We caught up with artist Kyra Henley ahead of her exhibition ‘Lost’ at Nasha Gallery. Henley’s painting practice is guided by instinct, visual memory, and a deep curiosity for the discarded and overlooked. In our conversation, she reflects on letting imagery speak for itself, the quiet power of imperfection, and why—after decades of painting—she feels like she’s only just begun.
Cover Image: Party Salads, 2025
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What inspired you to pursue a career in art, and how has your journey as an artist evolved over the years?
I don’t think I have pursued a career exactly. I went to art school straight after high school, 17 and desperate to leave the small town I grew up in. I’ve continued painting since the degree (supporting myself with stupid money paying jobs) and now it’s almost 25 years later and my painting has evolved into what I feel like is my real starting point to the actual work that I will make.
Image: Swimmers, 2024
Your paintings mix personal memories with pop culture —how do you balance what’s personal with the bigger social commentary in your work?
It’s probably impossible for anyone to make anything without a personal layer to it! But it’s not intentional of me, I make images precisely because of my poor ability to express ideas in any coherent verbal or literary way. There may be some link in my brain missing and painting is my way of trying to understand the world and my thoughts on things. It’s very difficult for me to explain using words. Or is it something I do to distract myself from all of that? I don’t know. Probably both.
Image: Horse, 2025
How and where do you start your process of sourcing and reworking found imagery?
I start with secondhand books, usually from op shops or discarded on the street. I mostly avoid the internet but sometimes I want a particular thing to add to a painting and will go there. The colour of the printing inspires me, bright but yellowed with age, you get interesting effects from the limitations of the printing processes of the time.
A lot of ‘bad’ photos make it in because this is all before you could take a million photos for free and clean them up with a few clicks – I’m drawn to them because they haven’t been rendered all slick & uniform & bland.
These books are from a time in the recent past when everyone bought books of photographs of people and landscapes and gave them to each other with inscriptions scrawled in them like “ Dear Julie, Merry Christmas from mummy & daddy, 1978″. I have a large collection of these unwanted smelly books and I like spending time with them. I regularly go through tearing out things that catch my eye. When starting a painting I collage the images together with scissors and glue arranging ouija board style until I have something I want to scale up onto a canvas. It’s all pretty intuitive, and I will make formal decisions later on during the painting to block things out or move them or add something.
Image: The Devils Marbles, 2025
You’ve described your works as something for people to “ingest” — what do you hope people feel or think when they spend time with your images?
I try to make the paintings beautifully painted, to be enjoyed simply for their aesthetic qualities, but there’s more there if you have the time and inclination to sit with them. I love some of the narratives people have come up with for the paintings in this current show at Nasha; some things align with thoughts I’d had but often it’s something I hadn’t thought of at all and it makes complete sense in the picture and seems obvious and like that’s what I had intended all along.
Take the text by Steven Latimer we’ve used for the exhibition – It’s an extreme take on the paintings but it makes sense to me, it’s Steve’s take on it. I love it. The way people have engaged with the work keeps me excited to do more and helps me process what the hell I’m doing.
Image: Hotel, 2025
Where do you hope to see yourself, your practice, in 10 years?
Painting is one of the few occupations that gets better with age, perhaps because you lose some self-consciousness.
I’ve spent a couple decades refining some basic skills and now I can use those tools to invest time in looking and thinking about what I’m trying to do, or what the work is showing me. I’m not sure where I’m going, I feel like I’ve just begun.
Henley’s exhibition continues at Nasha Gallery until 26 October.
Kasia Töns’ practice is shaped by myth, movement, and visceral encounter, often beginning with an inefficiency or gesture that becomes a ritual.
We spoke to her about on her current exhibition, ‘The Mage’ at MARS Gallery, reflecting on obsession, malleability, and embracing hand-made processes in an age of acceleration.
Cover Image: Tom MacCammon
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What inspired you to pursue a career in art, and how has your journey as an artist evolved over the years?
Like a lot of my peers who have sustained lengthy arts practices, it’s not about pursuing a career but about pursuing an obsession. To expect art to be a career might not be so sustainable. With all the rejection and low income living, these things may be too much of a struggle unless art making is a compulsion you can’t live without. My journey as an artist has always been one of play, intuition, endurance and ultimately my tool for understanding the world around me. I use very simple techniques not dissimilar to my early projects, but what has shifted is my methodology. While I used to make very personal works, I have become a lot more research based, this has expanded my practice, in scope and allowed for engagement with wider audiences.
Image: Caterpillar, 2025
In your current exhibition, you explore transformation through endurance and self-imposed rituals. Can you speak to how these themes connect with your own creative process?
