Sydney Contemporary


Designed to exhibit large-scale artworks in a diverse range of media, including moving-image, or more ambitious and conceptually driven projects that extend beyond the traditional booth presentation, Installation Contemporary, newly named AMPLIFY, presents an opportunity to view innovative, site-specific and interactive installations in the environment of Carriageworks.

Photography by Mia Mala MacDonald.

Curated By Annika Kristensen​

AMPLIFY 2022 has curated by one of the key leaders in Australia’s contemporary art scene, Annika Kristensen.

Annika is Visual Arts Curator at Perth Festival and Associate Curator at the Australian Centre for Contemporary Art (ACCA), where she has curated recent exhibitions including Like a Wheel That Turns (with Max Delany, 2022); Frances Barrett: Meatus (2022); Whose Afraid of Public Space? (with Max Delany and Miriam Kelly, 2021-22); Haroon Mirza: The Construction of an Act (2019); The Theatre is Lying (with Max Delany, 2018-19); Eva Rothschild: Kosmos (with Max Delany, 2018); Unfinished Business: Perspectives on art and feminism (with Paola Balla, Max Delany, Julie Ewington, Vikki McInnes and Elvis Richardson, 2017–18); Greater Together (2017); Claire Lambe: Mother Holding Something Horrific (with Max Delany, 2017) and NEW16 (2016).

Previously the Exhibition and Project Coordinator for the 19th Biennale of Sydney (2014) and the inaugural Nick Waterlow OAM Curatorial Fellow for the 18th Biennale of Sydney (2012), Annika has also held positions at Frieze Art Fair, Artangel, Film and Video Umbrella, London; and The West Australian newspaper, Perth. Annika was a participant in the 2013 Gertrude Contemporary and Art & Australia Emerging Writers Program and the recipient of an Asialink Arts Residency to Tokyo in 2014. She holds a MSc in Art History, Theory and Display from the University of Edinburgh and a BA in Arts/Communications from the University of Western Australia.

Peta Clancy

Undercurrent (3), 2018-19
Inkjet pigment print
92 x 130 cm
Courtesy of the artist and Domink Mersch Gallery, Sydney

Peta Clancy’s photographic series Undercurrent will be projected on the exterior façade of Carriageworks. To create her highly acclaimed Undercurrent series (2018-19), Clancy collaborated with the Dja Dja Wurrung community during a 12-month residency at the Koorie Heritage Trust. These soft, blushing landscapes are half out of focus and have alluringly dissonant colours. Clancy sets her lens on re-directed waterways in Dja Dja Wurrung country that submerge the sites of Indigenous massacres, capturing a seemingly serene landscape that masks the dark past of colonial frontier wars.

Mikala Dwyer

Backdrop for Base Matter, 2016
Acrylic on canvas
600 x 220 cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Mikala Dwyer presents Backdrop for Rounders and Backdrop for Base Matter (2016) – conjuring the origins of abstract art in the early 20th century, particularly the work of the Swedish artist Hilma af Klint (1862-1944) whose spiritualist beliefs and participation in seances led to some of the first purely abstract paintings. Dwyer calls on the diagrammatic nature of Klint’s work in devising her own paintings, referring to a genealogy of innovative women artists who have worked outside rationalist social and cultural norms. Impressive in scale and presence these works gesture to the transformative power of art.

Claire Healy & Sean Cordeiro

ごめんね 素直じゃなくて GOMEN NE SUNAO JANAKUTE (Sorry, I’m not straightforward), 2021, Yaoi manga paper-machè,
256cm in diameter.
Photography: Kichirō Okamura.
Courtesy of the artists and N.Smith Gallery. 

