Nicholas Modrzewski, Coma
Hannah Gartside, Tolarno Galleries
Ella Saddington
Nicholas Ives
Lucy Black
Tai Snaith, Nicholas Thompson Gallery
Georgia Spain, Tolarno Galleries
Judith Wright, Sophie Gannon Gallery
Eduardo wolfe-alegria,
Natalie Ryan
Cybele Cox, Ames Yavuz
Jacqui Stockdale
Dec 3 - End of Jan 2026
REQUEST CATALOGUE;
Hannah Gartside, Tolarno Galleries
Ella Saddington
Nicholas Ives
Lucy Black
Tai Snaith, Nicholas Thompson Gallery
Georgia Spain, Tolarno Galleries
Judith Wright, Sophie Gannon Gallery
Eduardo wolfe-alegria,
Natalie Ryan
Cybele Cox, Ames Yavuz
Jacqui Stockdale
Dec 3 - End of Jan 2026
REQUEST CATALOGUE;
"PUPPETS? EVERYBODY LOVES PUPPETS"
Exhibition
Exhibition
Our final exhibition of the year arrives with no thesis, no agenda, and absolutely no attempt at behaving. Puppets brings together a cast of artists from Australia and abroad, each invited to make… well, a puppet. That’s it. No brief, no curatorial architecture, no higher meaning imposed from above.
Because sometimes the most joyful thing a gallery can do is let the strings show.
Because puppets are absurd, uncanny, seductive, stupid, tender, and deeply human, often more than the people holding them.
Because we wanted to end the year with a grin.
Puppets is a celebration of making for the sake of making, of characters born from impulse rather than instruction; a small carnival of forms that wobble, dangle, blink and pout. It’s unserious work presented seriously, or maybe the other way around.
Come meet them. They’ve been dying for an audience.
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“Soft Monument”
Exhibition
Exhibition
In Soft Monument, artist–designer Jordan Fleming and architect Rosanna Ceravolo meet at the fault line between architecture and the object. Their debut collaboration transforms the language of the built environment into something intimate, luminous, and alive.
Anchored by a new lighting collection, the exhibition reimagines the architectural cornice, that most familiar of interior gestures, as an object of illumination. Cast, moulded, and hand-finished in concrete composite composed of recycled marble aggregate and dust, metal, and glass, each work becomes a meditation on how light and material behave, how scale shifts perception, and how structure can move from the monumental to the delicate with a turn of the hand.
Surrounding these shared works are individual explorations: Fleming’s quiet, materially driven objects that hold presence like breath, and Ceravolo’s architectonic forms that press against the edges of dream and design. Together, their dialogue unfolds through contrasts, fluid and rigid, ephemeral and permanent, utilitarian and poetic, revealing design as a site of encounter between body, space, and idea.
Soft Monument celebrates collaboration as a form of architecture itself: a structure built from trust, intuition, and the shared desire to transform the everyday into something strange, sensual, and newly seen.
Anchored by a new lighting collection, the exhibition reimagines the architectural cornice, that most familiar of interior gestures, as an object of illumination. Cast, moulded, and hand-finished in concrete composite composed of recycled marble aggregate and dust, metal, and glass, each work becomes a meditation on how light and material behave, how scale shifts perception, and how structure can move from the monumental to the delicate with a turn of the hand.
Surrounding these shared works are individual explorations: Fleming’s quiet, materially driven objects that hold presence like breath, and Ceravolo’s architectonic forms that press against the edges of dream and design. Together, their dialogue unfolds through contrasts, fluid and rigid, ephemeral and permanent, utilitarian and poetic, revealing design as a site of encounter between body, space, and idea.
Soft Monument celebrates collaboration as a form of architecture itself: a structure built from trust, intuition, and the shared desire to transform the everyday into something strange, sensual, and newly seen.
"The World’s Smallest horse"
Exhibition
Exhibition
World’s Smallest Horse, BMDO’s sophomore solo exhibition at Oigåll Projects, treats space as an emotional medium shaped as much by disjointed memory as by material. The soft hum of dealership air-con, The Whole Circus, and the melancholy of dumbed-down Rothkos and half-remembered González-Torres’. Commercial drip trays go Frankenstein on USM, festoons get their glow-up, and tapestries imagined as paintings return to furniture.
The works lean on atmosphere more than narrative, resisting neutrality in favour of richness, texture and human presence.
The collection is not bound to a single material, category of object or fixed aesthetic, yet remains unmistakably BMDO in its material handling. It leans into the chaos yet resolves into a strangely unified experience. Less sanitised, more stained and sticky.
Motifs recognisably BMDO recur throughout: minimal but sharp repurposing of found objects and materials, tapestries, and handmade, almost naïve qualities carry through with precision. Colour and line are crucial here, gestural interventions that push objects toward abstraction, where furniture edges into painting and painting edges into spectacle.