We spoke with Gallery Director , Jasdeep Sandhu from Gajah Gallery to talk about their presentation for Sydney Contemporary 2024.

How do you characterize the philosophy of Gajah Gallery as a gallery?

At Gajah Gallery, our philosophy is intertwined with the exploration of Southeast Asian art. We are committed to providing a platform where artists can challenge conventional boundaries, allowing their distinctive voices to resonate within the global art community. Our mission is not only to delve into the rich cultural narratives of the region but also to push the envelope in terms of materiality and artistic expression. An essential part of our philosophy is the documentation of history through art. We have had
the privilege of discovering and championing artists like I Gusti Ayu Kadek Murniasih and Semsar Siahaan, whose works serve not only as artistic expressions but also as vital cultural and historical records. Collaborating with esteemed curators and historians, such as T.K. Sabapathy, Michelle Antoinette, and Dr Wulan Dirgantoro we aim to ensure that the diverse histories of Southeast Asia are documented and integrated into the global art discourse.

Through collaborations with our art space and foundry, Yogya Art Lab (YAL) in Yogyakarta, Indonesia, we support our artists in experimenting with new mediums and techniques, ensuring their work reflects their heritage while engaging with contemporary issues in innovative and compelling ways. This approach allows us to continuously evolve, pushing the boundaries of what Southeast Asian art can achieve on the world stage.

I Gusti Ayu Kadek Murniasih (b.1966 – d.2006), Nikmat (Enjoyable), 2000. Courtesy of Gajah Gallery. 

You have been working in galleries for over 25 years. What’s special about the gallery world for you?

Since founding Gajah Gallery in 1996, what stands out to me is the ongoing dialogue between tradition and innovation that defines the gallery world. At Gajah Gallery, we are constantly navigating this dynamic intersection, where the past informs the present, and where every exhibition introduces fresh perspectives while connecting to deeper cultural narratives. The gallery serves as a nexus where artists, curators, and collectors converge to explore ideas, challenge perceptions, and create meaning.

One of the most fulfilling aspects of this journey has been our commitment not only to discovering what’s next in the art world but also to looking back and unearthing important artists who may have been overlooked or forgotten. For instance, Semsar Siahaan, a seminal figure in Indonesia’s progressive movement, reflects our dedication to researching and bringing such artists to light. Siahaan’s fervent activism and incisive social commentary are integral to the history of Indonesia’s political landscape, yet his contributions have often been underappreciated.

Moreover, our efforts to bring attention to figures like Bagyi Aung Soe, the trailblazer of modern Burmese art, demonstrate our dedication to exploring the rich artistic traditions of Southeast Asia. Aung Soe’s melding of traditional Asian art forms with Western modernism and his pursuit of art as a vehicle for spiritual and social transformation have earned him both respect and reverence. Our collaboration with The Centre Pompidou, in Paris, France, for a major exhibition on Aung Soe in 2021, alongside a publication launched by Gajah Gallery, exemplifies our ongoing mission to ensure that these significant artists are accorded their rightful place in art history.

Our work with Indonesian artist Yunizar, with whom we co-founded YAL, represents our forward-looking approach. Through YAL, we’ve been able to support artists in expanding their practices into new mediums, such as sculpture. This collaboration has resulted in works that will be featured at the fair, underscoring our commitment to both preserving and advancing the artistic heritage of Southeast Asia. Witnessing the evolution of artists’ practices and playing a role in bringing their visions to the public has been a privilege. This continuous exchange of ideas, the sense of community, and the shared passion for art are what make this field truly unique and endlessly engaging.

Yunizar, Yellow Man, 2024. Courtesy of the artist and Gajah Gallery. 

What are you most excited about for your first time exhibiting at Sydney Contemporary?

We are excited to debut at Sydney Contemporary, as it offers a prime opportunity to present the rich diversity and dynamism of Southeast Asian contemporary art to a broader audience. I am particularly excited to showcase the works of two female artists who have made Australia their home: Singapore-born Suzann Victor and Malaysian artist Kayleigh Goh.

