Upcoming Exhibitions

Todd Fuller at Gympie Regional Gallery

- How to Raise a Siren, 2018

10 January to 24 February

Todd Fuller's hand drawn films have been captivating audiences since 2010. His unique style of animation combines analogue film-making methodologies with drawing and painting techniques. In 2016 Todd Fuller created the animation how to raise a siren, which begins with the unlikely incident of a small seacow falling from the sky at Sydney's Bondi beach. The mammal is caught in a jar by a young boy, which is the start of a lifelong companionship. The non-linear narrative considers themes of conservation, imagination, time, liberation, loss and freedom. This mesmerising animation belongs to a highly accessible body of work of the same theme that will compel audiences of all ages. Todd Fuller, the artist, is represented by MAY SPACE, Sydney.

... view exhibition

Todd Fuller, UNITE project

- Black Box Projects, 2018

1 to 17 March

In the face of a postal plebiscite, Sydney based artist Todd Fuller will undertake a third iteration of his video, "Unite Project", the first edition shown for Mardi Gras 2016. This project is a participatory artwork surveying a range of responses to love and marriage equality.

Fuller sent members of the public black + white drawings depicting two men engaged in a passionate kiss. The participants were encouraged to respond to the image by colouring in the figures, with the resulting images complied by Fuller into a mixed media video animation.

"In the first and second iterations of the project, the bulk of responses were overwhelmingly positive. I did receive a few drawings that were torn up, crushed or with the eyes violently poked out, but the vast majority of responses depicted love, support, rainbows and strength. It was a really important project for us when it started and now in the face of the postal plebiscite, it feels more important than ever to illustrate the shift in views on this issue through art", says Fuller.

"Over 400 people have already engaged in the process of having received, responded and returned the drawings, each one becoming a single image in hundreds of stills edited together into the animation. The ritual used in the original process seems quite apt as our community now face a postal vote to decide our rights… and so "Unite Project - 3rd generation" is born".

... view exhibition

Art Month Collectors' Space

- curated by Kate Britton, 2018

1 to 17 March

Art Month's much-loved Collector’s Space exhibition is back, offering a glimpse into the private collections of some of Sydney's art luminaries. This year the focus is on the complex and entangled relationships collectors have with the objects in their care. Occupying the entirety of Brenda May's gorgeous MAY SPACE, Collector's Space will run from 1 - 17 March, and feature works from the collections of Abdul Abdullah, Tony Albert, Tess Allas, Daniel Mudie Cunningham, and Emma Price.

Straight Outta Canberra

- curated by Alexander Boynes, 2018

21 March to 14 April

It was once said that the best thing to come out of Canberra was the Hume Highway, yet in the space of a decade the national capital has gone from being a place where residents said 'Don't tell anyone I'm from Canberra' to now saying 'Don't tell anyone ABOUT Canberra'. More than anything this has to do with the city finally developing a personality independent of what happens up at Parliament House, and the recognition of the rich cultural sector bubbling below the surface.

Once upon a time the rite of passage for ANU School of Art graduates was to leave Canberra as soon as possible in order to 'make it'. The irony is that internationally recognised artists who have called Canberra home (including Alison Alder, Vivienne Binns, Robert Boynes, eX de Medici, Rosalie Gascoigne, Richard Larter, Mandy Martin, Jorg Schmeisser, Ruth Waller etc. etc.) in part made it because they stayed.

Following in these footsteps, "Straight Outta Canberra" presents a group of ambitious emerging artists who have realised the benefits of an easygoing city that is host to every national institution under the sun. Artists include Tom Buckland, Tony Curran, Sanne Koelemij, Julian Laffan, Cat Mueller, Dionisia Salas, Rebecca Selleck and Rosalind Lemoh.

Tania Smith, Untitled (walking)

- Black Box Projects, 2018

18 April to 12 May

Untitled (walking) shows a woman in high heels navigating back and forth over a range of surfaces- rocky cliffs, sand dunes, or man-made spaces such as offices and bathrooms. Each surface creates its own set of challenges for the faceless woman, who persists onwards in a continual march across the terrain, and back and forth across the screen.

Untitled (walking) conveys my interest in mimetic gestures (as detailed by theorist and psychoanalyst Luce Irigaray). I perform in feminine accoutrements such as dresses and heels to signify female experience. In the performances I employ a slightly exaggerated manner that points to the comedic language of slapstick. The video is tinted blue and screened without sound to reference silent cinema, a continuing interest for me and my work (my work has been strongly informed by the cinematic slapstick of Buster Keaton and Charlie Chaplin, reframed through a feminist lens). The video is shown looped, trapping the woman in an endless pursuit, back and forth, ever onwards, again and again....

Peter Tilley

- Seeing the Shadow, 2018

18 April to 12 May

A shadow that gives an insight into the human figure's character and situation is the aim of this body of work, not so much the figure or object, but the shadow it casts, a shadow that in some way reveals more about the figure than would normally be revealed, the inner self. The psychological aspects that can be associated with the shadow are a particular aspect that forms a relatively important component of this body of work. The focus is on how, through materiality and form, the shadow as a three-dimensional medium may be capable of giving an insight into the character of the individual.

Helen Mueller

- Roots, 2018

18 April to 12 May

I have taken my cue for this project from the remnants of root architecture that I found at the base of upturned trees. On this occasion, it is their meanderings, their rhythm and poetry that interest me more than their biology or metaphor. In their fully functional form, roots reside in the shadows of the seen and known. Regrettably, it is only in their lifeless state, once the tree has been uprooted, that we get a glimpse of what might have been.

