Five Walls

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Five Walls FIVE WALLS Gallery is an artist-led commercial art gallery located in central Footscray.

New to our Spring Stockroom exhibition:Britt SaltTurning I2024Powder coated steel95 x 47.5 x 25 cmBritt SaltTurning IIPo...
13/10/2026

New to our Spring Stockroom exhibition:

Britt Salt
Turning I
2024
Powder coated steel
95 x 47.5 x 25 cm

Britt Salt
Turning II
Powder coated steel
95 x 47.5 x 25 cm

To request a catalogue of available works please contact Missy on [email protected]

The exhibition concludes this Saturday at 5pm.

Britt Salt
Misuzu Ueda

Five Walls Gallery is delighted to announce our upcoming November exhibition:SMALL SHIFTS AMID THE WORLD: SELECTED ABSTR...
12/10/2026

Five Walls Gallery is delighted to announce our upcoming November exhibition:

SMALL SHIFTS AMID THE WORLD:
SELECTED ABSTRACT ART FROM SINGAPORE

Curated by David Thomas

Two years in the making, this exhibition brings together a selection of abstract art from Singapore, offering a wonderful opportunity to discover and engage with the diverse practices and perspectives of artists working within this vibrant art scene.

We warmly invite you to join us on Friday, 13 November, to celebrate the opening of the exhibition with the participating artists and curator, David Thomas.

Exhibitions statement:

Small shifts amid the world: selected abstract art from Singapore presents selected works by Singapore based artists: Ian Woo, Guo -Liang Tan, Adeline Kueh, Jeremy Sharma, Milenko Prvacki, Sherman, Cheong Ka Kit, Liu-Liling. With its focus on primarily abstract painting and works on paper it is the first exhibition of its kind to be presented in Melbourne/ Naarm Australia.

The exhibition is not about nationalism but more a reflection of what comes out of a vibrant community and place. It grows from my over 30 years professional and personal engagement with Singapore, where I have witnessed the growth and dynamism of its contemporary art, an art informed by specific local and global interactions, and it reveals how certain individuals who happen to live on an island called Singapore make art that address relevant questions about art and life. This exhibition will explore via intimately scaled abstract works, the poetics of impermanence.

The exhibition does not claim to be a comprehensive overview of Singaporean art practice and does not reflect the complexity of contemporary art practice in Singapore but it does hopes to stimulate and further the discourses and collecting between Melbourne/ Naarm and Singapore.

David Thomas

Curated by David Thomas with support from Missy Ueda, Aaron Martin, founding
Co-Directorsof Five Walls Gallery.

David Thomas
Ian Woo
Liling LIU
jeremy_sharma_paintings
Kit
Milenko Prvacki
Guo Liang
Misuzu Ueda

Spring Stockroom 2026 continues today and includes these works by Britt Salt. Pictured:Murmuration in Three Circles (II)...
07/10/2026

Spring Stockroom 2026 continues today and includes these works by Britt Salt.

Pictured:

Murmuration in Three Circles (II), 2021
Hand drawn ink on archival paper
49.5 × 36.3 cm (framed)

Eight Circles Merging on Slanted Ground, 2022
Hand drawn ink on archival paper
49.5 × 36.3 cm (Framed)

Two Circles Concealed, 2022
Hand drawn ink on archival paper
49.5 x 36.3 cm (Framed)

Two Circles Removed, 2022
Hand drawn ink on archival paper
49.5 x 36.3 cm (Framed)

To request a catalogue contact the gallery on [email protected] or call +61 3 90436704

Britt Salt

Louise Blyton - When Afternoon Arrives, review by Christopher Heathcote:Louise Blyton appears at the cusp of a creative ...
29/09/2026

Louise Blyton - When Afternoon Arrives, review by Christopher Heathcote:

Louise Blyton appears at the cusp of a creative breakthrough. For some time this artist has been describing her recent work as sitting between painting and sculpture. Yes… and no. From a critical standpoint this is more her production zigzagging between aspects of constructivist painting—what in Germany, France and Scandinavia is termed Concrete Art—and the spacial concerns of high 1960s minimalist sculpture.

Sitting in her latest show, and soaking up the 16 fastidiously crafted pieces around the gallery, it is evident Blyton perceives art as a solitary transport. So decisions about style, that choice the dabblers will fix upon, are irrelevant. Instead the artist’s focus with these introspective works involves phenomenology, and identifying the physical form which suits what the creator seeks to convey. This is surely why each exhibit has an insistent objectness.

