6 August - 30 august 2025
front gallery
Lili Securo Henschke
Vino Nero Sacro
Statement
The title for this exhibition Vino Nero Sacro (Sacred Black Wine) is nuanced by how migrant Italians from Trieste Italy, name red wine as “black wine”. The conceptual framework is “transubstantiation” — not in the ecclesiastical sense where wine is the blood of christ, but metaphorically applied to describe profound transformations in meaning or function . Like the 1 profound changes of grapes to wine, of an egg to a creature, of our being to another, of our souls to the cloud.
This research-led speculative project asks what happens in the Bio-spiritual Transubstantiation fermentation of wine — a biological ritual that transforms fruit into spirit?
What happens in Digital transubstantiation through the iPhone, the conduit for our experiences and realities, the sacramental object where data becomes soul?
What happens when a fragment of voice, that remnant of lost culture on an analog magnetic tape, a vessel for cultural memory, is digitised, translated and endlessly replayed? And is there Physic transubstantiation in personal encounters with holy men? The project includes works on paper and linen, as well as installations incorporating metal castings, found objects, and an analog-based recording. Across this broad range, each work invites viewers to spend time with the concept of transubstantiation as a metaphor within contemporary contexts.
Artist Bio
Lili Securo Henschke is an emerging visual artist who draws on her Italian ancestry post WWII with the legacies of Italian Futurism and the Memphis Group. The practice, influenced by a background in engineering, investigates transformation — identity, spiritual, material and industrial.
The third space of her ancestral legacy is navigated with works that fuse art classical techniques and art historical references with industrial materials and postmodern strategies. In 2024 she received a Bachelor of Visual Arts from the Adelaide Central School of Art, the Surewise Travel Award and FELTspace Graduate Award.
BACK gallery
Erin Sorcha
Inheritance
Statement
I don’t want that to which is bestowed upon me. How could I ever?
Myth holds that sin passes through the blood; the unfortunate are stained with the parasitic entrails of an abuser. I am his daughter. An innocent title that threatens a predetermination to symmetry. In all its parallels. That realisation crystallises the carnivorous turn inwards. An internal anger that ruptures the vessels. It mellows in the flesh and blood, carving deeper through viscous rot in search of the condemnation I can’t bear to look at. Fear drives the hand despite the twisted contradiction of flagellation.
Habitually the child asks if blood can be renounced. If the seed can be unsown from the ground even if it has already begun to take root. How can I deny her the illusion of atonement?
Each piece skirts the edge of the abject, where what repels also implicates. This is not a catharsis. It’s a quiet mutilation. A gesture towards survival that doesn’t promise redemption. For how could the ultimate betrayal offer release? What remains is an internal collapseas the body curls inward, piercing the fermented host, lest it rot further. Like bone, like root, like something calcified and ancient trying to dig its way back in. It becomes a self-consuming altar, the aftermath of every flinch and every bite taken in fear.
A voice I never asked to inherit, yet it bridles me. Impure, unpure, unforsaken and the least bit redeemable.
Artist Bio
Erin Sorcha (b. 2002, South Australia) is an emerging artist working across classical painting and contemporary sculpture. Her practice explores lived trauma through grotesque forms that act as symbolic extensions of the psyche. Informed by a childhood shaped by emotional and physical abuse, her work merges mythological and feminist references with adverse materiality. Sorcha’s pieces resist passive viewing, instead demanding confrontation and empathy.
She holds a Bachelor of Visual Arts (2024) and Honours (2025) from Flinders University.
FELTdark
Charlotte Treloar
Foster
Statement
Foster is an investigation into the artist’s origin, reflecting on impermanence, ancestry, perspectives of reality and how they inform identity. Exploring the realms between life and death Foster seeks to aid the artist’s journey of orienting herself in the world. By engaging with unanswerable concepts, this work reconstructs a personal narrative of grief, self-doubt, and fear to cultivate a liberated sense of self.
Water is a symbolic medium utilised in Foster for its association with blood, life force, expression, memory and journeys of transformation between sky and ground (life and death). Within Foster, water refers to the body’s physical place of origin (the womb) and the soul’s place of origin (the unknown). This space before and after Life is unaccessible while still possessing a body, the only separating factor being breath, of which we can’t naturally take underwater without a lifeline. Water also being a reflective surface, mirrors the duality of self. Revealing the condition of your inner world by the reflection you witness in your external reality.
The incorporation of burrowing bark beetle tunnels reference both the destruction of unaddressed uncomfortable emotions (such as grief and guilt) and the Last Universal Common Ancestor cell (LUCA). By spearing out from a central point the tunnels acknowledge the nature of LUCA and remind us of our connection to all life. They also address a paradoxical view where the destructive carving process may hold beauty. In motion with rippling water, these scars reinforce a narrative where perception is fluid and morphs with compassion.
Through dotted patterns Foster also refers to our planet’s origin and physical orientation in space; the Milky Way. Across the globe the Milky Way and night sky have been a place of wisdom keeping, story-telling, reflection and navigation. It is a grounding reminder of how ancient our bloodlines are and how little time we have on earth.
Artist Bio
Charlotte Treloar is an emerging artist based on Peramangk Country in Echunga. Exploring themes of ancestry and belonging, Treloar’s multidisciplinary practice works with experimental video, printmaking, performance and macro-photography with the aim of exploring what is often only felt in a metaphysical or embodied plane. Treloar’s practice works in collaboration with the land, opening discussions on relationship between the land, ancestry and own body.