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firstdraft_
Firstdraft
Where the future of contemporary art emerges ✨
⏰ Opening Hours ⏰
Wednesday: 11 AM - 8 PM
Thursday - Saturday: 11 AM - 5 PM
Join us on 𝗙𝗿𝗶𝗱𝗮𝘆, 𝟮𝟵 𝗠𝗮𝘆, 𝗳𝗿𝗼𝗺 𝟲–𝟴 𝗽𝗺 to open our newest exhibitions!
We’ve got 𝘿𝙞𝙨𝙘𝙤𝙧𝙙 𝙆𝙞𝙩𝙩𝙚𝙣𝙨 𝙖𝙣𝙙 𝙈𝙪𝙘𝙠 𝙋𝙪𝙥𝙥𝙞𝙚𝙨 in Gallery 1— interrogating the atomisation of our social worlds through digital platforms— with work from Si Yi Shen (@tellandtales), Rainer Ciar (@rainerciar), Giana Festa (@gigis_revenge_), Aimee Meng (@hentaiwawa), and Wolfgang Saker (@wolfsaker).
Gallery 2 features 𝘽𝙧𝙚𝙖𝙠-𝙀𝙫𝙚𝙣 𝙋𝙤𝙞𝙣𝙩, a group exhibition which dives into the relationship between art and labour, featuring Sophia Cai (@sophiatron), Benita Laylim (@bennibluu), Amy Prcevich, and Daniel Sherington (@danielsherington).
Downstairs we’ve got two major solo exhibitions from Kristone Capistrano (@kristonecapistrano), 𝙋𝙖𝙥𝙚𝙧 𝙁𝙚𝙚𝙙, in Gallery 3, and Edward Barns (@edwardlwbart), with 𝙂𝙪𝙢𝙢𝙖𝙢𝙖𝙜𝙞𝙘, in Gallery 4.
Some of the artists will be in conversation the following 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆, 𝗔𝗽𝗿𝗶𝗹 𝟭𝟭, 𝗳𝗿𝗼𝗺 𝟮—𝟰 𝗽𝗺 for our artist talks.
All welcome! RSVP to both Friday & Saturday at the link in our bio. 🔗
𝙁𝙞𝙧𝙨𝙩𝙙𝙧𝙖𝙛𝙩 𝙞𝙨 𝙛𝙤𝙧𝙩𝙮 𝙩𝙝𝙞𝙨 𝙮𝙚𝙖𝙧.
To be quite specific, Firstdraft is 40 𝘵𝘰𝘥𝘢𝘺; On March 13, 1986, 𝘍𝘰𝘳𝘣𝘪𝘥𝘥𝘦𝘯 𝘍𝘳𝘶𝘪𝘵 opened at Firstdraft’s first location in Chippendale. Four locations, hundreds of board members, and thousands of exhibited artists later, we’re happy to say we’re still around.
To mark the occasion, read a digital facsimile of Firstdraft’s first ever catalogue on the website. Featuring a text on the nature of Firstdraft (and what it might become) by Jo Holder and Catriona Moore.
Link in our bio. 🔗
𝘍𝘰𝘳𝘣𝘪𝘥𝘥𝘦𝘯 𝘍𝘳𝘶𝘪𝘵 featured the work of Ann Harris, Margaret Morgan, Deborah Singleton, Donna Marcus, Linda Forrester, Carolyn Osterhaus, and Peta Sanderson.
Lots more to come on the 40th front. Stay tuned.
But for now—
Happy birthday, Firstdraft.
Join us on 𝗙𝗿𝗶𝗱𝗮𝘆, 𝟮𝟵 𝗠𝗮𝘆, 𝗳𝗿𝗼𝗺 𝟲–𝟴 𝗽𝗺 for the opening of 𝘿𝙞𝙨𝙘𝙤𝙧𝙙 𝙆𝙞𝙩𝙩𝙚𝙣𝙨 𝙖𝙣𝙙 𝙈𝙪𝙘𝙠 𝙋𝙪𝙥𝙥𝙞𝙚𝙨.
This exhibition explores sentiments of loneliness, grief and misunderstanding as digital connection feels atomised through quantity rather than quality of contact. What happens when signals are crossed rather than interrupted? What does it mean to feel isolated in a mass culture distilled or distorted through personalisation, algorithms and a lack of shared language? How and where do we find connection when we are struggling to relate to each other?
This exhibition examines how the culture we consume determines how we connect and considers the challenges faced when trying to build sincere relationships as channels of communication change, shift or regress.
With work from Si Yi Shen (@tellandtales), Rainer Ciar (@rainerciar), gigis_revenge_ (@gigis_revenge_), Aimee Meng (@hentaiwawa), and Wolfgang Saker (@wolfsaker).
This project is developed by Firstdraft.
Some of the artists will be in conversation the following 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆, 𝗔𝗽𝗿𝗶𝗹 𝟭𝟭, 𝗳𝗿𝗼𝗺 𝟮—𝟰 𝗽𝗺 for our artist talks.
All welcome! RSVP to both Friday & Saturday at the link in our bio. 🔗
+++
gigis_revenge_, 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘳𝘦𝘢𝘭, 2026, JavaScript browser extension.
