인스타그램 스토리 뷰어

Please join us in the gallery on Saturday 30 May, from 11am - 12pm, for an Artist Talk with Australian artist Eleanor Louise Butt, in conversation with Tonee Messiah and COMA Associate Director Chloe Morrissey.

Marking her first solo exhibition with COMA, Eleanor will discuss painting, process, and abstraction.

Saturday 30 May, 11am - 12pm
37 Chapel Street, Marrickville, 2204

Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in.

COMA Founder Sotiris Sotiriou walks us through ‘Unfolding Fields’, Eleanor Louise Butt’s first solo presentation with the gallery.

On view through 27 June, 2026. At 37 Chapel Street, Marrickville.

Currently on view at Espace Louis Vuitton Venezia in parallel with the 61st International Art Exhibition — La Biennale di Venezia, Lu Yang’s solo presentation DOKU The Illusion brings together original sculptures and a new video work centred on the artist’s latest film.

As the fourth chapter in the ongoing DOKU series, the exhibition extends Lu Yang’s long-running exploration of consciousness, identity, and the constructed body across physical and virtual space. First initiated in 2019, the DOKU series continues to unfold as an expansive narrative project. Curated by Claire Staebler

DOKU The Illusion, exhibition view at Espace Louis Vuitton Venezia, 2026, © Ludovica Arcero / Louis Vuitton. Photo of Lu Yang at Espace Louis Vuitton Venezia, © Ludovica Arcero / Louis Vuitton.

Currently on view at Espace Louis Vuitton Venezia in parallel with the 61st International Art Exhibition — La Biennale di Venezia, Lu Yang’s solo presentation DOKU The Illusion brings together original sculptures and a new video work centred on the artist’s latest film.

As the fourth chapter in the ongoing DOKU series, the exhibition extends Lu Yang’s long-running exploration of consciousness, identity, and the constructed body across physical and virtual space. First initiated in 2019, the DOKU series continues to unfold as an expansive narrative project. Curated by Claire Staebler

DOKU The Illusion, exhibition view at Espace Louis Vuitton Venezia, 2026, © Ludovica Arcero / Louis Vuitton. Photo of Lu Yang at Espace Louis Vuitton Venezia, © Ludovica Arcero / Louis Vuitton.

Currently on view at Espace Louis Vuitton Venezia in parallel with the 61st International Art Exhibition — La Biennale di Venezia, Lu Yang’s solo presentation DOKU The Illusion brings together original sculptures and a new video work centred on the artist’s latest film.

As the fourth chapter in the ongoing DOKU series, the exhibition extends Lu Yang’s long-running exploration of consciousness, identity, and the constructed body across physical and virtual space. First initiated in 2019, the DOKU series continues to unfold as an expansive narrative project. Curated by Claire Staebler

DOKU The Illusion, exhibition view at Espace Louis Vuitton Venezia, 2026, © Ludovica Arcero / Louis Vuitton. Photo of Lu Yang at Espace Louis Vuitton Venezia, © Ludovica Arcero / Louis Vuitton.

Opening tonight from 6pm, Australian artist Eleanor Louise Butt presents her first solo exhibition with COMA, titled Unfolding Fields, on view at 37 Chapel Street, Marrickville.

These paintings operate as sites of embodied experience and entangled encounters. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay. In the studio, works are improvised in the moment, allowing intention and ambiguity to unfold through the embodied process of painting. They reflect a desire for immersion within a scene, or within the painting itself. In this way, the paintings function as worlds of their own, connected to the all-at-onceness of lived sensation, unfolding at varying scales and intensities.

@eleanor_louise_butt

Installation view, Eleanor Louise Butt, Unfolding Fields, 2026, COMA, Sydney.

Opening tonight from 6pm, Australian artist Eleanor Louise Butt presents her first solo exhibition with COMA, titled Unfolding Fields, on view at 37 Chapel Street, Marrickville.