Every project I do involves some sort of literal self-transformation. I get so invested and entwined with my subject matter that I think I need to become what I’m researching. At the completion of past projects some of the identities I thought I needed to transition into have been – a traditional broom maker, gardener, herbalist, bushwalking adventure guide, designer for disaster zones. It’s happened so many times that I recognise it both as part of the process and my personality, but it doesn’t prevent me from currently planning to undertake survival skills training and spend the rest of my days walking like the women I’ve recently been researching. Having this malleability is a help and a hinderance, it allows me to go deep into projects but also creates a rawness to work through when it is over and I realise I am me again and will always be an artist.
Image: Despite the Storm, Because of the Storm, 2025
Much of your practice involves following natural forces—like tides, weather, or instinct. How do these experiences outside the studio influence the way you construct your textile works?
Everything I do begins with a lot of uncertainty, a composition is never fixed from the start, my works are active research aides, journals, paths to understand and connect many, seemingly disparate ideas. My process is as inefficient as following a tide or a river but that’s fine with me. I like to take my time and hand stitched textiles can’t be rushed even if you’d like to try. The pace of pushing a needle into a piece of fabric and pulling it back out again and again travels at the sort of pace that is probably natural for us, slow gratification that you must really toil over rather than instant but fleeting rewards.
Image: Sigil Magic Mask 1, 2025
What kind of experience do you hope to create for the viewer through your exhibition?
I hope to give the viewer a similar experience to what I feel when looking at the work of other textile artists. The materiality of textiles is like entering a rabbit hole, the closer you look, the more is revealed. Stitches as markings of time, symbols to decode, And discovering marks of underdrawings that haven’t been erased or covered over as a peek into the planning and process of the maker. In an age where we can outsource creativity to an AI bot, to stand in front of something that is unmistakably made by hand, mistakes and all is something special.
Image: Calling Out, Calling In, 2025
Where do you hope to see yourself, your practice, in 10 years?
Working from a transportable studio and collaborating with inspiring people on cross disciplinary projects. (and getting paid well to do so, I’ll be 50 by then so some financial stability would be very nice).
Töns’ exhibition continues at MARS Gallery until 8 November.
In a city where surf culture meets high culture, Michelle Grey and Susan Armstrong of Arts-Matter are helping shape Sydney’s creative identity from the inside out. With a passion for connecting people to art in meaningful ways, they offer a grounded perspective on what makes the city’s cultural life so dynamic. We caught up with them ahead of Sydney Contemporary to talk about their must-see exhibitions, favourite local spots, and why Sydney’s mix of natural beauty and artistic energy is unlike anywhere else.
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What makes Sydney stand out as a cultural destination?
Sydney’s distinction lies in its ability to seamlessly intertwine lifestyle and culture—a combination not many cities in the world can claim. Few places in the world allow you to spend the morning riding the perfect wave, the afternoon exploring a world-class museum, and the evening indulging in some of the city’s most exciting culinary experiences. On the surface, Sydney offers the cultural institutions you’d expect—art, dance, music, and theatre—but the real richness lies just beneath. For those willing to venture beyond the obvious, the city and its surrounding regions are alive with creative discoveries: independent galleries, experimental performances, and local makers redefining what contemporary culture can be. It’s this combination of natural wonder, iconic experiences and hidden gems that makes Sydney unique.
After a day of exploring Sydney Contemporary, where would you go for dinner and drinks to continue the evening?
After a day of art consumption at Sydney Contemporary, we’d start the evening with drinks and a performance at The Vanguard. Housed in a beautifully restored Art Deco building, it offers an intimate atmosphere where live music and cabaret create a sense of timeless glamour. For dinner, we’d head to Maiz in Newtown, a contemporary Mexican restaurant that elevates the humble taco into something extraordinary—bold flavours and thoughtful presentations that perfectly capture the neighbourhood’s creative energy. To end the night, The Abercrombie is hard to resist. With its layered spaces, from rooftop terraces to buzzing dance floors, it has redefined Sydney’s late-night scene, and we’re here for it.
Image left: The Vanguard, image source The Vanguard. Image right: Maiz Newtown, image source Broadsheet.
What cultural events or exhibitions coincide with the Sydney Contemporary that you recommend?
