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

05/09/2026

Three sculptures by Nabilah Nordin are featured in Sydney Contemporary's Installation program, curated by José Da Silva.

Presented together, 𝘗𝘩𝘳𝘢𝘴𝘦, 𝘊𝘦𝘯𝘵𝘶𝘳𝘺 and 𝘛𝘰𝘳𝘲𝘶𝘦 continue the artist’s interest in material experimentation, spatial interplay and the expressive possibilities of abstraction. Developed from intuitive lines translated into steel through bending, welding and assembly, the works operate like drawings released into space. Their flowing, sinuous forms suggest movement, balance and transformation, while their surfaces retain a sense of touch, pressure and improvisation. Nordin invites viewers to encounter abstraction as a bodily experience: playful, precarious and animated by the tension between structure and gesture.

"I’m always looking for what sculpture can be, and what it can do. I build through a process of testing, adjusting and responding. I want works to feel active, as though they are holding themselves together, moving or becoming something else." —Nabilah Nordin

See the Installation at Sydney Contemporary, 3–6 September, Carriageworks.

Email [email protected] or DM us to request a catalogue.

—

Nabilah Nordin
𝘗𝘩𝘳𝘢𝘴𝘦, 2024
Welded steel, exterior epoxy modelling compound,
exterior acrylic paint
179 x 81 x 49 cm

Nabilah Nordin
𝘊𝘦𝘯𝘵𝘶𝘳𝘺, 2024
Welded steel, exterior epoxy modelling compound,
exterior acrylic paint
173 x 114 x 52 cm

Nabilah Nordin
𝘛𝘰𝘳𝘲𝘶𝘦, 2024
Welded steel, exterior epoxy modelling compound,
exterior acrylic paint
201 x 48 x 43 cm

04/09/2026

Neon Parc presents 𝘏𝘰𝘵 𝘊𝘢𝘬𝘦𝘴 at Sydney Contemporary 2026 — a solo exhibition of new photographs by Darren Sylvester, alongside a group exhibition featuring new works by Hugo Blomley, Cat Fooks, Dale Frank, Diena Georgetti, Anna Higgins, Georgia Morgan and Nabilah Nordin.

Booth A04⁠
Carriageworks, Sydney⁠
3–6 September 2026⁠

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

—

I don’t believe in magic, but I do believe in Darren Sylvester. A trickster. A conjurer. An artist who can dream up a world and make it disappear. Now, what if I go there too?

I’m heading off to heaven. A flock of blackbirds made from snippets of black plastic race towards a manufactured sun. Or is it God? Their pointed forms: a feathered death, an omen, the “unlucky” card in the deck. But surely, this isn’t where I’m meant to be. A change in weather. A purple sky. ‘PROMISE’ drifts through it, one letter at a time. These silver slivers of plastic lettering hang suspended midair. The word has the cool remove of Ed Ruscha, but here it feels more like a proposition than a statement, writ large across a dream.

Down below, the bubble gummer runs gleefully through a nameless cityscape, blind to where they’re going, caught in the moment of pre-pop. Could it, then, be aspiration? To keep going? Maybe I’m better off suspended in a tree, half-reading ‘Lord of the Flies’. I think of Wolfgang Tillmans’ Lutz and Alex sitting along the branches in their raincoats. For a moment, I forget that was a fashion shoot.

I go looking for love and find it flashing directly in front of me: a pink heart, glowing like some lost anime talisman, hovering just beyond an outstretched hand. Close enough to touch, apparently. Then there’s the champagne tower. Glass after glass ascending toward a bright point at the top. I take one from the highest tier. Empty. Of course. It was only ever yellow light. A promise not kept.

— Excerpt from Chelsea Hopper's catalogue essay for 𝘏𝘰𝘵 𝘊𝘢𝘬𝘦𝘴

—

Photography: Simon Strong

04/09/2026

Neon Parc is excited to announce 𝘗𝘶𝘮𝘱 𝘊𝘰𝘷𝘦𝘳, an exhibition of new sculptures by Hugo Blomley. Opening at Neon Parc Brunswick on Friday 11 September, 6–8pm.