Join us on 𝗙𝗿𝗶𝗱𝗮𝘆, 𝟮𝟵 𝗠𝗮𝘆, 𝗳𝗿𝗼𝗺 𝟲–𝟴 𝗽𝗺 for the opening of 𝘿𝙞𝙨𝙘𝙤𝙧𝙙 𝙆𝙞𝙩𝙩𝙚𝙣𝙨 𝙖𝙣𝙙 𝙈𝙪𝙘𝙠 𝙋𝙪𝙥𝙥𝙞𝙚𝙨.
This exhibition explores sentiments of loneliness, grief and misunderstanding as digital connection feels atomised through quantity rather than quality of contact. What happens when signals are crossed rather than interrupted? What does it mean to feel isolated in a mass culture distilled or distorted through personalisation, algorithms and a lack of shared language? How and where do we find connection when we are struggling to relate to each other?
This exhibition examines how the culture we consume determines how we connect and considers the challenges faced when trying to build sincere relationships as channels of communication change, shift or regress.
With work from Si Yi Shen (@tellandtales), Rainer Ciar (@rainerciar), gigis_revenge_ (@gigis_revenge_), Aimee Meng (@hentaiwawa), and Wolfgang Saker (@wolfsaker).
This project is developed by Firstdraft.
Some of the artists will be in conversation the following 𝗦𝗮𝘁𝘂𝗿𝗱𝗮𝘆, 𝗔𝗽𝗿𝗶𝗹 𝟭𝟭, 𝗳𝗿𝗼𝗺 𝟮—𝟰 𝗽𝗺 for our artist talks.
All welcome! RSVP to both Friday & Saturday at the link in our bio. 🔗
+++
gigis_revenge_, 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘳𝘦𝘢𝘭, 2026, JavaScript browser extension.
Semester 2 of our Artist Development Series continues on the 30th of May, with a seminar from the preeminent Daniel Mudie Cunningham on developing your curatorial practice. Tickets available through our bio. 🔗
Dr Daniel Mudie Cunningham will present an illustrated talk on his curatorial practice over three-decades, drawing on his experience across artist-run and institutional contexts. The session will explore how his work as an artist often informs his approach to curation, with a focus on archives, storytelling and contemporary Australian practice. He will also reflect on navigating artist/curator relationships, offering insights into the practical and conceptual frameworks that shape exhibitions and programs, followed by an open discussion.
Stick around afterwards for artist talks from our current exhibitions from 2 pm!
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DANIEL MUDIE CUNNINGHAM (@danmudcun) is an artist, curator, writer and educator, and the Director of Wollongong Art Gallery.
As a respected arts leader and curator he has held roles at institutions including Carriageworks, Performance Space, Artbank, Cementa, Hazelhurst Arts Centre; and teaching roles at the National Art School and Western Sydney University.
His artistic work spans video, photography, performance and text, tracing how memory, grief and identity are shaped through the technologies of popular culture and art history. His approach to curation and education extends his artistic concerns, using archives and storytelling to connect people, histories and ideas. Across three decades, his practice has approached the archive as both subject and medium — a living record where personal and collective histories converge. His acclaimed work Funeral Songs is a defining example of this distillation. His work has been widely exhibited and collected by institutions across Australia.
Portrait courtesy Laura Moore.
Artwork: Tess de Quincey @ Firstdraft, 1995.
[Image ID: A carousel of three images. The first is an abstract red and blue colourfield crossed by CRT lines. The second is a portrait of Daniel Mudie Cunningham. The final image returns to the abstract colour field.]
Semester 2 of our Artist Development Series continues on the 30th of May, with a seminar from the preeminent Daniel Mudie Cunningham on developing your curatorial practice. Tickets available through our bio. 🔗
Dr Daniel Mudie Cunningham will present an illustrated talk on his curatorial practice over three-decades, drawing on his experience across artist-run and institutional contexts. The session will explore how his work as an artist often informs his approach to curation, with a focus on archives, storytelling and contemporary Australian practice. He will also reflect on navigating artist/curator relationships, offering insights into the practical and conceptual frameworks that shape exhibitions and programs, followed by an open discussion.
Stick around afterwards for artist talks from our current exhibitions from 2 pm!
+++
DANIEL MUDIE CUNNINGHAM (@danmudcun) is an artist, curator, writer and educator, and the Director of Wollongong Art Gallery.
As a respected arts leader and curator he has held roles at institutions including Carriageworks, Performance Space, Artbank, Cementa, Hazelhurst Arts Centre; and teaching roles at the National Art School and Western Sydney University.
His artistic work spans video, photography, performance and text, tracing how memory, grief and identity are shaped through the technologies of popular culture and art history. His approach to curation and education extends his artistic concerns, using archives and storytelling to connect people, histories and ideas. Across three decades, his practice has approached the archive as both subject and medium — a living record where personal and collective histories converge. His acclaimed work Funeral Songs is a defining example of this distillation. His work has been widely exhibited and collected by institutions across Australia.
Portrait courtesy Laura Moore.
Artwork: Tess de Quincey @ Firstdraft, 1995.
[Image ID: A carousel of three images. The first is an abstract red and blue colourfield crossed by CRT lines. The second is a portrait of Daniel Mudie Cunningham. The final image returns to the abstract colour field.]
Semester 2 of our Artist Development Series continues on the 30th of May, with a seminar from the preeminent Daniel Mudie Cunningham on developing your curatorial practice. Tickets available through our bio. 🔗
Dr Daniel Mudie Cunningham will present an illustrated talk on his curatorial practice over three-decades, drawing on his experience across artist-run and institutional contexts. The session will explore how his work as an artist often informs his approach to curation, with a focus on archives, storytelling and contemporary Australian practice. He will also reflect on navigating artist/curator relationships, offering insights into the practical and conceptual frameworks that shape exhibitions and programs, followed by an open discussion.