We recommend checking out Renee Estee’s exhibition at COMA and Alex Seton’s new body of work at Sullivan & Strumpf—both highlight the strength and diversity of Australian contemporary practice. Over at the Art Gallery of New South Wales, Kaldor Public Art Project 38, curated by Thomas Demand, is an ambitious and thought-provoking commission that really anchors the city within an international conversation. If you’re lucky enough to secure a ticket, a performance at Phoenix Central Park is truly unforgettable—the pairing of world-class musicians with such an extraordinary architectural space makes it unlike anywhere else. And for something a little more unexpected, taking a dance class at Groove Therapy in Marrickville is a joyful way to tap into the city’s creative energy from the inside out.
Image: Phoenix Central Park, image source The Local Project.
If you have friends visiting from outside of town, what are you adding to their itinerary?
We have so many creative friends who come to Sydney and skip the ocean. A swim at one of our incredible coastal beaches is a non-negotiable.
Do you have a favourite public art installation or mural in the city? What makes it special?
One of our favourite public art installations in Sydney has to be Louise Bourgeois’ Maman at Sydney Modern. Towering over the gallery forecourt at nine metres high, this monumental spider sculpture is both arresting and enigmatic, immediately commanding attention while inviting reflection. What makes it truly special is how it balances scale with intimacy—the imposing bronze structure evokes themes of motherhood, protection, and memory, yet its intricate details reward close inspection. Experiencing Maman in the context of the Sydney Modern, alongside Bourgeois’ deeply evocative Day and Night galleries, transforms it from a standalone sculpture into a profound encounter with emotion, architecture, and the power of contemporary art to engage both the body and the imagination.
Image: Maman, Louise Bourgeois, image source Art Gallery of New South Wales.
arts-matter.com.au
@arts__matter
Andrew is a Managing Director at MA Financial Group, the Principal Partner of Sydney Contemporary, and the Head of the firm’s Asset Management business. He has over 30 years’ experience in global investments as a principal investor and adviser across a range of sectors including real estate, infrastructure, private equity and energy. Driven by a strong passion for the arts, Andrew founded the MA Art Prize, complemented by his personal collection of contemporary art chronicling Australia’s artistic talent over recent decades.
Over the years, Andrew Martin has built a significant collection with a strong focus on Australian abstraction, Indigenous art, and emerging talent. We spoke with him about how his collecting journey began, the importance of following your instincts, and the artists he’s most excited about today.
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What made you want to start collecting art, and how has your approach to collecting evolved over time?
Looking back there was no real catalyst. I didn’t grow up with art, and nor do I claim to have much artist ability. I got the bug in my mid 20’s and it has been a passion ever since.
What was the first piece of art you ever bought, and do you still own it?
My first piece was a very early Ildiko Kovacs. I think she painted the work soon after leaving art school. I still own the work and it remains one of my favourites. Since then, I have purchased a number of her works which have traversed her entire career.
Picture: Ildiko Kovacs, Untitled
Is there a focus in artists in your collection? Are you more interested in emerging or well-known artists?
My main focus is abstract art. I collect both emerging and well-known artists. Many of the emerging artists have graduated from being “emerging” at the time of purchase. These artists include works Ildiko Kovacs, Stepehen Harvey, Dale Frank, James McGrath, John Young and David Larwill. Established, well known artists in the collection include Brett Whiteley, John Olsen, Sydney Ball, John Coburn and Robert Owen. My favourite up and coming artists in the collection include Ramash Mario Nithiyendran, Ryan Hoffman and Claire Healy & Sean Cordeiro.
I also collect indigenous artists which include Paddy Bedford, Ronnie Tjampitjinpa and Yaritji Young.
I travel to Asia and particularly China a lot for work and as a result some Chinese contemporary artists are making their way into the collection including Zhuang Hong-yi and Huang Yan.
I am also very fortunate to be on MA Financial’s corporate art collection committee, where we focus mainly on Australian emerging artists.
What advice would you give to someone looking to make their first purchase at Sydney Contemporary?
Follow what you love – don’t try and pick the latest trend or what you guess might appreciate. Apart from Whiteley, I have never purchased with a pure investment lens. Having said that, I love his works and am not interested in selling them.
Picture: Brett Whiteley, Waratah, 1970
Was there a piece of art that got away?
My big regret is not going much earlier and harder in collecting Whiteleys. For me he is Australia’s leading artist, and from an investment point of view, his works have done extraordinarily well.
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About MA Financial Group
MA Financial Group is a global alternative asset manager specialising in private credit, real estate and hospitality. We lend to property, corporate and specialty finance sectors and provide corporate advice.
We invest and manage $12.7 billion on behalf of our clients, are responsible for $155 billion in managed loans and have advised on over $125 billion in advisory and equity capital market transactions.
We have over 700 professionals across locations in Australia, China, Hong Kong, New Zealand, Singapore and the United States.