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

—

Partly inspired by the ornamental potential of inorganic industrial objects, 𝘗𝘶𝘮𝘱 𝘊𝘰𝘷𝘦𝘳 features five new abstract sculptures which balance a sensuous appreciation for the integrity of their materials and tactile qualities—poriferous, patinated, or highly polished—and the mimetic magic of art. As the viewer navigates these abstract forms, they may map onto them different figures or fantasies, yet none of these associations settle into neat referents. These works play with concealment and revelation, literally opening in some instances to reveal hollow inner cavities.

Blomley has described his process as one of translation, adapting forms that strike him as formally compelling, whether among the fixtures of industrial environments or in the contours of human anatomy. Though they speak through a familiar iconic vocabulary, these objects don’t possess a discernible sameness among the economy of objects, withholding the secret of their specific function. Blomley then sketches this shape from memory, digitally renders it, and makes a series of maquettes. The final sculpture emerges from these aesthetic experiments.

– Excerpt from Tara Heffernan's exhibition essay, 𝘛𝘩𝘦 𝘗𝘳𝘪𝘮𝘪𝘵𝘪𝘷𝘦 𝘈𝘭𝘨𝘦𝘣𝘳𝘢 𝘰𝘧 𝘙𝘦𝘤𝘰𝘨𝘯𝘪𝘵𝘪𝘰𝘯: 𝘖𝘯 𝘏𝘶𝘨𝘰 𝘉𝘭𝘰𝘮𝘭𝘦𝘺’𝘴 '𝘗𝘶𝘮𝘱 𝘊𝘰𝘷𝘦𝘳', 2026

—

Hugo Blomley
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 2026
Bronze
234 x 24 x 19 cm

Hugo Blomley
𝘗𝘶𝘮𝘱 𝘊𝘰𝘷𝘦𝘳
11 Sept - 10 Oct 2026

03/09/2026

Sydney Contemporary is now open! 🔥

Neon Parc is excited to present 𝘏𝘰𝘵 𝘊𝘢𝘬𝘦𝘴, a solo exhibition of new photographs by Darren Sylvester at Sydney Contemporary 2026, alongside a group exhibition featuring new works by Hugo Blomley, Cat Fooks, Dale Frank, Diena Georgetti, Anna Higgins, Georgia Morgan and Nabilah Nordin.

Booth A04⁠
Carriageworks, Sydney⁠
3–6 September 2026⁠

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

—

Darren Sylvester
𝘍𝘢𝘴𝘩𝘪𝘰𝘯 𝘈𝘵𝘵𝘢𝘤𝘬𝘴, 2026
Archival inkjet print
160 x 120 cm (sheet)
165 x 125 cm (frame)
Edition of 3 + 2 A/P

Hugo Blomley
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 2026
Fibreglass
20 x 20 x 110 cm

Cat Fooks
𝘉𝘦𝘢𝘯 𝘛𝘳𝘦𝘦𝘴, 2026
Mixed media & oil on canvas
41 x 31 cm

Dale Frank
𝘏𝘦 𝘸𝘢𝘴 𝘰𝘷𝘦𝘳𝘸𝘩𝘦𝘭𝘮𝘦𝘥 𝘤𝘰𝘯𝘴𝘵𝘢𝘯𝘵𝘭𝘺 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘢𝘯𝘺 𝘦𝘹𝘤𝘶𝘴𝘦 𝘵𝘰 𝘴𝘦𝘦 𝘗𝘦𝘵𝘦𝘳 𝘪𝘯 𝘩𝘪𝘴 𝘶𝘯𝘥𝘦𝘳𝘸𝘦𝘢𝘳 𝘦𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 𝘢𝘧𝘵𝘦𝘳 𝘸𝘦𝘪𝘨𝘩𝘵 𝘵𝘳𝘢𝘪𝘯𝘪𝘯𝘨 [detail], 2026
Transparent dye, epoxyglass on perspex
200 x 260 cm

Diena Georgetti
𝘛𝘩𝘦 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘰𝘳/ 𝘧𝘭𝘰𝘰𝘳 𝘵𝘢𝘭𝘬, 2026
Synthetic polymer paint on canvas
111 x 111 cm

