CURRENT UNTIL 25th OCTOBER
OPENING CELEBRATION
SUNDAY 4TH OCTOBER 2-4PM
Projection Room
Sally Vivian
Reflect on this…
Sally Vivian’s practice is cross-disciplinary, usually using installation. Aspects such as
transience, transformation of states, and materiality are explored in her work often using
phenomena including light, reflection, water and duration. ‘Reflect on this…’ will reference
climate change through melting ice, but also investigates embodied perception and
ephemerality. Fleeting reflections point to instability, while the sound of the drips and
disappearing ice can suggest the passage of time. The viewer may interact by creating
shadows in reflections or by touching the water, thereby being implicated in the work, just
as we are all implicated in climate change.
Gallery 1
Elaina Venn
The materiality of absence
The exhibition The materiality of absence explores my childhood memories
through constructed sculptural forms. The installation aims to construct a
world where everything is small to scale, disruptive, dysfunctional and
unanchored. I question my connection to events and ask if what I remember
is as reliable as I recall? My work explores this through the construction of
lines and forms that create disconnected objects. The grid like structures are
arranged in a precarious fashion, with pieces on top of each other and parts
missing. I address the question of absence through the haunting blackened
objects. The objects are not functioning as they should and the strangeness
that pervades the once familiar objects leads me to question, what do I really
remember?
Gallery 2
Elizabeth Wade and Nicole Tomlinson
Creaturely
Creaturely. Our shared physical existence with all life on earth, our vulnerability and basic biological needs - food, rest, breath.
All creatures on earth are connected. The richness of forms in nature: life in all its joy and diversity and strangeness. We don’t need to look to outer space for the weird and wonderful… even now we discover new life forms and phenomena every day. Our connection is also emotional. Guardian, mask and monster figures suggest beings created to protect, but also to embody the anxieties they are meant to contain, becoming externalisations of grief, fear, loneliness or the desire for protection and resilience. Clay is earth (dust) and water, completed by the element of fire. Star dust, mysteriously
animated to form life... Nicole and Liz invoke this alchemy in their Creaturely collaboration.
Elizabeth Wade
Elizabeth Wade has been a painter for most of her artistic career. After numerous group exhibitions over the years, she had her first solo show ‘Wild at Heart’ in 2024, which featured works of abstract expressionism. Her clay works draw intensely upon this imaginative reservoir. The name Wade has Celtic origins in sea monster mythology. A monster can be an unfamiliar form or a figure we use to embody powerful emotions - fears, desires, rage - or wonder, things we can’t explain. Sometimes what wells up is laughter, the great disruptor. Emotions are a vast sea within us and we understand what lies beneath the surface is work in progress. This deep-sea exploration is embraced in Liz’s sculptural practice: the sculptures are meditations without premeditation. Her ceramic finishes are often painterly, with colour remaining an important element of her expressive palette, complementing vivid forms and feeling.
Nicole Tomlinson
Nicole Tomlinson is a ceramics tutor, studio tech and potter. For her, to participate in making
ceramics is to engage with the story of the human hand, of the earliest forms of mechanisation, of the elemental materiality of earth, water and fire and the intrinsically human impulse to express, capture and create.
In her functional work Nicole explores the idea of the Total Art Environment where objects of utility or contemplation enrich everyday life and challenge the art/craft binary. In this body of work Nicole explores the emotional landscapes of childhood, vulnerability and protection through a cast of guardians, monsters, masks and imagined companions. The
work asks where protection ends and fear begins, and whether the creatures we invent to guard us might be parts of ourselves.
Gallery 3
Kim Wall and Polly Hollyoak
Make me Someone
In an era increasingly dominated by algorithmic design, the exhibition Make me Someone by Kim Wall and Polly Hollyoak acts as a defiant rejection of automated visual culture. Eschewing outcome-driven aesthetics in favour of methodical, atavistic practices, both artists champion timeless human virtues such as discipline, patience, and intentional folly.
Wall employs traditional hand-stitching and discarded relics to construct Dadaist textile sculptures that resemble structured studies in bathos. Hollyoak utilizes her background in signwriting and Pop-style painting to render absurd, semi-abstract subjects with grounded technical realism. Together, their meticulously crafted works restore character, permanence, and human integrity to contemporary portraiture and sculptural practice.
Kim Wall
Kim Wall is a textile and ceramic artist who makes small-scale abstract sculptures from earthy clays, slips and discarded fabrics. Her sculptural practice is the pursuit of formal upset: pottery without any utility, textiles that eschew beauty, and the amorphous fripperies that result from their combination.
Instagram: @kimwallartist
Polly Hollyoak
Polly Hollyoak is an artist with a penchant for pictorial design and Pop-style canvas paintings which depict the floating iconography of our time. Her meticulous skills as a draughtswoman give a technical realism to her subjects that grounds them. Her most recent work explores the emotional significance of ordinary items, especially her children’s keepsakes and the significance they carry as vessels for memory and emotion.
