UPCOMING EXHIBITIONS
opening: Saturday 08 August, from 4pm
08 August / 13 September 2026
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gallery one
GREG WOOD & YOKO OZAWA
Night Shift
Greg Wood's body of work explores the notion of landscape at night, examining how ways of seeing are experienced through darkness rather than direct observation. These paintings investigate the shifting nature of perception after light fades, where familiar forms dissolve into shadow and certainty gives way to ambiguity. It is through this approach, the works invite viewers to engage with the landscape as something sensed and felt rather than fully seen.
Wood uses darkness as both subject and method. Walking and painting within the bush after light heightens awareness of sound, movement and the limits of vision, producing an altered relationship with place. Familiar environments become disorienting and inverted, as though the known world has quietly shifted into something unfamiliar. Rather than recording the landscape through direct description, the paintings emerge from sustained observation of darkness itself and the subtle ways light is received, absorbed and perceived within it.
Central to the series is the idea of absence. Darkness transforms the landscape into a vast and unknowable space where depth, scale and distance become difficult to measure. These atmospheric conditions create a tension between presence and obscurity, suggesting that the landscape exists beyond complete comprehension. Rather than revealing every detail, the paintings embrace uncertainty, encouraging prolonged looking and quiet contemplation.
This series of work require time before the eye begins to register subtle shifts in tone. Gradually, faint vertical passages emerge, suggesting the presence of tree trunks or dense vegetation without fully describing them. Horizons dissolve, foreground and background become indistinct, and no single focal point offers visual certainty. Instead, vision slows as the eye gradually adjusts to darkness. In this way, the paintings do not simply represent the night; they recreate the experience of encountering it.
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’余白 Yohaku’ (Blank space), a Japanese notion, underlies the expression of Ozawa’s work. For her, the space observed when surveying landscapes—or the space between objects—is not nothingness; rather, it is something that is constantly in motion. Even the invisible air we breathe is never truly static. Ozawa’s work illustrates this everyday celestial event and highlights natural phenomena such as wind, light and shadow, gravity, and seasonal changes. She uncovers their presence through small daily observations and records those fleeting moments.
In this exhibition, "Night Shift," she illustrates scenes from dusk to twilight, inviting the viewer's imagination into a forest shrouded in mist While deeply rooted in Japanese culture, the colours and textures of her works, incorporating natural materials such as eucalyptus ash, evoke the landscape of the Warungjeli Woi Warung people, where she currently lives and creates her art, and stir a universal sense of nostalgia for the countryside and one's hometown. Ozawa's work presents the possibilities of this Yohaku and conveys the connection between humanity and the surrounding nature.
After Serpentine is a study of the dialogue between abstraction and representation, inspired by the 1891 performance of Serpentine Dance by American performer Loie Fuller.
The logic of Alex Dillon’s series of paintings follows Fuller's avant-garde ‘free dance’ practice, which incorporated theatrical devices, synaesthesia, and unencumbered movement to invent an aesthetic spectacle.
The images from After Serpentine are cultivated and juxtaposed from an archive of botanical studies, film stills, documentary photography, and Dillon’s own personal collection of family history. Each painting is rendered first in charcoal, then translated with oil paint onto wooden blocks.
Dillon’s process is driven by a curiosity for curatorship, theatricality, the representation of nature, and the themes of temporality and spectatorship. The combined paintings are staged to be evocative and atmospheric, constructing their own improvisational interpretations.