Winners of the 2022 Sulman Prize at the Art Gallery of New South Wales Claire Healy & Sean Cordeiro present ゴメンね 素直じゃなくて (Gomen ne sunao ja nakute), a title taken from the theme song to the children’s anime Sailor Moon which translates to “Sorry, I’m not straightforward”. This can be said to be a description of our ever-changing moon which a waxes and wanes: representing a fluidity of character. It is well known that the Moon is the essential driver of the ebb and flow of tides and therefore responsible for all the forces of nature that are the byproduct of this rhythm, such as human fertility cycles and coral spawning. A giant moon will sit within the Victorian-era industrial structure of Carriageworks; a force of nature entering this human space. Using a paper-machè technique, the entire surface of the moon consists of the Yaoi manga. Yaoi, also known as Boy Love or BL in Japan, is a manga genre that explores gay male romance, mostly written by women, for women.

Nadia Hernández

Con la punta de los dedos (With the tips of your fingers), 2021
Installation view STATION, Sydney
Photo: Document Photography
Courtesy the artist and STATION, Melbourne |Sydney

Nadia Hernández’s practice is informed by the political climate of her home country and her diasporic experience as a Venezuelan woman. Through textiles, paper constructions, paintings, music, installations, sculptures, and murals, she negotiates complex narratives intersecting the personal with the political. Hernández presents a wall installation incorporating neon and painting elements. Following previous explorations of food and cooking as a means of connecting with family and place, this presentation will use imagery of hands to explore connection across distance and time.

Sam Leach

Automatic Evolution of the Art Audience
Artist rendering
Courtesy the artist and Sullivan+Strumpf, Sydney | Singapore.

Sam Leach presents Automatic Evolution of the Art Audience, an evolving portrait generated by Artificial Intelligence, based on images of participating visitors. Viewers are invited to pose for a photo which will be added to an algorithm using a machine learning algorithm generating an endlessly evolving portrait which will be displayed on a screen. Using an algorithm model based off the artist’s previous paintings, an infinite series of portraits will be generated.

Taree Mackenzie

Pepper’s ghost, double triangles, red and yellow, 2018
Acrylic, foam core, reflective tint, LED’s, mirror ball motor, paint, wood, vinyl
Dimensions variable
Courtesy of the artist and Neon Parc, Melbourne

Taree Mackenzie’s video and installation practice explores the optical and effects of colour, light and space, using constructed immersive perceptual experiences for the viewer.

Callum Morton

The End #3, 2020
Polyurethane, timber, steel, glass, synthetic polymer paint, lights, sound
240 x 360 x 50 cm
Photo: Luis Power
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Continuing his focus on the personal and social impacts of our built environment, Callum Morton’s monumental wall sculptures are one-to-one scale replicas of the window frames on the facade of the renowned Sirius Building in The Rocks, Sydney. A heritage-listed building that provided affordable housing and a significant piece of Brutalist architecture, Sirius was threatened to be demolished by the government. In adding a theatrical element to The End #3 (2020), Morton has inserted a pulsating light into each sculpture that changes colour to correspond to the audio track of the computerised voice of Siri. Siri is intoning every different term for ‘the end’ that she can compute – the robotic voice of the future talking about having no future.

Vincent Namatjira

The Royal Tour (Diana, Vincent and Charles), 2020
Acrylic on linen
152 x 122cm
Courtesy of the artist, Iwantja Arts and THIS IS NO FANTASY, Melbourne

Bold, painterly and conceptually rich, Vincent Namatjira’s work has gained significant recognition in Australia and abroad. Namatjira’s imagery calls on Australia’s colonial history, with recurring references to Captain Cook, the British Royal Family and contemporary aspects of Indigenous life. For AMPLIFY 2022, Namatjira presents The Royal Tour (Diana, Vincent and Charles).

Ramesh Mario Nithiyendran

Multi Armed Bi Head, 2020
180 x 120 x 30 cm Photographer Mark Pokorny
Courtesy of the artist and Sullivan+Strumpf, Sydney | Singapore

Ramesh Mario Nithiyendran presents a new life-sized bronze sculpture. The bold and contemporary work will explore themes of idolatry in urban Australian environments – asking diverse publics to consider questions of worship and monumentality in contemporary public places. Nithiyendran has recently extended his practice into the public domain and the new sculpture for Sydney Contemporary will take this new trajectory of his work even further in terms of scale and detail. The work is conceived to offer diverse audiences to the Fair a range of access points to explore the histories and futures of contemporary sculptural practice. Further, it attempts to prompt visitors, both local and international, to consider the meaning of idolatry and sculptural monuments in public spaces within the context of democratic society.