Anna Higgins
𝘛𝘸𝘰 𝘏𝘰𝘳𝘪𝘻𝘰𝘯𝘴 (𝘋𝘶𝘴𝘬), 2025
Multiple exposure colour reversal film on velvet paper, unique acrylic screenprint
175 x 125 cm (sheet)
185 x 136 x 5 cm (frame)

Georgia Morgan
𝘐𝘴 𝘪𝘵 𝘛𝘰𝘮𝘰𝘳𝘳𝘰𝘸, 𝘰𝘳 𝘫𝘶𝘴𝘵 𝘵𝘩𝘦 𝘌𝘯𝘥 𝘰𝘧 𝘛𝘪𝘮𝘦? (𝘍𝘰𝘳𝘸𝘢𝘳𝘥𝘴 𝘔𝘢𝘳𝘤𝘩), 2026
Stoneware, glaze, oxides
37 x 42 x 44 cm

Nabilah Nordin
𝘊𝘩𝘢𝘭𝘬𝘸𝘢𝘺, 2026
Steel, epoxy modelling compound, acrylic paint
94 x 30.5 x 38 cm

30/08/2026

This is the final week to view 𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘸𝘪𝘯𝘥𝘰𝘸, an exhibition of new paintings by Moya McKenna at Neon Parc Brunswick.

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

—

To begin each painting, the artist starts with collages assembled from an idiosyncratic collection of found images. Alongside the image of the lion are a photograph of a swan, a Tom Waits CD cover, cut-outs of zebras and a detail from 𝘞𝘩𝘪𝘴𝘵𝘭𝘦𝘳’𝘴 𝘔𝘰𝘵𝘩𝘦𝘳 (1871). These disparate fragments are stacked within the picture plane without the intention of fixed narrative. Instead, the compositions emerge through repetition, chance and the intuitive relationships that develop between images as they are painted and caressed into being.

Produced over a series of days, the paintings remain responsive to the shifting textures and emotions of their making. Retaining the flat spatial logic of collage, McKenna builds each work through repeated forms, instinctive layering and gestural mark-making. As images recur, dissolve and transfer between paintings, each work gives rise to the next, creating a rhythm that unfolds across the exhibition. If one painting settles into sensuality, the next deliberately seeks its opposite.

For McKenna, 𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘸𝘪𝘯𝘥𝘰𝘸 marks an act of release. Rather than reinforcing her attachment to the lion and zebra, repeatedly returning to the image became a way of exhausting its hold. Each painting allows the image to move elsewhere, carrying traces of its previous lives while remaining open to new associations.
Borrowing its title from Tom Waits’ song 𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘍𝘳𝘢𝘮𝘦, the exhibition imagines the painted frame as a window. Some forms press beyond its edges while others remain contained within it, creating compositions that are simultaneously expansive and intimate. Like the process that produced them, these paintings resist closure, inviting images to drift, recur and continually become something else.

—

Video by Mighty Films 🎥

Moya McKenna
𝘗𝘪�

26/08/2026

Colleen Ahern’s major solo exhibition, 𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘖𝘷𝘦𝘳𝘵𝘰𝘯𝘦𝘴, opens tonight, Thursday 27 August, from 5–7pm at Fiona and Sidney Myer Gallery. All welcome 🥂

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

—

In 𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘖𝘷𝘦𝘳𝘵𝘰𝘯𝘦𝘴, Colleen Ahern presents a new suite of double-sided paintings on copper that considers the material traces of the music industry, the evolving history of portraiture, and the processes through which cultural iconography is created and sustained. The idea of homage is accentuated in Ahern's practice, as her paintings mimic the size of LP records. Album covers are an intimate part of how music is experienced and remembered. Ahern’s process of sourcing imagery designed to exist as a multiple and transforming it into an original highlights this intimacy. Ahern’s works point towards the personal resonance of images and music that belong to popular culture and collective memory.

