NEXT EXHIBITIONS
Opening: Saturday 27 September, from 4pm
27 September / 02 November 2025
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gallery one
BRODIE ELLIS
Visitations
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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gallery two
LARA CHAMAS
Who eats his fill while his neighbour is hungry
Lara Chamas is a Lebanese artist, based in Naarm (Melbourne). Fleeing from war, her parents migrated to Australia, where she was born. Her practice investigates topics of postcolonial and migrant narratives within the context of her cultural identity. Using narrative and experience documentation, storytelling, transgenerational trauma and memory and tacit knowledge; her research explores links and meeting points between narrative theory, cultural practice, current political and societal tensions, and the body as a political vessel. Central to her practice is the expansion of these notions in a more historical and anthropological sense. With discussing geopolitical issues, research and first-hand experience is important to the authenticity of her work.
Chamas’ work has been exhibited widely including at Campbelltown Arts Centre, Gertrude Contemporary, Warrnambool Art Gallery, KINGS Artist Run, Bus Projects, West Space, The Substation, Incinerator Gallery, Canberra Contemporary Art Space, at Wagga Wagga Art Gallery and Griffith Regional Gallery as part of the National Emerging Art Glass Prize, as well as in Ramallah, Palestine, during a residency. Chamas is a regular contributor to arts discourse via mentoring, teaching, panel discussions, artist talks, and written text. Chamas has 8 years of community theatre experience, before working as crew on the premiere season of THEM at La Mama Theatre.
A young boy walks for what feels like hours, he has no shoes.
His mother begged him not to go, the cries of his little sister said otherwise.
He joins a line, feet aching, toes bleeding.
He waits.
There is pushing, screaming, crying, gunshots.
He waits. He is determined.
He receives one bag of flour.
He is overjoyed.
. . .
He is shot and killed meters from the volunteer who handed him the flour.
The volunteer will never un-see this it.
The bag of blood stained flour is taken by the soldier who shot him.
The soldier hands it to a merchant who will sell it for 100 times what it is worth.
His mother and sister await his safe return.
Who eats his fill while his neighbour is hungry is a response to starvation used as a tool of genocide and warfare.
Empty plates, bullet shells, inedible food scraps, and a once holy fruit, waiting to explode.
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ceramic space
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.