Victor is renowned for her bold exploration of light, space, and movement, creating immersive experiences that challenge the viewer’s perception. Her work, which often interrogates themes of power, gender, and identity, resonates deeply within today’s socio-political context. Kayleigh Goh, on the other hand, employs minimalistic forms and textures to evoke a sense of calm and contemplation, reflecting her nuanced understanding of space and memory. Both artists bring a profound sensitivity and intellectual depth to their work, making their contributions particularly significant in this setting.

Additionally, this platform allows us to continue our efforts to highlight the late Balinese artist I Gusti Ayu Kadek Murniasih, whose bold and surreal paintings continue to provoke thought and resonate with viewers.

Our participation in Sydney Contemporary underscores our dedication to maintaining a strong presence in Australia, following our involvement in the 24th Biennale of Sydney, where we highlighted Murniasih’s work. This fair represents a pivotal moment for us to connect with Australian collectors and art enthusiasts, fostering new relationships and dialogues, and reinforcing the significance of female artists within the global art narrative.

Suzann Victor, Prismatic River, 2022. Courtesy of the artist and Gajah Gallery.

What advice would you give someone looking to start their own collection at the fair this year?

For those new to collecting, approach the fair with an open mind and curiosity. Trust your instincts, and don’t hesitate to ask a gallerist for more information about the art and artists. The art fair offers a unique opportunity to view a vast array of works in a short time, so take advantage of it. Engaging with the stories behind the artworks can enhance your experience, and remember, it’s perfectly fine to start small, especially with works by emerging artists, which often provide an affordable entry point.

Let love and passion guide your collection – buy what brings you joy, whether it’s the colours, movement, or memories a piece evokes. Practical considerations like measuring your wall space are important, but ultimately, your collection should be a reflection of your personal vibe and bring you joy. Whether it’s the colours, the movement, or the memories a piece evokes, buy art that speaks to you on a deeper level. Established objectives can help guide your decisions, but the art that truly resonates with you will always be the most meaningful addition to your collection.

Learn more about Gajah Gallery

We spoke with Directors of The Renshaws, Ryan Renshaw and Danielle Renshaw, to talk about their gallery and presentation for Sydney Contemporary 2024.

How do you characterize the philosophy of The Renshaws as a gallery?

The Renshaws’ is a re-imagined commercial gallery model.  Our mission is to provide customised opportunities and outcomes for the artists we work with.  Artists are of course radically different from one another, and so their needs are unique to their individual practices, career paths and goals.  We are fluid and modular in our approach in order to react to these needs.    We offer an inner-city artist studio and living quarters and we make available an island retreat for artists and curators to holiday and to reflect upon their respective practices.

Jamie North, Stone In Three Phases, 2022, Installation View, Kulturhaus Obere Stube, Stein am Rhein, Switzerland. Courtesy of the artist and The Renshaws.

You have been working in galleries for 20 years. What’s special about the gallery world for you?

Artists will always be the lifeblood of our gallery. Sharing in the lives of these people, becoming family to them, and helping them in any way we can to deliver their art is a process we find eternally rewarding.

What are you most excited about for your first time exhibiting at Sydney Contemporary?

Despite being a local Sydney artist, Jamie North has spent much of the last decade busy creating commissions for exhibitions and clients all over the world.  We are thrilled to be able to present his work back in Sydney to a local audience in what will be a very focused presentation.

Jamie, North Portal, 2022. Courtesy of the artist and The Renshaws. 

What advice would you give someone looking to start their own collection at the fair this year?

Remember that when you buy an artwork you are not merely acquiring an object.  Rather you are forever entering into the ongoing narrative of that artist’s story and journey.  That object  – whatever it is – is an extension of the human who made it and now you become its custodian.   This is the profound allure of art collecting and why it can be so rewarding (and even addictive).  So before you buy, do your research.  Understand for yourself why the story of this artist and their art is important, and why should you become a part of that.

Learn more about The Renshaws 

What makes Sydney stand out as a cultural destination?

One cannot ignore the beauty of our Emerald City! As the gateway to Australia, Sydney has long been a global city—a melting pot of diverse cultures that both provoke incredible tension and harmony. This rich cultural tapestry continuously stimulates deeper thinking and the expansion of horizons.

Where do you go to find inspiration in Sydney?

