Your Grandma Has an OnlyFans

Magali Gentric ·

Stockroom Kyneton, ceramic space
12 April / 18 May 2025

MATTHEW BUTTERWORTH
Your Grandma Has an OnlyFans

Pretty Thing (jug), 2025, reclaimed porcelain, earthenware, porcelain, ceramic stains, glaze, lustre, multiple firings, 16 x 17 x 13 cm

"Your Grandma has an Only Fans"

In his latest exhibition titled “Your Grandma Has an Only Fans,” Mathew Butterworth sought to create new narratives that emerge from existing ones. By utilizing porcelain ware reminiscent of pieces owned by his grandmother, Butterworth aimed to forge a connection with another time and evoke a deeper, more profound feeling. Through the processes of breaking, adding to, and meticulously rebuilding these new vessels, he challenges conventional notions of purpose and offers fresh, thought-provoking meanings that invite viewers to reflect on their own relationships with memory and heritage.

Matt Butterworth is a contemporary Australian artist who celebrates form, colour and texture through the making of his ceramic works: "I am interested in the conflict that arises when a wall is created. My artworks (ceramic) begin with a process. I begin by throwing (on the wheel) a white porcelain vessel. I then challenge/alter this by adding coloured clays, cutting/exposing the internal form, glazing (in different stages) then finally applying and firing gold lustre. I work intuitively, taking the original narrative (one steeped in a rich history) and expose it. I want my works to challenge the very idea of a vessel while remaining faithful to its creation. I want to challenge the boundaries of ceramics and expose the limitations and expectations." Matt Butterworth’s porcelain bowls represent a radicalised interpretation of the traditional ceramic vessel. Perfectly functional golden ceramic bodies are dissected with cuts and tears, and yet they are so resolved and so exquisite. Small in scale, these bowl forms become jewels, glittering in the sun. They tell stories, they are strong, fresh and live in the present. In 2019, Matt was awarded the prestigious Manningham Victorian Ceramic Art Award, and in 2021, he was acquired by Power House Museum, who exhibited his ceramics in 'Clay Dynasty: 50 Years Of Australian Ceramics'.

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Measured

Magali Gentric ·

Stockroom Kyneton, gallery one
01 March / 06 April 2025

RHETT D’COSTA
Measured

Ottoman (Bone Black), 2024, acrylic polymer, graphite, watercolour on Fabriano Artistico 640 gsm paper, framed, 76 x 58 cm

Each morning begins with a dog walk through the bushlands in Central Victoria where we live – beautiful Dja Dja Wurrang country. It is a routine we look forward to. There are rhythms to this activity. My dog’s gait changes and adjusts from slow to fast depending on what catches his attention. He is full of anticipation, playfulness, and optimism as to what will be revealed. I adjust my pace trying to stay with him. He sniffs, ears pricked, eyes searching, alert, and open.  I too stay attentive - listening, touching, smelling, looking - breathing in air deeply. There is a fragile, yet resilient rhythm to the flora and fauna in the bush which I am respectful of and which we both are becoming more attuned to, slowly finding our place.

Each day in the studio also has its own rhythms - its own measures - its own distractions and moments of attentiveness. I bring my experiences from my walks, and from the world, into the studio for deliberation. I am learning to navigate a more thoughtful measured approach in my studio practice which allows for objectivity and subjectivity to operate in different ways and at different times.

To measure is to ascertain the size, amount, or degree of something by using an instrument or device marked in standard units. To measure also means to assess the importance, effect, or value of something. Reliability and validity are concepts used to evaluate the quality of research. The consistency of a measure provides reliability. While the accuracy of a measure provides validation. I have come to realize that these concepts are not restricted to evaluating the quality of research, but rather extends out into the world. While the act of measuring operates in much of my daily life including my studio practice, I am conscious to also consider that which might be unreliable and to find other means and forms of validation.

The artwork in this exhibition begins with some form of measurement; ruled lines, grids, triangles, which maintains a structure for me to work with and against. The motifs and colours I employ, reflect long held disparate interests - tropes in abstraction, textiles, daydreaming, cultural memories, travel, migration, and place. Each of the paintings while deeply personal, use familiar forms allowing viewers to find their own entry points into the artwork. In this way we may arrive at points of shared (or divergent) values or meanings (whatever they are) which reflect how we navigate the world we live in.

This exhibition attempts at revealing this wonderful relationship between that which can be measured objectively, quantitatively, and that which occupies more subjective, qualitative spaces. The complex and nuanced decision-making process in the studio relies on trying to ascertain the importance or value of something by working within these parameters to arrive at a body of resolved work.

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Unbound...