Stick around afterwards for artist talks from our current exhibitions from 2 pm!
+++
DANIEL MUDIE CUNNINGHAM (@danmudcun) is an artist, curator, writer and educator, and the Director of Wollongong Art Gallery.
As a respected arts leader and curator he has held roles at institutions including Carriageworks, Performance Space, Artbank, Cementa, Hazelhurst Arts Centre; and teaching roles at the National Art School and Western Sydney University.
His artistic work spans video, photography, performance and text, tracing how memory, grief and identity are shaped through the technologies of popular culture and art history. His approach to curation and education extends his artistic concerns, using archives and storytelling to connect people, histories and ideas. Across three decades, his practice has approached the archive as both subject and medium — a living record where personal and collective histories converge. His acclaimed work Funeral Songs is a defining example of this distillation. His work has been widely exhibited and collected by institutions across Australia.
Portrait courtesy Laura Moore.
Artwork: Tess de Quincey @ Firstdraft, 1995.
[Image ID: A carousel of three images. The first is an abstract red and blue colourfield crossed by CRT lines. The second is a portrait of Daniel Mudie Cunningham. The final image returns to the abstract colour field.]
We’re excited to kick off Semester 2 of our Artist Development Series with a workshop on Install Basics from the artist, curator, and arts worker Owen Lewis.
This workshop is designed to give you a comprehensive introduction to installing artworks— from preparing the artwork before install to resetting the space after you’re done. Owen will cover both wall-based works and sculptural pieces with an emphasis on introducing you to the tools, tips, and tricks you need to confidently prepare and install your own work.
23rd of May, 2—4 pm, Tickets are limited— book yours now at the link in our bio.
The Artist Development Program is supported by the City of Sydney.
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OWEN LEWIS (@_0_l_e_w_i_s_) is a board member of Tiles Lewisham (@tiles.lewisham) and co-director of Our Neon Foe (@our_neon_foe). Their studio practice includes investigations into small scale sculpture, buon-fresco paintings, installation and textile art. As an arts worker they have a comprehensive experience transporting, preparing, and installing exhibitions across Australia, from major institutions to private clients.
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Image: Detail from 'Make or Break', Connie Anthes & Rebecca Gallo, at Firstdraft, 2015.
We’re excited to kick off Semester 2 of our Artist Development Series with a workshop on Install Basics from the artist, curator, and arts worker Owen Lewis.
This workshop is designed to give you a comprehensive introduction to installing artworks— from preparing the artwork before install to resetting the space after you’re done. Owen will cover both wall-based works and sculptural pieces with an emphasis on introducing you to the tools, tips, and tricks you need to confidently prepare and install your own work.
23rd of May, 2—4 pm, Tickets are limited— book yours now at the link in our bio.
The Artist Development Program is supported by the City of Sydney.
+++
OWEN LEWIS (@_0_l_e_w_i_s_) is a board member of Tiles Lewisham (@tiles.lewisham) and co-director of Our Neon Foe (@our_neon_foe). Their studio practice includes investigations into small scale sculpture, buon-fresco paintings, installation and textile art. As an arts worker they have a comprehensive experience transporting, preparing, and installing exhibitions across Australia, from major institutions to private clients.
+++
Image: Detail from 'Make or Break', Connie Anthes & Rebecca Gallo, at Firstdraft, 2015.
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
There’s still time to see our exhibitions (and majestic micro commissions!) this week at Firstdraft— exhibitions run through the 16th of May.
+++
1. Detail from Harry Merriman, 𝘈 𝘞𝘩𝘰𝘭𝘦 𝘏𝘰𝘭𝘦, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Detail from Jent Do, 𝘓𝘢𝘴𝘦𝘳 𝘊𝘶𝘵 𝘙𝘦𝘮𝘪𝘹, 2024 laser cut plywood, 42cm x 54.9 cm x 1.5cm
1. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm
2. Detail from Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Detail from 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 2, 2022-2026, white ink on black paper, 50cm x 65cm.
@tru_ish_blue
@jentxmgtd
@kirthana.selvaraj
@chloeabdelnour
@jeremy_swales
@zeina_iaali_artist
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of artworks. The first two images are a still of a pixelated family portrait overlain with brightly coloured pixel trails. The third image shows the top-left corner of grey laser cut plywood featuring geometric cutouts. The fourth shows a painting of a reclining figure reflected in a hanging mirror. The fifth image shows a brightly-coloured weaving embroidered with the text ‘COME AS YOU ARE’ in bright orange lettering. The final image shows a detail of a detailed drawing of white, curling lines on black paper.]
Hear from Little Umbrella Collective as they discuss the collaboration, experimentation, and learning behind their exhibition, 𝘔𝘰𝘷𝘪𝘯𝘨 𝘐𝘯 (𝘛𝘩𝘦 𝘕𝘦𝘹𝘵 𝘞𝘰𝘳𝘭𝘥)— open through May 16th.
Featuring the words of LUC @littleumbrellacollective members Lucrezia Maria Botto (@lucreziamariabrottopoggi), Sudheera Dissanayake (@sudjuice), Matt Elliot (@mattelliott80), Zachariah Fenn (@zfenndelberg), and Shira Fox (@scfoxinkandpaint).