For more information, please visit:
Website: https://mafinancial.com
Linkedin: @MAFinancial Group
Instagram: @mafinancial__
Narrowing down highlights from Sydney Contemporary 2025 is no easy task. We’ve asked sharp-eyed art lovers to share what they are most looking forward to seeing at this year’s Fair.
Arts advocate and Venue Owner and Operator of The Vanguard Beau Neilson, shares her top picks for this year’s fair. Here’s what caught her eye at Sydney Contemporary 2025.
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Talks
Designing Spaces for an Artful Life
Friday, September 12, 2025 1:30 PM – 2:30 PM
Talks Space, Carriageworks
Hotels, galleries and offices can optimise the emotional impact of art and design to create highly desirable environments beyond the home. This session brings together: the interior designer of Sydney’s chicest new hotel, the architects of some of NSW’s major cultural destinations and a gallerist renowned for parlaying artists into some of the most chic hospitality and workplace settings.
“Collectibles in our homes often become our gateway into art collecting later in life.”
Learn More: Designing Spaces for an Artful Life
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The Art of Going Public: Behind the Scenes of Public Art
Thursday, September 11, 2025 12:00 PM – 1:00 PM
Talks Space, Carriageworks
Public art continues to be a vital and growing part of the arts sector – and increasingly central to contemporary artistic practise. Sydney is renowned for its bold and visible public art, but how do these projects actually come to life? Who funds them, who collaborates on them, and what value do they bring to our city? Join us for an open, “ask us anything” conversation with key players behind public art: an artist, a curator, a developer, a local council rep, and a maker. Together they’ll unpack the processes, partnerships and possibilities that shape art in the public realm.
“Public art has the power to transform spaces and create bold, uniting experiences.”
Learn More: The Art of Going Public: Behind the Scenes of Public Art
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Installations
Jonny Niesche with Mark Pritchard
Sound and Vision (Reflect what you are, in case you don’t know), 2025
Presented by 1301SW | STARKWHITE
Jonny Niesche expands painting into a multisensory experience, merging colour, light, surface, and sound to heighten our perceptual awareness. His reflective and translucent surfaces—crafted from sheer fabrics, reflective metals, and mirrored substrates—create visual fields that shift in response to the viewer’s movement and their architectural surrounds.
For Installation Contemporary, Niesche presents a major new work that builds on recent collaborations with Mark Pritchard. These installations utilise low-frequency sound and vibration to subtly activate the body and space, creating a synesthetic encounter with Niesche’s paintings. Drawing on the atmospheric qualities of colour field painting, psychedelia, and spiritual abstraction, these works invite a contemplative, almost meditative engagement with the sensorial present.
“Really interested in how sonic experiences shape visual ones. This promises to be beautifully immersive.”
Learn More: Installation Contemporary
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Artists
Mike Hewson – Michael Lett Gallery
Image: Mike Hewson, GeoPets, 2025, studio production detail. Courtesy of the artist and Michael Lett, Auckland
“His engineering background and innovative use of materials shows us beauty in things too easily overlooked. He’s also my partner, so I’ve had a ring side seat to the works’ creation.”
Learn More: Michael Lett Gallery
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Nic Fern – C. Gallery
Image: Nic Fern, ‘The Allegory of Bloom’, 2025. Photo by Joshua Morris.
“Her embroidery work is both charming and deeply reflective.”
Learn More: C. Gallery
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Yang Yongliang – Sullivan + Stumpf
“His work is always arresting and I enjoy how he challenges the line between city and nature.”
Learn More: Sullivan + Stumpf
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Atong Atem – MARS Gallery
Image: Atong Atem, 3 of Cups, 2025. Courtesy of MARS and the artist.
“Intimate portraiture and vibrant textiles create compelling and personal visual narratives.”
Learn More: MARS Gallery
Locally, for those seeking a drink and a change of scenery on Sunday afternoon the 14th, The Vanguard is hosting “Ricardo’s presents Velvet” – this music event resurrects Sydney’s underground sound where community, emerging talent, and creativity converge.
Narrowing down highlights from Sydney Contemporary 2025 is no easy task. We’ve asked sharp-eyed art lovers to share what they are most looking forward to seeing at this year’s Fair.
Poppy Lissiman, the founder and creative director of her namesake accessories brand, is known for her bold aesthetic and deep appreciation for visual culture. Poppy shares her top picks, from immersive installations to standout talks and new work by contemporary artists.
Here’s what caught her attention at this year’s fair.