As one of the most iconic cities known for its deep connection to the natural world, Sydney is a constant source of inspiration for me. The dramatic Pacific Ocean, the striking sandstone cliffs, and the lush, ever-changing rainforests provide a hypnotic backdrop. For a picturesque adventure, the Bondi to Bronte Coastal Walk is a must, and cooling off in the rock pools at Bronte Beach completes the experience. This iconic trek offers breathtaking vistas, natural beauty, and a chance to experience the sun-drenched charm of Australia’s coastline. Additionally, Sydney’s wonderful national parks, such as the Blue Mountains and Royal National Park, offer stunning landscapes and a tranquil escape from the city. The city’s diverse landscape remains awe-inspiring—wild, untamed, and mysterious. For over 60,000 years, Indigenous cultures have enriched our storytelling tradition, and today, our contemporary Australian identity shines through our energetic, passionate, and perceptive culture, deeply connected to our dynamic geography.

After a day of exploring Sydney Contemporary, where would you go for dinner and drinks to continue the evening?

I was born in Malaysia, where food culture has its own unique identity. A mix of diverse ethnic groups and history has given Malaysian food a global reputation, so naturally, I’m a foodie! Head to Ho Jiak in Chinatown for the best Malaysian street food. For dinner, try Bornga Korean BBQ in Chinatown for melt-in-your-mouth seared wagyu or Mr. Wong’s for premium Chinese cuisine. If you’re in the mood for an ‘Australiano Hour’ aperitivo and $2 oysters, visit Jane in Surry Hills.

In Sydney’s Inner West, Baba’s Place is a cozy neighborhood diner with vintage décor and a menu that spans from Lebanon to Italy to China, reflecting the cultural diversity of the area. Enjoy house-made labneh, chargrilled octopus, or hand-pulled Shanghai noodles. The Saint Cloche team has pre-booked a spot for our post-Sydney Contemporary treat!

For a solo pasta and vino, try Fabbrica Pasta Shop in the city, conveniently located below Acne’s flagship store, which was exquisitely designed by award-winning Sydney-based architecture and interior design practice H&E—making it a perfect excuse for a little shopping.

What cultural events or exhibitions coincide with Sydney Contemporary 2024 that you recommend?

The Sydney Fringe is a 30-day, multi-venue, multi-genre arts and performance festival held annually in September in Sydney. This year, it will feature History of House—an exhilarating journey through the evolution of house music, guided by ARIA-nominated DJ Groove Terminator and Grammy Award winners the Soweto Gospel Choir, which I can’t wait to attend! You can’t go wrong with an old-school beat and a boogie!

Alongside exhibiting at Sydney Contemporary, we’ll also be showcasing Greg Penn’s newest collection at our Paddington gallery. Greg’s sculptural wall hangings, made from clay, mud, and plant extracts, challenge conventional ways of seeing and thinking about the world and ourselves. As an artist, he draws inspiration from the writings of Jiddu Krishnamurti and employs various awareness techniques to stay focused while exploring the natural world.

Sue is an avid art collector and has been on the Advisory Council of Sydney Contemporary since the fair’s inception in 2013, “As an art lover it’s one of my favourite days out in the year!!”. See a few of the works that Sue is looking forward to seeing.

1 – Oliver Wagner, Reconstructed Painting 58 (Relatives 6), 2023, Void_Melbourne

“Oliver’s work is wonderful to live with. It is contemplative but strong. His practice is as meticulous as his rendering of complex issues through the use of domestic house paint dust.”

2 – Adele Warner – Football fantasy/fantasy football, 2023, Minerva,

“As an early career artist, I think she is one to watch.”

3 – Jamie North, Remainder No.36, 2022, The Renshaws

“Jamie has a voice that is all his own. From the smaller works, to the works in major institutional shows, he never fails to make his mark and his point. The mix of built versus nature loud and clear.”

4– Alesia Miksad, Golden Fleece II, 2024, Curatorial+Co.

“I have been watching Alesia’s work evolve and I think the works at Sydney Contemporary are her best to date. It feels like she has a long creative runway ahead.”

5 – Darren Sylvester, Petty Moxie, 2024, Neon Parc

“At the heart of Darren’s very particular work across various media, is a gaze back at popular culture. Never cruel, but its insight is always incisive.”

