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.
voidmelbourne.org
@void_melbourne
louiseparamor.com
We caught up with Elisa Trifunoski, Director of Egg & Dart, ahead of Sydney Contemporary 2025 to talk about the gallery’s organic beginnings, its strong connection to place, and what’s in store for this year’s presentation. From a humble window-front in Thirroul to a fully programmed space in Wollongong, Egg & Dart has become a platform defined by material sensitivity, nuance, and an openness to the unexpected.
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Can you tell us about how Egg & Dart came into existence?
Egg & Dart was formed somewhat coincidentally, exhibiting artworks in the window shopfront of a framing studio in the coastal town of Thirroul, NSW. What began as a small window gallery gradually expanded until it eventually took over the entire studio and became an exclusively programmed gallery.
Image:Henry Jock Walker, GJB, 2025.
Your gallery is located in Wollongong, how does the community and neighbourhood around you inform the gallery?
Wollongong has a deep, and sometimes unexpected, creative undercurrent. There’s a rawness and honesty here that aligns with what we do at Egg & Dart. We’re surrounded by the ocean and the escarpment, a landscape that both absorbs and supports our community. And yet we’re so close to Sydney, which gives us access to the broader art scene while providing space for autonomy and experimentation. These are the qualities we aim to reflect in the gallery’s program.
Image: Frank Nowlan, Hay carting
Which artists are you presenting at Sydney Contemporary and why?
For Sydney Contemporary 2025, we’re presenting a group exhibition that embraces the unusual, the layered, and the intimate. It features new works by Hannah Barclay, Lee Bethel, Aaron Fell-Fracasso, Erin Mison, Darren Munce, Frank Nowlan, and Henry Jock Walker – artists working across textiles, ceramics, paper, and painting. What connects these artists is a sensitivity to material and a quiet complexity in their processes. Rather than focusing on a single theme, we wanted to bring together practices that resist easy classification. The exhibition is about nuance, experimentation, and the unexpected.
Image: Darren Munce Architectures (study), 2025
Looking ahead, what are your hopes for the next 10 years of Egg & Dart?
I suspect the art world will change quite a bit over the next ten years. But we’ll be doing exactly what we do now – holding space for artists, staying responsive, and continuing to build something generous, sustainable, and and meaningful. I want to keep having fun along the way, too, that’s absolutely key.
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Egg&Dart will present work by at Sydney Contemporary 2025. Tickets to Sydney Contemporary are on sale now.
Cover portrait image by T W Baker.
Loren Marks’ work radiates with a sense of intuitive energy—her layered, figurative paintings balance ambiguity and presence, memory and materiality. Ahead of her presentation with SANDERSON at Sydney Contemporary, we spoke with the Naarm/Melbourne-based artist about the ritual of daily painting, the shifting identity of her figures, and how discarded books and inner instincts guide her richly alchemical process.
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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 loved art as a child but I didn’t know where it would lead. I was lucky to get a place at the Whitecliffe College of Art and Design in Tāmaki Makaurau where I studied a Bachelor of Fine Arts. After graduating I became a surface print designer in the fashion industry. When I was working, I felt like I had all these ideas swirling around in my head and I needed an outlet, so after hours I began making my own art and then showing the pieces in random places in the city. My current gallery director at Sanderson saw the work at a pop up exhibition I put on and I was fortunate to be offered my first gallery solo show shortly after. That moment was the catalyst for me to focus on pursuing my career in art, and now I have moved to in Naarm Melbourne to complete my Masters at VCA, University of Melbourne, as a recipient of the Cranbourne Scholarship in Visual Art.
Loren Marks, As for the Rest, 2025. Courtesy of the artist and SANDERSON.
Although your process is described as intuitive and ritualistic, how do you prepare to paint, and how does that affect what appears on the canvas?
