Neon Parc, 1 Hazeldon Place, South Yarra (2026)

28/05/2026

Please join us tonight, Friday 29 May from 6–8pm, to celebrate the opening of Georgia Morgan's major solo exhibition, 𝘐 𝘧𝘰𝘶𝘯𝘥 𝘢 𝘮𝘢𝘳𝘣𝘭𝘦 𝘢𝘯𝘥 𝘮𝘺 𝘭𝘪𝘧𝘦 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘧𝘰𝘳𝘦𝘷𝘦𝘳 at Neon Parc Brunswick. All welcome 🥂

Email [email protected] or click the link in bio to request a catalogue.

—

Bringing together a new suite of ceramic sculptures, the exhibition continues Morgan’s exploration of spirituality, memory and identity through vessels that act as personal artefacts; objects that hold stories, symbols, dreams and observations from daily life.

Morgan’s sculptures draw from ritual, storytelling and inherited knowledge, using colour, text and imagery to navigate experiences that feel both deeply personal and culturally resonant. The artist first began making ceramic vessels while thinking through inherited histories and the gaps that surround them, to record the verbal history of her mother’s family and Tamil heritage. As such, the vessel became a form capable of carrying these fragments forward — at once intimate and enduring markers of time.

Exploring not just autobiography but ‘the self’ as a shifting and collective idea, Morgan’s works resist fixed interpretation or straightforward symbolism. Figurative female motifs recur throughout the exhibition: horse-riding, driving, surfing, dancing, conversing. Though often self-referential, they remain deliberately open, moving between self-portrait, ancestor, and collective presence. As Morgan describes, “one figure that is many people, or tries to speak of something shared”.

—

Georgia Morgan
𝘍𝘶𝘤𝘬 𝘺𝘰𝘶 𝘐 𝘸𝘰𝘯’𝘵 𝘥𝘰 𝘸𝘩𝘢𝘵 𝘺𝘰𝘶 𝘵𝘦𝘭𝘭 𝘮𝘦, 2026
Stoneware, glaze, oxides
38 x 31 x 30 cm

Georgia Morgan
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘢 𝘮𝘢𝘳𝘣𝘭𝘦 𝘢𝘯𝘥 𝘮𝘺 𝘭𝘪𝘧𝘦 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘧𝘰𝘳𝘦𝘷𝘦𝘳
Neon Parc Brunswick
29 May - 20 June 2026

28/05/2026

Jon Rafman’s major solo exhibition 𝘔𝘢𝘪𝘯 𝘚𝘵𝘳𝘦𝘢𝘮 𝘔𝘦𝘥𝘪𝘢 is currently being installed at K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Opening Friday, May 29, from 7 – 10 pm. All welcome 🥂

Email [email protected] or DM us to request a catalogue of available works by Rafman.

—

Jon Rafman is one of the most significant artists exploring the digital age. Through his videos, films, and immersive installations, he examines how digital culture reshapes desire, identity, and experience. Rafman combines masterfully told stories with digitally generated visual worlds in which opposites, such as sincerity and irony, beauty and the grotesque, and connection and alienation, coexist. In doing so, he draws on Internet subcultures, virtual worlds, and AI-generated images. Rafman creates artificial realities that are seductive yet unsettling. 𝘔𝘢𝘪𝘯 𝘚𝘵𝘳𝘦𝘢𝘮 𝘔𝘦𝘥𝘪𝘢 at the Kunstsammlung Nordrhein-Westfalen is the artist’s first solo exhibition in a German museum. Through immersive, room-filling installations, it provides an overview of Rafman’s work since 2008. In addition to his early works, the exhibition features later pieces such as the feature-length video 𝘋𝘳𝘦𝘢𝘮 𝘑𝘰𝘶𝘳𝘯𝘢𝘭 2016-2019 (2019) , which was shown at the 58th Venice Biennale in 2019. Rafman’s latest work, 𝘔𝘢𝘪𝘯 𝘚𝘵𝘳𝘦𝘢𝘮 𝘔𝘦𝘥𝘪𝘢 𝘕𝘦𝘵𝘸𝘰𝘳𝘬 (2025), evokes the culturally influential MTV of the 1980s with AI-generated music videos.

