Visitations

NEXT EXHIBITIONS IN GALLERY ONE

Opening: Saturday 27 September, from 4 pm
27 September / 02 November 2025

BRODIE ELLIS
Visitations

Brodie Ellis, Comet G3 ATLAS, oil on linen, framed, 60x90cm

Brodie Ellis's Visitations exhibition brings together painting and ceramic sculpture to explore the rare and spectacular appearances of four comets—Leonard, Atlas, ISON, and McNaught—whose journeys across our skies are shaped by cycles of deep time. The project draws inspiration from Max Ernst’s painting Humboldt Current (1951–52), adopting his method of layering paint over textured surfaces to evoke the turbulence and energy of both oceanic and cosmic flows. 

For Ellis, the orbits of these comets are vast arcs, carrying primordial material from its earliest epochs. Each return is a rare encounter, a momentary crossing of cosmic and earthly experience that connects us to the solar system’s ancient past and uncertain future. In Visitations, the comet paintings employ subtly textured surfaces to capture the sense of movement, dissolution, and renewal that defines each comet’s passage. 

Alongside these works, experimental white raku ceramic forms evoke the fragmentation, luminosity, and interconnectedness of cometary bodies and cosmic cycles. The raku process’s unpredictability mirrors the dynamic, often violent evolution of comets as they near the Sun. These ceramic forms reference both the dispersal of cometary dust and the invisible forces that bind cosmic and terrestrial systems.

Visitations invites viewers to contemplate the parallels between oceanic upwellings and cometary passages—each a visitation that disrupts, enriches, and transforms its environment. The exhibition shows us examples of encounters that bridge the cosmic and the earthly, and celebrates the deep timescales that shape the rhythms of our universe.

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WEDGE

NEXT EXHIBITIONS IN THE CERAMIC SPACE

Opening: Saturday 27 September, from 4 pm
27 September / 02 November 2025

EMMA JIMSON
WEDGE

WEDGE explores the push and pull of closeness and separation through both form and function. As a shape, a wedge is deliciously simple yet it evokes complex dynamics with its inherent capacity to connect, support or divide.

According to Dunbar’s number, there are limits to the number of meaningful relationships we can successfully maintain. These boundaries sits beneath the presented pieces where small interactions become markers of human togetherness and tension.

With a craft practice focused on the process of mould-making and slip-casting, Emma works with plaster, porcelain and glaze to design and create objects to both hold and be held.

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Familiar & Strange

stockroom Kyneton, gallery two
16 August / 21 September 2025

HONOR FREEMAN
Familiar & Strange

Clay is a material that embodies both control and chaos.

Ideas of containment occupy the making and embrace clay's capricious nature in this suite of work. Familiar & Strange plays with ruptures, leaks, and growths, highlighting the tensions between material dualities: soft/hard, beautiful/ugly, fragile/durable, liquid/solid.

Ordinary and seemingly insignificant items intimately connected with the body—chewing gum, soap, towels, hot water bottles—are cast in porcelain and transformed, becoming strange souvenirs and nostalgic relics from the domestic landscape. These ubiquitous objects, caught

between discarded beauty and unsettling decay, reflect their leaking and rupturing states.

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Shades and fades

Stockroom Kyneton, gallery one
16 August / 21 September 2025

PAUL WHITE
Shades and fades

Over time, memories of and from

moments I’ve been and things I’ve seen

digital instants, made analogue and slow

the works and the play, make sense of a place within

fantastical colours fade to soft, sometimes too hard

machines that move us, like us can stop

things that grow overcome and flourish

also perish and devour 

the earth erodes, we add to it

we take from it, we make from it

the brutal the beautiful

all is magical is all

Paul White is intrigued by obsolescence, the passage of time, and the notions of transformation associated with it. He is interested in how memory, place, and time shape us, and in examining particular yet often random moments from his personal history and movements to map out a navigation and exploration of the world. Working from photographs White has captured, these images represent fleeting moments, but become thoroughly investigated through his process of working with pencil on paper. This is not only an attempt to gather every degree of information from the image or moment, but also a way of slowing down the world through the process of creation.