Catherine O'Donnell

Fibro Facade, 2018
Drawing on paper and tape
256 x 2064 cm
Photographed at Casula Powerhouse Arts Centre by Sliversalt Photography
Courtesy of the artist and Dominik Mersch Gallery, Sydney

Catherine O’Donnell will create a site-specific durational drawing directly onto a wall within the Fair. O’Donnell’s drawings are clearly representational, however the realism in her work is not merely a reproduction of the visible, it is the elevation of the abstract form, the underpinning geometry and the distillation of the spatial composition that interests her. To this end, she extracts the building from its surroundings, deleting extraneous information, in order to emphasize the simplified form and obtain the final image. O’Donnell sees the suburbs as full of connection and disconnection, sameness and difference; in short, her drawings examine suburban living as a site of complexity

Tony Oursler

Blue, 2006
Plus v-339 projector, dvd player, dvd, fiberglass form
64.5 x 47.5 x 7 cm
Courtesy of the artist and Fox Jensen, Sydney

Tony Oursler is recognised for ‘freeing’ the video from its two dimensional frame and projecting images onto three dimensional forms. Oursler has developed a medium he amusingly describes as ‘digital clay’. For AMPLIFY, Ousler presents Blue, one of a small group of works made in 2006. It is a sister work to Blue You that is currently on loan to the Art Gallery of New South Wales, and this work shares its completely involving and compelling character.

Kenny Pittock

The World’s Gone Pear Shaped, 2022
300 x 200 x 200cm
Edition of 3 + AP
Courtesy of the artist and MARS Gallery, Melbourne

Kenny Pittock captures today’s anxious feelings of confusion, exhibiting a giant inflatable sculpture of a globe in the shape of a pear, titled The World’s Gone Pear Shaped. Pittock deploys his signature puns by using pop culture images, naïve objects and humorous words to deliver his artistic meaning. The work serves as a hopeful reminder that despite going pear shaped things can still be fruitful.

Izabela Pluta

Variable depth, shallow water, 2020
Silver gelatin photographs, pigment prints on aluminium, dye-sublimation prints, polyester waddling straps, two-way acrylic, aluminium, polyester resin.
Installation view, ‘Izabela Pluta: Nihilartikel’, UNSW Galleries, Sydney, 2022
Photography: Jacquie Manning
Courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney

Visiting the sea stack Dwejra on the island of Gozo that collapsed in 2017, Izabela Pluta was captivated by this spectacular expression of geological time. Also known as The Azure Window, the limestone debris of Dwejra – initially 28- metres tall – now lies roughly 12 metres below sea level. Variable depth, shallow water explores the fragmentation of vision under the surface of the ocean. The installation includes small photographs printed on aluminium, traditional darkroom prints, and photographs of ariel footage filmed by a drone – that each descend, hang and jut up from the aluminum structure. The images include depictions of the ocean where rocks appear beneath its surface and pictures that resemble maps — made with a camera-less process of printing full-page maps from an outdated atlas of the world’s oceans.

Michael Staniak

OBJ_176, 2019
Bronze and acrylic Courtesy of the artist and STATION, Melbourne | Sydney

Michael Staniak presents, a large-scale sculpture that highlights the intersection between abstraction, post-internet culture and human connectivity. Simultaneously critiquing and embracing technology, Staniak creates these sculptural works by sourcing 3D scans of the interior of caves from an open-source database. He then renders the digital into the real via 3D printing technology. The form will create subtle gradients of texture and colour. The work is Staniak’s first-ever upscaling of previously exhibited small-scale bronze sculptures using the same process.

