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.


Home is pleased to be exhibiting painting by internationally acclaimed Chinese-born artist Xue Mo in our ‘The Portrait’ exhibition later this year.

Xue draws her subjects from her homeland of Mongolia and is singularly focused on the female subject, impressed by the ‘noble simplicity, natural beauty, and serene dispositions’ of the young fieldworkers.

Her portraits are more than representations of female beauty. Xue Mo’s premise is that the composition of these paintings acts as a focal point for meditation on such concepts as virtue, beauty, serenity, benevolence, and tranquility.

Described as “Renaissance”, “Chinese Vermeer” or “Medici- like portraiture”, Xue Mo’s paintings evoke a timeless elegance and a return to pure painting.

Critic Katherine Wilkinson has written, “…in the 20th Century, many Asian artists have sited, in the human figure, the portrayal and exploration of their own and their society’s identity and history and its changing relationship with other nations and a global culture…Xue considers her work deeply affected by old Chinese culture, its traditional music, calligraphy and early portraiture…”

Xue Mo appears courtesy of Catherine Asquith Art Advisory, Melbourne.

Pictured is Mongolian Girl, 2012, oil on linen

Xue Mo, Mongolian Girl, 2012, oil on linen – appears courtesy of Catherine Asquith Art Advisory, Melbourne


Home’s co-Director Madeleine Preston has a residency at the Vermont Studio Center in April. One of the mentors during her residency will be celebrated writer, Eileen Myles.

Eileen Myles came to New York from Boston in 1974 to be a poet, subsequently a novelist, public talker and art journalist. A Sagittarius, their twenty books include evolution (poems), Afterglow (a dog memoir), a 2017 re-issue of Cool for You, I Must Be Living Twice/new and selected poems, and Chelsea Girls. Eileen is the recipient of a Guggenheim Fellowship, an Andy Warhol/Creative Capital Arts Writers grant, four Lambda Book Awards, the Shelley Prize from the PSA, and a poetry award from the Foundation for Contemporary Arts. In 2016, Myles received a Creative Capital grant and the Clark Prize for excellence in art writing. In 2019 they’ll be teaching at NYU and Naropa University and they live in New York and Marfa, TX.

The Vermont Studio Center residency format includes six distinguished Visiting Artists and Writers per month. Each Visitor offers a public slide talk or reading, and is available for a private studio visit/writing conference with residents working in their medium/genre. Visiting Writers also offer a craft talk for the writing residents. Each Visiting Artist and Writer spends 5 days on campus actively engaging with the VSC community.

Eileen Myles


Home is pleased to announce we will be exhibiting work by Melbourne based artist, Guy Benfield in our ‘Melbourne Comes to Sydney’ exhibition opening during Art Month.

An artist with a prodigious creative output including painting, drawing, photography, sculpture, performance and video, Benfield’s interests and activities are united by a commitment to investigating a process of evolutionary change through his art, each new project or piece growing out of a sometimes startlingly organic mutation. His works in video documents and extend performances and studio practice with an emphasis on obscure fictions.

Throughout his career as an artist, Benfield has explored the connection between the Gutai movement and abstract expressionism through performance, painting, film and video. The Gutai movement, a performance painting group which was a starting point for post-war art in Japan and had a historical connection to abstract expressionism via Pollock (who first exhibited in Japan in 1951), was a great influence for Benfield. Artists such as Yves Klein, Pollock, through to artists like Charlotte Moorman, flip the boundaries of performance, painting and the camera, and are relevant to Benfield’s practice.

Benfield has exhibited internationally with solo exhibitions in Sydney, Melbourne, Lisbon, New York and Brooklyn. Benfield’s work has been included in many group exhibitions including Le CAPC musée d’art contemporain de Bordeaux, France; BRIX Gallerie, Berlin; Artspace Sydney, Australia; the Monkey Town Semiennial, New York and the Shanghai Biennale, China.

Benfield has received grants from the Australia Council for the Arts, Maumaus School for the Arts (Lisbon, Portugal), and Arts Victoria. His work has also been featured in publications such as FriezeFlash ArtNYARTS MagazineArt Review and Art World.

Pictured is Commerce and Loss, 2017, oil and oil-stick on canvas– image taken from the Minerva Gallery website.

Guy Benfield, Commerce and Loss, 2017, oil and oil-stick on canvas– image taken from the Miverva Gallery website.


Home will be staging an exhibition titled ‘The Portrait’ as part of our 2019 program. The exhibition will examine the complicated question of what constitutes a portrait. There are 3 major portrait awards in Australia – The Archibald, The Moran and the Darling. Each include a strict set of requirements. But does a work painted from life, evoke a person any more than a photograph, an object, or an abstraction of a sitter? People often refer to portraits as – a collaboration between an artist and the sitter or a visual representation of someone. Portraits are variously described as capturing the essence of someone or representing their identity at a certain period in time. Home’s ‘The Portrait’ looks beyond the notion of identity and the painted surface to how an artist working in any medium can express the sense of a person.