These paintings operate as sites of embodied experience and entangled encounters. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay. In the studio, works are improvised in the moment, allowing intention and ambiguity to unfold through the embodied process of painting. They reflect a desire for immersion within a scene, or within the painting itself. In this way, the paintings function as worlds of their own, connected to the all-at-onceness of lived sensation, unfolding at varying scales and intensities.

@eleanor_louise_butt

Installation view, Eleanor Louise Butt, Unfolding Fields, 2026, COMA, Sydney.

Opening tonight from 6pm, Australian artist Eleanor Louise Butt presents her first solo exhibition with COMA, titled Unfolding Fields, on view at 37 Chapel Street, Marrickville.

These paintings operate as sites of embodied experience and entangled encounters. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay. In the studio, works are improvised in the moment, allowing intention and ambiguity to unfold through the embodied process of painting. They reflect a desire for immersion within a scene, or within the painting itself. In this way, the paintings function as worlds of their own, connected to the all-at-onceness of lived sensation, unfolding at varying scales and intensities.

@eleanor_louise_butt

Installation view, Eleanor Louise Butt, Unfolding Fields, 2026, COMA, Sydney.

Opening tonight from 6pm, Australian artist Eleanor Louise Butt presents her first solo exhibition with COMA, titled Unfolding Fields, on view at 37 Chapel Street, Marrickville.

These paintings operate as sites of embodied experience and entangled encounters. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay. In the studio, works are improvised in the moment, allowing intention and ambiguity to unfold through the embodied process of painting. They reflect a desire for immersion within a scene, or within the painting itself. In this way, the paintings function as worlds of their own, connected to the all-at-onceness of lived sensation, unfolding at varying scales and intensities.

@eleanor_louise_butt

Installation view, Eleanor Louise Butt, Unfolding Fields, 2026, COMA, Sydney.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

Opening this Friday, Unfolding Fields, a solo exhibition by Australian artist Eleanor Louise Butt.

“This new body of works evokes a sensation of being bodily surrounded by light and shade, by a density of colours and forms. By unearthing the analogy of the garden, I have come to experience the paintings themselves as sites of physical immersion and embodied encounter.”

Friday 15 May, 6 - 8pm, 37 Chapel Street, Marrickville.

Eleanor Louise Butt, Untitled (exuberant/dankness), 2026, oil on cotton, 76.5 x 71.5 cm, 30 1/8 x 28 1/8 in. Eleanor Louise Butt, Echoed encounter, 2026, acrylic on cotton, 167.5 x 152.5 cm, 66 x 60 in. Eleanor Louise Butt, Interwoven warmth, 2026, oil on linen, 28 x 35.5 cm, 11 x 14 in.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

We would like to wish Australian artist Shan Turner-Carroll (b. 1987) happy birthday! In celebration we would like to take a look back at some of Turner-Carroll’s exhibition highlights.

Deeply fascinated with unearthing tacit knowledge, his practice integrates mediums including photography, sculpture, performance and film. Turner-Carroll’s practice interrogates both human and non-human nature, alternative forms of social exchange and interactions between art, artist and viewer: sending and receiving signals.

Shan Turner-Carroll, in his studio, Wonnarua Country, Lovedale, Australia, (2026). Photo by Dominic Bleijie. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Waiting for night to jump, 2024, archival digital ink jet print. Shan Turner-Carroll, Ancestors , 2026, digital inkjet print on archival paper, 130 x 87 cm. Portrait, Shan Turner-Carroll, Sydney, 2024. Photo by Shen Osaki. Courtesy of The Substation, ACE Hotel, Sydney and the artist. Installation view, Shan Turner-Carroll, Bless You, Bless Me, Bless the Mountain, COMA, Sydney, Australia, 2026. Shan Turner-Carroll, Edge Of The Garden, Dad, 2020, archival digital ink jet print.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Ahead of her first solo exhibition at COMA, Unfolding Fields, opening Friday 15 May, Eleanor Louise Butt speaks to Associate Director Chloe Morrissey about her studio practice, immersiveness and paintings as sites of discovery.