Intuition for me is very human, where sensations in my body and mind work in synchronicity to make decisions. I will start by putting paint on the surface of the canvas, which sets off a chain of events that lead to the final outcome. Sometimes the works completely change from the beginning idea. I get ideas for my works from my environment – walking around the city, looking at art, or out in nature. I sketch from my head or I’ll find photos or books that present themselves to me. I found a discarded Caravaggio book outside of my apartment that provided ideas for my current body of work. I have learnt to trust myself and the materials, and it always ends up working out if I am habitually showing up in my studio. This ritual and dedication has taught me lessons that spread out into other aspects of my life.
Loren Marks, On A Promise, 2024. Courtesy of the artist and SANDERSON.
Your figures are often ambiguous and shifting, what draws you to this sense of fluid identity?
Exploring the figurative is so fascinating to me, with its infinite possibilities. I want my figures to be viewed as genderless and without a specific ethnicity or identity. I want them to have a universal feeling where they transcend time and space, and you cannot place exactly where they are from. By keeping the figures ambiguous and shifting, I wish to gently invite the viewer to recognise things about themselves in them, and become part of the work too.
Loren Marks, Slowing of Seasons, 2025. Courtesy of the artist and SANDERSON.
With your layered, alchemical technique, how do you know when a painting is finished?
I never know when a painting is finished! But I definitely know when it’s not finished.
I sometimes bring them home from my studio and I’ll just look at them in a different space for ages and if they’re not done, they sort of annoy me or there’s just something not right and it goes back to that mind/body intuition, like the feeling of knowing that it’s not right. It’s a good sign when I don’t feel bugged by it.
Loren Marks, I Was Able to Go This Far, 2024. Courtesy of the artist and SANDERSON.
Where do you hope to see yourself, your practice, in 10 years?
Being in new places and environments always invigorates my practice. I like to live and work either in a busy city, or deep in nature, nothing in between! I can imagine my practice evolving. With each show there is always a shift. I’m materials led so I don’t really know what my next body of work will be until I make it. What I love about art is that anything can happen, and that’s what makes it so exciting.
Loren Marks, Clouds in Your Eyes, 2024. Courtesy of the artist and SANDERSON.
Loren will present new work at Sydney Contemporary 2025 with SANDERSON. Tickets to Sydney Contemporary are on sale now.
We spoke with Emanuel Mugrauer, Co-Founder of BTWNLNS, a book and furniture store he runs with his partner, interior architect Nicole Albrecht, and curator of the Sydney Contemporary 2025 pop-up bookshop. We discussed what makes Sydney an increasingly compelling cultural city, the importance of supporting the arts, and how to make the most of your time around the fair.
Drawing from his perspective in Berlin, Emanuel offers a candid, international view of Sydney’s creative scene—one that embraces nuance, collaboration, and a touch of unpretentious charm.
What makes Sydney stand out as a cultural destination?
Sydney has many beautiful, diverse neighbourhoods where people collaborate and contribute in their own unique ways. This makes Sydney a contemporary city in terms of art, music, food, design, architecture, and fashion. I am born and bred in Berlin, lived in Moscow, Munich, Hamburg, New York and worked worldwide. I can get inspiration from wherever I go. The interesting mix of so many cultures in Sydney feels unlike anywhere else in the world. By contrast, my hometown has never felt as diverse to me, and the quality in many areas is quite different. This vibrant patchwork creates something new, and to me, Sydney is one of the most interesting cities globally. Europe is beautiful, old, and classic. But exciting and new things are happening in Seoul, Shanghai, Taipei, Mexico City, and beyond. Hopefully, the same will be true for Sydney, as there is immense potential in the APAC region.
Those who complain about a lack of culture should start doing their part. Cities like Berlin and New York became cultural hubs because people took risks and contributed to the cultural landscape. Sydney has many interesting artists and institutions, and sometimes I feel they should be more proud and push for greater international exchange.