Many thanks to Badger & Fox Gallery for loaning us Bill Henson’s Untitled, C Type print (pictured) for the exhibition. This iconic work by one of Australia’s premiere artists will be the centrepiece of the exhibition. The show will feature artworks across a variety of mediums including painting, photography, sculpture and video.

Bill Henson, Untitled, C Type print


Home is pleased to be exhibiting works by Ali McCann in our ‘Melbourne Comes to Sydney’ show during Art Month. The show opens on Thursday March the 7th and runs till Sunday the 7th of April.

Ali’s upcoming exhibition – Οι νεοί – opens at Gertrude Contemporary on February the 8th.

“…situated between abstraction and representation, Ali McCann’s practice engages with the ideas of formalism, materiality, visual perception, and the aesthetics of pedagogy. Found objects, in the form of obsolete teaching aids, unfinished projects, discarded photographs and art materials, serve as departure points for explorations of colour, light, shape, form, and space. Her still-life arrangements undergo a succession of hybrid photographic processes to form uncanny and seemingly impossible renderings of the object within the picture plane. She draws on diverse sources such as foundational art history publications, outmoded art-and-design text books, 1970s amateur photography magazines, and also from her personal experience as a student and teacher. Her reimagining of educational aesthetics is imbued with a nostalgia for the primary, exploratory phase of the creative process…”

Ali McCann lives and works in Melbourne. She completed a Master of Contemporary Art at the Victorian College of the Arts (University of Melbourne). She holds a Bachelor of Fine Arts in Photography from the Victorian College of the Arts (University of Melbourne) and a Diploma of Education (University of Melbourne).

Since the early 2000’s she has exhibited in solo and group shows in Melbourne, Sydney and regional Victoria. Recent shows include Οι νεοίat Gertrude Contemporary (upcoming), Masks For Magicians (2018) at Caves, Polytechnic (2018) at Tristian Koenig,An Introduction to Liminal Aesthetics (2017) at c3 Contemporary Art Space and Throwing Off The Hump (2017) at Kings Artist Run.

Pictured is Polytechnic (Figure 3), 2018, digital C-Type print.

Ali McCann, Polytechnic (Figure 3), 2018, digital C-Type print.


Home is pleased to announce we will be exhibiting work by David Rosetzky in our ‘Melbourne Comes to Sydney’ show during Art Month.

David Rosetzky is a Melbourne-based artist working across the media of photography, video and installation. Rosetzky’s black and white photographs and double exposures often allude to different psychological and emotional states, identity and selfhood. He is known for the elegance and aesthetic rigour of his art, which often draws upon the visual languages of contemporary advertising and cinema. Rosetzky has participated in solo and group exhibitions in Australia and internationally including Performing Drawing, National Gallery of Australia, Canberra, 2019; Versus Rodin: Bodies across space and time, Art Gallery of South Australia, Adelaide, 2017; How to Feel at the Australian Centre for Contemporary Art, 2011; True Self: David Rosetzky: Selected Works, Centre for Contemporary Photography, Melbourne, 2013; The Third ICP Triennial of Photography and Video, International Centre for Photography, New York, 2009; Viewpoints & Viewing Points: Asian Art Biennial, National Taiwan Museum of Fine Arts, 2009.

His digital video portrait of Cate Blanchett was commissioned to coincide with the opening of the new National Portrait Gallery, building in Canberra in 2008, and this year he was commissioned by the Portrait Gallery to create a photographic work of Jessica Mauboy for 20/20: Celebrating twenty years with twenty new portrait commissions. 

Pictured is Milo, 2017, Gelatin silver print

“…when making this series of images, I was interested in the unforeseen alignments and compositions that were created through a process of chance. I used the technique of double-exposure – an analogue photographic process that superimposes two images together by running the same roll of film through a camera and exposing it twice – thus creating a third, combined or composite image. This process is of particular interest to me – working with ideas relating to the self, memory and identity – as it helps me to create images that are ambiguous, fragmented and in a state of transition, rather than fixed or essential…”

David Rosetzky appears courtesy of Sutton Gallery, Melbourne.

David Rosetzky, Milo, 2017, Gelatin silver print



Home is thrilled to be exhibiting work by Zilverster in our ‘Melbourne Comes to Sydney’ show during Art Month.