Kathy Temin

Mothering Garden, 2021
Synthetic fur, synthetic filling
250 x 700 x 300 cm
Photo: Luis Power Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Kathy Temin presents Mothering Garden, a large-scale soft sculpture. “Temin has sewn, stuffed and amassed over thirty-seven components rendered in white synthetic fur that resemble a gigantic, non-functional playground. Here are arched rainbows, bulbous trees, pointed topiary, striated towers, stacked orbs and a squat stadium propped on a low, white base. Temin alludes to the joyful aspects of play in mothering and the role of games, toys and children’s furniture. (Words by Natalie King).


Angela Tiatia

Narcissus, 2019
Single-channel 2K HD video, 13 minutes 11 seconds
Edition of 5 plus 2 artist’s proofs
Courtesy the artist and Sullivan+Strumpf, Sydney | Singapore

Angela Tiatia presents Narcissus, a contemporary reimagining of the classical Greek myth, exploring contemporary visual culture’s worship of the self. Tiatia filmed the work with Director of Photography Benjamin Shirley, production company Finch Company and producer Cath Anderson; working with 80 professional actors, performance artists and crew, Narcissus is the largest production of her career to date.

Artist Bios

ABOUT PETA CLANCY: Peta Clancy is a descendant of the Bangerang people from south-eastern Australia whose photographic works explore hidden histories of colonisation and events that threatened the survival of her ancestors. Through manipulated photography, Clancy calls attention to the way that the past and present are layered within the landscape. She aims to reconstruct and bring to light histories that have been missed, veiled or denied, re-focusing our perspectives on Indigenous sites of significance. Clancy has exhibited in major survey shows of important Australian art, such as ‘The National’ at the AGNSW, ‘Under the Sun: Reimagining Max Dupain’s Sunbaker’ at the State Library of NSW, and ‘From all Points of the Southern Sky’ at the Southeast Museum of Photography in Florida. She has been selected as a finalist for prestigious art prizes, including the William and Winifred Bowness Photography Prize, and is represented in major public and private collections across the country.

ABOUT MIKALA DWYER: Mikala Dwyer has been exhibiting internationally since 1982 and has developed a distinctive and highly engaging practice that explores ideas about shelter, childhood play, modernist design and the occult. Influenced by early 20th-century art movements, including dada, constructivism and arte povera, her work pushes at the traditional limits of performance, sculpture and installation. Integrating a range of quotidian materials, her works are experimental and experiential architectures that play with the permeable and changeable nature of objects and our relationship with them.

ABOUT CLAIRE HEALY & SEAN CORDEIRO: Healy and Cordeiro have been included in numerous exhibitions in Belgium, China, the Czech Republic, France, Germany, Hong Kong, Italy, Japan, New Zealand, Singapore, Switzerland, Turkey, Taiwan, the UK and the USA. Career Highlights include solo exhibitions at the Künstlerhaus Bethanien, Berlin; The Art Gallery of New South Wales; La bf15, Lyon; The Corcoran Gallery, Washington DC and a survey exhibition at the Museum of Contemporary Art, Sydney.  Healy and Cordeiro’s installation Life Span was part of the Australian representation at the 53rd Venice Biennale. They have also participated in the Auckland Triennale, the Adelaide Biennial, the first Setouchi Triennale and the most recent Oku-Noto Triennale. The City of Sydney commissioned their public work Cloud Nation which is located in the Green Square Library Tower. Their latest public art commission, Place of the Eels is located in Parramatta Square. This year they won The Sulman Art Prize at the Art Gallery of NSW.

ABOUT NADIA HERNÁNDEZ: Nadia Hernández is an emerging artist originally from Mérida, Venezuela, currently based in Sydney, Australia. Her visual arts practice is informed specifically by the current political climate of her home country and her diasporic experience as a Venezuelan woman living abroad. Articulated through textiles, paper constructions, painting, music, installations, sculptures and murals, her identity allows her, or perhaps encourages her, to create work that negotiates complex political narratives through the personal, the institutional and their intersections. Nadia holds a Bachelor of Fine Arts from the Queensland University of Technology, has partaken in both solo and group exhibitions across Australia and was selected as the official artist for City of Sydney’s NYE 2017.