—

Jon Rafman
𝘔𝘢𝘪𝘯 𝘚𝘵𝘳𝘦𝘢𝘮 𝘔𝘦𝘥𝘪𝘢
K21, Kunstsammlung Nordrhein-Westfalen
30 May - 27 September 2026

From the stockroom:Karl Fritsch𝘙𝘪𝘯𝘨 𝘯𝘰. 1, 20239ct gold, cubic zirconiasize M (AU) / 6 (US)Email info@neonparc.com.au or...

21/05/2026

From the stockroom:

Karl Fritsch
𝘙𝘪𝘯𝘨 𝘯𝘰. 1, 2023
9ct gold, cubic zirconia
size M (AU) / 6 (US)

Email [email protected] or DM us for enquiries.

—

For more than three decades, Karl Fritsch has been a singular force in contemporary jewellery, forging a practice that is as experimental and irreverent as it is strangely beautiful. Trained in traditional goldsmithing yet radically resistant to its conventions, he transforms precious metals and stones through bold, improvisational gestures—embracing fingerprints, rough solder joins and unexpected materials. His rings and sculptural objects possess a rare aura, imbued with an enigmatic power that sits between ornament, artefact and talisman.

Fritsch’s work has been exhibited internationally and is held in major public collections, including The Metropolitan Museum of Art, the Victoria and Albert Museum, the National Gallery of Victoria and Te Papa Tongarewa. Constantly challenging assumptions around value, desire and the handmade, Fritsch remains one of the most influential and distinctive voices in contemporary jewellery today.

—

20/05/2026

Kait James' nationally touring solo exhibition, 𝘙𝘦𝘥 𝘍𝘭𝘢𝘨𝘴, is now showing at Orange Regional Gallery, until 14 June.

Email [email protected] to request a catalogue of available works by James.

—

Since 2018, Kait James has been carving out a unique visual language based in the reappropriation of racialised products. Colloquially identified as ‘Aboriginalia’, these mass-produced, commercial objects range from souvenir tea towels and pennant flags to children’s dolls and ceramic figurines. Primarily created from the 1950s through to the 1980s for consumption by non-Indigenous tourists, they depict culturally insensitive and racially stereotyped imagery, designs and motifs.

In a practice of subversion, James embroiders into and on top of these products, embedding language and imagery to forge new narratives linked to contemporary political campaigns and debates. Combining autobiography, incisive analysis and wry humour, James’ practice reveals a deep reverence for her culture alongside a glimpse into a shared ‘Australian’ First Nations experience.

𝘒𝘢𝘪𝘵 𝘑𝘢𝘮𝘦𝘴: 𝘙𝘦𝘥 𝘍𝘭𝘢𝘨𝘴 is a Warrnambool Art Gallery exhibition, curated by Aaron Bradbrook and touring nationally with NETS Victoria.

—

Kait James
𝘉𝘳𝘪𝘯𝘨 𝘺𝘰𝘶𝘳 𝘰𝘸𝘯 𝘤𝘶𝘭𝘵𝘶𝘳𝘦, 2024
Porcelain clay slip, pigmented underglaze and clear gloss ceremic glaze, felt, wooden dowel
35 x 26 cm, flag 32 x 4 cm

Kait James
𝘞𝘩𝘪𝘵𝘦 𝘵𝘳𝘢𝘴𝘩 𝘧𝘢𝘤𝘪𝘴𝘵𝘴, 2024
Porcelain clay slip, pigmented underglaze and clear gloss ceremic glaze, felt, wooden dowel
35 x 26 cm, flag 32 x 4 cm

Kait James
𝘝𝘪𝘰𝘭𝘦𝘯𝘵 𝘪𝘯𝘷𝘢𝘴𝘪𝘰𝘯 𝘱𝘢𝘪𝘯, 2024
Porcelain clay slip, pigmented underglaze and clear gloss ceremic glaze, felt, wooden dowel
35 x 26 cm, flag 32 x 4 cm

𝘒𝘢𝘪𝘵 𝘑𝘢𝘮𝘦𝘴: 𝘙𝘦𝘥 𝘍𝘭𝘢𝘨𝘴
Orange Regional Gallery
11 April - 14 June 2026

.australia .gov.au

17/05/2026

Neon Parc is thrilled to present 𝘐 𝘧𝘰𝘶𝘯𝘥 𝘢 𝘮𝘢𝘳𝘣𝘭𝘦 𝘢𝘯𝘥 𝘮𝘺 𝘭𝘪𝘧𝘦 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘧𝘰𝘳𝘦𝘷𝘦𝘳, Georgia Morgan’s first major solo exhibition at Neon Parc Brunswick, opening Friday 29 May, 6–8pm.