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Paul White's art practice explores the everyday through pencil work on paper. He has an MFA (Art) from California Institute of the Arts and is a Samstag International Visual Arts Scholar. He has been awarded the Pollock-Krasner Grant, Metro Art Award, John Villiers Outback Art Prize, Omnia Art Award Works on Paper and is a two-time winner of the Muswellbrook Art Prize works on paper. He has been a multiple-time finalist in awards such as the Dobell Drawing Prize, National Works On Paper, Adelaide Perry Prize for Drawing, Jacaranda Acquisitive Drawing Award, Paul Guest Prize, Rick Amor Drawing Prize and Fishers Ghost prize. He has works in the collections of Artbank, Rockhampton Museum of Art, Newcastle Art Gallery, Muswellbrook Regional Arts Centre, Campbelltown Arts Centre, the Kedumba Collection and private collections.

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Slump

Stockroom Kyneton, gallery one
05 July / 10 August 2025

JASON WATERHOUSE
Slump

With finesse and impeccable craftsmanship, Jason Waterhouse’s sculptures manipulate elements of nature through the hybridisation of material and form. By creating seemingly impossible outcomes, Waterhouse has created a body of work that intentionally plays with perception and suspends order.

In Slump, Waterhouse’s sculptures present contradictions that create uncertainties between the actual and the manufactured.  He has manipulated form and material potentials into impossible states, intentionally playing with perception and the natural order of things.  Through all these inverted norms, the works convey a sense of struggle and relief, negotiating a tension and emotion that is subtly yet profoundly suggested.

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Shadows Grown

Stockroom Kyneton, gallery two
05 July / 10 August 2025

TALITHA KENNEDY
Shadows Grown

In Shadows Grown, Talitha Kennedy sets out to make simple and quick tree-like shapes as a refinement of suggestive forms. They are made like taxidermy bodies; with an outer skin of leather, stuffed with polyester fibre fluff, internal wire armature structure and lead shot to weight it enough to stand on its own. Each piece is titled with an action of touch to emphasise a bodily engagement and tactile sensation. These sculptures are flexible and malleable; they can be manipulated into any shape we desire. As the maker, Kennedy is fascinated to see how others may compose what they feel looks best.

Kennedy’s way of working is intentionally intuitive. In sculptures, she often has a loose idea of a shape, like “long and skinny limbs reaching up like antennae from a fat belly base.” The leather moves on its own, stretching or leaning differently than the artist expects, and she follows its lead. Kennedy never gets bored making these shapes because each one is unique.

Talitha Kennedy takes a similarly intuitive approach to drawing. Shadows Drawn continues her drawing on crumpled paper, and the works have become more open and suggestive. By crumpling the paper, it becomes a landscape itself, not just an illusory plane representing something else; rather, the paper is present. The pen is directed by the ups and downs of the surface; going up is a climb of leaping marks, it catches on the ridge, then rolls loosely down, the ink pools in the crease of a valley where it gets stuck. Using a nib that needs to be frequently dipped into ink keeps my mark-making adventurous. Kennedy is never in full control, so the technique and mediums define the shapes that are made; drops, slip-ups, too much ink or not enough are all part of making. This is an organic methodology to make organic forms.

In the process of making, Kennedy reflects on the concepts of creation. The natural forms that she is fascinated with make her consider how they grow and the life force that shapes them. It is the universal growth cycles that she learns from observing the natural world. The way that she sees plants bud and divide echoes on a micro level in cellular reproduction, up to a macro understanding of geological forms and river systems. Her mind feels like an encyclopaedia of organic shapes from all the things she’s been looking at since she can remember, and suggestions of these wonders come to the surface.

An intuitive approach to shaping sculptures and scribbling drawings or artworks in between keeps the work alive. They are not finished or still; the drawings invite the mind to complete them, and the sculptures can be changed. This way, shadows grow from her inner world.