ABOUT SAM LEACH: Sam Leach’s works are informed by art history, science, and philosophy. He combines the poles of the metaphorical and the empirical, the analogous and the objective, in an ongoing investigation of the relationship between humans and animals. With a distanced, scientific approach, the artist draws connections between data visualisation techniques, semiotics, and formalist abstraction that results in a kind of reductive aesthetics. While the delicate interplay between formalist figuration and modernist abstraction in his paintings operates on one level to distance the viewer – to encourage them to look objectively at the subjects – on another level each animal depicted has a symbolic currency that resonates with the audience on a personal level. The paintings extend their focus from animal life to the spectrum of all life itself, encouraging the viewer to contemplate their role as living creatures on this shared earth.

ABOUT TAREE MACKENZIE: Melbourne-based artist Taree Mackenzie’s practice explores the perceptual effects of colour, light and space.  In much of her sculptural and screen based practice, the artist constructs interactive kinetic installations that use basic visual devices to create sophisticated optical outcomes, challenging habitual modes of looking. Recent exhibitions include The Story of the Moving Image, ACMI, 2022; Australian Light, Warrnambool Art Gallery, 2022; Let there be light, Justin House Museum, Melbourne, 2019; Taree Mackenzie, Neon Parc, Melbourne, 2018; Redlands- Konica Minolta Art Prize, National Art School Gallery, Sydney, 2017; Hairdryer Work, TCB art Inc., Melbourne, 2016; Set in Motion, Govett-Brewster Art Gallery, New Plymouth, New Zealand, 2016;  Dancing Umbrellas, Heide Museum of Modern Art, Melbourne, 2016; NEW14, Australian Centre for Contemporary Art, Melbourne, 2014 and Melbourne Now, National Gallery of Victoria, Melbourne, 2013. Mackenzie (b. Melbourne 1980) completed a Bachelor of Fine Arts (Painting) at the Victorian College of the Arts in 2008.  She has been the recipient of a number of awards including an Australia Council New Work grant (2022), Arts Victoria Arts Development grant (2013), an Australia Council New Work grant (2012), an Australia Council Art Start grant (2012) and the Eric and Margot Cooper Travel Award (2008).

ABOUT CALLUM MORTON: Callum Morton has exhibited nationally and internationally since 1990 and represented Australia at the 52nd Venice Biennale in 2007. Morton’s practice explores the personal and social impact of architecture and our built environment, drawing on notions of history, absence, drama, and humour. From early drawings of fires and explosions on housing commission flats, to bullet-holed screens, awnings and monuments that memorialise capitalism and outdated forms of modernity, Morton’s works present a melancholic urban archaeology that prompts us to consider the relationship between art and life, history, and the present, and look again at the ubiquitous structures we see but rarely notice.

ABOUT VINCENT NAMATJIRA OAM: Medal of the Order of Australia Born, Alice Springs, Northern Territory, Western Aranda peoples Lives and works in Indulkana, South Australia. Bold, painterly and conceptually rich, Vincent Namatjira’s work has gained significant recognition in Australia and abroad. Namatjira’s imagery calls on Australia’s colonial history, with recurring references to Captain Cook, the British Royal family and contemporary aspects of Indigenous life. Recent works reveal his growing interest in contemporary discourse around international political issues. Namatjira’s observational works also chart his personal history and his investigatory search for identity. Namatjira was the recipient of the Medal of the Order of Australia (OAM) 2020 in honour of his contribution to Indigenous visual arts. He was the first Indigenous artist to win the Archibald Prize 2020, Art Gallery of New South Wales, for his portrait of Adam Goodes.  Namatjira was awarded the $100,000 Ramsay Prize 2019 at the Art Gallery of South Australia and was a finalist in the Archibald Prize 2019. In 2018 Namatijra received Highly Commended in the Archibald Prize and was an invited finalist in the UQ Museum National Self Portrait Prize and Art Gallery of South Australia’s Ramsay Prize 2017. He was a finalist in the Telstra National Aboriginal and Torres Strait Islander Awards 2017, 2016, 2014, 2013 and the John Fries Memorial Award 2015, 2013.  Namatjira exhibited at Art Basel Hong Kong 2019, Art Basel Miami Beach 2018 and Art London 2016. In 2018 Namatjira’s work was included in Just Not Australian, a major exhibition at Artspace Sydney and touring nationally. Recently his work has been included in the Asia Pacific Triennial at the Queensland Art Gallery/Gallery of Modern Art, Brisbane and exhibitions at the Australian Centre of Contemporary Art, Melbourne; Hazelhurst Gallery and Warrnambool Art Gallery, Victoria. Previous institutional exhibitions include Indigenous Australia: Enduring Civilisation at the British Museum, London, 2015; TarraWarra Biennial, TarraWarra Museum of Art 2016; Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia 2017 & 2018. Namatjira’s work is held in significant institutional collections including the British Museum, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of Western Australia, Art Gallery of South Australia, Queensland Art Gallery/Gallery of Modern Art.