Through the woodblock carving and printing process, I have imagined something of the depth, complexity and mystery of a system elemental to a life. As a starting point for my matrix, I have used industrial grade and discarded timbers, ones that struggle to show traces of the miracles of their origin.

Paul White

- Dirty Diesel & Dusty Deeds, 2018

16 May to 2 June

'Dirty Diesel & Dusty Deeds' conflates the relationship between human and land through snapshot style drawings of the Australian outback.

While at first glance they may seem reminiscent of holiday snaps, these drawings depict the effect of human intervention on the landscape.

From the seemingly insignificant to the devastating and daunting 'Dirty Diesel & Dusty Deeds' brings the viewer face to face with the ways in which their hand has cracked and moulded this red earth.


- group exhibition, 2018

6 to 23 June

To add some warmth to our gallery this June, we have invited artists to make a selection of unique mugs. Each Saturday we will fill purchased mugs with a different complementary hot beverage, so that gallery-goers can escape the cold and enjoy the shows with a warm drink in hand.

MUGGED! will include specially made pieces by emerging, mid-career and established artists with varying approaches to making, allowing for diverse interpretations of this ubiquitous object.

Alex Karaconji, The Flaneur

- Black Box Projects, 2018

6 to 23 June

"The Flaneur" is an animation that I began in 2015 and finished towards the end of 2016. It depicts a loosely autobiographical walk from Taylor Square to Circular Quay. At the time, I was studying my Masters degree at the National Art School and I was walking around Darlinghurst on a daily basis. The flaneur was a concept that I discovered during my research and which I found, to my delight, provided an honest conceptual framework for my art practice. The term ‘flaneur’ originated in Paris during the 19th century and it refers to a solitary person (at the time, male) who aimlessly strolls around the city. The concept of the flaneur helped to facilitate my pursuit of what Charles Baudelaire once described as “the epic side of actual life”. The Flaneur is my attempt to capture the epic side of urban life as seen through the slightly distorted lens of a city-wandering artist.

Janet Tavener

- The Last Seed, 2018

27 June to 21 July

The series titled "The Last Seed", draws its content from Svalbard Global Seed Vault in Norway, that houses 5,000 species of essential food crops deep within the Arctic permafrost. The vault was supposed to be an impenetrable, modern-day Noah's ark for plants, a life raft against climate change and catastrophe. But a recent flood threatened its security - heavy rain occurred at a time of year when the temperature was usually well below freezing.

Scientists are building repositories of everything from seeds to mammal milk in a race to preserve a natural order. Creating cabinets of curiosity serving to remind us of our own mortality, of our mistakes and failures – a modern day Memento Mori.


- curated by Megan Fizell

25 July to 11 August

reminiSCENT surveys contemporary artists initiating multisensory experiences through olfactory encounters. Smelling is classified as a “bodily sense” in that along with touch and taste, in order to be ‘known’ or perceived, they need to be experienced with the body. Scent receptors are located in the olfactory cortex, a zone of the brain that overlaps with the limbic system, the area responsible for some memories and emotion. As a result, scents are often linked to memories and form associations that are highly individualised and subjective. The artworks in this exhibition privilege the sense of smell over that of vision and emphasises language and memory as understood through bodily engagement.

Tyler Payne, Womanhours

- Black Box Projects, 2018

15 August to 1 September

My series, Womanhours, investigates how women's body-correcting practices have transformed the social construction of women’s gender. The body-correcting practices studied include body-contour wear, Brazilian waxing, anal bleaching, salt water cleansing and fake tanning. This group of practices has become part of women’s everyday experience. Their normalisation has established a strong cultural expectation toward their performance. Self-portraiture is an effective way to critique and undermine the normative regime of media's body-correcting practices. My artwork confronts the lens' male gaze with the awkward, comic labour of body-correcting practices. The 'natural' camera image present in media is hence denaturalised.

... view exhibition

Bridget Dolan

- Reach, 2018

15 August to 1 September

I want to make work that communicates the complicated nature of human relationship. What civility means in contemporary life and how we reach each other across cultural and ideological divides. I draw on my experience in the performing arts as a dancer and theatre maker to paint work that holds tension between brave vulnerability, tenderness and fear.

Charlie Sheard

- DIGONOS, 2018

4 to 22 September

Dionysos, ancient Greek God of nature, ecstacy and transformation, is DIGONOS, the “twice-born”. In his Canto XLVIII, the poet Ezra Pound relates the transformative powers of Dionysos to Dante’s journey in The Divine Comedy. Pound uses the ancient Greek word Δίγονος [DIGONOS] to denote a transformation that will only manifest out of being lost in the forest for three years. I have worked on this group of paintings for the last three years.

Sydney Contemporary

- Carriageworks, 2018

13 to 16 September

The Gallery will be presenting Charlie Sheard's new body of work in the fourth edition of Sydney Contemporary, Australasia's international contemporary art fair.

Julie Brooke

- A Skewed Hypotenuse, 2018

26 September to 20 October

I'm fascinated by how abstract shapes and contrasting colours can create illusory optical effects. In this series of new paintings I use skewed grids and repeating geometric forms to explore how carefully orchestrated colour combinations can conjure fugitive colours and shifting illusions of three-dimensional space. These abstract gouache paintings encourage the viewer to discover the tipping point at which illusions of colour and space appear and disappear.

Catherine O'Donnell

Urban Abstraction, 2018

13 November to 1 December


409b George Street Waterloo NSW Australia 2017 
(02) 9318 1122   e:

Open: Tuesday to Saturday 10am-5pm (Closed: Sun/Mon, Public Holidays, Easter long weekend and late Dec to early Feb)


We are accepting proposals from professional artists from Australia and NZ for exhibitions and group shows ... learn more