—

Colleen Ahern
𝘝𝘦𝘭𝘷𝘦𝘵 𝘜𝘯𝘥𝘦𝘳𝘨𝘳𝘰𝘶𝘯𝘥, 2026
Oil on copper, two-sided
30 x 30 cm

𝘚𝘵𝘳𝘢𝘯𝘨𝘦 𝘖𝘷𝘦𝘳𝘵𝘰𝘯𝘦𝘴
Fiona and Sidney Myer Gallery
28 August - 26 September 2026

24/08/2026

Congratulations to Georgia Morgan, whose work 𝘐 𝘺𝘢𝘮 𝘸𝘩𝘢𝘵 𝘐 𝘺𝘢𝘮 & 𝘔𝘢𝘴𝘩𝘢𝘭𝘭𝘢𝘩 𝘺𝘰𝘶’𝘭𝘭 𝘣𝘦 𝘫𝘶𝘴𝘵 𝘸𝘩𝘰 𝘺𝘰𝘶 𝘢𝘳𝘦 (2026) has been selected as a finalist in the 2026 Fisher's Ghost Art Award.

𝘐 𝘺𝘢𝘮 𝘸𝘩𝘢𝘵 𝘐 𝘺𝘢𝘮 & 𝘔𝘢𝘴𝘩𝘢𝘭𝘭𝘢𝘩 𝘺𝘰𝘶’𝘭𝘭 𝘣𝘦 𝘫𝘶𝘴𝘵 𝘸𝘩𝘰 𝘺𝘰𝘶 𝘢𝘳𝘦 will be exhibited at Campbelltown Arts Centre from 26 September to 4 December, with the Fisher’s Ghost Art Award Prize Announcement on Friday, 30 October, kicking off the annual Fisher’s Ghost Festival.

—

Georgia Morgan
𝘐 𝘺𝘢𝘮 𝘸𝘩𝘢𝘵 𝘐 𝘺𝘢𝘮 & 𝘔𝘢𝘴𝘩𝘢𝘭𝘭𝘢𝘩 𝘺𝘰𝘶’𝘭𝘭 𝘣𝘦 𝘫𝘶𝘴𝘵 𝘸𝘩𝘰 𝘺𝘰𝘶 𝘢𝘳𝘦, 2026
Stoneware, glaze, oxides
82.5 x 40 x 40 cm

2026 Fisher's Ghost Art Award
Campbelltown Arts Centre
26 September - 4 December 2026

22/08/2026

Moya McKenna’s major solo exhibition, 𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘸𝘪𝘯𝘥𝘰𝘸, continues at Neon Parc Brunswick until 5 September.

The gallery is open Wed–Sat, 12–5pm.

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

—

For over two decades, Moya McKenna has developed a painting practice built around recurring images, objects and personal references. Photographs, fragments from art history and everyday materials circulate across her paintings, where familiar motifs gather into a distinct tableau that continues to shift with each body of work.

𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘸𝘪𝘯𝘥𝘰𝘸 continues this sustained investigation through a single image that has occupied McKenna for many years: a lion eating a zebra. By returning to this subject, the artist interrogates an inexhaustible terrain of power, beauty, violence, life and death.

To begin each painting, the artist starts with collages assembled from an idiosyncratic collection of found images. Alongside the image of the lion are a photograph of a swan, a Tom Waits CD cover, cut-outs of zebras and a detail from 𝘞𝘩𝘪𝘴𝘵𝘭𝘦𝘳’𝘴 𝘔𝘰𝘵𝘩𝘦𝘳 (1871). These disparate fragments are stacked within the picture plane without the intention of fixed narrative. Instead, the compositions emerge through repetition, chance and the intuitive relationships that develop between images as they are painted and caressed into being.

Produced over a series of days, the paintings remain responsive to the shifting textures and emotions of their making. Retaining the flat spatial logic of collage, McKenna builds each work through repeated forms, instinctive layering and gestural mark-making. As images recur, dissolve and transfer between paintings, each work gives rise to the next, creating a rhythm that unfolds across the exhibition. If one painting settles into sensuality, the next deliberately seeks its opposite.

—

Photography: Andrew Curtis.

Moya McKenna
𝘗𝘪𝘤𝘵𝘶𝘳𝘦 𝘪𝘯 𝘢 𝘸𝘪𝘯𝘥𝘰𝘸
Neon Parc Brunswick
31 July - 5 September 2026

21/08/2026

Neon Parc is excited to present 𝘏𝘰𝘵 𝘊𝘢𝘬𝘦𝘴, a solo exhibition of new photographs by Darren Sylvester at Sydney Contemporary 2026, alongside a group exhibition featuring new works by Hugo Blomley, Cat Fooks, Dale Frank, Diena Georgetti, Anna Higgins, Georgia Morgan and Nabilah Nordin.