ABOUT RAMESH MARIO NITHIYENDRAN: Sri-Lankan born, Ramesh Mario Nithiyendran is a contemporary artist. He is interested in global histories and languages of figurative representation and their intersections with issues relating to the politics of idolatry, the monument, gender, race and religiosity. He has specific interests in South Asian forms and imagery. While he is best known for his inventive and somewhat unorthodox approach to ceramic media, his material vernacular is broad. He has worked imaginatively with a range of sculptural materials including bronze, concrete, neon, LED and fibreglass. His signature neo-expressionist and polychromatic style has been adapted for works in museums, festivals, multi-art centres and the public domain. This has included significant presentations at the National Gallery of Australia, The Art Gallery of New South Wales, The Dhaka Art Summit, Art Basel Hong Kong and Dark Mofo festival. His first major permanent public artwork was recently installed at the entrance of the new HOTA gallery. While Nithiyendran is often presented to the public in a diverse range of print, online and television media related to art, culture and fashion, his contributions to contemporary art and culture have also been acknowledged in various ways. In 2019, he received a Sidney Myer Creative Fellowship which recognised his outstanding talent and exceptional professional courage. This same year he was included Thames and Hudson’s book, ‘100 Sculptors of Tomorrow’; a global survey of cutting edge, sculptural practice and presented work in the largest historical survey of LGBTQ Asian Art at the Bangkok Art and Cultural Centre. Recently, The Art Gallery of New South Wales acquired his monumental work ‘Avatar Towers’. This is an installation of 70 ceramic and bronze figures originally presented in the gallery’s historic vestibule. His work is held in various other public collections including the National Gallery of Australia, the Art Gallery of South Australia, The Art Gallery of Western Australia, The Museum of Applied Arts and Sciences, The Ian Potter Museum of Art and the Shepparton Art Museum.

ABOUT CATHERINE O’DONNELL: Catherine O’Donnell’s drawings depict the suburbs as full of connection and disconnection, sameness and difference; examining urban living as a site of complexity. It is an exploration of the architecture, culture and history in the uncelebrated ‘everyday’. She is particularly interested in the way that vernacular architecture and general street scapes of places we regularly inhabit become recessed into our minds like wallpaper – they are at once visible and invisible. O’Donnell has held solo exhibitions at; Carriageworks, Tweed Regional Gallery & Margaret Olley Art Centre, Grafton Regional Gallery, Blacktown Art Centre, Murray Art Museum Albury, Penrith Regional Gallery, and the National Art School. O’Donnell has been awarded the Gosford Art Prize (2020), Waverley Art Prize (2020), Terrence and Lynette Fern Cité Internationale des Arts Residency Fellowship (2017), Hazelhurst Art on Paper (2015), City of Hobart Art Prize (2011), and the Albury Art Prize (2009) where she was awarded First Prize International Art Residency.