Email [email protected] or click the link in bio to request a preview catalogue.

—

Bringing together a new suite of ceramic sculptures, the exhibition continues Morgan’s exploration of spirituality, memory and identity through vessels that act as personal artefacts; objects that hold stories, symbols, dreams and observations from daily life.

The works weave together an expansive range of references without hierarchy, allowing surreal and loosely unfolding narratives to emerge through association. Hindu mythology sits beside ancient Tamil knowledge, song lyrics, references to the work of R. Crumb, a poem by Hilaire Belloc, memories from childhood and handwritten reflections. On one vessel a naked figure rides a horse, Freak Flag flying overhead. On another, a figure smokes mid-conversation, beer in hand. Across the exhibition there is a persistent sense of optimism as flowers, saturated colour palettes and wild naked women recall hippie counterculture and its belief in freedom, collectivity and transformation. One pot declares, “At this point the most punk thing you can do is just blast love from your heart”, while another proclaims, “Things are gonna change I can feel it”. Historical, devotional and familiar, the vessel form gives weight and permanence to drawings, stories and passing thoughts that might otherwise feel fleeting or incidental.

As the exhibition title suggests, Morgan approaches artmaking as a sacred, daily practice in which small or accidental moments can become emotionally charged or transformative. The sculptures function both as records of experience and as offerings, expressions of being alive, searching, dreaming, and moving through the world with openness and belief.

—

Georgia Morgan
𝘐 𝘧𝘰𝘶𝘯𝘥 𝘢 𝘮𝘢𝘳𝘣𝘭𝘦 𝘢𝘯𝘥 𝘮𝘺 𝘭𝘪𝘧𝘦 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘧𝘰𝘳𝘦𝘷𝘦𝘳
Neon Parc Brunswick
29 May - 20 June 2026

16/05/2026

Today is the last day to view Kait James' exhibition 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮 at Neon Parc Brunswick. The gallery is open 12-5pm.

Email [email protected] or click the link in bio to request a catalogue of available works.

—

"𝘐 𝘢𝘤𝘬𝘯𝘰𝘸𝘭𝘦𝘥𝘨𝘦 𝘮𝘺 𝘱𝘢𝘭𝘦 𝘴𝘬𝘪𝘯 𝘱𝘳𝘪𝘷𝘪𝘭𝘦𝘨𝘦 looks at my own position as a pale-skinned First Nations woman. It's something I think about every day, the complexity of that visibility and invisibility, the reduced exposure to racism and stereotyping. This work is an act of acknowledgment as much as anything else. It’s interesting that the colour of my skin makes no difference to other Indigenous people, but it does to People of no colour, not only do they create the conditions for this privilege but also assume the authority to question my identity and authenticity.

This privilege means reduced exposure to everyday racism, greater ease moving through institutions. At the same time, that perceived ‘advantage’ often comes with its own tensions, this tension doesn’t come from other indigenous people but from People of no colour, they are the ones to question identity, authenticity. It’s not straightforward, but a reflection of how colonial ideas about race and value continue to shape my life and experience.” - Kait James

—

Kait James
𝘐 𝘢𝘤𝘬𝘯𝘰𝘸𝘭𝘦𝘥𝘨𝘦 𝘮𝘺 𝘱𝘢𝘭𝘦 𝘴𝘬𝘪𝘯 𝘱𝘳𝘪𝘷𝘪𝘭𝘦𝘨𝘦, 2026
Cotton, yarn and original tea towels on printed cotton
136.5 x 216.5 x 7 cm

Kait James
𝘒𝘪𝘴𝘴 𝘔𝘺 𝘔𝘰𝘰𝘮
17 April–16 May 2026

13/05/2026

Exhibition walkthrough of 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮, a major solo exhibition by Kait James at Neon Parc Brunswick, until this Saturday, 16 May.

Neon Parc Brunswick is open Wed–Sat, 12–5pm.