Unfolding Fields opens Friday 15 May 6-8pm, at 37 Chapel Street, Marrickville.

Read the full interview via the link in bio.

Lu Yang’s solo presentation ‘DOKU The Illusion’ opens in Venice this May. Presented at Espace Louis Vuitton Venezia in parallel with the La Biennale di Venezia, the exhibition introduces a new installation spanning sculpture and video, centred on the artist’s latest film. As the fourth chapter in the ongoing DOKU series, the work extends Lu Yang’s long-running exploration of consciousness, identity, and the constructed body across physical and virtual space.

On view 8 May – 4 October 2026.

Lu Yang, DOKU The Illusion, 2026. Video installation, colour, sound. © Lu Yang.

South Korean-born artist Young-jun Tak has been interviewed for to Be’s recent article ‘Young-jun Tak on Sameness and Difference’, by Oscar Bloomfield.

On his practice Young-jun Tak said “There is a word in Korean, 𝘫𝘰𝘵𝘢𝘬-𝘩𝘢𝘥𝘢, which has two meanings: to refine a text and to carve and chisel something hard, such as a jewel. It is a form of proofreading, but it is as though you’re literally sculpting words and text. This verb is consistent throughout my practice—from editing to sculpture.”

You can read the full article at the link in bio.

Love Your Clean Feet on Thursday, 2023, single channel 4K video, colour, stereo sound, 18 minutes 53 seconds. Courtesy of the artist. Young-jun Tak, Wohin?, 2022, Single channel HD video, color, stereo sound, 8 minutes 25 seconds. Courtesy of the artist. Young-jun Tak, Their Fear in Our Opening, 2026, lime wood, silk threads, beeswax. Dimensions variable. Courtesy of the artist. Commissioned by Art Sonje Center, Seoul. Photo by Elmar Vestner. Young-jun Tak, Love Your Clean Feet on Thursday, 2023, single channel 4K video, color, stereo sound, 18 minutes 53 seconds. Courtesy of the artist.

@youngjun.tak
@to.be.magazine

South Korean-born artist Young-jun Tak has been interviewed for to Be’s recent article ‘Young-jun Tak on Sameness and Difference’, by Oscar Bloomfield.

On his practice Young-jun Tak said “There is a word in Korean, 𝘫𝘰𝘵𝘢𝘬-𝘩𝘢𝘥𝘢, which has two meanings: to refine a text and to carve and chisel something hard, such as a jewel. It is a form of proofreading, but it is as though you’re literally sculpting words and text. This verb is consistent throughout my practice—from editing to sculpture.”

You can read the full article at the link in bio.

Love Your Clean Feet on Thursday, 2023, single channel 4K video, colour, stereo sound, 18 minutes 53 seconds. Courtesy of the artist. Young-jun Tak, Wohin?, 2022, Single channel HD video, color, stereo sound, 8 minutes 25 seconds. Courtesy of the artist. Young-jun Tak, Their Fear in Our Opening, 2026, lime wood, silk threads, beeswax. Dimensions variable. Courtesy of the artist. Commissioned by Art Sonje Center, Seoul. Photo by Elmar Vestner. Young-jun Tak, Love Your Clean Feet on Thursday, 2023, single channel 4K video, color, stereo sound, 18 minutes 53 seconds. Courtesy of the artist.

@youngjun.tak
@to.be.magazine

South Korean-born artist Young-jun Tak has been interviewed for to Be’s recent article ‘Young-jun Tak on Sameness and Difference’, by Oscar Bloomfield.

On his practice Young-jun Tak said “There is a word in Korean, 𝘫𝘰𝘵𝘢𝘬-𝘩𝘢𝘥𝘢, which has two meanings: to refine a text and to carve and chisel something hard, such as a jewel. It is a form of proofreading, but it is as though you’re literally sculpting words and text. This verb is consistent throughout my practice—from editing to sculpture.”