Magali Gentric ·

Stockroom Kyneton, ceramic space
01 March / 06 April 2025

KRIS COAD
Unbound…

These works form part of an ongoing exploration into the concept of journey, thinking about how we protect and preserve what is important to us. These objects are metaphors for the journey we all undertake. The ritualistic layers of wrapping create a protective space, a place that holds and shields. A void lies within these vessels; what was there has moved on, still forms reflecting what was and contemplation of what is to come. An immeasurable space between two things as they transition into and between one to the other.

Kris Coad is a ceramic artist living and working in Naarm (Melbourne), Australia. She has been a practicing artist for over 30 years, dividing her time between her studio and her work as an educator. Kris alternates exhibition work with large and small-scale ceramic commissions, both within Australia and internationally. She also produces a translucent porcelain tableware range for selected retail outlets and custom designs for haute cuisine restaurants.

Kris has exhibited in many solo and group exhibitions, including the Taiwan Ceramics Biennale, Korean Ceramic Biennale, Dianne Tanzer Gallery Melbourne, Manly Museum and Art Gallery Sydney, Woollahra Small Sculpture. Commissions include the Paris Peninsula, the Municipal Offices of the Greater City of Dandenong and the Beson office CBD Melbourne. Her work has been acquired for public and private collections, including Icheon World Ceramic Centre Korea, Mino Ceramic Museum Japan Parliament House Canberra, Shepparton Art Gallery, and Manly Museum & Art Gallery. Kris’s work has been featured in many magazines, journals and custom books, including World Sculpture News, The Journal of Australian Ceramics, Vogue Living and Ceramics Art and Perception International.

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microcosm|macrocosm

Magali Gentric ·

Stockroom Kyneton, gallery two
01 March / 06 April 2025

microcosm|macrocosm

CARLY FISCHER
JUAN FORD
JAMES GEURTS
DESMOND LAZARO
NICHOLAS MANGAN
MICHAEL VALE
LISA WAUP

NICHOLAS MANGAN
Termite Tomography, 2022, bronze, 35 x 41 x 5 cm

microcosm | macrocosm brings together seven artists whose work explores unique perspectives of our relationship with the universe.

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Fieldwork

Magali Gentric ·

Stockroom, gallery one
18 January / 23 February 2025

ANTHEA KEMP
Fieldwork

Fieldwork is a series of new paintings extending Anthea’s interest in conservation efforts for bush and native animals in Victoria and finding visuals withing these places.

Fieldwork deepens Anthea’s exploration of visuals inspired by nature, reflecting her ongoing ambition of learning about and engaging with conservation efforts for bushland and native wildlife. Anthea’s learning of bush conservation alongside her current understanding funnels motif, gesture and form allowing her to resolve these paintings through studies and exploration in oil paint. The process she follows balancing composition, allows decisions to emerge between mark and gesture, colour and form. Through these decisions and explorations, the boundaries shift between representation and abstraction.

This new body of work emerges from a series of exploratory studies by Anthea, created during her collaboration with writer Hugh Leitwell. Through a shared passion for the conservation of bushland and native wildlife, their creative dialogue saw each responding to the other's work—Hugh through poetry and Anthea through painting. Together, they drew inspiration from the insights and efforts surrounding conservation, channelling them into their respective art forms.

Hugh and Anthea have been introduced to diverse conservation efforts operating at various levels. Anthea has witnessed her parents’ dedicated work to regenerate bushland in Northeast Victoria, land previously used for farming after colonization. This restoration has allowed native species, such as the Diuris corymbosa (donkey orchid) and Caladenia, to return once more, becoming recurring motifs in her paintings. Hugh’s poetry reflects his experiences with different conservation projects, including efforts to protect the Golden-rayed Blue Butterfly. This species has inspired Anthea to incorporate its form and delicate linework into her latest series, weaving their shared environmental focus into her art.

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a thing that holds something else

Magali Gentric ·

Stockroom Kyneton, gallery two
18 January / 23 February 2025

MADELEINE MINACK
a thing that holds something else

As an interdisciplinary artist primarily working in installation and sculpture, Minack's practice derives from a process of accumulation. Collecting discarded found objects to produce small, intimate sculptures that reflect minute details of normally unnoticed everyday matter.

Remnant: a trace remaining

Magali Gentric ·

Stockroom Kyneton, ceramic space
18 January / 23 February 2025

STEPH WALLACE
Remnant: a trace remaining

Born from a fascination with what lies beneath our feet, this body of work presents what is seen and unseen. In a merging of geological phenomenon, historical context and archaeological discovery, Wallace expresses diverse landscapes through the medium of clay.

