Please see the George Paton Gallery Archives for earlier exhibition documentation

25-28 JULY
Trust For One

Teresa Hsieh

You’re falling backwards waiting for the supportive embrace. You wait, you wait to let go. What if there was no one to catch your fall but an essence of yourself?
Trust in what I needed before you, for you to have now.

Image: Teresa Hsieh, Trust For One (detail). Polyurethane plastic, air movers, resin, 2017

This event is part of the University of Melbourne precinct’s NITE ART



Space, Time and Rock ‘n’ Roll
Penny Walker-Keefe

What happens when you grow up and your bedroom band posters are replaced with pop science books?
Space, Time and Rock ‘n’ Roll asks the big question of where does time actually go in a medley of bedroom rock culture and pop science featuring drawing clocks, painted posters and a guitar.

Image: Penny Walker- Keefe, A Brief History of Time. Acrylic on board, 2016

Nick Archer, Louis Cooper, Vi Macdonald, Kiah Pullens and Rachel Walker

Curated by Nick Archer

A series of gestures reacting to the functional site will exist within the George Paton Gallery. This Dialogue between image, object and architecture will span across the space, discussing issues surrounding perception, the image, the virtual and the beyond.

Image: Louis Cooper, Untitled. Digital photograph, 2017


16-25 AUGUST
The Lurid World
Tori Adams, Haydn Allen, Lief Chan, Marley Holloway-Clarke, Serena Cowie, Amie Green and Lara Navarro

Curated by Jasmin McNeill

The Lurid World celebrates cross-disciplinary visual artists as part of Mudfest 2017. Under the theme of HATCH, this year Mudfest asks the question “How do we respond to an increasingly frightening world?”

Considering the notions and boundaries of space, material and light, The Lurid World invites the audience to take part as creator and spectator.  In the exhibition, current issues such as the under-representation of female perspectives, media oversaturation and disposable attitudes towards consumer goods are explored in exciting new ways.  However, rather than present a dystopian view of the world, The Lurid World emphasises the importance of hope in contemporary times.  Black light spectacles, video works, text installations, sculptures and paintings come together to highlight the power individuals have to effect change.

The Lurid World is an incubator for new thoughts and ideas. The exhibition suggests that by acknowledging
contemporary fears, we can hatch a more hopeful future.

Tori Adams is a textile and paper artist whose practice involves experimentation with unconventional mediums to explore notions of the over saturation of information in the modern world.

Haydn Allen is a multidisciplinary artist primarily using found materials to inform his painting, photography, video, performance and sculptural practice to explore the discontent of living in a consumer society.

Lief Chan is a watercolour portrait artist who has recently extended her practice to encompass digital mediums and new technology. Her work is symbolic of the emotional capacity of humans to find hope within a dark world.

Serena Cowie is a technically skilled painter whose practice utilises classical styles of painting to highlight the on going tensions of gender inequality within contemporary culture.

Amie Green is a writer and visual artist that enjoys multimedia experimentation and art as a craft. Using text and needlework, her interactive installation interrogates the distance between the spectator, the art and the female body.

Marley Holloway-Clarke is a visual artist whose work represents the layers of connections one has to people, places and objects through mixed media installations of found objects and once loved materials.

Lara Navarro is the starving artist type with a penchant for the dark and twisty. As a creative writer, Lara’s work presents visual installations of the untold stories of canonised female archetypes.

Jasmin McNeill is an emerging curator, writer and arts administrator with particular interest in the evolving contemporary critique artists make on the present philosophy of art and society.


Presented by Mudfest 2017, UMSU Creative Arts Festival

Image: Installation detail of ‘The Lurid World’. George Paton Gallery, August, 2017



Parameters / Frameworks
Soma, Andrea Beck, Pattie Beerens, Evgenia Brodsky, John Canty, Zoe Clark, Elizabeth Cole, Alex Dillon, Noni Drew, Sandy Dunne, Robyn Eastgate, Ember Fairbairn, Georgia Herrod, Monique Jedwab, Emma Lamb, Ginny Laver, Martin Lee, Priya Namana, Hoa Nguyen, Gigi Panopoulos, David Porteus, Britt Putland, Marium Quettawala, Katie Stackhouse, Marlee Tant, Peter Toyne, Rebecca Willcox, Sandy Yates

Coordinators: Kate Just, Tully Moore, Veronica Kent, John Meade, Nadine Christensen

Twenty eight students undertaking the Graduate Certificate in Visual Art at VCA were given a 600 x 400mm plywood board. They could use the board as a basis for painting, sculpture, performance and more. This exhibition reveals their investigations of limits and possibilities.

