Exhibitions to June 27
1/119 Hopkins Street, Footscray
Sean Hogan: Tapestry
Installation Images:
''Tapestry by Sean Hogan draws on Footscray’s rich and diverse community as the foundation for a new series of abstract artworks. Hogan transforms statistical birthplace data into a vivid and poetic visualisation of shared belonging." Excerpt, Five Walls Website.
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| Foreground: TAPESTRY S5,
2026, Flagrite fabric with metal tube, bluestone 8 x 1 m edition of 3 with AP. |
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| The Tapestry series of Giclee prints on Hahnemuhle 305gsm ultra smooth photo rag, each 84.1 x 59.4 cm. |
Project Spaces
Elisabeth Bodey: Harmony |
From the Harmony series #3, 2026, acrylic on board, 40 x 30 cm. |
"Colour and structure in painting can reflect harmonies of sound ... On the traditional piano, there is the music rack above the keys that holds the pianists music pages. I have referenced this structure in my paintings, acting as a go-between, between music and painting. Its inclusion contextualises the shared aspects of both contemporary classical i.e. New Music and painting. I see it as ‘holding’ the conversation between the two forms." Excerpt, Elisabeth Bodey, Five Walls Gallery Website.
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From the Harmony series #8, 2026, acrylic on board, 60 x 120 cm. |
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L: Keys to my kingdom, 2024, piano keys, acrylic on board, 72 x 29 x 40 cm. R: From the Harmony series #11, 2026, acrylic on board, 40 x 30 cm. |
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From the Harmony series #4, 2026, acrylic on board, 60 x 120 cm. |
Eva Stimson Clark: When Choosing What to Vow
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When Choosing What to Vow, 2026, collage weave of repurposed carton card, cotton thread and acrylic paint 43 x 31 cm. |
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| Whenever the Words Run Dry, 2026, collage weave of repurposed carton card, cotton thread and acrylic paint 32 x 33 cm. |
'This body of work explores stitching on cardboard as both a material process and a way of organising thought. Built from fragments, the surfaces evoke digital glitches, yet remain grounded in tactile labour. Much of the cardboard retains its original printed surface—glossy, consistent, and commercially produced—while sections of hand-painted material introduce matte, irregular passages where brushstrokes remain visible...' Excerpt, Eva Stimson Clark, Five Walls Gallery Website.
Stephen Wickham: On An Ideology of Schisms
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| On An Ideology of Schisms #11, 2025, oil on linen, 54 x 140 cm (Triptych). |
L: On An Ideology of Schisms #10, 2025, oil on linen, 65 x 120 cm (Quardriptych).
R: On An Ideology of Schisms #11, 2025.
"The work in this exhibition draws on the tradition of the avant guard artists of Ukraine and Russia: roughly 1900-1930s. Their formal inventiveness and historical significance continue to engage my attention.
The imperatives of Soviet era art being played to an audience and culture so utterly different has a shudder of the absurd. Then perhaps the Eurocentric construct of classical naturalism and multi point perspective have grown beyond the use of the Church?
Non-Objective Art is unpopular and commonplace. The historical complexities and grandeur imbedded in the graphic symbolism of States and Churches are prosecuted as orthodoxy, briefly. Meanings, in art, are malleable and dependent on context which is always in flux. The ever-optimistic hero Candide would love being an artist in Australia today." Stephen Wickham, 2026, Five Walls Gallery Website.