Booth A04⁠
Carriageworks, Sydney⁠
3–6 September 2026⁠

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

—

Darren Sylvester
𝘉𝘭𝘢𝘤𝘬 𝘉𝘪𝘳𝘥𝘴, 2026
Archival inkjet print
160 x 120 cm
Edition of 3 + 2 A/P

Hugo Blomley
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 2026
Fibreglass
20 x 20 x 110 cm

Cat Fooks
𝘛𝘩𝘦 𝘝𝘦𝘭𝘷𝘦𝘵𝘦𝘦𝘯 𝘙𝘢𝘣𝘣𝘪𝘵, 2026
Mixed media, oil & acrylic on board
43 x 30 cm

Dale Frank
𝘈𝘴 𝘵𝘩𝘦 𝘚𝘦𝘯𝘪𝘰𝘳 𝘔𝘢𝘯𝘢𝘨𝘦𝘳 𝘰𝘧 𝘚𝘶𝘱𝘦𝘳𝘤𝘩𝘦𝘢𝘱 𝘈𝘶𝘵𝘰 𝘗𝘢𝘳𝘵𝘴 𝘪𝘯 𝘔𝘢𝘺𝘧𝘪𝘦𝘭𝘥 𝘢𝘵 𝘵𝘩𝘦 𝘦𝘯𝘥 𝘰𝘧 𝘢 𝘩𝘢𝘳𝘥 𝘥𝘢𝘺 𝘙𝘰𝘯𝘢𝘭𝘥 ‘𝘙𝘰𝘯𝘯𝘪𝘦' 𝘭𝘰𝘷𝘦𝘥 𝘢 𝘴𝘸𝘪𝘮 𝘨𝘦𝘵𝘵𝘪𝘯𝘨 𝘤𝘩𝘢𝘯𝘨𝘦𝘥 𝘭𝘦𝘪𝘴𝘶𝘳𝘦𝘭𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘯𝘰𝘳𝘮𝘰𝘶𝘴 𝘮𝘦𝘯𝘴 𝘤𝘩𝘢𝘯𝘨𝘦 𝘴𝘩𝘰𝘸𝘦𝘳 𝘳𝘰𝘰𝘮 𝘰𝘯 𝘕𝘦𝘸𝘤𝘢𝘴𝘵𝘭𝘦 𝘉𝘦𝘢𝘤𝘩 𝘴𝘰𝘮𝘦 𝘢𝘧𝘵𝘦𝘳𝘯𝘰𝘰𝘯𝘴 𝘭𝘪𝘯𝘨𝘦𝘳𝘪𝘯𝘨 𝘯𝘢𝘬𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘸𝘢𝘳𝘮 𝘴𝘩𝘰𝘸𝘦𝘳 𝘣𝘶𝘵 𝘯𝘰𝘸 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘱𝘦𝘯𝘥𝘪𝘯𝘨 𝘤𝘢𝘴𝘦 𝘪𝘵 𝘮𝘦𝘢𝘯𝘴 𝘩𝘦 𝘪𝘴 𝘧𝘰𝘳𝘤𝘦𝘥 𝘵𝘰 𝘥𝘰𝘯 𝘩𝘪𝘴 𝘴𝘱𝘦𝘦𝘥𝘰𝘴 𝘴𝘵𝘳𝘪𝘱 𝘢𝘵 𝘩𝘪𝘴 𝘔𝘢𝘻𝘥𝘢 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘢𝘳𝘬𝘪𝘯𝘨 𝘭𝘰𝘵, 2021
Colour pigments in easycast resin, epoxyglass, on iridescent perspex
200 x 240 cm

Diena Georgetti
𝘛𝘩𝘦 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘰𝘳/ 𝘢𝘵𝘵𝘦𝘯𝘥𝘢𝘯𝘵, 2026
Synthetic polymer paint on canvas
111 x 111 cm