A funny observation is that many people from Sydney or Melbourne go to Berlin, but they haven’t really succeeded in bringing people from Berlin to Melbourne or Sydney. Some of my favourite places in Berlin are run by Australians who contribute to Berlin’s current “cool.” But they could do the same in Sydney, Melbourne, or other Australian cities. It still feels very one-sided and sometimes I wonder if Crocodile Dundee is still the reference for Australia, which is a shame. This is probably partly due to Australia’s city marketing, which tends not to focus on culture. It’s all about kangaroos, beaches, landmarks, and things like the Harbour Bridge and the Sydney Opera House (which, by the way, does a great job with its program). However, the external perception is often limited to the building itself rather than the cultural quality of its program.
Being on the other side of the world, starting fresh on another continent, makes us feel young. We have always been drawn to places that are evolving, rather than those that are already “ready-made” cool. For us, Sydney is one of the most beautiful cities in the world where you can enjoy nature and culture simultaneously.
Image: Street art in Spice Alley, Image source: Scott Marsh
After a day of exploring Sydney Contemporary, where would you go for dinner and drinks to continue the evening?
Ito in Surry Hills, with its timeless, understated quality, is one of my favourite spots. Farmhouse Kings Cross, Odd Culture, and ANTE in Newtown, or Dear Sainte Eloise in Potts Point, are also fantastic. The Eveleigh Hotel in Redfern is a great choice for an outdoor beer, a “roundabout bet,” and excellent live jazz.
Images: Left: ITO Surry Hills, Image source: © ITO. Right: Odd Culture Newtown, Image source: Odd Culture Newtown.
What cultural events or exhibitions coincide with the Sydney Contemporary that you recommend?
I’m really looking forward to the 38th Kaldor Public Art Project. John Kaldor has invited German artist Thomas Demand to create an exhibition space in the Art Gallery of New South Wales’ Naala Badu building, specifically designed to showcase the John Kaldor Family Collection in a completely new light.
I met Thomas Demand years ago in his studio in Silverlake and was very impressed by his strong and clear artistic vision. We discussed the execution of his work “Blossom” and explored photographic techniques. “Blossom” depicts branches covered with a myriad of delicate cherry blossoms, characteristic of Sakura. Bright red sepals at the stem and pink petals frame a dark red stigma in the center. In traditional Japanese culture, because of the cherry blossoms’ short bloom, the motif symbolizes the fleetingness of life and beauty. At the same time, as a sign of spring, the blossoming trees represent new beginnings. In the end, he chose to use dye transfer prints, and I understood his decision (Even though I was keen to excite him about REANALOG—a technique combining digital photography, 3D, CGI, an 8×10 inch negative, and analogue hand-pulled C-type prints.)
That’s exactly what makes conversations with artists so rewarding—learning from their strong and clear opinions about their work.
His art and long-term collaboration with Caruso St John, showcased in the fantastic exhibitions at Berlin’s Neue Nationalgalerie and The Triple Folly, especially inspired me. His curatorial work for the Prada Foundation and the amazing exhibition “L’image volée” also had a strong impact on me.
Demand’s exhibition explores how we all rely on pre-existing models and how artists have historically drawn on existing images to create their own. The project questions the boundaries between originality, conceptual inventiveness, and the culture of copying. It examines themes of theft, authorship, appropriation, and the creative potential of such endeavours.
Saskia Olde Wolbers, ‘Placebo’ 2002. John Kaldor Family Collection © Saskia Olde Wolbers. Courtesy Maureen Paley, London.
If you have friends visiting from outside of town, what are you adding to their itinerary?
What do you do with your guests? Of course, we try to show them all facets and impressions of this great city. Start the morning with a dip in the ocean at Nielsen Park or Camp Cove, then enjoy coffee at ÉSEU266 in Marrickville. From there, visit 1301SW and the White Rabbit Gallery. For lunch, head to Chaco Ramen in Surry Hills. After some free time, have a simple dinner at Cairo Takeaway, then catch a concert at the Enmore Theatre, finishing the night with a drink on Enmore Road. A must is to try to get tickets for a concert at Phoenix Central Park or a production by the Sydney Dance Company or Sydney Theatre Company.