Talitha Kennedy has shown sculptures, drawings and installations throughout Australia. Solo shows include Artisan Brisbane, Stockroom Kyneton, Chapman & Bailey Melbourne, MARS Melbourne, Umbrella Townsville and NCCA Darwin. Her work has been curated into survey exhibitions including PRICK! Needlework Now RMIT Gallery Melbourne, Fresh Material: New Australian Textile Art, Perc Tucker Regional Gallery Townsville, Fecund: Fertile Worlds Artback NT Touring Exhibition, and Legacy: Reflections on Mabo which toured with Visions Australia (2019 – 2023) to 10 public galleries. Talitha is based in Naarm Melbourne and holds an MVA from Charles Darwin University, Darwin.

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Subtle Grounds: Among

Stockroom Kyneton, ceramic space
05 July / 10 August 2025

HEIDI KWONG
Subtle Grounds: Among
 

Heidi Kwong is a Hong Kong–born ceramic artist based in Melbourne. She graduated with a Bachelor of Arts (Ceramics) from RMIT. Her journey with ceramics began over a decade ago, rooted in a passion for hands-on making. She found solace in clay, using it as a meditative practice amidst the demands of daily life.

Kwong’s work is inspired by the natural qualities of clay and the organic forms it can take. She emphasises the tactile connection between artist and material. Her practice centres on hand-building techniques, allowing for a personal dialogue with each piece. Through her work, she strives to evoke a sense of tranquillity and contemplation, inviting viewers to slow down and engage with the inherent beauty of ceramics.

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Echo

Stockroom Kyneton, gallery one
24 May / 29 June 2025

JARRAD MARTYN
Echo

Strange Attractor, 2024, oil on canvas, 84 x 80 cm

The starting point for this new body of work was the artist’s father’s photo album, which he created during his time working in Antarctica in 1985. As Martyn explored the album, he became intrigued by how the meaning of these photographs and the archive itself evolves over time, evoking new political and environmental associations in the present day.

‘Echo’ marks the introduction of found imagery into this personal archive. Motifs drawn from different contexts and time periods from historical archives, nature magazines and holiday snaps are combined together through digital collage. The resulting narratives take on an uncanny and unresolved quality, continuing to challenge the legacy of our relationship with the landscape.

Martyn’s approach to painting blurs the lines between figuration and abstraction creating a ‘state of flux’ that fosters a more ambiguous sense of place. By resisting precise representation, he encourages the viewer to shift between different modes of thinking and perception, inviting them to make connections and form their own interpretations of the unfolding events and the symbolic meanings embedded within. By leaving these narratives unresolved, Martyn creates space for deeper reflection, expanding the possibilities for interpretation and connection.

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Her Majesty's Motel

Stockroom Kyneton, gallery two
24 May / 29 June 2025

NIC MALACARI
Her Majesty's Motel

King’s disease (in gout I lust), 2025, oil on timber board, 60 x 50 cm

Intrigued by conspiracy theories and general banality, Nic presents a series of surreal oil paintings that dissect and probe the monoculture of ‘Her Majesty’s Motel’. Influenced by the storytelling of Gareth Liddiard and Tom Robbins, Nic explores various opposing social ideologies and blends their similarities with satirical humour. Nic’s imagery serves as a gentle reminder that all paths inevitably lead to the same drain, and as we are all circling around it together as members of the human race, we might as well smile and be kind to one another.

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On & On & On & On

Stockroom, gallery one
12 April / 18 May 2025

HAYLEY ARJONA
featuring collaborative ceramics by Hayles n Link
On & On & On & On

Suspended Potential, 2023, oil on board, 120 x 120 cm

This exhibition showcases recent paintings and ceramics by Hayley Arjona (Hayles), alongside collaborative ceramics created with Link.