[Video ID: A instagram reel featuring five members of Little Umbrella Collective (LUC) sitting on and around a bench in their exhibition, intercut with shots of artworks from that exhibition.]
Zeina Iaali’s (@zeina_iaali_artist) 𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is grounded in repetition as both a meditative process and a quiet act of resistance, drawing on the spiritual tradition of dhikr (remembrance). The work invites the viewer into a space of tazkiyah (purification and contemplation), where the act of creation becomes ritual, discipline, and inner refinement. The artist’s practice is deeply introspective, shaped by Islamic mysticism, memory, and identity. It seeks to uncover an internal order of things - an unseen structure that governs both the spiritual and material self. Central to this inquiry is the concept of the nafs (self), which exists in constant negotiation between the qalb (heart) and the ‘aql (intellect) in the pursuit of purifying the ruh (spirit).
𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is open through May 16.
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1. Zeina Iaali, 𝘛𝘦𝘵𝘳𝘢𝘬𝘵𝘺𝘴, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Zeina Iaali, 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 1, 2022-2026, white ink on black paper, 50cm x 65cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of geometric artworks. The first is of a mirrored, triangular sculpture built of smaller triangles, each featuring a coloured dot of transparent perspex at its centre. The second features a blurred figure in front of an intricate, geometric drawing with white ink on black paper. The final image is of the triangular sculpture at a wider angle, showing the sculpture’s shadow with small spots of colour where the light passes through the transparent perspex.]
Zeina Iaali’s (@zeina_iaali_artist) 𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is grounded in repetition as both a meditative process and a quiet act of resistance, drawing on the spiritual tradition of dhikr (remembrance). The work invites the viewer into a space of tazkiyah (purification and contemplation), where the act of creation becomes ritual, discipline, and inner refinement. The artist’s practice is deeply introspective, shaped by Islamic mysticism, memory, and identity. It seeks to uncover an internal order of things - an unseen structure that governs both the spiritual and material self. Central to this inquiry is the concept of the nafs (self), which exists in constant negotiation between the qalb (heart) and the ‘aql (intellect) in the pursuit of purifying the ruh (spirit).
𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is open through May 16.
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1. Zeina Iaali, 𝘛𝘦𝘵𝘳𝘢𝘬𝘵𝘺𝘴, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Zeina Iaali, 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 1, 2022-2026, white ink on black paper, 50cm x 65cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of geometric artworks. The first is of a mirrored, triangular sculpture built of smaller triangles, each featuring a coloured dot of transparent perspex at its centre. The second features a blurred figure in front of an intricate, geometric drawing with white ink on black paper. The final image is of the triangular sculpture at a wider angle, showing the sculpture’s shadow with small spots of colour where the light passes through the transparent perspex.]
Zeina Iaali’s (@zeina_iaali_artist) 𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is grounded in repetition as both a meditative process and a quiet act of resistance, drawing on the spiritual tradition of dhikr (remembrance). The work invites the viewer into a space of tazkiyah (purification and contemplation), where the act of creation becomes ritual, discipline, and inner refinement. The artist’s practice is deeply introspective, shaped by Islamic mysticism, memory, and identity. It seeks to uncover an internal order of things - an unseen structure that governs both the spiritual and material self. Central to this inquiry is the concept of the nafs (self), which exists in constant negotiation between the qalb (heart) and the ‘aql (intellect) in the pursuit of purifying the ruh (spirit).
𝘐𝘯 𝘵𝘩𝘦 𝘗𝘳𝘦𝘴𝘦𝘯𝘤𝘦 𝘰𝘧 𝘚𝘦𝘭𝘧 (𝘢𝘭 𝘕𝘢𝘧𝘴) is open through May 16.
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1. Zeina Iaali, 𝘛𝘦𝘵𝘳𝘢𝘬𝘵𝘺𝘴, 2026, Mirror perspex, 36 x 32 x 6cm, 2026.
2. Zeina Iaali, 𝘋𝘩𝘪𝘬𝘳 (𝘳𝘦𝘮𝘦𝘮𝘣𝘳𝘢𝘯𝘤𝘦) 1, 2022-2026, white ink on black paper, 50cm x 65cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of images of geometric artworks. The first is of a mirrored, triangular sculpture built of smaller triangles, each featuring a coloured dot of transparent perspex at its centre. The second features a blurred figure in front of an intricate, geometric drawing with white ink on black paper. The final image is of the triangular sculpture at a wider angle, showing the sculpture’s shadow with small spots of colour where the light passes through the transparent perspex.]
Come hang out with us at 𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) this weekend!
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) expands on 𝘊𝘰𝘮𝘦 𝘈𝘴 𝘠𝘰𝘶 𝘈𝘳𝘦, Little Umbrella Collective’s online exhibition, bringing the work into a shared physical space. While the online exhibition introduced the individual practices of the artists, this new chapter focuses more closely on collaboration, collective making and the experience of inhabiting space together.
The exhibition approaches the gallery as a place of dwelling. Rather than presenting works as separate objects, the gallery is treated as a space that artists move into and shape collectively. Materials and ideas intersect across painting, textile, sculpture, video, sound and installation, forming a layered atmosphere that reflects the relationships between the artists. The idea of “moving in” also reflects the creation of a temporary home. The exhibition embraces a domestic sensibility, treating the gallery as a place to inhabit.
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) continues through the 16th May.