ABOUT TONY OURSLER: Tony Oursler is regarded alongside Bill Viola, Bruce Nauman and Gary Hill as one of the most influential pioneers of video art. Recognised for ‘freeing’ the video from its two dimensional frame and projecting images onto three dimensional forms, Oursler has developed a medium he amusingly describes as ‘digital clay’. The artist was born in New York and completed a BA in fine arts at the California Institute for the Arts, Valencia, California in 1979. He participated in the Documenta 8, 9 and 10 series in Kassel, Germany.

ABOUT KENNY PITTOCK:Kenny Pittock is an artist who works with ceramics, painting, and drawing. Pittock’s work uses humour and sentimentality, playfully responding to the everyday ephemeral and celebrating the mundane. In 2013 Pittock received an Honours Fine Arts Degree in painting from the Victorian College of Art, and since then he has had international solo exhibitions in Italy and Singapore, as well as consistently exhibited his work all over Australia with galleries including ACCA in Melbourne, PICA in Perth, Artspace in Sydney and MONA in Tasmania. In 2017 Pittock was the recipient of Redlands Emerging Artist Award. Pittock’s work is represented in many collections including Artbank, the City of Melbourne Town Hall Collection, the University of Queensland Galley Collection, the Deakin University Collection and the Monash University Museum of Art Collection.

ABOUT IZABELA PLUTA: Polish-born artist Izabela Pluta embraces photography as a way of interpreting and re-conceptualising the function that images have in the present. Negotiating the possibilities of how material forms come together, she draws largely on finding, fragmenting, translating and reconfiguring things that are both photographed and found. She has drawn on experiences of deep-sea diving, incorporating imagery from underwater rock formations, and used camera-less printing processes to echo the shape of land and ocean. Conceptually anchored in the effects of globalisation and Pluta’s own personal experience as a migrant to Australia, she mediates on images with all their potential connections all at once, questioning how things from one place fit into another and speaking to experiences of place in the face of our changing environmental and societal condition. Pluta has exhibited widely throughout Australia and presented her first European solo exhibition, Variable depth, shallow water, at Spazju Kreattiv, Malta’s National Centre for Creativity (2021). UNSW Galleries staged a significant exhibition of the artist’s work, Nihilartikel, in Sydney (2021), and Bundanon Art Museum commissioned a large-scale installation for their inaugural exhibition, From Impulse to Action (2021). Pluta was awarded the Perimeter Small Book Prize (2019) that led to her debut artist book, Figures of slippage and oscillation (Perimeter Editions). She was also commissioned to create a significant new work, Apparent distance, by the Art Gallery of New South Wales for The National 2019: new Australia art. Pluta has undertaken residencies in Tokyo, Barcelona, Paris, Belfast and Beijing, as well as at International Art Space (IASKA) in Kellerberrin, Western Australia (2014), and was the inaugural artist for the Marrgu Residency at Durrmu Arts Aboriginal Corporation in Peppimenarti (2018). She has held solo exhibitions at The Australian Centre for Photography (2018); Artspace, Sydney (2006); The Glasshouse Regional Gallery, Port Macquarie (2019); UTS Gallery, Sydney (2014); Gippsland Art Gallery, Sale (2012); Monash Gallery of Art, Melbourne (2011); 24 HR Art, Darwin (2010) and The Perth Institute of Contemporary Arts (2009).
Izabela Pluta is represented exclusively by Gallery Sally Dan-Cuthbert, Sydney.

ABOUT MICHAEL STANIAK: Michael Staniak (b.1982) lives and works in Melbourne. He holds a MFA from the Victorian College of the Arts, a BFA, Victorian College of the Arts, and a BA, Mass Communication (Digital Media), Middle Tennessee State University, USA. Selected recent solo exhibitions were held at Eduardo Secci Gallery Florence/online (2021); The Unit Gallery, London (2020); Galerie Clemens Gunzer, Kitzbuhel (2019); STATION, Melbourne (2019); Eduardo Secci Gallery, Florence (2018); Steve Turner Contemporary, Los Angeles (2017); Museum of Contemporary Art in St. Louis, St. Louis (2015); Annarunna Gallery, Naples (2015). In 2017, the Contemporary Art Museum of St. Louis published an artist monograph of his practice, titled IMG_. His work has been featured in numerous publications, including Australiana to Zeitgeist: An A to Z od Australian Contemporary Art, Thames and Hudson, London; Feelings: Soft Art, Skira Rizzoli, New York; and Postdigital Artisans, Frame Publishers, Amsterdam.

