Art thoughts: Mark Wingrave

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The Painter's Eye

The Painter’s Eye: Form & Origin

Nicholas Thompson Gallery

155 Langridge Street

Collingwood

To August 29

https://www.nicholasthompsongallery.com.au/

Curated by Antionia Sellbach

Artists: Yuriyal Bridgeman, Raymond Carter, Virginia Cuppaidge, Janet Dawson, Elyss McCleary, Kerrie Poliness, Julia Powles, Steven Rendall, Antonia Sellbach, Udo Sellbach, Madeline Simm, Mark Wingrave

Selected images:

Yuriyal Bridgeman

L: Chief, 2025, oil based enamel on woven pit-pit (cane), 192 x 66 cm approx.

R: Watermelon, 2025, oil based enamel on woven pit-pit (cane), 192 x 66 cm approx.

Yuriyal Bridgeman is represented by Milani Gallery, Meanjin/Brisbane.

Antonia Sellbach

Unstable Object #37, 2019-26, acrylic on linen, 141 x 114 cm.

The Painter’s Eye: Form & Origin is a multigenerational group exhibition of abstract paintings curated by Antonia Sellbach including two works by her father, Udo Sellbach, from the late 1960s.

Mark Wingrave

L to R: The Light, the Dark, 2026; The Night was Day, 2026;

The Day was Night, 2026. Each: Oil on linen, 46 x 35 cm.

Julia Powles

Yours and mine, 2026, synthetic polymer paint, wool, 193 x 151 cm.

Julia Powles is represented by Blockprojects Gallery, Naarm/Melbourne.

‘The Painter’s Eye: Form and Origin explores how abstraction is constantly in relationship with time and seriality. If we are to look at abstraction on a temporal spectrum for a moment, with say, abstraction at the start of a time-line and figuration occurring towards the end (only one of many possible ways to think about abstraction), we might ask: how and at which point, do the artists in this show engage with shape, colour and form? As an origin point that exists (before figuration? before narrative? before meaning?), or as a backward' motion, ‘abstracting’ recognisable objects of the lived world, a return of sorts. Perhaps there is a crossing back and forth between these temporal states... abstraction operating as a time-traveller / a verb / a temporal process that defies linearity or conventional western notions of time. Each of the artists in the group exhibition have their own unique ways of working with abstraction, and have built relationships with colour and form in their practice over time. In this exhibit colour and form become a language that dances in and around thought, meaning and lived experience.’ Antonia Sellbach, 2026.

Udo Sellbach

City in flames, c1967, acrylic on linen, 152 x 122 cm.

Raymond Carter

Irregular Polygon 6, 2023, acrylic on canvas on pentagonal stretcher, 52.5 x 61 cm.

Abstraction does appear to be a universal visual expression in art that is not tied to time. A more holistic expression, perhaps, than pure figuration, especially when you consider the entirety of human heritage.

Five Walls in July

Exhibitions to July 25

1/119 Hopkins Street, Footscray

https://fivewalls.com.au

Soft Geometries: Britt Salt, Sara Lindsay, Shannon Slee, Tia Ansell

Soft Geometries, Brit Salt, Holding Tension, 2026.

'Soft Geometries brings together four Melbourne-based artists whose practices expand the language of geometric abstraction through textile processes. Working across weaving, stitching, embroidery and textile-based construction, Britt Salt, Shannon Slee, Sara Lindsay and Tia Ansell demonstrate that geometry is not confined to the traditions of painting or formal abstraction ...' excerpt, Five Walls Gallery Website.

Selected works:

Britt Salt, Neither-Nor, 2021, woven wool and cotton,
framed in stained timber with museum glass, 95 x 84 cm.

Shannon Slee, Geranium Rag Painting, 2024, woven spun wool,
pigment, ‘femboss’ rags, linen warp, framed in timber, 60 x 33 cm.

Sara Lindsay, Gingham Revisited: White Cross, 2024,
woven cotton, 22 x 23 cm.

Tia Ansell, Sam, 2025, acrylic on cotton and linen weaving,
framed in aluminium 33 x 22 x 5 cm.

Project Spaces

Daniel John Pilkington: Iconicities

'...When the intention to signify is itself written into the process of material production, or the process of production is written into the text, the resulting poem, or work of art, could be considered ‘iconic’. Iconicities explores this idea through a series of visual poems in which language is treated not simply as a transparent vehicle for meaning, but as a material, spatial, and physical form... Daniel John Pilkington, excerpt, Five Walls Gallery Website.

Selected works:

Alphabet Rod, 2023, Bronze, 100 x 3 x 3 cm.

Iconicity 3, 2021, Letterpress Embossing, 42 x 36 cm, Edition of 5.

Tina Douglas: Trying to Touch the Grass

'Trying to Touch the Grass takes its title from internet vernacular’s dismissive command — go outside, reconnect with reality — and asks why that has become so difficult, and what it costs us that it has.' Tina Douglas, excerpt, Five Walls Gallery Website.

Installation view of multiple mixed media works on paper, 2012-2026.

Installation view, R: mirrorcell - trying to touch the grass 2026,
mirror tiles, timber, cardboard, sound, media player,
speaker, 60 x 60 x 200 cm audio 33:58 min.

Mark Wingrave: Negative Positive

The Negative Positive by Mark Wingrave presents a series of paintings developed from a recent residency in Kyrgyzstan, Central Asia. While there he travelled through Uzbekistan, Kazakhstan and Kyrgyzstan ..' Mark Wingrave 2026, excerpt, Five Walls Gallery Website.