You can read the full article at the link in bio.

Love Your Clean Feet on Thursday, 2023, single channel 4K video, colour, stereo sound, 18 minutes 53 seconds. Courtesy of the artist. Young-jun Tak, Wohin?, 2022, Single channel HD video, color, stereo sound, 8 minutes 25 seconds. Courtesy of the artist. Young-jun Tak, Their Fear in Our Opening, 2026, lime wood, silk threads, beeswax. Dimensions variable. Courtesy of the artist. Commissioned by Art Sonje Center, Seoul. Photo by Elmar Vestner. Young-jun Tak, Love Your Clean Feet on Thursday, 2023, single channel 4K video, color, stereo sound, 18 minutes 53 seconds. Courtesy of the artist.

@youngjun.tak
@to.be.magazine

South Korean-born artist Young-jun Tak has been interviewed for to Be’s recent article ‘Young-jun Tak on Sameness and Difference’, by Oscar Bloomfield.

On his practice Young-jun Tak said “There is a word in Korean, 𝘫𝘰𝘵𝘢𝘬-𝘩𝘢𝘥𝘢, which has two meanings: to refine a text and to carve and chisel something hard, such as a jewel. It is a form of proofreading, but it is as though you’re literally sculpting words and text. This verb is consistent throughout my practice—from editing to sculpture.”

You can read the full article at the link in bio.

Love Your Clean Feet on Thursday, 2023, single channel 4K video, colour, stereo sound, 18 minutes 53 seconds. Courtesy of the artist. Young-jun Tak, Wohin?, 2022, Single channel HD video, color, stereo sound, 8 minutes 25 seconds. Courtesy of the artist. Young-jun Tak, Their Fear in Our Opening, 2026, lime wood, silk threads, beeswax. Dimensions variable. Courtesy of the artist. Commissioned by Art Sonje Center, Seoul. Photo by Elmar Vestner. Young-jun Tak, Love Your Clean Feet on Thursday, 2023, single channel 4K video, color, stereo sound, 18 minutes 53 seconds. Courtesy of the artist.

@youngjun.tak
@to.be.magazine

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

First look at Unfolding Fields, Eleanor Louise Butt's first solo exhibition at COMA, opening Friday 15 May, 6–8pm.

These paintings operate as sites of embodied experience and entangled encounter. Approaching paintings as sites for experimentation and discovery, the works move beyond depiction, unfolding as perceptual worlds that invite a sense of being within the painting itself. They are connected, open-ended events in which no mark feels final, and clarity is intentionally held at bay.

37 Chapel Street, Marrickville, 2204.

Eleanor Louise Butt, Unfolding fields (claire-voie), 2026, oil on cotton, 167.5 x 198 cm, 66 x 78 in. Eleanor Louise Butt, Within motion (blue and brown), 2026, oil on linen, 86 x 102 cm, 33 7/8 x 40 1/8 in. Eleanor Louise Butt, Untitled (constant unfolding), 2026, oil on cotton, 167.5 x 152.5 cm, 66 x 60 in.

Lu Yang’s The Great Adventure of Material World (2019–2020) is currently on view at the Museum of the Moving Image, New York, closing 3 May 2026.

Marking the work’s first presentation in a U.S. museum, the project follows an androgynous protagonist, Material World Knight, through episodic cycles of conflict, transformation and renewal. Drawing on Buddhist cosmology alongside visual languages of video games, anime and science fiction, the work reflects Lu Yang’s ongoing interest in multiplicity, embodiment and perceptual change.

Final weeks to experience the work.

Lu yang, Image Stills, Great Adventure of Material World - Game Film, 2020, single channel HD digital video, 26 min, 22 sec. Courtesy of the artist.

Lu Yang’s The Great Adventure of Material World (2019–2020) is currently on view at the Museum of the Moving Image, New York, closing 3 May 2026.

