A Caressing Gaze spans painting, sculptural relief, and site-specific installation, drawing from Mason Kimber’s long-standing interest in the social dimensions of architecture. Working with casts and impressions of surfaces from the built environment, Kimber reconfigures fragments into new assemblages that activate relations to place, history, and memory.
holemtaet hemia (hold this/ hold this tightly) is a new solo exhibition from Shari O’Dwyer at The Condensery, Toogoolawah, Queensland, that explores the woven memories between generations of South Sea Islanders in the Australian colony.
For artist Joel Sherwood Spring, working in video offers an entrée, with accessible technologies and immediacy, to his ongoing fields of enquiry about identity and capital, on display at his show Diggermode 2: Cloud Ceding at the Institute of Modern Art in Brisbane.
Tender Comrade, currently on show at Sydney’s White Rabbit Gallery, creates a new vocabulary of queer kinship by reimagining the relationship between artworks, bodies and space.
A presentation of works by Robert Mapplethorpe curated by the British editor Edward Enninful, Enninful x Mapplethorpe, at the 2025 Ballarat International Foto Biennale, finds resonance in opposites while turning binary thinking on its head.
Georgie Mattingley’s exhibition Project Pine Gap explores the intelligence site Pine Gap, co-owned by the Australian Federal Government and the United States, questioning art’s capabilities and function within such institutions.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