ABOUT KATHY TEMIN: Kathy Temin has exhibited extensively in Australia and internationally since 1990. In 2010, Temin was selected to create a major, large-scale work for the Contemporary Project Space at the Art Gallery of New South Wales in Sydney, titled My Monument: Black Gardens, which was subsequently acquired by the Gallery. In 2009, Temin held a 20-year retrospective at the Heide Museum of Modern Art in Melbourne. Temin’s commissioned work My Monument: White Forest (2008) was included in Contemporary Australia: Optimism at Queensland Art Gallery | Gallery of Modern Art, Brisbane, and was subsequently acquired by QAGOMA. Temin has been included in numerous important exhibitions, such as Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia, Canberra (2020-2021); Soft Core, touring exhibition, Casula Powerhouse, NSW and various locations in NSW, VIC and QLD (2016-2019); Spacemakers and Roomshakers: Installations from the Collection, Art Gallery of New South Wales, Sydney (2018); Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, (2017); Today Tomorrow Yesterday and The Koala Room, Bella Room Commission, Museum of Contemporary Art Australia, Sydney (2016); Australia, Royal Academy of Arts , London, (2013); Louise Bourgeois and Australian Artists, Heide Museum of Modern Art, Melbourne (2012-2013); Sonic Youth etc: Sensational Fix, LIFE, St. Nazaire, France; MUSEION, Bolzano, Italy; and Kunsthalle Düsseldorf, Germany (2008-2010); and ART TLV, Tel Aviv Museum of Modern Art, Israel (2008). Temin’s work is held in all major Australian public collections. Temin is a Professor and Head of Fine Art at Monash University in the Faculty of Art, Design and Architecture in Melbourne.

ABOUT ANGELA TIATIA: Angela Tiatia explores contemporary culture, drawing attention to its relationship to representation, gender, neo-colonialism and the commodification of the body and place, often through the lenses of history and popular culture. Born in Auckland, New Zealand, Angela Tiatia is of Samoan and Australian heritage. Important institutional group exhibitions, include Intercambio, Cuba Biennial, Havana (2019), After the Fall, National Museum of Singapore (2017); Countercurrents, Samstag Museum of Art, Adelaide (2017); Personal Structures, a collateral exhibition of the 57th Venice Biennial (2017); Under the Sun, Australian Centre for Photography, Sydney (2017); the Eighth Asia Pacific Triennial of Contemporary Aart (APT 8), Queensland Art Gallery | Gallery of Modern Art, Brisbane (2015/16); and Tūrangawaewae: Art and New Zealand, Toi Art, Gallery of the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand (2018). Her major solo exhibitions include Narcissus, Sullivan+Strumpf, Sydney (2019), Soft Power, Alaska Projects, Sydney (2016); Survey / Fā’aliga, Māngere Arts Centre – Ngā Tohu o Uenuku, Auckland (2016); Edging and Seaming, City Gallery, Wellington (2013); and Neo-Colonial Extracts, Te Tuhi Centre for the Arts, Auckland (2011). Notable group exhibitions include Art of the Pacific, National Gallery of Victoria, Melbourne (2016); Political Ecology, The Dowse Museum, Wellington (2017); and Impact, Cairns Regional Gallery, Queensland (2016). Angela Tiatia’s work is held in numerous public collections including the National Gallery of Victoria, Melbourne; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Museum of New Zealand Te Papa Tongarewa; Australian War Memorial Museum, Canberra; and the Australian Museum, Sydney. She was awarded the 2018 Ravenswood Australian Women’s Art Prize and has been a finalist in numerous prestigious awards, including the Edinburgh Short Film Festival, New Orleans Film Festival, Archibald Prize, Sir John Sulman Prize, and the John Fries Art Award.

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