Marking the work’s first presentation in a U.S. museum, the project follows an androgynous protagonist, Material World Knight, through episodic cycles of conflict, transformation and renewal. Drawing on Buddhist cosmology alongside visual languages of video games, anime and science fiction, the work reflects Lu Yang’s ongoing interest in multiplicity, embodiment and perceptual change.

Final weeks to experience the work.

Lu yang, Image Stills, Great Adventure of Material World - Game Film, 2020, single channel HD digital video, 26 min, 22 sec. Courtesy of the artist.

Lu Yang’s The Great Adventure of Material World (2019–2020) is currently on view at the Museum of the Moving Image, New York, closing 3 May 2026.

Marking the work’s first presentation in a U.S. museum, the project follows an androgynous protagonist, Material World Knight, through episodic cycles of conflict, transformation and renewal. Drawing on Buddhist cosmology alongside visual languages of video games, anime and science fiction, the work reflects Lu Yang’s ongoing interest in multiplicity, embodiment and perceptual change.

Final weeks to experience the work.

Lu yang, Image Stills, Great Adventure of Material World - Game Film, 2020, single channel HD digital video, 26 min, 22 sec. Courtesy of the artist.

Teresa Baker (Mandan/Hidatsa b. 1985, Watford City, ND, USA) is currently included in the group exhibition ‘Into the Time Horizon’ at the Nevada Museum of Art.

‘Into the Time Horizon’ spans the Nevada Museum of Art, bringing together nearly 200 artists across seven thematic sections. Considering the climate crisis as an urgent present condition, the exhibition foregrounds practices shaped by collectivity, care and environmental consciousness, with a recurring emphasis on ecofeminism.

On view now through to January 3, 2027.

Teresa Baker, ‘Missouri River’, 2022, Yarn, parfleche, artificial sinew, and oil pastel on artificial turf, 72 x 107 in. Collection of Julie and Jim Taylor, Denver, Colorado. Teresa Baker, ‘Fishhook of Tomorrow’s Tug’, 2023, Acrylic, yarn, and buckskin on artificial turf 69 x 78 in., Nevada Museum of Art.

Teresa Baker (Mandan/Hidatsa b. 1985, Watford City, ND, USA) is currently included in the group exhibition ‘Into the Time Horizon’ at the Nevada Museum of Art.

‘Into the Time Horizon’ spans the Nevada Museum of Art, bringing together nearly 200 artists across seven thematic sections. Considering the climate crisis as an urgent present condition, the exhibition foregrounds practices shaped by collectivity, care and environmental consciousness, with a recurring emphasis on ecofeminism.

On view now through to January 3, 2027.

Teresa Baker, ‘Missouri River’, 2022, Yarn, parfleche, artificial sinew, and oil pastel on artificial turf, 72 x 107 in. Collection of Julie and Jim Taylor, Denver, Colorado. Teresa Baker, ‘Fishhook of Tomorrow’s Tug’, 2023, Acrylic, yarn, and buckskin on artificial turf 69 x 78 in., Nevada Museum of Art.

Teresa Baker (Mandan/Hidatsa b. 1985, Watford City, ND, USA) is currently included in the group exhibition ‘Into the Time Horizon’ at the Nevada Museum of Art.

‘Into the Time Horizon’ spans the Nevada Museum of Art, bringing together nearly 200 artists across seven thematic sections. Considering the climate crisis as an urgent present condition, the exhibition foregrounds practices shaped by collectivity, care and environmental consciousness, with a recurring emphasis on ecofeminism.

On view now through to January 3, 2027.

Teresa Baker, ‘Missouri River’, 2022, Yarn, parfleche, artificial sinew, and oil pastel on artificial turf, 72 x 107 in. Collection of Julie and Jim Taylor, Denver, Colorado. Teresa Baker, ‘Fishhook of Tomorrow’s Tug’, 2023, Acrylic, yarn, and buckskin on artificial turf 69 x 78 in., Nevada Museum of Art.