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Talks
When Art Meets Commerce: The Power of Cross-Industry Collaboration
Friday, September 12, 2025 11:30 AM – 12:30 PM
Talks Space, Carriageworks
Four industry-leaders discuss strategies for forging and nurturing meaningful relationships between artists & designers, architects & decorators with art consultants, curators, galleries and collectors – and how these deep relationships benefit the sector as a whole. A linchpin Leading Sydney art dealer Joanna Stumpf is joined by a prominent Auckland design/art space Director, Zoe Black and visionary artist Jonny Niesche whose commissioned collaboration with Gucci has been emblazoned across SoHo, New York. Hear how you can optimise on the growing opportunities between cross-industry collaboration. This will be followed by a guided tour of select gallery booths throughout the fair. Moderated by Stephen Todd.
“This talk immediately struck a cord with me, as collaborating with artists is one of the facets of my work in fashion I cherish the most. It’s a privilege to share with my audience the artists who shape and inspire me, and even more to immerse myself in a creative process defined by the artist’s which is so different from the conventional structures of design.”
Learn More: When Art Meets Commerce: The Power of Cross-Industry Collaboration
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Designing Spaces for an Artful Life
Friday, September 12, 2025 1:30 PM – 2:30 PM
Talks Space, Carriageworks
Hotels, galleries and offices can optimise the emotional impact of art and design to create highly desirable environments beyond the home. This session brings together: the interior designer of Sydney’s chicest new hotel, the architects of some of NSW’s major cultural destinations and a gallerist renowned for parlaying artists into some of the most chic hospitality and workplace settings.
“This was one of my favourite talk topics from last year, as someone who is deeply passionate about interior design I found this talk to be incredibly insightful about living with art and its relationship with your surroundings.”
Learn More: Designing Spaces for an Artful Life
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Installations
Jonny Niesche with Mark Pritchard
Sound and Vision (Reflect what you are, in case you don’t know), 2025
Presented by 1301SW | STARKWHITE
Jonny Niesche expands painting into a multisensory experience, merging colour, light, surface, and sound to heighten our perceptual awareness. His reflective and translucent surfaces—crafted from sheer fabrics, reflective metals, and mirrored substrates—create visual fields that shift in response to the viewer’s movement and their architectural surrounds.
For Installation Contemporary, Niesche presents a major new work that builds on recent collaborations with Mark Pritchard. These installations utilise low-frequency sound and vibration to subtly activate the body and space, creating a synesthetic encounter with Niesche’s paintings. Drawing on the atmospheric qualities of colour field painting, psychedelia, and spiritual abstraction, these works invite a contemplative, almost meditative engagement with the sensorial present.
“I’m most looking forward to Sound and Vision (Reflect what you are, in case you don’t know), 2025 by Jonny Niesche with Mark Pritchard. Niesche’s works already command a space through their visual force, so to step into an environment where his vision unfolds though light, sound and sensory immersion feels especially thrilling. The David Bowie reference only deepens its allure.”
Learn More: Installation Contemporary
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Artists
EG Projects
Image Left: Amanda Bell, We are the Crow……. 2025. Courtesy of EG Projects and the artist.
Image Right: Wendy Warrie, Pyramid Hill 2025. Courtesy of EG Projects and the artist.
“I can never miss my favourite booth from Emilia Galatis Projects; this year I’m particularly eager to see her showcase of five extraordinary Indigenous women: May Chapman, Doreen Chapman, Wendy Warrie, Leah Umbagai, and Amanda Bell. Their work speaks in profoundly visual languages deeply rooted in rich familial lineage and Pilbara, Kimberly, Martu and Nyoongar Country —blending inherited storytelling traditions with bold personal expression.”
Learn More: EG Projects
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Atong Atem – MARS Gallery
Image: Atong Atem, 3 of Cups, 2025. Courtesy of MARS and the artist.
“Additionally I’m looking forward to seeing more of Atong Atem’s striking photographic works. I was lucky enough to pick up a small piece of her’s from MARS gallery at last year’s Sydney Contemporary that has become a cherished piece in my collection.”
Learn More: MARS Gallery
Milli Jannides’ practice is shaped by language, cross-cultural movement, and introspection, often beginning with a single line of text that sparks a visual or emotional response. Ahead of the presentation with Minerva, at Sydney Contemporary, we spoke with the artist about language, movement, and letting go of certainty.
Cover Image: Victor Staaf
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Your work often weaves together language, symbols, and painting. How do words influence what appears on your canvas?