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1. Oliver Fontany (with assistance and mentorship from Rowan Yeomans), 𝘖𝘭𝘪𝘷𝘦𝘳 𝘢𝘯𝘥 𝘉𝘢𝘵𝘮𝘢𝘯 𝘢𝘳𝘦 𝘍𝘳𝘪𝘦𝘯𝘥𝘴, 2025, textile mixed media, 100 x 100 cm.
2. Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Install detail.
@littleumbrellacollective
@oliverfontany & @rowan_yeomans
@chloeabdelnour & @jeremy_swales
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of an art exhibition. The first image is of a wall-based work of various textiles featuring imagery of the character Batman and others stitched together and stretched over a frame. The second shows a multicoloured weaving on a bench, with the words ‘COME AS YOU ARE’ embroidered in orange lettering. The final image shows a wide shot of the exhibition, prominently featuring a brightly-coloured painted umbrella hanging above the bench from image 2.]
Come hang out with us at 𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) this weekend!
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) expands on 𝘊𝘰𝘮𝘦 𝘈𝘴 𝘠𝘰𝘶 𝘈𝘳𝘦, Little Umbrella Collective’s online exhibition, bringing the work into a shared physical space. While the online exhibition introduced the individual practices of the artists, this new chapter focuses more closely on collaboration, collective making and the experience of inhabiting space together.
The exhibition approaches the gallery as a place of dwelling. Rather than presenting works as separate objects, the gallery is treated as a space that artists move into and shape collectively. Materials and ideas intersect across painting, textile, sculpture, video, sound and installation, forming a layered atmosphere that reflects the relationships between the artists. The idea of “moving in” also reflects the creation of a temporary home. The exhibition embraces a domestic sensibility, treating the gallery as a place to inhabit.
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) continues through the 16th May.
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1. Oliver Fontany (with assistance and mentorship from Rowan Yeomans), 𝘖𝘭𝘪𝘷𝘦𝘳 𝘢𝘯𝘥 𝘉𝘢𝘵𝘮𝘢𝘯 𝘢𝘳𝘦 𝘍𝘳𝘪𝘦𝘯𝘥𝘴, 2025, textile mixed media, 100 x 100 cm.
2. Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Install detail.
@littleumbrellacollective
@oliverfontany & @rowan_yeomans
@chloeabdelnour & @jeremy_swales
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of an art exhibition. The first image is of a wall-based work of various textiles featuring imagery of the character Batman and others stitched together and stretched over a frame. The second shows a multicoloured weaving on a bench, with the words ‘COME AS YOU ARE’ embroidered in orange lettering. The final image shows a wide shot of the exhibition, prominently featuring a brightly-coloured painted umbrella hanging above the bench from image 2.]
Come hang out with us at 𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) this weekend!
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) expands on 𝘊𝘰𝘮𝘦 𝘈𝘴 𝘠𝘰𝘶 𝘈𝘳𝘦, Little Umbrella Collective’s online exhibition, bringing the work into a shared physical space. While the online exhibition introduced the individual practices of the artists, this new chapter focuses more closely on collaboration, collective making and the experience of inhabiting space together.
The exhibition approaches the gallery as a place of dwelling. Rather than presenting works as separate objects, the gallery is treated as a space that artists move into and shape collectively. Materials and ideas intersect across painting, textile, sculpture, video, sound and installation, forming a layered atmosphere that reflects the relationships between the artists. The idea of “moving in” also reflects the creation of a temporary home. The exhibition embraces a domestic sensibility, treating the gallery as a place to inhabit.
𝘔𝘰𝘷𝘪𝘯𝘨 𝘪𝘯 (𝘵𝘩𝘦 𝘯𝘦𝘹𝘵 𝘸𝘰𝘳𝘭𝘥) continues through the 16th May.
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1. Oliver Fontany (with assistance and mentorship from Rowan Yeomans), 𝘖𝘭𝘪𝘷𝘦𝘳 𝘢𝘯𝘥 𝘉𝘢𝘵𝘮𝘢𝘯 𝘢𝘳𝘦 𝘍𝘳𝘪𝘦𝘯𝘥𝘴, 2025, textile mixed media, 100 x 100 cm.
2. Jeremy Swales and Chloë Abdelnour, 𝘊𝘰𝘮𝘦 𝘢𝘴 𝘺𝘰𝘶 𝘢𝘳𝘦 (𝘸𝘦𝘢𝘷𝘪𝘯𝘨), 2025-6, cotton yarn, string, acrylic wool, 158 x 36 cm.
3. Install detail.
@littleumbrellacollective
@oliverfontany & @rowan_yeomans
@chloeabdelnour & @jeremy_swales
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of an art exhibition. The first image is of a wall-based work of various textiles featuring imagery of the character Batman and others stitched together and stretched over a frame. The second shows a multicoloured weaving on a bench, with the words ‘COME AS YOU ARE’ embroidered in orange lettering. The final image shows a wide shot of the exhibition, prominently featuring a brightly-coloured painted umbrella hanging above the bench from image 2.]
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 brings together three early-career artists exploring contemporary portrait painting: Jacquie Meng (@jacquiemeng), Nina Radonja (@nina_radonja_art), and Kirthana Selvaraj (@kirthana.selvaraj).
Typically, a portrait captures the likeness, sensibilities and in some abstracted circumstances, essence of the subject-sitter through the hands, eyes and interpretive lens of the artist. In doing so, the subject becomes distilled through a filter of the artist’s own experiences, knowledge, biases, understanding and self-perception. There are infinite versions of how to be perceived, and in a portrait, the sitter is how the artist sees them, edited with tools accumulated across a lifetime. Parts of a person are omitted as the artist sieves through their field of vision to create an approximation.