Email [email protected] or visit the link in our bio to request a catalogue.

—

Kait James is a proud Wadawurrung artist whose work challenges stereotypical representations of Indigenous culture through her identity as a woman of Indigenous and Anglo heritage. Working predominantly with textiles she interrogates the ways in which Aboriginal identity has been flattened, commodified and misunderstood within Australian visual culture, subverting these narratives through humour, critique and sharp political commentary.

For 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮, James presents a new body of hand-stitched embroideries using vintage Aboriginal calendar tea towels and souvenir textiles from the 1970s and 80s. These mass-produced objects — created from a white, colonial perspective — reduce complex cultural practices into decorative motifs and simplified imagery. By reworking these materials, James exposes and destabilises their underlying assumptions, transforming them into sites of resistance.

Across eighteen new works, James overlays these surfaces with bold, wry text. Phrases such as ‘ALL THE WHITE NOISE’, ‘ALIEN NATION’, ‘NOT MY KING’, are stitched in vibrant, textured lettering, cutting across the imagery beneath. In the title work, 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮 (2026), “Moom” — in Wadawurrung language — translates to “ass” – a statement of pointed and irreverent defiance at the centre of the exhibition.

Following the momentum of recent projects including 𝘉𝘭𝘢𝘬 𝘍𝘭𝘢𝘨𝘴 (Neon Parc, 2024) and the nationally touring 𝘙𝘦𝘥 𝘍𝘭𝘢𝘨𝘴 (2024–2027), 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮 further asserts James’ practice as a critical and cultural intervention between art and activism. By reclaiming and recontextualising “Aboriginalia”, Kait James continues to challenge colonial frameworks and question broader understandings of Indigenous culture in Australi

New work by Hugo Blomley:Hugo Blomley𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 2026Patinated bronze and stainless steel131 x 80 x 14.5cmEmail info@neonp...

12/05/2026

New work by Hugo Blomley:

Hugo Blomley
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 2026
Patinated bronze and stainless steel
131 x 80 x 14.5cm

Email [email protected] or DM us for enquiries.

—

Working primarily in sculpture, Hugo Blomley’s practice explores the intersection of material transformation and conceptual systems. His works consider the ways in which complex structures—whether mechanical, biological, or social—are translated into physical form. Employing materials such as fibreglass, bronze, wax, and automotive paint, Blomley creates meticulously crafted objects that reveal processes of casting, refining, and reconfiguration. Each sculpture embodies an active negotiation between material, form, and meaning, resulting in works that oscillate between the familiar and the abstract.

Blomley’s refined surfaces and structural precision evoke both bodily and industrial references, inviting viewers into a state of suspended recognition. His practice engages deeply with the act of looking—foregrounding the moment when understanding hovers just out of reach and perception itself becomes a subject of inquiry.

A graduate of the Victorian College of the Arts (BFA, 2020) and Monash University (Honours, 2022), Blomley has exhibited widely across Australia and internationally, including solo presentations at Untitled Art, Miami Beach, Mega, Neon Parc, Sutton Projects, Asbestos, and Cache. His work has been featured in significant group exhibitions such as the Melbourne Sculpture Biennale (Villa Alba, 2024) and 'I Wanna Be Your Anti-Mirror' at the La Trobe Art Institute, Bendigo (2024).

Photo: Nicholas Mahady

04/05/2026

Elizabeth Newman's 𝘛𝘩𝘢𝘵'𝘴 𝘦𝘯𝘵𝘦𝘳𝘵𝘢𝘪𝘯𝘮𝘦𝘯𝘵, 𝘐 𝘢𝘯𝘥 𝘐𝘐 (1987) is currently on view in 𝘔𝘪𝘯𝘪𝘮𝘢𝘭 at Geelong Gallery. Bringing together works from the Geelong Gallery Collection, the exhibition highlights Australian artists at the forefront of Minimalism.

Email [email protected] to request a catalogue of available works by Newman.

—

Minimal art emerged in the 1960s alongside other experimental artforms—including conceptual, performance and land art—that challenged traditional forms of Western artistic expression and the cultural institutions that upheld them. It was also a reaction to Abstract Expressionism and related forms of gestural abstraction prevalent in postwar American painting. With foundations in early twentieth-century avant-garde movements such as Constructivism, Minimalism is characterised by its largely reductive aesthetic and use of geometric forms, seriality and modern, often industrial, materials. 𝘔𝘪𝘯𝘪𝘮𝘢𝘭 presents works from the Geelong Gallery Collection by Australian artists at the forefront of this international movement.