Image: Tully Moore, 2017


the course of things
Megan Kennedy

 The course of things features an assortment of precariously balanced breakable items. Subject to minute forces within the gallery space, some may fall and some may remain, in turn we are left to ponder the logic behind the selection process.

Image: Megan Kennedy, untitled installation mock up (detail). Wood, found glass and ceramic objects, 2017

By All Mens
Participating artists: Kirsten Lyttle, Lara Chamas, T.R. Carter and Stephen Gilette, Peter Waples-Crowe, Samuel Condon, and Arie Rain Glorie

Participating writers: Amelia Winata, Neika Lehman, Karen Maeda, Danielle Toua, Hannan Al Daqqa and  Ella Shi
Curated by Chiara Scafidi  

In a world structured around the invisibility of hegemonic power how do we talk about white men as a category? By All Mens is an exploration of prevailing notions of masculinity and privilege as told through the voices of marginalised and underrepresented arts writers and artists.

Image: T.R. Carter and Stephen Gilette, DIRTY DEEDS, DONE DIRT CHEAP. Video, 2015



Alex Selenitsch

ATMOSPHERES is a group of poems that use the words atmosphereairfogmistcloudhazesmokemirror, and vacuum. Each word is turned into a separate poem, with the word typed up as a visual pattern, sometimes one word per page, sometimes run over a sequence of pages with one letter per page. The patterns are enlivened by the use of loose letters, typing displacements, and colours.

Although the patterns are visual, they are not pictorial. Instead of presenting pictures of airmist, and so on, they are texts which work on the usual convention of left to right flow, using memory and prediction as reading qualities. The reader is asked to experience what the word stands for through their reading; hopefully, this will be an analogue of the all-enveloping semi-materiality of weather.

The poems have all been produced using a standard word processor program, accepting the A4 sheet size, been printed on a standard printer, and then wall papered to the wall in groups. Copies of the poems will be also available as paper prints in plastic office folders.

Alex Selenitsch is a Melbourne-based poet and architect and is a senior lecturer in the Faculty of Architecture Building and Planning, University of Melbourne. His creative practice ranges from literature and graphics to sculpture, furniture and architecture. His concrete poems were the first of the genre to be published in Australia. He continues to research and publish the visual possibilities of a spatial literature, mostly by exploiting the interaction of pre-set systems against improvisation and intuitive processes. He exhibits this work nationally, and examples are held in various national and state public collections. He is represented by grahame galleries + editions, Brisbane. A retrospective of his work, entitled LIFE/TEXT was shown at Heide MOMA, Melbourne, in 2016-2017.

Image: Alex Selenitsch, R from AIR. Word program, print on paper, 2016,


Y: a text and word-based exhibition
Curated by Sandra Bridie

Contributions by Andreas Å Andersson, Emma Anna, Marcel Avant, Haley Ball, Erika Beiza, Ally Birman, Stephen Bram, Ross Bridie, Sandra Bridie, Maggie Brown, Nichola Brown, Jarad Bruinstroop, Eddy Burger, Adelaide Butler, Sandy Caldow, Lily Callanan, Catia Cardamone Anne M Carson, James Catterson, Ken Chau, Charlotte Clutterbuck, Collective Effort Press, Martina Copley and Francesca Rendle-Short, Sam Court, Sasha Cuha, Caitlin Cummane, Sara Curran, Grace Davey, Justin Davies, Sjaak de Jong, Finn Edwards, Phil Edwards & Rhonda Watson, Paul Eves, Amanda Fewell, Travis Franks, Juliet Fraser, Ioannis Galanopoulos-Papavasileiou, Con Georgiadis, Aaron Gibbs-Cohen, Kyra Elizabeth Gillespie, Garnett Glaesemann, Sarah Glover, Phoebe Haffenden, Emma Hakansson, Sophia Miriam Harrison, Liam Herne, Ashley J Higgs, Christopher LG Hill, Cheryl Hui Ee Ho, Raafat Ishak, Antoni Jach, Anna Jacobson, Monet Jones, Linda Judge & Henry Briffa, Cormac O’Brien Kirby, Louis Klee, Harry Klein, William Koren, Peter Lambropoulos, Marta Larzabal, Nathan Lau, Nimue Le Fevre, Blair Leggatt, Bella Li, Lilien Li, Holly Friedlander Liddicoat, Melissa Little, Sean Loughrey, Leif Mahony, Jet Malacos, Tania Mastroianni & Ali Jane Smith, David McBurney, Kari McInneny-McRae, Chloe Merbis, Timon Meury, Archie Michnikowska, Ng Sze Min & Natalie Fong, Greg Moncrieff, Isaiah Morris, Celeste Mountjoy, Peter Murphy, Stephanie Nagy, Emma Neumann, Eleanor Newbound, Annie Ngo, Sarah Nolan, Loqui Paatsch, Alessia Paino, Emily Paesler, Daniel Pallavi, Kristian Patruno, Sam Petersen, Alexandra Phelan, Π.O., Mark Prendergast, Jutta Pryor, Alex Rizkalla, Camille Robinson, Gemma Romiti, Sadia Sadia, Philip Samartzis, En En See, Andrew Seward, Ali Smith, Molly Stanko. Jessie Stanley, Rebecca Sullivan & Max Lewis, Jack Tan, Kat Teede, Amelia Theodorakis, Richard Tipping, Cynthia Troup, Ian Whittlesea, Riley Wiffen-Gower, Jessica Wilkinson, Ilgin Yildiz & Kerem Savas