There is no perfect replication; representation is corrupted by the artist's own conceits. In many ways, the practice of portrait making is a way of looking inward by looking outward.
A portrait of someone else is also a portrait of the artist.
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 continues through the 16th May.
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1. Nina Radonja, 𝘊𝘩𝘦𝘳𝘳𝘺, 2026, acrylic and oil on aluminium, 122 x 80 cm.
2. Jacquie Meng, 𝘉𝘶𝘵𝘵 𝘍𝘢𝘤𝘦, 2026, oil on canvas, 117 x 76 cm.
3. Jacquie Meng, 𝘛𝘦𝘯𝘯𝘪𝘴, 2026, oil on canvas, 122 x 100 cm.
4. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of brightly-coloured portrait paintings. The first image; shows a hazy portrait, which the artist has painted to appear as if it has been covered with cherry jam. Next to this, a portrait of a pair of boots and a bum with eyes is reflected in a hanging mirror. The second image shows a turquoise image of a winged figure playing tennis in their underwear. The third image shows a figure reclining in a lush, green environment, warped and reflected by a hanging mirror in the foreground.]
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 brings together three early-career artists exploring contemporary portrait painting: Jacquie Meng (@jacquiemeng), Nina Radonja (@nina_radonja_art), and Kirthana Selvaraj (@kirthana.selvaraj).
Typically, a portrait captures the likeness, sensibilities and in some abstracted circumstances, essence of the subject-sitter through the hands, eyes and interpretive lens of the artist. In doing so, the subject becomes distilled through a filter of the artist’s own experiences, knowledge, biases, understanding and self-perception. There are infinite versions of how to be perceived, and in a portrait, the sitter is how the artist sees them, edited with tools accumulated across a lifetime. Parts of a person are omitted as the artist sieves through their field of vision to create an approximation.
There is no perfect replication; representation is corrupted by the artist's own conceits. In many ways, the practice of portrait making is a way of looking inward by looking outward.
A portrait of someone else is also a portrait of the artist.
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 continues through the 16th May.
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1. Nina Radonja, 𝘊𝘩𝘦𝘳𝘳𝘺, 2026, acrylic and oil on aluminium, 122 x 80 cm.
2. Jacquie Meng, 𝘉𝘶𝘵𝘵 𝘍𝘢𝘤𝘦, 2026, oil on canvas, 117 x 76 cm.
3. Jacquie Meng, 𝘛𝘦𝘯𝘯𝘪𝘴, 2026, oil on canvas, 122 x 100 cm.
4. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of brightly-coloured portrait paintings. The first image; shows a hazy portrait, which the artist has painted to appear as if it has been covered with cherry jam. Next to this, a portrait of a pair of boots and a bum with eyes is reflected in a hanging mirror. The second image shows a turquoise image of a winged figure playing tennis in their underwear. The third image shows a figure reclining in a lush, green environment, warped and reflected by a hanging mirror in the foreground.]
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 brings together three early-career artists exploring contemporary portrait painting: Jacquie Meng (@jacquiemeng), Nina Radonja (@nina_radonja_art), and Kirthana Selvaraj (@kirthana.selvaraj).
Typically, a portrait captures the likeness, sensibilities and in some abstracted circumstances, essence of the subject-sitter through the hands, eyes and interpretive lens of the artist. In doing so, the subject becomes distilled through a filter of the artist’s own experiences, knowledge, biases, understanding and self-perception. There are infinite versions of how to be perceived, and in a portrait, the sitter is how the artist sees them, edited with tools accumulated across a lifetime. Parts of a person are omitted as the artist sieves through their field of vision to create an approximation.
There is no perfect replication; representation is corrupted by the artist's own conceits. In many ways, the practice of portrait making is a way of looking inward by looking outward.
A portrait of someone else is also a portrait of the artist.
𝘏𝘢𝘷𝘪𝘯𝘨 𝘚𝘸𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘢 𝘔𝘪𝘳𝘳𝘰𝘳 continues through the 16th May.
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1. Nina Radonja, 𝘊𝘩𝘦𝘳𝘳𝘺, 2026, acrylic and oil on aluminium, 122 x 80 cm.
2. Jacquie Meng, 𝘉𝘶𝘵𝘵 𝘍𝘢𝘤𝘦, 2026, oil on canvas, 117 x 76 cm.
3. Jacquie Meng, 𝘛𝘦𝘯𝘯𝘪𝘴, 2026, oil on canvas, 122 x 100 cm.
4. Kirthana Selvaraj, 𝘕𝘰𝘵𝘦𝘴 𝘰𝘯 𝘋𝘪𝘴𝘢𝘱𝘱𝘦𝘢𝘳𝘪𝘯𝘨, 2026, oil on canvas, 122 x 91 cm.
All images courtesy Jessica Maurer @jessica_maurer_photography.
[Image ID: A carousel of brightly-coloured portrait paintings. The first image; shows a hazy portrait, which the artist has painted to appear as if it has been covered with cherry jam. Next to this, a portrait of a pair of boots and a bum with eyes is reflected in a hanging mirror. The second image shows a turquoise image of a winged figure playing tennis in their underwear. The third image shows a figure reclining in a lush, green environment, warped and reflected by a hanging mirror in the foreground.]
