Blockprojects Gallery

29/08/2026

28/08/2026

3 Sides
On view now until 11.09.26
Opening Reception
Saturday 29.08.2026
3:00 - 5:00 PM..

The monochrome is never encountered in isolation. Its apparent simplicity is contingent on the space, light, colour, and conditions through which it is perceived. Across his practice, David Thomas has returned to the monochrome as both a material presence and a temporal proposition, exploring its capacity to articulate experiences of time and space. Neither an endpoint nor an act of reduction, the monochrome functions here as an interval: a moment of suspension that heightens awareness of relationships within and beyond the work. In this sense, painting becomes less a self-contained object than a means of attending to the world around it.

Artwork:
David Thomas
“Finding perspective” from the “Luminosities Series” 2020-24
Acrylic and graphite on Linen
150 x 102 cm

28/08/2026

3 Sides
On view now until 11.09.26
Opening Reception
Saturday 29.08.2026
3:00 - 5:00 PM..

Kyle Jenkins’ Duo-Chrome Paintings brings together four works, each composed of two shaped monochrome canvases conceived as a single painting. Through colour, shape, scale and surface, Jenkins considers the fundamental conditions of painting.

Each pairing establishes a relationship in which colour is altered through proximity. The shaped supports bring the edge into play, placing each work in direct relation to the wall, architecture and viewer. Drawing on the histories of monochrome and geometric abstraction, Jenkins approaches these forms as an ongoing field of enquiry, using repetition and restraint to examine the relationships between colour, surface, object and space.

27/08/2026

3 Sides
On view now until 11.09.26
Opening Reception
Saturday 29.08.2026
3:00 - 5:00 PM

BLOCKPROJECTS presents a curated selection of works by Giles Ryder, whose practice is grounded in geometric abstraction. Grids, repeated forms and intersecting lines extend across painted and constructed surfaces, while acrylic, transparent gesso, metallic and holographic pigments and glitter introduce reflective and translucent qualities to ordered compositions.

Ryder makes the construction of painting visible. Canvas may be fitted with eyelets, suspended, or stretched across exposed steel frameworks. These methods bring structure and surface into direct relation. Geometric order is set against materials whose appearance shifts with changing light and viewpoint.

Artwork:
Giles Ryder
Bo Sang Boogie Woogie [Part 2], 2011~2024
Acrylic, pigments and glitters on canvas with eyelets
152.5 x 388.5 x 0.2 cm

24/08/2026

20/08/2026

ARTIST TALK...

THE IMPORTANCE OF DRAWING

Learn how drawing has remained central to the practices of Mary Tonkin and Jason Haufe, informing the way they observe, think, and make.


Artist Talk
Saturday 22 August 2026
2.00-4.00 pm

15/08/2026

Join us at Blockprojects for an afternoon in conversation with Mary Tonkin and Jason Haufe, presented in conjunction with Haufe's current exhibition.

Drawing is at the heart of both artists' practices. More than a preparatory exercise, it is where observation becomes mark-making, ideas take form, and painting begins.

From Tonkin's immersive landscapes to Haufe's evolving practice, from geometric abstraction to collage, the conversation explores the enduring relationship between drawing and painting. Both artists have been recognised through the Dobell Drawing Prize, with Tonkin receiving the award in 2002 and Haufe short-listed on three occasions.

Artist Talk
Saturday 22 August 2026
2.00-4.00 pm

06/08/2026

BLOCKPROJECTS | IN CONVERSATION WITH JASON HAUFE

BP: Looking back over thirty years of practice, what are the concerns that have remained constant, even as the work itself has changed?

JH: A focus on pictorial rhythm. From my earlier geometric paintings to these collages, a need to suggest some sort of movement.

BP: Can you remember the first work that you couldn’t leave alone—the one that demanded another version instead of a conclusion?

JH: Probably the first collage I made with photocopies. For some reason, I thought it would be a good idea to photocopy that work and make more works with those photocopies.

BP: Your recent collages seem to suggest that an artwork doesn’t end when it is finished. When did that way of thinking enter your practice?

JH: When I started making collages with the process described in the previous answer, the method suggested possibilities that I could never have thought of. It seemed a way to enter the “unknown world” of art spoken of by Mark Rothko and Adolph Gottlieb.