Akky is an art historian, Director of The Print Council of Australia, and curator of the Works on Paper sector. The dedicated sector showcases the best of national and international contemporary works on paper.

1– Paul Worstead, Christmas Festival, Agent 99, presented by Damian Minton Presents
“Paul Worstead posters were instrumental in the culturally significant movement of screen print artists merging around the Tin Sheds, Sydney University during the seventies and eighties.”

2– Chuck Close, Self Portrait, presented by Utopia Art Sydney
“Chuck Close’s subjects are his family, his friends, himself, and fellow artists. I like the mosaic-like colour blobs. This is one of Chuck Close’s most memorable self-portraits and the first in which he is shown smiling.”

3– Jin Sha, Salute to Masters, Conversation with Giovanni Bellini, presented by Redbase Art  
“This work reminds me of the Rene Magritte (1898-1967) Colour lithograph,  This Is Not a Pipe 1929  (Ceci n’est pas une pipe)”

4– Katsunori Hamanishi, Pickled Plum Pot, presented by Gallery East
“The Mezzotint, arguably the most difficult printmaking technique, was invented in 17th century Amsterdam.  I love the rich velvety black against the soft detailed tones of the pot.”

5 –  Avril Makula, Untitled orange, presented by Alphabet City Press

This work explores the book as art using geometry and colour as content

Image: Ester, Chippendale. Photo: Nikki To

We spoke with Gallery Director, Paul Handley from Void_Melbourne to talk about their presentation for Sydney Contemporary 2023.

Mark Hislop, The Warp Speed Legacy (installation view), 2023

The gallery is located in central Melbourne, can you elaborate on its location and why you chose to open here?

The gallery is located within the heritage listed former Bank of New South Wales building located on the second floor at 190 Bourke Street, Melbourne. Searching for a centrally located CBD space to establish Void_Melbourne, I was inspired by my time in Europe whereas street level galleries are complemented by accessible but slightly unorthodox locations. Having confidence in the Melbourne arts community that location was no barrier in presenting a vibrant program of exhibitions from the gallery’s ever expanding artist stable.

What are some career highlights, or exhibition highlights in the gallery to date?

Having only been established since February 2022, every exhibition thus far has been a highlight in the gallerists’ eyes. Introducing new and under-represented artists to a wider community is our primary focus. From exhibiting younger artists including James Little, Travis John Ficarra & Josephine Mead to more established names including Elvis Richardson & Louise Paramor.

Stephan Balleux | Sam Leach (installation view), 2023

What was your first exhibition, and why?

Void_Melbourne’s inaugural exhibition ‘Vernissage’ was inspired by the desire to introduce thirteen diverse voices exploring experimental to formal presentations & materiality whilst pushing the boundaries of visual language. Vernissage presented works from Parisian artist Nathalie Borowski, Melbourne artists Jane O’Neill, Mark Hislop and Sydney based Jennifer Leahy to name a few.

Who are you bringing to Sydney Contemporary and why?

A large aspect of Void_Melbourne’s overall guiding principle is to facilitate interconnectivity between artists, collectors and institutions in a positive and constructive way. Furthering opportunities for our exhibiting artists outside of the gallery was something we put a great emphasis on. As a young gallery within Sydney Contemporary, Void_Melbourne is presenting a duo artist presentation by Sydney  based artists Nancy Constandelia & Todd Robinson. Both Nancy & Todd are artists in that we have a very strong belief in their practice and feel the added exposure to the market place will solidify their practice into the next level.

Nancy’s studio practice explores temporality and duration through the action of slow painting. Each  work documents time and space through the multi-layering of thinly brushed translucent veils of a  single hue, creating a pentimento.  For Robinson, his presentation continues the  investigation of ambiguous representations of materiality and integrates a biographical element, drawing on his historical practice as a fashion designer, referencing garment materials and details including sections of shirts, collars and shirt fronts.

We spoke with Gallery Director, Ryoichi Matsuo from Tezukayama Gallery to talk about their presentation for Sydney Contemporary 2023.

Satoru Tamura Installation : «  Point of Contact #7 » Satoru Tamura solo Exhibition view (2018)
Photo credit : Hyogo Mugyuda

The gallery is located in Osaka, can you elaborate on its location and why you chose to open here?