Come see 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 tomorrow!
The gallery’s open from 11 tomorrow for another week of our smashing April—May exhibitions.
𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran in Gallery 1, explores a group of works using techniques and materials such as hand knitting, generative sculpture, and Nintendo DS Flipnote, while discussing the relationship between the preliminary draft and the final animation. Curated by Jenn Tran, 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 brings together artists Jent Do, Milly Yencken, Quinn Franks, Eleanor Evans, and Tiff Yue — independent animators and artists working and recognised across Australia and internationally.
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Eleanor Evans, 𝘌𝘤𝘩𝘰𝘦𝘴, 2021-2026 single channel hand knitted stop-motion animation.
Milly Yencken, 𝘵𝘳é𝘪𝘯 𝘴𝘯é𝘳𝘶 𝘴é𝘳 ö𝘭𝘭 𝘧𝘳á 𝘮é𝘳 (𝘵𝘩𝘦 𝘵𝘳𝘦𝘦𝘴 𝘢𝘭𝘭 𝘵𝘶𝘳𝘯𝘦𝘥 𝘢𝘸𝘢𝘺 𝘧𝘳𝘰𝘮 𝘮𝘦), 2026, projection mapped charcoal and paper animation on bark, sound design by Áki Frostason, dimensions variable.
Detail from Tiffany Yue Fong Goh, 𝘍𝘭𝘺 𝘱𝘢𝘵𝘵𝘦𝘳𝘯 𝘸𝘦𝘣, 2026 two channel video, decal illustration, sketch paper 120cm x 149cm.
Images courtesy Jessica Maurer.
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𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran
10 April—16 May, 2026
Milly Yencken, Tiff Yue, Quinn Franks, Eleanor Evans, Jent Do
@eleanor.giovanni, @jentxmgtd, @milly.yencken, @tiff._.yue, @proceduralgunk, @jenn___tran
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[Image ID: A carousel of three images. The first shows a projection low on the wall of a close-up of a knitted or crocheted surface. The second image shows bark mounted to the wall with projected faces on them.The third shows three paper drawings mounted to the wall, two very small and one large, of animal figures against a web background.]
Come see 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 tomorrow!
The gallery’s open from 11 tomorrow for another week of our smashing April—May exhibitions.
𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran in Gallery 1, explores a group of works using techniques and materials such as hand knitting, generative sculpture, and Nintendo DS Flipnote, while discussing the relationship between the preliminary draft and the final animation. Curated by Jenn Tran, 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 brings together artists Jent Do, Milly Yencken, Quinn Franks, Eleanor Evans, and Tiff Yue — independent animators and artists working and recognised across Australia and internationally.
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Eleanor Evans, 𝘌𝘤𝘩𝘰𝘦𝘴, 2021-2026 single channel hand knitted stop-motion animation.
Milly Yencken, 𝘵𝘳é𝘪𝘯 𝘴𝘯é𝘳𝘶 𝘴é𝘳 ö𝘭𝘭 𝘧𝘳á 𝘮é𝘳 (𝘵𝘩𝘦 𝘵𝘳𝘦𝘦𝘴 𝘢𝘭𝘭 𝘵𝘶𝘳𝘯𝘦𝘥 𝘢𝘸𝘢𝘺 𝘧𝘳𝘰𝘮 𝘮𝘦), 2026, projection mapped charcoal and paper animation on bark, sound design by Áki Frostason, dimensions variable.
Detail from Tiffany Yue Fong Goh, 𝘍𝘭𝘺 𝘱𝘢𝘵𝘵𝘦𝘳𝘯 𝘸𝘦𝘣, 2026 two channel video, decal illustration, sketch paper 120cm x 149cm.
Images courtesy Jessica Maurer.
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𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran
10 April—16 May, 2026
Milly Yencken, Tiff Yue, Quinn Franks, Eleanor Evans, Jent Do
@eleanor.giovanni, @jentxmgtd, @milly.yencken, @tiff._.yue, @proceduralgunk, @jenn___tran
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[Image ID: A carousel of three images. The first shows a projection low on the wall of a close-up of a knitted or crocheted surface. The second image shows bark mounted to the wall with projected faces on them.The third shows three paper drawings mounted to the wall, two very small and one large, of animal figures against a web background.]
Come see 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 tomorrow!
The gallery’s open from 11 tomorrow for another week of our smashing April—May exhibitions.
𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran in Gallery 1, explores a group of works using techniques and materials such as hand knitting, generative sculpture, and Nintendo DS Flipnote, while discussing the relationship between the preliminary draft and the final animation. Curated by Jenn Tran, 𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦 brings together artists Jent Do, Milly Yencken, Quinn Franks, Eleanor Evans, and Tiff Yue — independent animators and artists working and recognised across Australia and internationally.
+++
Eleanor Evans, 𝘌𝘤𝘩𝘰𝘦𝘴, 2021-2026 single channel hand knitted stop-motion animation.
Milly Yencken, 𝘵𝘳é𝘪𝘯 𝘴𝘯é𝘳𝘶 𝘴é𝘳 ö𝘭𝘭 𝘧𝘳á 𝘮é𝘳 (𝘵𝘩𝘦 𝘵𝘳𝘦𝘦𝘴 𝘢𝘭𝘭 𝘵𝘶𝘳𝘯𝘦𝘥 𝘢𝘸𝘢𝘺 𝘧𝘳𝘰𝘮 𝘮𝘦), 2026, projection mapped charcoal and paper animation on bark, sound design by Áki Frostason, dimensions variable.