Most of my paintings start with a line or two from something I’ve read. These words are often poetic. Once taken out of context they spark an image, idea or process that I want to try in paint. Sometimes the words resonate with things I am already thinking about, sometimes they remind me of times past, occasionally they seem to speak about the future. Words invite my imagination to play along.
Image: Swan song, 2024.
You’ve lived and worked in many countries. How has moving between cultures shaped your practice?
Each time I’ve moved I’ve had a phase of feeling a bit on the fringe, not quite part of society, and I’ve spent a lot of time drifting around the city, looking at life and thinking. This doesn’t last the whole time I’m living in a place, but that phase at the beginning puts me in a particular relationship to place and it’s one that the work feeds on. I think you can get this feeling without travel, but that’s one way it has happened for me. Meeting people from different cultures has also broadened my understanding of the world; the more you see and experience, the less you feel you know…it can be unsettling, but I like that disorientating feeling of expansion, and I think that feeling is part of the practice.
Image: Furious witches, 2024
You’ve mentioned “inner worlds” and feelings that are in flux, what do you hope people take away when they stand in front of your paintings?
I hope they stay with the work for a while, the paintings show more over time. I often think of a quote from Portuguese writer Fernando Pessoa: “I am moved the way water flows when the ground slopes” – that would be great huh? A feeling of being moved a little by a painting, without any effort on the viewer’s part.
Image: Wide meshed nets, 2024
Where do you see yourself, your practice, in 10 years?
I like not knowing where I’m going. In that way, I suppose I’m a bit like my paintings!
Image: The possibility place, 2024
Jannides will present new work at Sydney Contemporary 2025 with Minerva, in the Futures sector. Tickets to Sydney Contemporary are on sale now.
@minervasydney
minervasydney.com
Photo Sydney is a fair within a Fair, premiering at Sydney Contemporary 2025 to spotlight outstanding photographic works from leading artists. We spoke with curator Sandy Edwards about her top tips for starting or growing a photography collection, must-see works, and artists to keep an eye on.
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As the curator of Photo Sydney, what excites you most about launching this new sector of Sydney Contemporary?
Tim Etchells, the Sydney Contemporary owner, has been working to include a Photo section for several years now. The space became available and there has been no shortage of applicants for this first outing for Photo Sydney. We have 15 booths which include 30 photographic artists altogether. I worked as Co-director of Stills Gallery (run by Kathy Freedman) for many years and during this time we were always trying to showcase photography as a uniquely important artform. In the past photography was seen to be a work on paper and it was available in editions, and although photography can still be editioned, it can be presented at large scale and with a vast choice of prestigious presentation methods. In previous times prints were commonly smaller in size.
Photography is seen as being immutable because the image is created from a notion of the ‘real’ world. A painter uses paints and imagination to create a ‘representation’ of an image. A photograph is an imprint of the photographer’s vision.
There are many fine photo artists in Australia. Their style, subject matter and presentation varies widely. This first presentation of Photo Sydney offers a broad range of techniques and subject matter.
What are your top tips for starting or growing a photography collection, are there particular things collectors should look for when acquiring works?
Required qualities include an enthusiasm for art in general, a passion for photography as art, and a personal decision about meeting your specific budget. Emerging photo artists can be a more affordable starting point for a collector than an established photo artist.
Ask lots of questions, follow and believe in your instincts and interests in subject matter, style and presentation. Photo Sydney is a great playing field because you will be talking directly to the photo artists in their booths.
It may help to educate yourself about the history of photography which is a combination of art, history and technology. Points to make note of include the profile of the photo artist, the genre of photography (documentary, colour or black and white), your preferences for subject matter, framed or unframed (framing can be a cost on top of the artwork cost), etc.
Photographs used to be black and white only; now with digital technology colour is predominant, and an image can be made on various paper types and with multiple scales and presentation methods.
Are there any standout artists, works, you think visitors absolutely shouldn’t miss – and why?
There is such variety in this inaugural Photo Sydney. I will touch on a sample from the wide range of approaches to demonstrate that breadth.
Documentary photography is the original form of photographic expression.
Chris Ireland has dedicated hours of time to humanise and herald public housing in Sydney. The Greenway building is situated at the north end of the Sydney Harbour Bridge. Chris introduced himself to residents and what emerges is a community that has a beating heart and a humanity we can all identify with. His photography is classic black and white prints in the tradition of documentary.
Paul Blackmore also works in the documentary tradition, however, since the late 1990s colour became embraced as a form. Paul has a bold eye and his striking colour and compositions are highly memorable.
Pictured left: Paul Blackmore, The Ball, 2024. Pictured right: Simon Harsent, Melt, Portrait of an Iceberg #5.
