NEXT EXHIBITIONS

opening: Saturday 26 September from 4pm
26 September/ 01 November 2026

gallery one

MARK RODDA
Abstraction + Watercolour = Good Times!!

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Mark Rodda’s Abstraction + Watercolour = Good Times!! is a collection of abstract compositions and watercolour landscapes. The non-objectives works in this exhibition range in style from graphically geometric pieces to the more organic forms of the artist’s on-going Nebula series. The watercolour aspect of the show is made up of (mostly hazy) romantic landscapes of the type the artist always seems to return to. Within the watercolour bundle is a ‘lost’ group of works from 2013, for which the artist always intended to show, but will only now see the light of day on a gallery wall.

Mark Rodda hopes for some type of synchronicity between these two disparate sets of artworks, but if the combination ends up a little bit wild…the artist is ok with that too.

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ceramic space

STEPH WALLACE
Grief is like Glitter

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Grief is Like Glitter, is a deeply intimate exhibition of ceramic works by Steph Wallace, born from a year of parallel medical trauma, vulnerability, and profound change within her home. Created to process the raw emotions of Wallace’s own cervical cancer surgery alongside a loved one’s difficult body transition, the work maps a shared family landscape of health uncertainty, dysphoria, and unconditional love.

Wallace turns private pain into a shared space of radical tenderness, resilience, and messy, beautiful transformation.

Subverting a trite internet platitude to uncover a deeper material truth: Grief is Like Glitter, speaks to the strange duality of trauma; impossible to fully wash away, clinging to the quietest corners of daily life and unexpectedly catching the light.

Through this evocative body of work, Wallace turns private pain and family transition into a shared space of radical tenderness, resilience, and shimmering proof of survival.

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gallery two

ELLA RIZZI
Distance

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Distance is a collection of small scale oil paintings investigating painting as a practise. On handmade wood panels and stretched canvas, colour, gesture, shape, and surface control a new focus of abstraction, material and tactility.  

Unplanned and instinctive, the works are informed by domestic scenes as table compositions, nature, in garden scenes, flowers and trees. From these foundations, forms are blurred and moments of complete image rejection emerge, and the object becomes suspended between layers of oil and brush strokes.

In her interdisciplinary oil painting and textile work, Ella Rizzi creates images that piece together fragmented memories to suggest an always incomplete and shifting understanding of histories. Her practise is a constant, intimate inquiry into rediscovery and recollection, and her paintings, in their innumerable layers, delineate the inevitable erosion of memory and identity across generations. Ella uses reclaimed ephemera from her Northern Italian family history as reference to relentlessly pursue an understanding of a past within the images, while also watching as any information becomes blurred among the oil and coats of paint. 

Living and working in Melbourne Australia, Ella has undertaken a Diploma in Visual Arts (RMIT) and a Bachelor in Fine Arts (Victorian College of the Arts). Recent solo exhibitions include Loom, Trocadero Projects, Footscray; Imitami (Valentina), Bargoonga Nganjin, North Fitzroy; and To all who lived before me, Green Floor Gallery, Fitzroy. She has also exhibited in group exhibitions at BlackCat Gallery, Joseph Beuys Cafe, VCA, Motor Works Gallery and Trocadero Projects. Ella participated in an art festival at The Gasometer Hotel and an artist workshop at the MPavillion, Melbourne. She has received the Stuart Black Memorial Scholarship and the West End Projects Award for excellence in her studies and graduation work at the Victorian College of the Arts.

07 November / 15 November 2026

all galleries

PERFORMPRINT
Live Art & Experimental Printmaking

Performprint is a collective of Melbourne based artists. 

Development and expansion of our live performances practice has been consistent in Australia since its inception in 2012. 

Performprint emerged from the community print studio and locates this shared experience as a site of performance and collaboration, therefore printmaking is the vehicle and starting point for audience engagement and participation through performance. We are a multi-discipline collective at the junction where fine art practice meets experimental music/sound art and spoken word. 

Over the past 14 years Performprint has morphed and expanded to include sound art collaborations and ongoing artistic experimentation within the traditional context of printmaking. During performances we make large scale immersive prints using, block printing, music, spoken word, skateboards, steam rollers, rolling pins, body printing and branding. Performprint blends theories on copy-based technologies through print informed works and ideas of future and current human and political scenarios; and turns this into live durational performance work. These durational performances can be as long as 12 hours.

Notable past performances are: Fremantle Art Centre, 2012, FOLA, Melbourne, 2014, The Sydney Contemporary Art Fair 2019, Mecha Festival of Experimental Art 2019. Performprint has been shortlisted for the Burnie Print Prize and Freemantle Print Award.  Internationally we have performed at the China Art Academy in Hangzhou in 2016,  Impact 9 (printmaking symposium in Hong Kong) in 2021, Tenjinyama art studio, Japan in 2023. 

21 November 2026 / 03 January 2027

gallery one

CAMERON ROBBINS
Dream Studio

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gallery two

LISA WAUP
when light remains

Stars screen-painted onto paper and hessian using phosphorescent and reflective inks, further articulated through hand-stitching, introduces both a visual and conceptual dimension to the works. Their presence shifts with changing light, appearing subtle or almost dormant during the day before softly illuminating in darkness. This transformation speaks to the enduring nature of ancestral presence and knowledge, which may not always be visible but remains constant, guiding and sustaining.

The stars represent ancestry and the ongoing connection to those who came before us. They evoke celestial and cultural systems of navigation, recalling the role of stars in guiding journeys, sharing knowledge and telling stories. Scattered across the surfaces, they suggest a collective ancestral presence, offering a sense of guidance, protection and belonging. They speak to the enduring connections between past, present and future, and the comfort of knowing we are never truly alone.

The stars also hold a sense of possibility, imagination and hope. Their infinite expanse evokes dreams, aspirations and the potential to look beyond the present towards what lies ahead. The phosphorescent ink, which absorbs and releases light, becomes a metaphor for resilience, inner strength and the enduring light carried within.

The contrasting surfaces of paper and hessian bring different material qualities to the work, connecting the delicacy of printed marks with the texture and structure of woven fibres. Through screen-painting techniques and slow hand-stitching, the works bring together the cosmic and the intimate, the ephemeral and the enduring. Together, they explore ancestral connection, memory, care and the quiet presence of those who continue to guide us.

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ceramic space

group exhibition
Vases

23 January / 22 February 2027

gallery one

WILLIAM EICHOLTZ

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Gallery two

ADAM BOYD

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Ceramic space

MADDISON TREZISE