If the night was a bit long, the next morning you can relax with a steam bath at Capybara Bathing and then watch a movie at the Golden Age Cinema.
Images: Left: Nielsen Park, Image source: National Parks NSW. Right: Chaco Ramen, Image source: Chaco Ramen.
Do you have a favourite public art installation or mural in the city? What makes it special?
Honestly, I don’t know the artist’s name, but I love the “Break Up Park” bench at Burren Street Reserve in Newtown. It’s simple and effective—you don’t question it.
Images: “Break Up Park” bench
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BWTNLNS will host the Pop-Up Bookshop at Sydney Contemporary 2025. Tickets to Sydney Contemporary are on sale now.
Ahead of Sydney Contemporary 2025, we spoke with Rachael Fry, Director of C. Gallery, about the gallery’s conceptual roots, curatorial focus, and what audiences can expect from their upcoming presentation. Evolving from Criteria’s design foundations, C. Gallery occupies a distinct space that bridges collectible design and contemporary art, highlighting practices that challenge category, craft, and cultural narrative. “C. Gallery developed as an extension of Criteria, integrating both physically and conceptually with the existing collection,” Fry explains.
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Can you tell us about how C. Gallery came into existence?
C. Gallery developed as an extension of Criteria, integrating both physically and conceptually with the existing collection. It functions as a complementary platform to Criteria’s enduring commitment to collectible design, while simultaneously interrogating and blurring the boundaries between established collecting categories. This approach more accurately reflects the nuanced sensibilities and evolving aesthetic preferences of Australia’s discerning art and design community.
Nic Fern, ‘Ariadne’, 2025. Courtesy of the artists and C. Gallery. Photo by Joshua Morris.
Which artists are you presenting at Sydney Contemporary and why?
We are presenting new works by Nic Fern and Claudia Lau. In exhibiting two female Australian artists, we seek to highlight the differences and parallels between contemporary practices; both which draw from a deep historical knowledge and tradition while pushing their mediums in unexpected directions.
Nic Fern’s work offers a profound exploration of contemporary Australian notions of gender, class, and hierarchy. Through a diverse range of media including painting, drawing, stitching, and hand-built clay elements, she creates intricate wall works and illustrated vessels that cleverly incorporate iconic imagery from the Western visual art canon.
Claudia Lau’s practice straddles between experimentation and the refined. She seeks to explore the ceramic process expanded through a lens of poetic gesture, working with considered studio methodologies that flex between known and unexpected firing outcomes. Dividing her practice and time between a studio practice and a production studio based in Jingdezhen, China, this cultural exchange has developed her deep connection with the tradition of ceramics and experimental production methods.
Nic Fern, ‘Liberty Leading the People’, 2025. Courtesy of the artists and C. Gallery. Photo by by Joshua Morris.
Could you share one of the most memorable times you’ve had working as a gallerist?
There’s something uniquely thrilling about witnessing an artist’s work during the installation of an exhibition. Even after seeing the full arc—from early concepts and sketches to preview imagery and final photography—the work never feels entirely real until it takes its place in the physical space. Understanding the immense effort that goes into developing a cohesive body of work only deepens the excitement when it’s finally ready to be shared with the world. It’s a feeling that never gets old.
Claudia Lau, ‘Index 1’, 2024. Courtesy of the artists and C. Gallery. Photo by Simon Strong.
Looking ahead, what are your hopes for the next 10 years of C. Gallery?
I hope that our exhibitions will continue to surprise, resonate with, and deeply engage those who encounter it. It is a privilege to share the works of the remarkable artists we represent—each of them bringing a unique perspective to the cultural landscape.
Claudia Lau, ‘Index 2’, 2024. Courtesy of the artists and C. Gallery. Photo by by Simon Strong.
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C. Gallery will present work by Claudia Lau and Nic Fern at Sydney Contemporary 2025. Tickets to Sydney Contemporary are on sale now.
Cover photo by Sean Fennessy