Anna Higgins
𝘜𝘯𝘴𝘦𝘦𝘯 𝘤𝘰𝘭𝘰𝘶𝘳, 2026
Colour reversal film on velvet paper, unique acrylic screenprint
175 x 125 cm (sheet)
185 x 136 x 5 cm (frame)

Georgia Morgan
𝘎𝘳𝘢𝘯𝘯𝘺 𝘸𝘦𝘯𝘵 𝘰𝘷𝘦𝘳𝘣𝘰𝘢𝘳𝘥 𝘸𝘪𝘵𝘩 𝘯𝘰 𝘭𝘪𝘧𝘦 𝘫𝘢𝘤𝘬𝘦𝘵 𝘣𝘶𝘵 𝘴𝘩𝘦 𝘸𝘢𝘴 𝘢𝘭𝘸𝘢𝘺𝘴 𝘸𝘦𝘢𝘳𝘪𝘯𝘨 𝘣𝘰𝘰𝘵𝘴 𝘢𝘯𝘥 𝘢 𝘤𝘰𝘢𝘵, 2026
Stoneware, glaze, oxides
37 x 28 x 31 cm

Nabilah Nordin
𝘗𝘢𝘳𝘢𝘥𝘪𝘴𝘦, 2026
Steel, epoxy modelling compound, acrylic paint
120.5 cm × 59.5 cm × 28 cm

21/08/2026

Two works from Paul Knight's acclaimed 𝘊𝘩𝘢𝘮𝘣𝘦𝘳 𝘔𝘶𝘴𝘪𝘤 series (2009-) are included in 𝘖𝘯 𝘐𝘳𝘪𝘥𝘦𝘴𝘤𝘦𝘯𝘤𝘦, closing this Saturday, 22 August, at Void_Melbourne.

—

Curated by Donald Holt, 𝘖𝘯 𝘐𝘳𝘪𝘥𝘦𝘴𝘤𝘦𝘯𝘤𝘦 brings together a dynamic group of contemporary artists whose practices explore the shifting relationship between surface, material and perception. Framed by the phenomenon of iridescence, where colour, light and illusion emerge from remarkably thin surfaces. The exhibition examines how meaning is generated through the tension between appearance and structure.

Featuring works by Allan Mitelman, Thom Lowry, Paul Knight, Evelyn Dinham and Devin Farrand, the exhibition spans painting, photography, sculpture and material-based installation. Across diverse mediums, each artist investigates the threshold where surface becomes an active agent: paint exceeds its support, mirrors dissolve spatial boundaries, photographic images collapse distance, reclaimed printed materials transform into sculptural forms, and industrial oxidation processes produce unpredictable chromatic fields.

The exhibition presents a compelling survey of artists whose practices combine technical sophistication with a deep engagement in contemporary material culture. The exhibition positions craftsmanship, process and innovation in dialogue, revealing how traditional and industrial techniques can generate new visual experiences.

Through a rich interplay of reflection, texture, colour and illusion, 𝘖𝘯 𝘐𝘳𝘪𝘥𝘦𝘴𝘤𝘦𝘯𝘤𝘦 offers a timely consideration of how we encounter images and objects in an increasingly screen-mediated world, while highlighting significant voices in contemporary International & Australian art.

—

Paul Knight
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 from the series 𝘊𝘩𝘢𝘮𝘣𝘦𝘳 𝘔𝘶𝘴𝘪𝘤, 2009-
Chromogenic print
31 x 31.5 cm

Paul Knight
𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 from the series 𝘊𝘩𝘢𝘮𝘣𝘦𝘳 𝘔𝘶𝘴𝘪𝘤, 2009-
Chromogenic print
100 x 100 cm

𝘖𝘯 𝘐𝘳𝘪𝘥𝘦𝘴𝘤𝘦𝘯𝘤𝘦
Void_Melbourne
30 July - 22 August 2026

_donald

Neon Parc

05/09/2026

04/09/2026

04/09/2026

03/09/2026

30/08/2026

26/08/2026

24/08/2026

22/08/2026

21/08/2026

21/08/2026

Address

Opening Hours

Telephone

Website

Alerts

Contact The Museum

Shortcuts

Share

Category

Listing takedown request