—

Installation views, 𝘔𝘪𝘯𝘪𝘮𝘢𝘭 with works by Ian Burn and Howard Arkley, Geelong Gallery, 2026, photographer: Andrew Curtis

Elizabeth Newman
𝘛𝘩𝘢𝘵'𝘴 𝘦𝘯𝘵𝘦𝘳𝘵𝘢𝘪𝘯𝘮𝘦𝘯𝘵, 𝘐 𝘢𝘯𝘥 𝘐𝘐, 1987
Oil on canvas
2 parts, 31.5 x 26.1 cm; 152.5 x 121.8 cm

𝘔𝘪𝘯𝘪𝘮𝘢𝘭
Geelong Gallery
14 March - 17 May 2026

01/05/2026

Installation views of Kait James’ major solo exhibition, 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮, on now at Neon Parc Brunswick until 16 May 2026.

The gallery is open Wed–Sat, 12–5pm.

Email [email protected] or click the link in bio to request a catalogue.

—

For 𝘒𝘪𝘴𝘴 𝘮𝘺 𝘔𝘰𝘰𝘮, James presents a new body of hand-stitched embroideries using vintage Aboriginal calendar tea towels and souvenir textiles from the 1970s and 80s. These mass-produced objects — created from a white, colonial perspective — reduce complex cultural practices into decorative motifs and simplified imagery. By reworking these materials, James exposes and destabilises their underlying assumptions, transforming them into sites of resistance.

Across eighteen new works, James overlays these surfaces with bold, wry text. Phrases such as ‘ALL THE WHITE NOISE’, ‘ALIEN NATION’, ‘NOT MY KING’, are stitched in vibrant, textured lettering, cutting across the imagery beneath.

This body of work marks a shift in tone for James, yet as humour remains central, the texts and slogans are more direct and politically charged. Fractured compositions disrupt scenes of Aboriginal life depicted on the original tea towels and designs, such as in 𝘈𝘭𝘪𝘦𝘯 𝘕𝘢𝘵𝘪𝘰𝘯, ceremonial imagery is overlaid with bright green alien faces, critiquing the persistent framing of First Nations people as “outsiders” within their own Country. In 𝘕𝘰𝘵 𝘔𝘺 𝘒𝘪𝘯𝘨, colonial iconography is distorted and unapologetically defaced, directly rejecting the authority of the monarchy and its ongoing symbolic power in Australia.

Following the momentum of recent projects including 𝘉𝘭𝘢𝘬 𝘍𝘭𝘢𝘨𝘴 (Neon Parc, 2024) and the nationally touring 𝘙𝘦𝘥 𝘍𝘭𝘢𝘨𝘴 (2024–2027), this exhibition further asserts James’ practice as a critical and cultural intervention between art and activism. By reclaiming and recontextualising “Aboriginalia”, Kait James continues to challenge colonial frameworks and question broader understandings of Indigenous culture in Australia.

—

Kait James
𝘒𝘪𝘴𝘴 𝘔𝘺 𝘔𝘰𝘰𝘮
Neon Parc Brunswick
17 April–16 May 2026

29/04/2026

Erik Jensen has written about Elizabeth Newman in 𝘛𝘩𝘦 𝘔𝘰𝘯𝘵𝘩𝘭𝘺. 💛

"Lizzy had a brushstroke face, as if there wasn't time to waste filling it all in, as if she were one of her paintings. She said she always knew when something was finished; that's what she'd spent all this time learning. 'Before I know it, it's finished, and I should't touch it anymore...I can tell that's a good painting and I have to leave it.'

Her definition of finished was interrupted. She made work from the minimum of materials. She liked found objects because they were even less than that. For years, over and over, she wrote: 'The true collector looks for the work that is unfinished.'"

—

Erik Jensen, Arts and Letters: 'Art makes a question', 𝘛𝘩𝘦 𝘔𝘰𝘯𝘵𝘩𝘭𝘺, March, 2026.

Neon Parc

28/05/2026

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