Many thanks to arts write Naomi Riddle for her review of our current exhibition.

2018 Invitational  – HOME@735 Gallery

In his seven-point manifesto, In Praise of Small (2016), David Joselit writes that ‘MoMA exhibits something like 1% of their collection at any one time.’[i] Such a figure (calculated by comparing the number of works on view with the number of objects in the collection) highlights that the purchase of artworks by museums and institutions doesn’t necessarily equate with greater accessibility. It also prompts the question as to who determines which objects from such an insurmountable archive should be on display at any given time. And the idea of collector and collection becomes even more muddied when considering the sale of art to private buyers—contemporary and traditional artworks often disappearing from view once purchased.

Through building the 2018 Invitational exhibition around chosen pieces from the private collection of Sydney consultant and art collector Kate Smith, Home@735 reverses this process. Here the works of Sidney Nolan, Tony Garifalakis, Justin Mortimer and Ricky Swallow are made visible, placed alongside responsive or likeminded pieces by emerging and established artists. There is also the additional aspect of such works being presented in a gallery that is decidedly not a white cube or an institution, but rather one that sits between the public and private—Nolan’s Landscape with Ned Kelly (1982) is hung in a living room, Garifalakis’ Untitled #14 (2014) from the ‘mob rule (family series)’ is placed above stairs, whilst Swallow’s watercolours of the Kelly Gang are positioned along a corridor. The weight and feel of these works shifts in such an in-between domestic space: you’re allowed to get up close to the brushstrokes; you can examine the precise details of Kelly’s armour.

The exhibition itself can be divided into two parts: the downstairs section responding to the Nolan and Swallow works, and upstairs more concerned with figurative portraiture. Mortimer’s painting entitled Donor VI (2014), which depicts a blue-bruised figure lying prostate on a bed, provides the thematic focus for the upper space. Many of the other works are similarly preoccupied with corporeality, where the abject is combined with a sense of gentleness and vulnerability. There is Garifalakis’ disembodied opened mouth with the too-white and too-straight teeth, the sequestered face of Nuan Ho’s Nurse (2017), and the chafed forearms of William Reinsch’s Shame Study (2017). The self-portraits of Vanessa Stockard, Natasha Walsh and Yvette Coppersmith also suggest an open-faced intimacy, whereas Sassy Park’s sculptural piece, Men’s Group (2017), includes a terracotta head on its side—a kind of decapitation of the illustrious Victorian statuette.

But it is the arrangement of the downstairs gallery which suggests an awareness that the significance of a collected artwork—particular one as iconic and recognisable as Nolan’s—is determined by its relationship to the works placed beside it. Here Jason Phu, Dennis Golding and Deborah Kelly have all produced responsive pieces that directly engage with both Nolan’s ‘master’ status in the Australian canon, and the obsession with Ned Kelly as a go-to-figure of national identity. Phu’s Lao fucking up Ned (2017) sees the bushranger’s head clamped in the jaws of Laozi’s dog, whilst Kelly repurposes Nolan’s commissioned endpapers in Junee Archival (Sausage Party Showdown) (2018), slicing and overlaying the ponderous documents of art history into ironic collage.

Indigenous artist Dennis Golding’s photographic print, Among Others (2018), depicts a small clearing ringed by eucalypts. A series of capes has been affixed to the trunks, with each cape then painted with cultural symbols that mark out territories and sites. Here the photograph becomes a haunted document of visual signs—signs that oppose the primacy of Kelly’s helmet, and expose the colonial narrative underwriting Nolan and Swallow’s series of works.

The considered positioning of the 2018 Invitational is a reminder of the value of small and independent spaces gaining access to ‘canonical’ works, and indeed the idea of the canon itself: such markers of standards (and the collections that house them) cannot be fixed or closed—they must be continually recast.

[i] David Joselit, ‘In Praise of Small’, Common Practice NY (2016), <>, accessed 19 July 2018


Join us for drinks on Wednesday the 25th of July at Galerie Pompom for the opening on ‘Intolerable Leisure’, the solo exhibition by Home’s co-director Madeleine Preston.