Blyton has produced shaped plywood panels lined with raw linen which is stretched taut. The artist works with one motif, a circle, which can be painted upon a sculpture, incised in its surface, or cut through the panel. That circle represents for the artist ‘a metaphor for a passage’. She adds that with these pieces she ‘wanted to break the solidity of surface’, and to suggest spacial ambiguity by having ‘the circle sit back in a dense blackness…’

In some works the outer surface has been coated with sap green acrylic, while every piece has a least one matt black circle painted upon it (the mobile consists of three black acrylic circles, each pierced by a small circular cavity). Six of the exhibits are circular, whereas the remaining 10 pieces are rectangular. 15 have circular holes cut through them, and the other 5 have black circles painted upon them. 9 of these works also have circles incised into them. Those holes are usually centred on the panel to make a symmetrical composition, although in 3 works (By a Chance, Quietly Returning, Just Passing Through) the holes and circles work so well as compositions because they are markedly off centre.

The purpose of all her carpentry is to orchestrate subtle dramas of cast shadow á l

When Afternoon Comes by Louise Blyton continues to Oct 3:In When Afternoon Comes, Louise Blyton turns her attention to t...
19/09/2026

When Afternoon Comes by Louise Blyton continues to Oct 3:

In When Afternoon Comes, Louise Blyton turns her attention to the quiet movement of light through the everyday interior. Her new body of work explores the subtle relationship between light, colour, form and space, drawing from the recurring yet ever-changing moments when afternoon light enters the home and transforms the familiar.

Blyton’s handcrafted works occupy a space between painting and sculpture. Constructed from shaped wooden forms and carefully covered with linen, each work is built through a meticulous process in which the linen is cut and applied by hand, minimising folds and seams to create a restrained, refined surface. Multiple layers of acrylic paint are then applied directly to the untreated linen, allowing colour to emerge with clarity and presence. Through this reductive approach, Blyton removes the superfluous, allowing the material, colour and form to carry the work.

The resulting works are objects of both structure and atmosphere. Their forms extend beyond the conventions of the painted surface, while their restrained palettes and tactile linen surfaces remain closely connected to painting. Light moves across their surfaces, revealing subtle shifts between colour, texture and shadow. As the conditions of the surrounding space change, so too does the experience of the work.

The inspiration for When Afternoon Comes comes from Blyton’s daily observation of light as it moves through her home. Each afternoon, light drifts across walls, floors and furniture, briefly altering the character of familiar spaces before disappearing. Although this rhythm repeats, it is never quite the same. The changing seasons, weather and angle of the sun continually transform these fleeting encounters.

Rather than attempting to capture a particular moment, Blyton’s works remain close to the experience of noticing. Their quiet geometry, considered surfaces and subtle interplay of light and shadow invite a slower form of looking, where perception becomes attuned to small changes and familiar things are encountered anew.

Louise Blyton

Opening this Friday from 6-9pm is When Afternoon Comes by Melbourne-based artist Louise Byron:In When Afternoon Comes, L...
08/09/2026

Opening this Friday from 6-9pm is When Afternoon Comes by Melbourne-based artist Louise Byron:

In When Afternoon Comes, Louise Blyton turns her attention to the quiet movement of light through the everyday interior. Her new body of work explores the subtle relationship between light, colour, form and space, drawing from the recurring yet ever-changing moments when afternoon light enters the home and transforms the familiar.

Blyton’s handcrafted works occupy a space between painting and sculpture. Constructed from shaped wooden forms and carefully covered with linen, each work is built through a meticulous process in which the linen is cut and applied by hand, minimising folds and seams to create a restrained, refined surface. Multiple layers of acrylic paint are then applied directly to the untreated linen, allowing colour to emerge with clarity and presence. Through this reductive approach, Blyton removes the superfluous, allowing the material, colour and form to carry the work.

The resulting works are objects of both structure and atmosphere. Their forms extend beyond the conventions of the painted surface, while their restrained palettes and tactile linen surfaces remain closely connected to painting. Light moves across their surfaces, revealing subtle shifts between colour, texture and shadow. As the conditions of the surrounding space change, so too does the experience of the work.

The inspiration for When Afternoon Comes comes from Blyton’s daily observation of light as it moves through her home. Each afternoon, light drifts across walls, floors and furniture, briefly altering the character of familiar spaces before disappearing. Although this rhythm repeats, it is never quite the same. The changing seasons, weather and angle of the sun continually transform these fleeting encounters.

Rather than attempting to capture a particular moment, Blyton’s works remain close to the experience of noticing. Their quiet geometry, considered surfaces and subtle interplay of light and shadow invite a slower form of looking, where perception becomes attuned to small changes and familiar things are encountered anew. (Extract - full essay on website).

