Born 1986, Jawa Timur, East Java
Lives and works in Jogjakarta, Indonesia

Artist Statement

My works questions contemporary notions of the environment as something separate from mankind. People today tend to regard nature and the environment as a commodity to be exploited for financial gain, which differs vastly from the relationship between primitive man and the natural world. Nature was once believed to have a spirit, an entity and strength worthy of respect. This is particularly inherent in Indonesian culture, where Animism predates other religions by centuries and remains as part of daily traditional practices and beliefs.

I am primarily concerned with the ongoing human interference with natural balances and resources, without prescience.  My intention is to draw awareness to the potential impacts of the biopolitical intersections between man and environment, the neglected, the overlooked and the unintentional outcomes of this dysfunctional relationship. My objects and creatures are personal, sprung from an imagined future, a new hybridity between matter both living and inanimate.

In deconstructing and recombining the various media and materials I use, I consider them from various points of view, both in function and embodied meaning, as well as the origin and identity of each material. In gaining an understanding of these components, I aim to first reach a point where I am fully aware of the new entity that I am creating, I imagine a kind of territory or base where the art is able to be part of an ecosystem that always has a relationship between humans and the environment.

Some of my strange manifestations at first resemble animals or plants, skulls, skeletons or other naturally occurring fragments. On closer inspection, the works seem creepily monstrous, perhaps odd or abnormal. They appear simultaneously alluring and repulsive.  Such is the result of cause and effect, the correlation between humans and the environment, where not all outcomes are necessarily negative. Scientific breakthroughs, medical advancements and other interferences may result in unwanted, symptomatic outcomes such as global warming or genetic alterations in living things, many of which are caused by human activities, triggered by the imbalance of nature itself.

 My artistic discourse is a question that I offer to myself as well as to the wider community. I am aware that my work cannot provide solutions to the current global environmental predicament. I only hope that my work may give an appreciation and reason to question the natural world with a greater sense of wonder.

Born 1999, UK. Educated in Dunedin,
New Zealand and Brisbane, Australia

Lives and works in Brisbane

Imogen Corbett’s intricate, realistic oil paintings explore the social Implications of space in an era shaped by digital technologies and the complex negotiations between digital and material realms.

As online, two-dimensional spaces increasingly inform our social relationships and belief systems, these spaces begin to rival physical environments, intensifying tensions between connectivity and isolation.
* images: Louis Lim

Artist CV

Exhibition: THE WAITING ROOM

Jordache Gage (b. New Zealand 1989)

Brisbane based self-taught Abstract Surrealist artist. His work spans large-scale public murals, painting, installation and community-focused projects. His practice investigates concepts of identity, cultural sovereignty, memory and trauma. He often explores the psychological dimensions of space and the intergenerational impacts of colonisation.

Exhibition: DWELLING

ARTIST CV

Coming soon...

Mona Ryder (b. Queensland 1945)

Mona Ryder’s work is a sustained, multi-decade exploration of how everyday materials and domestic experience can be transformed into powerful, unsettling reflections on gender, memory, and human existence.

 As an Australian artist whose over forty-year practice transforms everyday objects into immersive, thought-provoking works across sculpture, textiles, installation, and mixed media. Ryder explores domesticity, memory, gender, and power, often turning the familiar into something uncanny and poetic.

Her work has been widely exhibited nationally and internationally, including the major survey Minefield: The Art of Mona Ryder at QUT Art Museum (2022–23). A dedicated mentor and educator, she has influenced generations of artists while producing public art commissions and acclaimed residencies. Ryder’s practice combines humour, intimacy, and emotional depth, inviting viewers to see the everyday in extraordinary ways.

Mona Ryder’s practice has been a quietly powerful force in Australian contemporary art. Critics and writers consistently highlight her ability to transform the ordinary into something charged with meaning. Everyday domestic objects; ironing boards, textiles, chairs, shells, become more than their functional selves. They carry traces of memory, emotion, and lived experience, evoking the psychological tensions of home life while also pointing toward broader questions of power, gender, and social structures. Ryder’s work often subverts expectations, turning what is familiar into something uncanny, poetic, or even unsettling.

Her art resists classification. Over decades, she has moved fluidly between installation, sculpture, textiles, text, and performance-like environments, often creating immersive, theatrical spaces that encourage open-ended interpretation. There is a sense of alchemy in her process: the materials themselves are transformed, but so too are the ideas they convey. Domesticity, humour, memory, mortality, and the passage of time recur as motifs, yet Ryder treats them lightly, playfully, and with a humanist sensibility. Her feminist perspective is present but never didactic; instead, it is woven into a broader exploration of human experience, inviting reflection rather than prescribing meaning. 

Ryder has been shaping communities and encouraging experimentation for decades. Her practice emphasizes process over product, valuing thoughtful, careful making above commercial success. The “slow burn” of her work reveals its depth gradually, asking viewers to linger, reflect, and respond.

In essence, Ryder’s art is about transformation, of objects, spaces, and perception. By elevating the domestic, the overlooked, and the everyday, she creates work that is both intimate and expansive, deeply personal yet socially resonant.  Her enduring and influential practice offers multiple perspectives on an artist whose work quietly but powerfully reshapes how we see the ordinary and the profound.