Created in her Ballarat studio shaken daily by the explosions of contemporary gold mining practices, Wallace uses abstract line and embossed clay surfaces to meld her fragmented sense of place as a migrant. These works fuse imagery of historic gold diggings from her life in the Victorian Goldfields with personal fossil findings from the Jurassic Coast in Yorkshire, UK.

This sense of immersion in the landscape is continued through the artist's use of materials, often foraging site-specific resources directly from the land. Clays are dug directly from the earth to throw on the wheel and invasive weeds and introduced species are burnt to carbonise the surfaces of works.

This richly layered process of creation and modality of working irrevocably connects the work to the landscape itself, and becomes one with the stories told on its surface; its renderings of the visible terrain and imaginings of what is hidden to us inside the earth’s crust. To honour this connection further, Wallace seeks ways to reduce the environmental impact of her practice, using sustainable materials and methodologies where possible.

The making processes of fire and smoke and the resulting violent thermal shock can sometimes result in hairline fractures on even the most meticulously made ceramics. Wallace relishes these imperfections as opportunity for ‘radical repair’ and often pushes the making process intentionally to its limit, enticing and then embracing these aesthetic flaws. Using ancient repair methods and precious metals these invisible fractures become celebrated, with their imperfections adorned with brass and 23k gold.  

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Phenomenal Bodies

Magali Gentric ·

Stockroom Kyneton, gallery two
12 October / 17 November 2024

ALICIA KING
Phenomenal Bodies

Phenomenal bodies presents a collection of new artworks driven by King’s fascination with natural phenomena. This exhibition features pieces that incorporate elemental and industrial materials, as well as natural forces of gravity and magnetism, to create intricate crystalline formations on aluminium panel. Additionally, it includes hand-drawn works where King has meticulously etched cosmological motifs into aluminium colour planes. Though abstract, these works have a direct relationship to the natural world through King's evocative use of surface, line, colour, and texture.

King’s practice explores the intersections of nature, technology and the sublime. Through an alchemical approach to materiality and process, her work uses diverse technologies to create novel representations of the natural environment. 

Her artworks engage viewers through their tactile surfaces and textures, inviting them to contemplate their connection with larger unseen forces and complex ecologies, from which we have so much to discover.

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Ceramics

Regeneration

Magali Gentric ·

Stockroom Kyneton, ceramic space
12 October / 17 November 2024

VICTORIA LYNAGH
Regeneration

Epicormic #4, 2024, burnished Keane’s terracotta, terra sigillata, saggar fired with eucalyptus woodchips, 12 x 33 x 8 cm

Climate change is one of the most profound and challenging issues facing humanity.  Victoria Lynagh’s work has developed from concerns surrounding the changing landscape and the increased prevalence of naturally occurring bushfires in Australia. Further influence comes from the debate on the historical use of controlled burns by indigenous peoples to manage the natural environment in a way that benefits humans and wildlife.  Many ecosystems have evolved with fire as an essential contributor to habitat vitality and renewal, with plant species regenerating in the fire-affected environments when the resultant ash is used as a source of nutrients to germinate, establish or reproduce.

The importance of the effects of fire on the ecological landscape is represented in Lynagh’s work. The blackened debris caused by fires, and the re-growth in the landscape that can follow, is illustrated in the partly carbonised sculptural forms that bleed into the natural colours of the land.

Drawing inspiration from the ancient and simple approaches used in land regeneration, Lynagh incorporates traditional hand-building ceramic methods into her practice.

The works are made from a range of different clay bodies, illustrating the array of colours that occur naturally in the Australian landscape.  All pieces are pinched, paddled, altered and refined before the surfaces are enhanced by the introduction of an earthy-toned palette of refined slips and terra sigillata.  This enables the use of clay in solid and liquid forms within each piece. They are then burnished to create a glossy patina, which reflects the light and creates shadowed areas.  Through their form and finish, the sculptural objects invite touch through their tactile and flawless surfaces and subtle, earthy beauty. Low-firing the pieces in a saggar with a range of organic combustible materials results in the works retaining the marks of the making process and reinforces the connection between the raw materials used and the earth they are taken from.

In a world where the pace of life is constantly increasing, Lynagh finds the simple hand-building techniques used in creating these pieces meditative. The simplicity and apparent effortlessness of the objects is born out of a labour-intensive method, where the repetitive and rhythmic nature of making imbues the surface with a sense of time. It is a process that cannot be rushed.  The ‘smoking’ effect on the object surface cannot be pre-determined. In a way, it reflects a wildfire – a process that cannot be controlled, but can result in an exquisite landscape.