I was born and raised in Osaka, and it was my dream to run a gallery in my beloved Osaka. Now gallery is located in the centre of Osaka, in an attractive area where many young people gather, and many visitors come to see our space.

What are some career highlights, or exhibition highlights in the gallery to date?

Pre-Covid-19 as before 2019, in addition to organising exhibitions in our two-space gallery, we actively participated in Japanesel and international art fairs to introduce our represented artists and received a great response.

What was your first exhibition, and why?

A solo exhibition of Masaaki Suzuki in 2006, a young Japanese artist. We have been working together.

Photo 1: Mitsumasa Kadota Installation : « Super Prism » Mitsumasa Kadota solo Exhibition view (2022)
Photo credit : Hyogo Mugyuda 

 Who are you bringing to Sydney Contemporary and why?

Three artists are introduced here: Satoru Tamura, whose works have been introduced for many years and he had a solo exhibition at the National Museum of Art in Tokyo last year; Mitsumasa Kadota, who paints on canvas with powerful strokes; and Naosuke Wada, who expresses quiet depth through multiple layers of paint.

We spoke with Gallery Director, Andrew Varano from sweet pea to talk about their presentation for Sydney Contemporary 2023.

Jack Ball, Sticky Notes (installation view)
Photo by Jack Ball.

The gallery is located in Boorloo (Perth) can you elaborate on its location and why you chose to open here?

My family is from Rome, but I was born and have lived in Perth all my life. My family ran nightclubs nearby so in a way I grew up hanging around in this area. We have a habit here of thinking of the city as isolated, culturally deficient and lacking in comparison to the eastern states and overseas. I believe that this thinking is fundamentally lazy and perhaps even rooted in a colonial mentality. There are many spaces in the city I feel are overlooked.

The CBD has experienced a downturn in the retail property market that was accelerated by the Covid lockdowns. As a self-funded gallery, for me it was an opportunity to secure good lease terms in a space that was centrally located. Coming from a curatorial and an exhibition designer background, it was important to me that the space could be functional to work in, flexible enough to accommodate a wide variety of work and meet my standards in terms of presentation. Given that we want to make our space accessible, inviting and unintimidating to new audiences, I was also very conscious that the perception of the space had to be warm and open, I wanted people to feel comfortable and well hosted in the space.

I found some heritage shopfronts on Pier Street that with a bit of care could meet all these standards. They were empty and needed a bit of love and so I set to renovating and fitting out the space myself. I’m happy with where the space is now, but I’m quite ambitious, and so ideally, I would like to grow to accommodate another gallery space, an expanded stockroom that is open to the public and maybe even a small screening space in the next year or two.

What are some career highlights, or exhibition highlights in the gallery to date?

I was an artist before I worked in galleries. The most rewarding experience was being accepted into the Fondazione Antonio Ratti program in 2009, which in that year had the artist Walid Raad as the visiting professor, with some guest workshops also held by the writer Jalal Toufic. Despite being only a three-week program it was probably one of the most intellectually and creatively fulfilling experiences in my life.

As a curator a similarly fulfilling experience was when I was a part of the Australia Council emerging curators program at the Venice Biennale in the same year that Fiona Hall was exhibiting at the Australian Pavilion. Like the Ratti program it was a real opportunity to fully immerse myself and do a research deep dive. That year, 2015, was Okwui Enwezor’s year as curator, and to me – maybe because I was so close to it – it still remains my favourite biennale year for both the national pavilions and the curated exhibition.

I’m also quite proud of the group exhibition I put together called ‘Remedial Works’ which was held at the Perth Institute of Contemporary Arts where I worked as a curator. One thing I like to do is show early career artists (particularly local artists) alongside their interstate and international peers. This was the first time I worked with Jess Tan, who I now represent through the gallery, and I was able to show her work alongside fairly high-profile artists such as Anicka Yi and Pakui Hardware.

But of course, running sweet pea has probably been the biggest highlight and something that is still unravelling! I like being able to move quickly and to think broadly about what I’d like to achieve, which is something I get to do here. It’s a dream.