Other documentary photographers in this inaugural Photo Sydney include Blender, specialising in historical rock and roll music photographs; Oculi, a collective of Australian photographers and photojournalists; Simon Harsent, who has a series of eerily moody ice flows photographed in the Arctic ocean, and John Gollings’ strikingly colourful aerial documentation of the 2009 Black Saturday bushfires across Victoria.
Photography as Art
Toby Burrows’ images are both staged and natural (as in documenting nature). They become poetic and transporting. The hand of the artist is visible.
With Greg Weight (Australian Galleries), look out for the description of paintograph. Greg is an artist of quite some pedigree and is known for his black and white portraits of well-known Australian artists. His more recent methodology of painting on photographs has found him inventing a new term, paintograph, a photograph that has been embellished by paint. Greg says the paintographs are a nod to the hand coloured prints of the nineteenth century.
Pictured left: Toby Burrows, The Winter, 2025. Pictured right: Greg Weight, Formations, 2010. Australian Galleries | Greg Weight.
He has a broad sweep of his work on display, from the black and white portraits of significant Australian artists to his inspirational night skies where the stars seem to burn through the photopaper, to his paintographs where he adds his individual markings onto the photograph.
Inspired Doubles in the same booth
Tina FiveAsh and Caterina Pacialeo are one of several inspired doubles in Photo Sydney. It is hard to determine the manner of creation of Tina FiveAsh’s apocalyptic images. Neon signs appear on large buildings and structures offering us an inspired message. The are strikingly different to other works in the Photo section.
Catherine Cloran is an inspired documenter of nature, with a twist. Her photographs are exquisitely pleasurable simply because of the way Cloran constructs the content of the image. Zorica Purlija has a teenage daughter who for years has been her mother’s muse. She also appreciates nature and in these poetic landscapes we can also see the female presence of her daughter in the landscapes.
John Gollings and John Marmaras are also showing a double booth.
Pictured: Caterina Pacialeo, Fire #2 Heart, 2016.
What are some of the most exciting or experimental photographic techniques we’ll see featured in Photo Sydney this year?
Watch out for Sammy Hawker, presented by Photo Access, who is one of three artists in this booth. She is creating inkjet prints from a scanned film negative. ‘Kamberri/Canberra-based artist Sammy Hawker explores the potential of reciprocal engagements between human and more-than-human worlds. Hawker’s multi-disciplinary practice consistently embraces text, photography and moving image. These works form part of a vast and ongoing archive documenting sites and moments of exchange.
Nico Krijno, also presented by Photo Access, is an artist working with video, staged photography, and collage in an experimental photographic practice that investigates contemporary visual codes, archetypes, symbols and patterns, exploring not only these methods of creation but the spaces in-between.
Sandy Barnard is one of Sydney’s finest photo art printers. She will be showing some of her personal works alongside two other artists.
Alexia Sinclair is best known for her intense colour photographs portraying historical and allegorical figures. Her elaborate compositions take on the complexities of history painting by depicting a moment in a narrative story. The abundant detail and symbolism in her work are devices that allow her to tell complex stories. Her pictures combine the elegant finesse of contemporary fashion design with the sumptuous aesthetics of the Golden Age of painting.
George Byrne creates large-scale photographs that depict everyday surfaces and landscapes as painterly abstractions. Borrowing from the clean, vivid clarity of modernist painting, he also references the New Topographics photography movement via a subject matter firmly entrenched in the urban everyday.
Pictured left: Nico Krijno, The Constellation #9. Photo Access. Pictured right: Alexia Sinclair, The Encounter, 2024.
View more highlights of Photo Sydney here.
Since its founding in 2006, Neon Parc has been a vital force in Melbourne’s contemporary art scene, driven by a deep belief in the power of artists and their role in shaping cultural dialogue. As Neon Parc prepares to present an exciting lineup at Sydney Contemporary, we spoke with founder Geoff Newton about the gallery’s origins, evolving philosophy, and what’s next on the horizon.
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Can you tell us about how Neon Parc came into existence?
The gallery started as a conversation between an artist (myself) and a curator about how to represent our peers – there were a few key artists who didn’t have any representation at the time so the timing felt right for a number of reasons. The artists the gallery has worked with from the beginning are ambitious and aren’t afraid to take risks in their work.
Image: Dale Frank, Beach 30’s, 2015.
Which artists are you presenting at Sydney Contemporary and why?
We are presenting new and historical works by Colleen Ahern, BMDO, Dale Frank, Maria Kozic, Hugo Blomley and Rob McLeish. The installation has a very physical thematic.