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An Uncertain Grasp

Magali Gentric ·

Stockroom Kyneton, gallery one
12 October / 17 November 2024

PIA JOHNSON
An Uncertain Grasp

Dr Pia Johnson is a visual artist, photographer and lecturer. Her practice-led research is engaged in

performance, cultural identity and belonging, stemming from her mixed background of Chinese Italian- Australian descent. These themes have underpinned her interest in memory, cultural spaces and performance, to investigate notions of transcultural identity, belonging and otherness through photography. Pia has exhibited across Australia and internationally, and her works have been in numerous prizes and are collected in private and public collections including the National Gallery of Victoria.

Known as one of Australia’s distinctive performance photography and portrait artists for over a decade, Pia has commissions from all the major and small to medium performing arts organisations in Australia. In 2023 Pia was awarded the Kerri Hall Fellowship for Performing Arts at the State Library of Victoria and was an Artist in Residence at the Immigration Museum Victoria, which culminated in the solo exhibition Re-Orient. Pia has her own podcast Out of the Frame: Conversations about Photography, which profiles contemporary photographers and artists speaking about their practice and photographic concerns today.

Pia holds a Bachelor of Creative Arts and Diploma of Modern Languages (Mandarin) from University of Melbourne and has a Doctorate in Fine Arts from RMIT University, where she is a lecturer and currently the Program Manager of the Master of Photography program.

Pia lives and works on Dja Dja Wurrung Country, with her husband and daughter. She acknowledges and pays respect to the traditional owners of the land - always will be Aboriginal land.

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Dystopia

Magali Gentric ·

Stockroom Kyneton, gallery one
08 June / 14 July 2024

GUILLAUME DILLEE
Dystopia (Selected Works)

“The title Dystopia refers to the dreamlike quality of my works, a conceptual world where the relationship between Man and Nature is perpetually at odds. My creations reflect the limits of mankind concerning the expansive biodiversity around him. I delve into this paralleled concept through the exploration of man’s relationship with their natural environment, interpretations of plant organics, and the ambiguous relationship between botanical toxic beauty and danger.

Upon my arrival to Australia ten years ago I was exposed to a whole new world of natural environments and complicated intertwinings between man and nature. The Australian environment was a revelation of a unique palette of colours, light, shapes, biodiversity, flora, fauna, and natural disasters. I found myself intrigued by the contradictory beauty yet ferocity of Australian flora and fauna. This dichotomy became a central theme in my work, prompting me to examine the delicate balance between attraction and danger inherent in the botanical world.

Challenged by climate change more than most places, Australian land and people are frequently confronted with the destructive forces of natural disasters. In this context, I explored the complexities of coexistence between man and nature, focusing on the power dynamics that naturally arise between the two forces. On one side is man, who exploits natural resources, and on the other is nature, which, despite everything, regenerates beyond all expectations.

As a self-taught artist, I view my studio as a laboratory for experimentation between various mediums, techniques, and contrasts to create unusual visual compositions. I draw on what I observe, what I hear and what I feel to create elements that find their place in my creative subconscious. Successive layers of various mediums build upon each other, crafting the desired effect. Enamel or ink are applied in a spontaneous, definitive gesture, like Japanese Shodo (calligraphy technique), embracing the irreversibility of each mark.”

-  Guillaume Dillée, 2024

State of matter

Magali Gentric ·

Stockroom Kyneton, gallery two
27 April / 02 June 2024

ARTHUR DIMITRIOU
State of matter

State of matter is a new exhibition by Arthur Dimitriou which focuses on the re-contextualising of discarded postage items that, have ended up in state of limbo. He trophies these objects through methods such as lost wax casting as he strives to critique and subvert the cultural associations a viewer may have toward such mass-produced commodities. To successfully juxtapose any pre-existing associations with these objects, Dimitriou selects materials that offer stimulating visual qualities. By encasing forgotten matter in aluminium and wax, he disrupts the lifecycle of said objects, rejuvenating their appeal to the audience. This new production and improved aesthetics elevate their perceived value and significance. After undergoing this transition, the works appear to exist within a transient state. Emerging from their vessel his sculptures can be viewed beyond an obvious moment in time. By transforming the readymade object from simply a tool to that of a blank canvas for interpretation and interaction from the viewer, Dimitriou emphasises the beauty that can be attributed to what we deem as insignificant when provided a new context and form.

Arthur Dimitriou is a sculpture artist from Naarm/Melbourne. In 2019 Arthur completed his Bachelor of Fine Arts from the University of Melbourne Victoria Collage of the Arts and is currently completing his Honours in Fine Arts. His practice explores utilized discarded, once purposeful readymade objects that have ended up in a state of limbo. Through reimaging these objects and focusing on the beauty that exists in the form these objects take on he looks to trophy the objects through lost wax casting which he has been undertaking at Fundere Foundry.

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