Zilverster (Goodwin & Hanenbergh) is an ongoing collaborative project between Sharon Goodwin and Irene Hanenbergh, Melbourne-based artists who have garnered strong individual reputations for their imaginative, elaborate and meticulously rendered expanded drawing and painting practices. What began in 2010 as a problem-solving exercise – with one artist offering problematic, unfinished works to the other for advice on resolution – has evolved into a rich shared practice that continues to extend the discursive as well as process potentialities of each artist. While there are many shared interests and concerns between the two artists – (art) history, fantasy, cult iconography, alchemy, supernatural phenomena to name a few – each operates from a distinct temporal and imaginative framework: Goodwin’s contributions are embedded in a medieval, Gothic context while Hanenbergh’s derive from a European Romantic sensibility. Zilverster’s practice continues to develop out from an original series of beautiful, fantastical drawings that remain compelling in their strangeness.

Pictured is an installation shot (detail) of their exhibition Patrino-patrino staged at Sarah Scout Presents in 2018. The exhibition comprised a suite of twenty-one new intricate drawings, a number with carved and engraved custom frames and glass, together with a series of glass objects and furniture.

The starting point for the exhibition is The Table of Moresnet, an iconic work Zilverster created in 2016, and which first extended the duo’s collaborative drawing practice into the spatial/sculptural realm.

The Table of Moresnet is named for a small slice of European history – and failed utopia – the land of Neutral Moresnet. Until WWI, the tiny country existed, tucked away in the hills between The Netherlands, Belgium, and Germany. The small neutral country had been under threat among major European powers until a group of residents came up with an ambitious counteroffensive: they formed Neutral Moresnet into the first Esperanto state and named it Amikejo (‘city of friendship’). A self-declared neutral state, Moresnet/Amikejo was a place where refugees were welcomed and where conscription was abolished. It also had exceptionally low taxes. However, on June 28, 1919, the Treaty of Versailles settled the dispute that had created the neutral territory a century earlier by awarding Neutral Moresnet, along with Prussian Moresnet and the German municipalities of Eupen and Malmedy, to Belgium, thus permanently ending its status. Today, a small museum (Göhltal Museum) is all that is left of this unique episode in European history, as well as 50 of the 60 border markers that mark the former borders. The Table of Moresnet serves as a memorial for this utopian idea, as well as a diary of its own making. In addition to particular historical moments and excerpts of Esperanto text, the table comprises snippets of conversation between the artists, a record of visitors to the studio and numerous pop-cultural references.

As a functional object, it both highlights and repurposes its own historical context and as a conceptual art work, it brings the past and present into focus, as well as playfully disturbing the traditional distinctions between high and low art forms.

Zilverster appears courtesy of Sarah Scout Presents, Melbourne.

Zilverster, The Table of Moresnet (detail), 2016.


Home is pleased to announce we will be exhibiting painting by Melbourne-based artist Nicholas Ives in our ‘Melbourne Comes to Sydney’ show during Art Month.

Nicholas explores within his work realms of the Absurd and the Carnivalesque through a primarily figurative form. His works flow across the borders of portraiture into abstract qualities, encouraging unexpected outcomes and collisions – encounters of the material surface and the imaginings of unknown painterly worlds.

My works are human-scaled, at times intimate, explorative and personal, with heavy importance on the material and felt aspects the painting process. Time allows the pieces to change and fluctuate. There’s a rapture and absurdity to making these paintings, revealing an ebb and flow of studio process that making drives the work itself. I liken my practice to something that is elusive, adaptive and evolving; operating within the fluid nature of paint…”

Pictured is If you’re lonely eat a sandwich, 2014, oil on linen.

Nicholas Ives appears courtesy of Blackart Projects, Melbourne.

Nicholas Ives, If you’re lonely eat a sandwich, 2014, oil on linen.


Home is thrilled to be exhibiting painting by Melbourne artist Ebony Truscott in our ‘Melbourne Comes to Sydney’ show opening on Thursday the 7th of March during Art Month.

“…I paint and draw objects from direct observation and can’t shake the fact that my message and medium are utterly merged. My primary material, oil paint, has a character at once heavy and luminious – it’s made, for the most part, by rock, mineral and metal. It is in constant flux, never being fully dry only further polymerized. Linen too, is never truly at rest and expands and contracts according to temperature and humidity. I like that still life, a genre concerned with the merciless passing of time, about stillness and mortality should be associated with such quietly restless materials.  I’m curious about how light strikes, is absorbed and scattered by what are usually variants on basic geometric solids; cones, spheres, bricks, cylinders, for instance. And I wonder about how to suggest non-visual phenomena too – like weight, sound, or density.  All this, I feel an almost forensic pull of inquiry towards. Yet there is something that emerges from the labour of this research, that looks grim, melancholy. I’m not sure about this, it’s a type of expression I suppose. I intend to depict coolly and truthfully but a looming sense of something sad and ambivalent turns up too…”

Pictured is Bowl brick and paper cone, 2017, oil on linen.

Ebony Truscott, Bowl brick and paper cone, 2017, oil on linen