Image: Maria Kozic, T.I.T.S., 1991.
How do you characterize the philosophy of Neon Parc as a gallery?
I think to believe in the role of the artist in society and make exhibitions that fully represent our times. The gallery will be 20 years old next year yet it only feels like we are getting started as in the last decade a few artists have presented solo exhibitions and surveys in institutions. Neon Parc has also published and co-published monographs. The energy and dedication I feel from working with artists has maintained the direction and ambition of the program and I feel like there is a sense of family too.
Image: Rob McLeish, SNARE (7), 2025.
What’s happening next in the world of Neon Parc?
Right now we are preparing for Sydney Contemporary, in addition to museum exhibitions by several artists of the gallery, then we have Untitled Miami later this year, which is very exciting.
Our South Yarra building is for sale so there might be some movements over the next few months too.
Image: Hugo Blomley, Untitled, 2025.
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Neon Parc will present work by at Sydney Contemporary 2025. Tickets to Sydney Contemporary are on sale now.
Ahead of her upcoming presentation with Void_Melbourne at Sydney Contemporary 2025, celebrated Australian artist Louise Paramor speaks with us about her dynamic and ever-evolving practice. Known for her vibrant sculptural works and reverse-glass paintings, Paramor discusses her early influences, her fascination with everyday materials, and a future shaped by new technologies like 3D printing. With a rich career spanning decades and a relentless commitment to creative exploration, Paramor continues to challenge the boundaries between sculpture, painting, and public art.
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What inspired you to pursue a career in art, and how has your journey as an artist evolved over the years?
In Perth during the 1980s, I had an inspirational high school art teacher, Rosemary Wallace, who convinced me I had talent and that I should continue on to art school. Since graduating with a BA in painting from WAIT (now Curtin University) in 1985, the main focus of my life has been my art practice. Over the years, I have experimented with various media, sculpture being at the heart of my work. An interest in scale and an ongoing understanding of the power of objects has led me into the realm of public sculpture.
Pictured: Louise Paramor – High Society # 4 2020 | archival paper, found plastic object, steel armature | 212 x 90 x 90 cm
How do you approach the creative process when starting a new painting? Do you have any specific rituals or techniques?
I create reverse-glass paintings, using enamel to paint imagery onto the back of sheet glass. I usually gather subject matter from photographs taken of arrangements of my assemblages. The resulting paintings are colourful and often quite abstract.
Pictured: Louise Paramor – Her Majesty | 2024 | Polymer | 100 x 40 x 40 cm
Your work often plays with colour, form and scale. What drives your interest in the sculptural language of everyday materials?
My practice is based primarily in sculpture and utilises familiar objects, transforming them into dynamic, abstract compositions. A large component of my practice is the making of assemblages from found plastic objects drawn from a variety of sources. I am attracted to bright colours and unusual shapes. Once I have amassed a diverse selection, I begin a process of trial and error, arranging the parts to create finished sculptures or maquettes. I tend to work in series, which are usually unified by scale. Increasingly, I view my smaller pieces as potential maquettes for future large-scale public art projects. My three-dimensional work always informs the two-dimensional: this includes collages made from gloss enamel-painted paper, glass paintings, and photography.
Pictured: Louise Paramor – Supermodel | 2024 | Polymer | 76 x 38 x 30 cm
What can we expect to see in your presentation with Void_Melbourne at Sydney Contemporary?
There will be three different groups of works: a selection of wall-mounted boxes, each featuring a triptych of small assemblages against a colour-field backdrop; a selection of 3D-printed enlargements of small assemblage pieces presented on circular plinths; and a selection of reverse-glass paintings depicting abstracted imagery drawn from the assemblage work.
Pictured: Louise Paramor – MatchFit # 6, 2023 | Wall mounted and glass fronted | 22 x 23 x 10cm
How do you imagine yourself—your practice—to look in 10 years’ time?
All I can say is that I hope to continue to be fully immersed in my work in 10 years’ time!
How do you see your art practice evolving, and what direction are you most excited to explore?
Recently, I have started to explore the possibilities of 3D printing, which offers a new way of thinking for me. This means I am not attached to a particular scale of object when making my maquettes. Also, as colour is embedded in the plastic ‘ink’, the material translation is very sympathetic to the original found pieces. I am currently working on a ‘game’ project for a major art institution, programmed for late 2026 (the details of which are yet to be publicly announced), which involves creating a series of small assemblages with the intention to 3D print them at human scale.
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Louise will present work at Sydney Contemporary 2025 with Void_Melbourne. Tickets to Sydney Contemporary are on sale now.
