9 SEPTEMBER - 10 OCTOBER
Front Gallery
Preventive Measures:
Ride Like No One Can See You
Lily Trnovsky
Artist Statement
“Ride like no one can see you” roughly translates to “go about the world as if your place in the universe is in the hands of fate, if you ride like you’re aware of that, you have control over that fate. Be vigilant”. It is my dad’s own phrasing of “be careful”, coated in a protective layer of parental concern. As an avid bike rider, his cycling paraphernalia has surrounded his person (and subsequently my own) for as long as I can remember and has been a reassuring and familiar friend. Prompted by this idea, the work explores the fragile precariousness of ceramics that mirrors life’s unpredictability. By marrying practical safe-guarding outerwear with wheel-thrown components, I intend to challenge the perception of what a “functional” object can be. Exploiting recognisable silhouettes of vases or vessels gently guides the viewer from commonplace utilitarian object into unfamiliar territory: a familiar shape in an unfamiliar context. The object cannot hold liquid for its obvious holes and could be placed upside-down to perform its usual function (head protection) if not for its brittle frame. A glossy tin glaze suggests special decorative qualities like that of Delft or similar 18th and 19th century Western porcelain imitations, yet its form contradicts ornamentalism, implying actionable functionality. This in-between state on the spectrum from bicycle helmet to Ceramic Vessel is where I have idled.
Just because you can put flowers in a vase does not mean you must, my vessels are tangible containers for intangible thoughts. Ceramic’s innate dance between control of material and eventual relinquishing of it when reaching the end stages provides me measured exposure to the fragility of life, despite an omnipresent understanding that only so much prevention can evade fate.
Bio
Lily Trnovsky is a visual artist and maker working predominately in contemporary ceramics, based on Kaurna Land (Adelaide, South Australia). Currently undergoing her first year in the JamFactory Associate program, she also holds a Bachelor of Visual Art (2023) from Adelaide Central School of Art and a Masters in Ceramics (2025) from The Royal College of Art (London). Trnovsky’s current practice utilises repeatable forms cast from plaster slump-moulds, developing wheel-throwing techniques and combining these aspects using hand-building as a construction method. Utilising these practices, Trnovsky explores themes of personal safety, repetition as a form of emphasis and the ubiquity of the human experience.
Back Gallery
deliberating on options/trying to find the reason
Jazmine Deng
Artist statement
Jazmine Deng is an artist. She has a practice that navigates cultural dis/connection/absurdism/existentialism, through the mediums of video, installation, collaboration and sometimes performance. Jazmine's practice has often been a method to comprehend the inherent juxtapositions and contradictions apparent in life, both personally and politically. She has been enjoying meeting new friends on Kaurna country and collaborating. Jazmine makes art about her relationship to family as well as her relationship to others.
Bio
Jazmine Deng lives on the unceded lands of the Kaurna people. She graduated from Adelaide Central School of Art in 2021. She is a current studio resident at FELTstudios. She has recently created an experimental long-form zine for The Funny Show at The Little Machine gallery with helium liu, and developed work for osca's onsite one-night event at No. 9 karaoke bar in Chinatown.
FELTdark
Architects Never Fall in Love with Their Floorplans
Pennavaria & Lanzinger
Artist statement
As artists who also produce visualizations for commercial clients, we spend much of our time inside digital spaces that don't yet exist physically but already circulate, as pitches, sales promises, political proposals. These renderings don't just depict future architecture, they produce it. Materials get chosen because they simulate well; proportions follow the logic of a virtual camera. Often the built building later seems to do little more than confirm what the image had already decided.
We think of these digital architectures as hauntological spaces, held between design and reality, where potential, projection, and uncertainty coexist. They exist, but not fully. In this not-yet, the cracks in their mediality surface: surfaces seem to breathe, doors move without cause. These aren't effects in the usual sense, but signs the architecture stays suspended in becoming, haunted by expectation, as if the space briefly forgot it was only a simulation. The work pairs a film with cardboard, life-size cutouts, the kind of figures used in architectural visualizations to populate a place before anyone has moved in. Standing in the room, these paper bodies become stand-ins for whoever the space was imagined for.
Bio
Pennavaria & Lanzinger have worked together as an artist duo since 2019, based in Nuremberg. Their work sits at the point where architecture and visual effects overlap as systems that produce images, and with them, produce reality, moving between physically built structures and their digital counterparts until it becomes unclear what was built and what was only ever rendered.
They approach architectural visualization and special effects less as tools than as forms of production in their own right, image systems that decide who a space is imagined for long before it is entered.
Since 2022, their work has been shown in exhibitions, performances, and festivals including Kunstverein Nürnberg, Kunstbunker Nürnberg, Mahagoni Festival Leipzig, and Hinterconti Hamburg, and supported through awards including the Academy Prize of the Academy of Fine Arts Nuremberg (2023), inclusion in the LfA Förderbank Bayern art calendar (2024), the Bavarian Debut Artists Grant (2025), and the 15Hoch2 scholarship at Kunsthalle Kempten. Their exhibition at Feltspace Gallery marks their first presentation outside Europe.
Alongside their artistic practice, Pennavaria & Lanzinger work professionally in architectural visualization, VFX, and moving-image production for film and theatre, and create live visuals for DJ sets and performances, work that feeds directly back into how they build and rebuild space in their own art.