Nathan Beard, Low Yield Fruit (installation view)
Photo by Jack Ball.

What was your first exhibition, and why?

My first exhibition at sweet pea was an exhibition by Jack Ball, who I’m bringing to Sydney Contemporary alongside Nathan Beard. Jack is a very good friend of mine and when I was thinking about starting a commercial gallery, they were one of the first people I spoke to about it. I’ve always been fascinated by their work and their way of thinking. They have such a good eye and I often find myself lost and luxuriating in the colour, textures and worlds contained inside their works. When sweet pea opened in November 2021 Jack did concurrent solo exhibitions at sweet pea and the Art Gallery of Western Australia – companion shows in a way. While the AGWA show was largely (but not wholly) about trans intimacy, the sweet pea exhibition was about associative and oblique ways of thinking, informed from experiences with dyslexia. For Jack it was a huge achievement and the perfect exhibition with which to launch sweet pea!

Who are you bringing to Sydney Contemporary and why?

I’m bring Jack Ball and Nathan Beard to Sydney Contemporary. I’m excited to see how it works out as they have never shown together but I’ve always intuited a lot of overlaps in their work which I’m looking forward to thinking through and articulating.

Nathan is touring his PICA exhibition ‘A Puzzlement’ to 4A in Sydney and Jack Ball has a solo exhibition at Sydenham International, both during Sydney Contemporary, so this felt like the perfect opportunity to bring them together.

It is good timing for them both as they both have recently moved to the eastern states. Jack is living and working in Sydney, practicing, and also teaching at UNSW. Nathan has moved to Melbourne to undertake the two-year Gertrude Studio Program. They both have hugely promising careers ahead of them and I’m looking forward to bringing their work to new audiences, especially overseas, over the next few years.

We spoke with Gallery Director, James Kerr from Jennings Kerr to talk about their presentation for Sydney Contemporary 2023.

The gallery is located in Robertson, in the Southern Highlands of New South Wales, can you elaborate on its location and why you chose to open here?

This is a small country town bordered by farmlands. We decided to open here, as the area has a great creative community with many talented artists living in the region as well as some very engaged collectors. The town has a lovely pace to it and the visitation is strong with travellers from all over Australia as well as people using the road to access the coast, Kangaroo Valley, and other neighbouring areas. We have been pleased with the location and it is a more enjoyable commute than previous posts.

What are some career highlights, or exhibition highlights in the gallery to date?

As a young gallery in its first two years of operation, we are very excited to take part in the fair for the first time and hopefully grow this part of our program. It has been a privilege to work with so many talented artists so far and we have been pleased to provide the platform to local artists while also bringing three shows from overseas to Robertson this year. We have had a series of work by Welsh painter Catrin Llywd, a solo show by Japanese painter Miho Ichise, as well as a solo show coming over from Harry Martin’s studio in London. I guess the career highlights would be having been able to work with so many wonderful artists and support their vision and ideas.

What was your first exhibition, and why? 

Our first exhibition happened in 2021 and was a little interrupted by Covid at the time. It was a group show of work with many friends works as well as some new work for the program. We were pleased to launch the gallery in this way and had excellent feedback on the show. It was a good bridging show, from my previous role and into our new gallery program. We look back fondly on how we launched and on what we have been able to program since.

Who are you bringing to Sydney Contemporary and why?

We are bringing a two-person presentation to Sydney Contemporary. We will exhibit a new series of large-scale colour field painting by Tanya Wales. These minimal poured acrylic paintings are serene spaces to get lost in their tonal depth. The expanses of colour are controlled in very sophisticated interlacing of layers, some more active than others but all very much expressed with elegance. The pieces are calming and soft in what can often be an environment that works can compete and cancel out. We have opted for slow, soft, quiet and still and Wales will be very much complimented by the formal ceramic practice of Julie Pennington. Pennington through a balance of classical vessel forms and expanded construction ideologies is able to create exquisite and detailed pieces that offer no place to conceal error. Through revealing building techniques, Pennington creates pieces that look to architecture in nature as well as sequencing and pattern. We are very excited to present both of the artists at the fair for the first time.

All exhibition views, photography by Ashley Mackevicius.

Portrait by Ashley Mackevicius