100+ text-based works, including poetry, pageworks, publications, performance, video, audio, and sculpture by students through to seminal Australian concrete poets

POETRY is an exhibition of text-based works that bear a formal relationship to the space they occupy; such as the page, the book, the screen, the board, the wall, time, space, or take an art work as a starting point. Think of concrete poetry, text-works that utilise the page/book as a formal device, ekphrastic poems, word paintings, performance poetry, word & text-based video, and audio works.

Works submitted take the form of poetry publications, page works, paintings, sculptures, postcards, IPhone poetry, overhead projection on transparencies, a Mintie poem, floor works, hand made paper poems, a spoken-word choir, wearable poems, poetry portraits, audio and video works and more.

There will be a reading table set up in the gallery for viewers to read publications and a performance event coordinated by poet Ashley J Higgs.

Pierre van Osselaer, Sjaak de Jong, jeltje, Ashley J Higgs, Eddy Burger, Michael Farrell

Image: Sandra Bridie, POETRY. Digital image, 2017




Bethan Cotterill, Suzy Faiz, Kath Fries, Szymon Dorabialski, James Thomson and Eila Vinwynn

Curated by Upasana Papadopoulos and Tama Woodbury, University of Sydney

Prompted by the restructuring of Sydney College of the Arts, six artists of the University of Sydney’s Kirkbride campus mark the unmaking of their community and the uncertain place of the arts within Sydney’s cultural landscape in [un]made. This tumultuous moment has produced a diverse body of work which reflects actions of construction and disassembly. At once ephemeral, energetic and elemental, these works draw note to the resilience and vision of the artists.

The exhibition of such work in Melbourne is conducive to the investigation of place-making which grounds the bees-wax
sculptures of Kath Fries.

Built upon the awe and respect she has developed for the intricate systems created by bees, Fries’ sculptures speak to themes of community, fragility and those structures which, when left undisturbed, are the site of tremendous creativity and survival.

In her experimental photo-media, Bethan Cotterill imbibes social and physical landscapes with the ethereal presence of the human form, creating a sense of timeless presence in spaces devoid of habitation.

Traversing the unmaking of linguistic and physical imposition, Eila Vinwynn describes her painting as a prose of the body in which lived experiences and thoughts are channelled into harmonious expression. Her large-scale works, enabled by time spent in studio at SCA, reflect a sense of peace and vitality that emerge following the storms of duress.

Szymon Dorabialski’s sculptural and performative installation works reflect his dedication to experienced moments of metaphysical transcendence. Bringing together found, manipulated and constructed materials, Szymon’s work deconstructs the theoretical foundations of the museum and art world structures.

Inheriting a rich history of the theories of cutting and disassembly, Suzy Faiz’s layered mixed media collages document a time of tension, separation and longing in the artist’s life. Her multi-layered pieces mark time and creative flourishing through the very processes of making and un-making.

Lastly, James Thomson’s paintings are charismatic, vivid and, at times, menacing. Still and hard-edged, his work teases out undercurrents of perception; the bursts of ego and shock that lie beneath the

The artworks explore the concept of the (un)made through modes of materiality and temporality, drawing together physical, linguistic and theoretical elements that interrogate the tension between making and un-making.

Curated by University of Sydney Master of Art Curating students Upasana Papadopoulos and Tama Woodbury, the exhibition is supported by the University of Sydney Department of Art History, Verge Gallery and the George Paton Gallery – University of Melbourne Student Union.

This exhibition is part of a Verge Gallery / George Paton Gallery student curators and artists exchange. Verge Gallery is the gallery run by the Student Union at University of Sydney

IMAGE: Kath Fries, Reservations. Beeswax, glass and timber, 2017