The paintings and sculptures convey emotional, ecstatic, and often uncomfortable narratives, perhaps reflecting the very process of their creation. None of these works were born from specific intention or expectation; each was made impulsively, driven by the desire to explore what might unfold

Continuing her 30-year artistic journey, Hayley explores an intuitive, performative process that amplifies and translates the unconscious and subconscious into tangible forms. Through dialogue with her subjects and embodied transmutations, moving fluidly between paint and clay, she blurs the lines between intention and action, dreams, memories, and reality. In this body of work, the distinction between the origin of an idea and its execution dissolves, creating an infinite narrative. It just goes On & On & On & On …

Hayles and Link have been lifelong creative partners, collaborating on a diverse range of projects, from festival production and set design for film and television to free-range farming. Their artistic focus has recently merged in a shared exploration of clay, where they experiment with raw materials, form, glaze finishes, and firing techniques. This marks their first exhibition of collaborative artworks in a gallery.

Hayles specialises in hand building, while Link focuses on wheel throwing, glaze development, and gas kiln reduction firing. Their process is spontaneous, an evolving dialogue where each responds to the other. Neither assumes a role of expertise; instead, both approach their work with a spirit of creative surrender. The resulting sculptures reflect this dynamic exchange, each piece embodying a unique, intersubjective quality. Additionally, elements from their home, such as rocks excavated by local ant colonies, and shared life stories are embedded within these works.

Later this year, Hayles and Link will embark on a month-long residency at Driving Creek Pottery in Te Ika-a-Māui, Aotearoa, to further explore their collaborative ceramic practice.

The artists wish to acknowledge and pay respects to the Taungurung people, Elders past and present, who are the traditional custodians of the land on which these artworks were created.

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Kitchen Garden

Stockroom Kyneton, gallery two
12 April / 18 May 2025

LAETITIA OLIVIER-GARGANO
Kitchen Garden

Pie Vase, AP, 2025, polyurethane resin, enamel paint, edition of 5 + AP, 4 x 11 x 11 cm

Laetitia Olivier-Gargano presents a new suite of artworks combining hyper-real resin cast sculpture collaged into painterly watercolours alongside a collection of food-inspired ikebana vases.

A love of food and gardening is celebrated in this exhibition. The title being a play on the term for the beautiful and edible potager’s garden, that is often found in country homes, Laetitia quite literally combines the aesthetics of food and plants within her works. Focusing on the textures and colours of the garden to explore the contemplative qualities of cultivating nature. This attention to the meditative beauty of the artists’ garden is contradicted by the juxtaposition of comfort food and everyday objects.

Playing with the combination of the beauty and the reality of the world that surrounds us, Laetitia brings the suburban garden into the home kitchen. Delicate floral arrangements emerge from a tantalisingly realistic meat pie. An egg salad sandwich is flanked by whimsical watercolours of this summer’s harvest. Views through the kitchen window offer a peaceful observation and time for introspection.

Laetitia’s practice is driven by a close survey of food, plants and everyday objects, through surreal sculptural reimagining. By blurring the boundaries of complex yet recognisable forms, her work playfully incites both a sense of wonder and unease. These edible and domestic items speak to deeply personal emotions, memories and associations. Her work often engenders bodily responses from viewers due to its intense familiarity, yet complete absurdity. Our stomach turns, and we want to look away, but curiosity stops us. It is this uncanny sensation and the universality of it that her works make us aware of.

Laetitia currently works from her studio in Naarm/Melbourne, Australia. She graduated in 2016 with a Bachelor of Fine Art (Honours) from Monash University. Her work has been exhibited nationally at institutions such as Perth Institute of Contemporary Art, Cement Fondu, Notfair and Firstdraft. Her work has also featured in Broadsheet, Artist Profile and Art + Australia journals. In 2019 Laetitia received the Freedman Foundation Travelling Scholarship for Emerging Artists, administered by NAVA. She undertook research in Japan, learning how to make their iconic plastic food samples. Laetitia’s practice often involves ‘hyper-surrealistic’ resin cast sculpture, stop-motion animation and works on paper.

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