene was twice named as one of ‘Australia’s 50 Most Collectible Artists’ by Australian Art Collector.

Irene Hanenbergh is represented by Neon Parc

A hamlet in Bourtangermoor (Emmer-Erfscheidenveen), 2015, oil on canvas


Home@735 Gallery is pleased to announce that artist Leo Coyte will be exhibiting a suite of paintings in our September show.

“…his practice draws on the painterly potential of formal incongruity, merging realistic renderings of semi-figurative objects and bodies with bursts of colour and abstraction. Coyte imparts a sense of celebratory irreverence through his art making process by mining bits and pieces of the various painting traditions that interest him. The images that arise out of the push-and-pull of this process read as absurd open-ended narratives, giving rise to a collection of protagonists derived from a subconscious assemblage of fictions and memories…”

Pictured is Bumbhead #5, 2016, oil and acrylic on linen. Leo Coyte is represented by Nicholas Thompson Gallery.

Leo Coyte, Bumbhead #5, 2016, oil and acrylic on linen.