Front gallery

in mumbling rain- Max callaghan(SA)

1. womb a brown room, held down limbs, urine, turning into sun, sun in a puddle in the corner of a room, 2018, oil on canvas, 90x120cm, $1500.

2. me and my mum cry in separate places over the same things, 2018, oil on canvas, 90x120cm, $1500.

3. carpet of not knowing very much, 2018, oil on canvas, 90x120cm, $1500.

4. a part of myself tells me not to do the best I can, I apologise for the bad things I have done, I walk through sand and find some water and look into it and see a person who is not me, 2018, oil on canvas, 90x120cm, $1500.

5. small things, 2018, acrylic, cardboard, oil, paper mache on canvas, 90x120cm, NFS.

6. upset people, 2018, oil on canvas, 90x120cm, $1500.

7. seven dreams, 2018, oil on canvas, 25x30cm, $300.

8. stomach, 2018, oil, acrylic, cardboard, paper mache on board, 160x160cm, $2200.

9. when a palm tree dies a monk’s sock is bright, 2018, oil on canvas, 2 panels, 50x30cm, $500.

10. lola, 2018, acrylic, cardboard, paper mache, oil on canvas, 60x50cm, $600.

11. red tick on a meaningless flag, green hat on a withered man, 2018, oil on canvas, 2 panels, 50x30cm, $500.

12. a yellowed body swallowing a face counting cutlery, oil on canvas, 60x50cm, $600.

13. moonlight through a hedge, passion fruit smelling flowers, neighbour’s voices sifted, a water buffalo sacrificed, a pond of fruit, birds, hats, glasses, eyes, hair and avocado, a pond of inheritance, 2018, oil on canvas, 2 panels, 50x30cm, $500

14. neighbourhood, 2018, oil on canvas, 60x50cm, $600

15. vitamin c, 2018, oil on canvas, 2 panels, 92x60.5cm, $800.

16. legs in water, dispersed are we, the lives of others, the call of a bird, 2018, oil on canvas, 2 panels, 60x100cm, $900

17. empty vase, hydrangea birthday cake, tulip, teardrop, palm frond, manhole, cigarette, orange, chimney, claw, fence, pomelo neck, lung, hibiscus kissing leopard skin, dead flower, mountain peak, spotted banana, water clean, caged bird, leg, lotus root, sunglasses, toenail, running, light bulb, flower sleep, nose silhouette, burnt foot, plastic bag, diamond void, real black dog, champagne glass, airborne germ, gold oesophagus, bush, throat, date, a flower near a void, sea snake, spotted bird, onion, horn, dried corn, hair, wishbone, neck rest, palm tree, man kicking rock, tunnel, talon, iron cross, digestive system, drink bottle, an eagle without a pecker, window, torso, distant bird, smoke, hairdo, beak, dirt, t-shirt, windpipe mummified, organ, teeth music, green glove, spikey plant, cave, rain, dog fight, sharp teeth, palm tree, rib cage, yellow light above a mountain , blood, shark egg, waxing date calendar, 2018, acrylic, coloured pencil, crayon, graphite, ink, paper on paper, 154 x 200cm, $950.

18. alone with the moon, 2018, acrylic, oil, plaster, plaster bandage, $600, 45x30x10cm approx.

19. pain relief, 2018, acrylic, bread clips, oil, plaster, plaster bandage, $500, 25x25x20cm approx.

Back gallery

expansionism III - slippage (VIC)

Slippage is a collaborative practice by Australian born Chinese Vietnamese contemporary artist Hwafern Quach and Phuong Ngo. Slippage, examines the cycles of history in conjunction with current geopolitical and economic issues through the lens of vernacular cultures, artefacts and language.

Mooncake, 2018 - ongoing, dimensions variable, celadon glazed porcelain, sand

Consisting initially of 888 celadon glazed mooncakes cast from traditional hand carved moulds sourced from North Vietnam; Mooncake is an ongoing 10-part work examining the historic expansionism of China. Utlising the mooncake, a ubiquitous cultural item in Asia that has its origins in China, the work comments on shared cultural values while critiquing China’s current position on and in the South China Sea. With each reiteration of the work a further 888 mooncakes will be added, expanding the work in direct response to the ‘rise of China’.

The Cow’s Tongue, 2018, 30 x 15 x 15 cm, gold plated bronze

The Cow's Tongue is a work that directly responses to the vernacular language used throughout South East Asia to describe the Chinese 9 dash line. It explores how language is used to colloquially discuss issues of global significance, illustrating complex political ideas through ‘simplistic’ and graphic language; in this case the terminology used is in reference to the Chinese Communist Party’s claims within the region. With China itself seen as the cow’s head, ‘The cow’s tongue’ is used to denote political, economic and geographic expansionism.


visitors of the night - Monika morgenstern (sa)

6:55 minute loop, 2018, POA