Intolerable Leisure is based upon the city of Paris as the artist remembers it. In this iteration of the city its inhabitants and their decadent patrician and migrant histories mingle in the unconscious mind. Encased in memory, the city of Paris heaves with things: patisserie windows offering impossibly sweet glazed cakes and perfect golden breads; a Ferris wheel in a park buzzing with sparrows, avenues of Chestnut trees set in perfect perspective, manicured gardens of headless queens, stone plinths, marble pillars, gilded streetlights. Museum after museum, some with water lilies and great stones, and others with human heads. Such care is taken in all of its display. Each day the arrondissements are swept by hand by some 4,500 sweepers, most of them African or Arab immigrants. The vertes, in their mint green jumpsuits, deftly  sweep with twig brooms of the type once used by peasants here, albeit with the 21st century update of long stemmed plastic bristles.

Uncanny, hungry city. Nowhere else, save Las Vegas or Washington, does such a thin veneer of reality cover every thing. If the museum is not an artefact of our experience but rather an experience of artefacts, whose own particular lives as objects were severed at the moment of separation from their origins—person, family, community, society, culture, nation, world—then Paris is the museum of the West. A place where logical connections are made between disparate things. No other place has swallowed so much of the world and has held it in its mouth for so long. Existence is elsewhere.*

Excerpt from Stella Rosa McDonald’s exhibition essay The City That Swallowed the World 

  • André Breton, Manifestoes Of Surrealism. Ann Arbor: University of Michigan Press, 1972.
    Documentation of latest sculptural ceramics works for solo exhibition at Galerie Pompom, June 2018.













Home is thrilled to be exhibiting Donor VI, 2014, oil on canvas by Justin Mortimer in our Invitational Show opening tonight. Many thanks to art consultant Kate Smith for loaning us this wonderful painting for the exhibition. Join us for drinks from 6-8pm.

“…Justin Mortimer (b.1970) is a British artist whose paintings consistently invite us to question the relationship between subject matter and content, beauty and horror, and between figuration and abstraction. While the imagery is almost exclusively pitiless, the texturing of the paint, the play between light and shade and the passages that lead from photo-realist definition to near-abstract formlessness are so sensitively handled as to make the work at least partially redemptive as well as to indicate a key philosophical dimension: the oblique relationship between evidence and interpretation…Mortimer’s paintings are not reportage or documentation, they are far too allusive and de-specified for that. Instead they represent a powerful and poetic visualisation of contemporary life, in all its grim and magical reality…” – Ben Tufnell

Justin Mortimer graduated from the Slade School of Art in 1992 and lives and works in London. He has won several prestigious awards including the EAST Award (2004), NatWest Art Prize (1996) and the BP National Portrait Award (1991). Recent solo exhibitions include Haunch of Venison, London (2012), Mihai Nicodim Gallery, Los Angeles (2011) and Master Piper, London (2010). Recent group exhibitions include How to Tell the Future from the Past, Haunch of Venison, New York (2013), Nightfall, MODEM Centre for Modern and Contemporary Arts, Debrecen, Hungary (2012), MAC Birmingham (2011) and the 2011 Prague Biennial. His work is held in private and public collections including the National Portrait Gallery, London, the National Portrait Gallery, Canada, Royal Society for the Arts, Bank of America, NatWest Bank and the Flash Art Museum of Contemporary Art in Trevi, Italy.

This text is reproduced with kind permission from Parafin Gallery London –


Self-Portrait, Yellow, 2016-18, oil on linen by Yvette Coppersmith will be showing at Home in our Invitational exhibition opening tomorrow night.

Yvette has been a finalist in many portrait competitions including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Metro 5 Art Award where she was the inaugural winner in 2003. In 2018, after being a finalist five times, she was awarded the 2018 Archibald Prize for her Self-portrait after George Lambert.

Join us for drinks from 6-8pm – 735 Bourke Street Redfern


Madeleine’s exhibition ‘Intolerable Leisure’ opens at Galerie pompom on July 25th.

“…the works in ‘Intolerable Leisure’ are are transformed from liquid to solid in the case of clay, from flat to form after exposure to heat and force in the case of copper and from wool to felt and felted material forms through rubbing, force and water.

The materials used are a manifestation of Albert Camus’ notions of the plight of the exile and refugee. Refugees and exiles transfer from one state to another as a result of pressures and circumstances beyond their control.

Although the objects in Intolerable Leisure may appear aesthetically pleasing they speak to a greater sense of isolation and displacement.

Madeleine Preston, sculptural ceramics works.



















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