Detail from Tiffany Yue Fong Goh, 𝘍𝘭𝘺 𝘱𝘢𝘵𝘵𝘦𝘳𝘯 𝘸𝘦𝘣, 2026 two channel video, decal illustration, sketch paper 120cm x 149cm.
Images courtesy Jessica Maurer.
+++
𝘚𝘮𝘢𝘭𝘭 𝘍𝘳𝘢𝘮𝘦, curated by Jenn Tran
10 April—16 May, 2026
Milly Yencken, Tiff Yue, Quinn Franks, Eleanor Evans, Jent Do
@eleanor.giovanni, @jentxmgtd, @milly.yencken, @tiff._.yue, @proceduralgunk, @jenn___tran
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[Image ID: A carousel of three images. The first shows a projection low on the wall of a close-up of a knitted or crocheted surface. The second image shows bark mounted to the wall with projected faces on them.The third shows three paper drawings mounted to the wall, two very small and one large, of animal figures against a web background.]
🗯️ Applications open! 🗯️
2026 ACE x @firstdraft_ Short-term Residency
The 2026 ACE x @firstdraft_ Short-term Residency offers one South Australian artist the opportunity to develop and present a solo exhibition at firstdraft, Sydney. The artist will receive a 3-month studio residency at ACE
This residency is best suited to artists with a specific project ready for interstate presentation.
Applications close: Monday 8 June 11:59pm (ACST)
To learn about the opportunity (including eligibility and FAQs) & apply, visit the link in our bio.
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Image: Shaye Dương, 'Telesm' (2022), installation view, firstdraft, Sydney. Courtesy firstdraft. Photography by Jessica Maurer.
Instagramストーリーを秘密で見る
Instagramストーリービューアは、Instagramストーリー、動画、写真、またはIGTVを秘密に見たり保存したりできる簡単なツールです。このサービスを使用すると、コンテンツをダウンロードして、いつでもオフラインで楽しむことができます。Instagramで後でチェックしたいものを見つけた場合や、匿名でストーリーを見たい場合、このビューアは最適です。Anonstoriesは、あなたの身元を隠すための優れたソリューションを提供します。Instagramは2023年8月にストーリー機能を導入し、すぐに他のプラットフォームでも採用されました。このフォーマットは魅力的で、時間に敏感なため、ユーザーが写真、動画、または自撮りをテキスト、絵文字、またはフィルターで強化して、24時間限定で公開することができます。この限られた時間枠は、通常の投稿に比べて高いエンゲージメントを生み出します。今日の世界では、ストーリーはソーシャルメディアでつながり、コミュニケーションをとる最も人気のある方法の1つです。しかし、ストーリーを視聴すると、作成者は自分の名前を視聴者リストに見ることができ、プライバシーの懸念があります。もしストーリーを目立たずに閲覧したい場合、ここでAnonstoriesが役立ちます。これを使うことで、自分の身元を明かさずにInstagramのコンテンツを視聴できます。単に調べたいプロファイルのユーザー名を入力すると、その人の最新のストーリーが表示されます。Anonstoriesビューアの特徴：- 匿名閲覧：視聴リストに名前が表示されずにストーリーを視聴 - アカウント不要：Instagramのアカウントにサインインせずに公開コンテンツを視聴 - コンテンツダウンロード：ストーリーコンテンツを直接デバイスに保存してオフラインで使用 - ハイライト視聴：24時間を過ぎてもInstagramのハイライトにアクセス - リポストモニタリング：個人プロファイルのストーリーに対するリポストやエンゲージメントのレベルを追跡 制限事項：- このツールは公開アカウントでのみ動作し、非公開アカウントはアクセスできません。 利点：- プライバシー保護：Instagramのコンテンツを匿名で閲覧可能 - シンプルで簡単：アプリのインストールや登録は不要 - 独自のツール：Instagramが提供していない方法でコンテンツをダウンロードおよび管理可能
Anonstoriesの利点
IGストーリーをプライベートに探る
Instagramの更新をプライバシーを守りつつ、匿名で追跡できます。
プライベートInstagramビューア
プライベートプロファイルビューアを使用して、プロフィールと写真を簡単に匿名で閲覧できます。
無料のストーリービューア
この無料ツールでInstagramストーリーを匿名で閲覧でき、アクティビティがストーリーアップローダーに知られることはありません。
よくある質問
匿名性
Anonstoriesを使用すると、作成者に通知されることなくInstagramストーリーを閲覧できます。
デバイス互換性
iOS、Android、Windows、macOS、ChromeやSafariなどの最新のブラウザで問題なく動作します。
安全性とプライバシー
ログイン情報なしで、安全かつ匿名で閲覧できます。
登録不要
ユーザーは、ユーザー名を入力するだけで公開ストーリーを閲覧可能—アカウント登録は不要です。
対応フォーマット
写真（JPEG）と動画（MP4）を簡単にダウンロードできます。
料金
サービスは無料で利用できます。
非公開アカウント
非公開アカウントのコンテンツはフォロワーのみがアクセスできます。
ファイル使用
ファイルは個人または教育目的でのみ使用し、著作権法を遵守する必要があります。
動作方法
公開ユーザー名を入力して、ストーリーを閲覧またはダウンロードします。サービスはコンテンツをローカルに保存するための直接リンクを生成します。