Instagram: @pollyhollyoak
OPENING CELEBRATION
SUNDAY 4TH OCTOBER 2-4PM
Projection Room
Sally Vivian
Reflect on this…
Sally Vivian’s practice is cross-disciplinary, usually using installation. Aspects such as
transience, transformation of states, and materiality are explored in her work often using
phenomena including light, reflection, water and duration. ‘Reflect on this…’ will reference
climate change through melting ice, but also investigates embodied perception and
ephemerality. Fleeting reflections point to instability, while the sound of the drips and
disappearing ice can suggest the passage of time. The viewer may interact by creating
shadows in reflections or by touching the water, thereby being implicated in the work, just
as we are all implicated in climate change.
Gallery 1
Elaina Venn
The materiality of absence
The exhibition The materiality of absence explores my childhood memories
through constructed sculptural forms. The installation aims to construct a
world where everything is small to scale, disruptive, dysfunctional and
unanchored. I question my connection to events and ask if what I remember
is as reliable as I recall? My work explores this through the construction of
lines and forms that create disconnected objects. The grid like structures are
arranged in a precarious fashion, with pieces on top of each other and parts
missing. I address the question of absence through the haunting blackened
objects. The objects are not functioning as they should and the strangeness
that pervades the once familiar objects leads me to question, what do I really
remember?
Gallery 2
Elizabeth Wade and Nicole Tomlinson
Creaturely
Creaturely. Our shared physical existence with all life on earth, our vulnerability and basic biological needs - food, rest, breath.
All creatures on earth are connected. The richness of forms in nature: life in all its joy and diversity and strangeness. We don’t need to look to outer space for the weird and wonderful… even now we discover new life forms and phenomena every day. Our connection is also emotional. Guardian, mask and monster figures suggest beings created to protect, but also to embody the anxieties they are meant to contain, becoming externalisations of grief, fear, loneliness or the desire for protection and resilience. Clay is earth (dust) and water, completed by the element of fire. Star dust, mysteriously
animated to form life... Nicole and Liz invoke this alchemy in their Creaturely collaboration.
Elizabeth Wade
Elizabeth Wade has been a painter for most of her artistic career. After numerous group exhibitions over the years, she had her first solo show ‘Wild at Heart’ in 2024, which featured works of abstract expressionism. Her clay works draw intensely upon this imaginative reservoir. The name Wade has Celtic origins in sea monster mythology. A monster can be an unfamiliar form or a figure we use to embody powerful emotions - fears, desires, rage - or wonder, things we can’t explain. Sometimes what wells up is laughter, the great disruptor. Emotions are a vast sea within us and we understand what lies beneath the surface is work in progress. This deep-sea exploration is embraced in Liz’s sculptural practice: the sculptures are meditations without premeditation. Her ceramic finishes are often painterly, with colour remaining an important element of her expressive palette, complementing vivid forms and feeling.
Nicole Tomlinson
Nicole Tomlinson is a ceramics tutor, studio tech and potter. For her, to participate in making
ceramics is to engage with the story of the human hand, of the earliest forms of mechanisation, of the elemental materiality of earth, water and fire and the intrinsically human impulse to express, capture and create.
In her functional work Nicole explores the idea of the Total Art Environment where objects of utility or contemplation enrich everyday life and challenge the art/craft binary. In this body of work Nicole explores the emotional landscapes of childhood, vulnerability and protection through a cast of guardians, monsters, masks and imagined companions. The
work asks where protection ends and fear begins, and whether the creatures we invent to guard us might be parts of ourselves.
Gallery 3
Kim Wall and Polly Hollyoak
Make me Someone
In an era increasingly dominated by algorithmic design, the exhibition Make me Someone by Kim Wall and Polly Hollyoak acts as a defiant rejection of automated visual culture. Eschewing outcome-driven aesthetics in favour of methodical, atavistic practices, both artists champion timeless human virtues such as discipline, patience, and intentional folly.
Wall employs traditional hand-stitching and discarded relics to construct Dadaist textile sculptures that resemble structured studies in bathos. Hollyoak utilizes her background in signwriting and Pop-style painting to render absurd, semi-abstract subjects with grounded technical realism. Together, their meticulously crafted works restore character, permanence, and human integrity to contemporary portraiture and sculptural practice.
Kim Wall
Kim Wall is a textile and ceramic artist who makes small-scale abstract sculptures from earthy clays, slips and discarded fabrics. Her sculptural practice is the pursuit of formal upset: pottery without any utility, textiles that eschew beauty, and the amorphous fripperies that result from their combination.
Instagram: @kimwallartist
Polly Hollyoak
Polly Hollyoak is an artist with a penchant for pictorial design and Pop-style canvas paintings which depict the floating iconography of our time. Her meticulous skills as a draughtswoman give a technical realism to her subjects that grounds them. Her most recent work explores the emotional significance of ordinary items, especially her children’s keepsakes and the significance they carry as vessels for memory and emotion.
Instagram: @pollyhollyoak
Supported by City of Yarra
Gallery Manager Hours 11am - 4pm Fridays
Gallery opening times during Exhibitions Only
Thursday - Sunday 11am - 4pm
Gallery opening times during Exhibitions Only
Thursday - Sunday 11am - 4pm