Louise Blyton

Final day of Sydney Contemporary!We’re doing a quick little rehang today to include these three works, as we feel they’r...
05/09/2026

Final day of Sydney Contemporary!

We’re doing a quick little rehang today to include these three works, as we feel they’re three little gems and deserve to be seen. ✨

The fair is open from 11am–5pm today, and we’d love to welcome you to our booth F07 for the final day.

Pictured:

1. Max Lawrence White
119, 46, 139, 125, 206, 45, 40
2024
Acrylic and enamel on board, aluminium frame
60.7 × 60.7 × 4 cm

2. Max Lawrence White
173, 200, 123, 70, 30, 17, 39
2025
Acrylic and enamel on board, aluminium frame
90.7 × 90.7 × 4 cm

3. Max Lawrence White
36, 20, 208, 97, 63, 1, 130
2025
Acrylic and enamel on board, aluminium frame
90.7 × 90.7 × 4 cm

To request a live catalogue of works contact Missy at [email protected] Misuzu Ueda

Max Lawrence White
Sydney Contemporary

Sydney Contemporary continues today and we are delighted to be presenting the work of Tokyo-based artist Shuhei Fukuda. ...
03/09/2026

Sydney Contemporary continues today and we are delighted to be presenting the work of Tokyo-based artist Shuhei Fukuda.

Pictured above are two of his works currently on view at the fair:

1.Quiet Presence 006-007
2026, Japanese paper, Silver leaf,
Cinnabar
41.5 x 31.5 x 3 cm

2. For Temperature of Colors 008
2026, Japanese paper, Silver
leaf, Cinnabar
41.5 x 31.5 x 3 cm

If you are attending the fair we welcome you to visit our booth at F07

(Booth essay extract follows)
……for Fukuda, material itself becomes a site of transformation. Working with washi paper and silver leaf, he draws on traditional Japanese techniques while approaching the surface through a contemporary language of abstraction. Silver is not treated as a static colour or finish, but as a material with its own capacity to change. Through oxidation, its reflective surface gradually alters, allowing time and environmental conditions to become part of the work. The boundary between painting and object becomes increasingly fluid, as the surface records both the artist’s intervention and processes beyond his control.

Fukuda’s practice reflects an awareness of impermanence and material presence, embracing change not as a departure from the artwork but as an essential part of its existence. The shifting qualities of silver—reflective, translucent and at times elusive—create surfaces that resist a single, fixed reading. Rather than remaining fixed at the moment of completion, the works continue to develop through their encounter with time and their surrounding environment. Recently completing his doctoral studies at Tokyo University of the Arts, Fukuda has exhibited internationally, including Quiet Colors at RUE VERTE, Copenhagen (2023), Ashes and Silver Leaf at Hebel_121, Basel (2023), and Depository Archaeology at Kvalitar, Prague (2023).

Shuhei Fukuda
Misuzu Ueda
Sydney Contemporary

This is the final week to see Merric Brettle’s striking exhibition PSYCHOPOMP 3 – SURFACE TENSION. The exhibition conclu...
19/08/2026

This is the final week to see Merric Brettle’s striking exhibition PSYCHOPOMP 3 – SURFACE TENSION. The exhibition concludes this Saturday at 5pm. For a catalogue of available works contact the gallery on [email protected]

Open Wed-Sat 12-5pm
Misuzu Ueda

Pictured:
Merric Brettle
Pattern Finding 58
2026
autopaint and vinyl on board
52.5 x 42 cm
merric

This is the final week to see Merric Brettle’s striking exhibition PSYCHOPOMP 3 – SURFACE TENSION. The exhibition concludes this Saturday at 5pm.

-
Pictured:
Merric Brettle
Pattern Finding 63
2026
autopaint and vinyl on board
52.5 x 42 cm

-
Pictured:
Merric Brettle
Pattern Finding 58
2026
autopaint and vinyl on board
52.5 x 42 cm

-
Pictured
Merric Brettle
Sense Data - Perspectives on Feedback 1
2026
autopaint, steel and vinyl on board
52.5 x 42 cm approx

-
Pictured
Merric Brettle
Sense Data - Perspectives on Feedback 2
2026
autopaint, steel and vinyl on board
52.5 x 42 cm approx.

Address

1/119 Hopkins Street
Footscray, VIC
3011

Opening Hours

Wednesday 12pm - 5pm
Thursday 12pm - 5pm
Friday 12pm - 5pm
Saturday 12pm - 5pm

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